Opinion Piece - Ian Watkins

Evil former rock star Ian Watkins will spend a well deserved 35 years in prison after receiving his sentence at Cardiff Crown Court. For some this is peace of mind, Lostprophets guitarist lee gaze commented on the social media site Twitter: ‘Thanks for all the kind words, at least there is closure now’ after he learnt that Watkins had pleaded guilty. Yet for many, including myself, there are questions that have not been answered, moral issues that have not been solved and justice that has not yet been served.

While he spends his time behind bars Watkins will continue to collate thousands of pounds through performance royalties. A luxury that should not be maintained. He will receive monetary gain from a persona he created not only to become a successful musician, but a persona he later used as a tool to seduce and groom young females with the intent to sexually abuse their children. The entire idea to continue gaining worth off this ‘rock star’ persona feels morally wrong. Watkins will ensure he stays wealthy, ready to stroll back into the same lifestyle, exactly where he left off. Yet the people’s lives that he has scarred forever will never be the same. Where’s their monetary gain? Watkins Describes the entire ordeal as ‘Mega Lolz’, it’s clear this monster shows no remorse for his inexcusable actions and intent.

Although many radio stations have actively avoided giving the Lostprophets airtime, their music will continue to be played across the world. Whenever Watkins appears on the news, public curiosity generates a spike of YouTube plays and internet searches. Every time this occurs Watkins benefits. With over 45k twitter followers there is a sad reality that there’s no preventing the ever increasing fame and wealth of this criminal, no matter how disgusting the crime.

Although the sentencing has been carried out and Watkins is safely behind bars, there is an air of ignorance surrounding this messy case. Police ignored Joanne Mjedzelics, a former acquaintance, who actively raised her concerns over four years ago after receiving a disturbing image. Why was nothing done about it? During an interview with the BBC she says “I would be either going to the police station or I’d be on the phone to them repeatedly saying, you need to do something…giving them details, giving them names of victims.” Yet the police clearly did nothing to pursue these allegations despite Joanne’s determination. Reasons for this are unclear, Joanne tells the BBC “Whatever he [Ian] said they basically latched onto that and thought they could just use this as an excuse to just not do anything.” However it is obvious that celebrity status has been taken into account, as it is evident now, there were an abundance of sinister things for them to uncover.

The more I dwell on the subject I cant help but think that the rest of the Lostprophets aren’t as doe eyed and innocent as they claim to be. The band formed in 1997 and worked closely together for fifteen years. Working as part of a touring rock band means living in extremely close quarters for months at a time, eating together, drinking together and partying together. Often all of this is within the confined space of a tour bus, it’s hard to believe the rest of the band were totally ignorant to what was happening. The band, excluding Watkins, posted a statement on Facebook claiming their innocence, denying they were aware of the brutal actions of the 36 year old. They have also continued to urge other victims to come forward. The future of the Lostprophets remained uncertain after the band cancelled all tour dates, but rightly so they later announced their breakup in October 2013. Musicians Lee Gaze, Mike Lewis, Jamie Oliver, Luke Johnson and Stuart Richardson are now working with Geoff Rickly, ex-frontman of US rock band Thursday. It is unlikely that any of these unanswered questions will be revealed, it’s a sad reality that in our modern society, things like this still occur. No band, no matter their success, would be right in continuing a venture that has become poisoned in such a way by the lead vocalist.

Feature - Billy Lloyd

We’ve been stuffed into a tiny cupboard sized room at Leeds College of Music (Billy’s home for the past three years), with a trombone blasting big band in the room to our left, and a jazz saxophonist playing scales I wouldn’t even dare to pronounce to our right. Yet the personality that is Billy Lloyd has no problem drowning out the distractions. Dressed in a flamboyant floral shirt with the intimidating face of a tiger hiding amongst the shrubbery, studded black Dr.Martens and perfectly styled hair, it’s clear to see he’s not only a talented musician, but a fashionista too.

Having been an accomplished pianist for fourteen years Billy tells me of how he has moved onto bigger and better things. Originally known by the name Billy Simmons, he confesses, “Lloyd is actually my mothers maiden name, people can never seem to spell Simmons right, plus it just sounds better.” He giggles and seems giddy, I can imagine a tremendous amount of fun to be around. After chatting to this excitable character for a few minutes, I wish now I’d suggested a bar, it seems that would have been more of an appropriate setting. Laughing and chatting over wine, rather than trying to ignore the disruptive students charging up and down the corridors.

Billy produces all of his own musical ventures, he delves into the production process telling me how it has changed the way he works entirely. “The way I started was by writing songs on the piano and then taking them to Logic and producing them that way. But it’s kind of evolved to a point where I write while I’m producing them, sometimes I even make a whole beat first and then write to that.” With so many textures and unusual elements to his work it’s no wonder he wants full creative control. He explains, “it means I don’t have to rely on anyone else to understand the sound that I want.” The atmosphere shifts in this tiny space, suddenly getting serious and it’s clear to see I’m about to get a first hand account of how these in-depth tracks have come to be. Shifting in his chair, looking more formal than before, it’s obvious that he takes his musical career incredibly seriously. Rightly so. Billy explains the problems that are intertwined with producing his own work, “it can be frustrating at times when you know in your head the kind of synth you want, but you can’t find it or you can’t make it, and it’s a very laborious process. But I love it.”

“I have a strong goal with my music, to challenge old ideals and make positive change in the world.” The themes hiding in between the lines of harmony led track ‘Normal’ seems to be what entice the listener in. The lyrics discuss the struggle of being gay in an unforgiving society, about not fitting in and about being true to yourself. Billy gives me an insight into his world, “As a queer person you’re still given expectations, whether they’re fed through parents, through the school system or whether it’s just through the media that you consume.” Proudly describing his parent’s liberal and open-minded attitude it’s obvious he’s had a supportive upbringing. However the veins of hatred that run through this song are bound to a wider source. “I used to dress up as a girl a lot in costumes, my parents were totally fine with it. It comes from societal expectations I guess.” Billy insists that the ‘message’ of his songs are the most important to him, “if I could wish for anyone to take anything away from my music it would be the messages that I'm trying to put out there.”

Drawing on personal experiences, there hasn’t always been support and understanding for Billy, he reveals times of torment and unhappiness, “people heckle you in the street, and that’s something that I’ve experienced a lot.” It seems absurd that such a thing would still occur in our modern society. There’s an admirable look of determination on his face as he talks about these troublesome issues. This strong-willed gifted individual isn’t going to stop until he’s made a difference.

Having moved away from the LGBT (lesbian, gay, bisexual, and transgender) community Billy explains “LGBT artists sort of told me indirectly that I could be out and didn’t have to hide my sexuality.” However not wanting to be tied down to writing tracks to fit in with the LGBT ethos, Billy strives to be a musician that stands out from the norm. The thematic elements to these modern, current songs are what make him such an important up and coming artist. “I got very bored quickly about writing songs just about love, I wanted to write songs about more specific issues. Important issues.”

Currently working on a track about masculinity in the gay community, Billy’s writing process is fascinating. Harnessing new experimental methods that one would think to be linked to folk or some other worldly music, rather than dark mysterious electronica. He patiently teaches me about his version of ‘lucid writing.’ (Although he admits he’s not sure if that even makes any sense.) “I go into a zone and I write three or four pages around that topic and I don’t stop myself from writing anything.” It’s clearly letting his thoughts roam free that make for such complex and engaging lyrics. He describes, “very often the poeticism just comes out.”

We agree to lighten the mood and move on to our mutual love of fashion and immediately the bubbly character from earlier reappears. Drawing inspiration from couture clothing, the visuals are every bit as compelling as the music. Pastel pale flowers coil around shirt collars, cast upon an androgynies background of ghostly white makeup. We lust over being able to afford high fashion and Billy tells me that for now (on a student budget) he will be sticking to a glue gun and EBay, although I wouldn’t be surprised if one day the fashion greats battle it out to dress this creative genius.

The Jenova Collective - Review

Walking into the Brudenell Social Club I feel like I’ve stepped into the 70’s. Patterned carpets soaked with the smell of stale beer and cigarettes cover the floor and dark dingy looking wood covers pretty much everything else. Yet there’s something about this venue that draws you in, making you desperate to get a closer look. Perhaps it’s the cliques of students dressed in vintage clothing desperately trying to fit in with the theme of the club, or the fact that the bar staff look as though they could be the next Mumford and Sons.

The stage looks as though it’s ready for a mediocre cabaret act as the audience shuffle around sheepishly, forming an awkward semicircle around the dance floor. But The Jenova Collective take to the stage with an unassuming confidence, coaxing the audience into the empty space. Classic swing riffs from the saxophone paired with modern electronic samples resonate long after the first track is over, leaving everyone cheering for more. Lead vocalist Lily Moharrer oozes sex appeal and its clear her alter-ego ‘Miss Kitty’ is not messing around. Grabbing a megaphone she teases the crowd with the next number, ordering them to ‘get low’ and ‘swing those hips’. Now, halfway through their set the audience have stepped out of their self conscious comfort zone and are using every inch of the dance floor to join in the high energy dancing that Lily projects.

The band perform a bouncy electro-swing cover of Lady GaGa’s ‘Bad Romance’, looking confused at first, it’s amusing to see the crowd slowly recognise the melody. One by one, as the song sinks in, the audience let go of any inhibitions relishing the sound of this seven piece.

Playing original tracks for the most part The Jenova Collective have effectively captured the sound of the 20’s swing movement layering it with interesting modern samples and powerhouse vocals. Moving together as one, this new group look effortless and united and it’s hard to believe this is only their fifth live performance. The highlight of the evening is the cheeky rap that appears as if from nowhere, yet again adding a modern twist to the vintage sound. This entertaining number ‘Troublesome Trumpets’ shows the band at their best, not taking themselves too seriously yet giving a captivating performance.

News Piece - Ian Watkins

Ian Watkins, former lead singer of Welsh rock band Lostprophets has received a 35 year sentence over sex offenses involving children. Watkins pleaded guilty to 13 offenses at Cardiff Crown Court, including the attempted rape of a baby. Two females associated with these offences have also been sentenced to a combined time of over 20 years. Watkins will serve at least two thirds of this sentence before the parole board will have the option to grant serving the rest of the term on license.

Despite admitting the attempted rape and sexual assault of a child under the age of 13 Watkins pleaded not guilty to rape. Christopher Clee who was prosecuting Watkins, found detailed and disturbing images on a computer. A total of 90 images of child abuse were discovered including 24 of these falling into the most serious category as well as 22 images of bestiality.

Jailed by Mr Justice Royce, Royce tells Watkins “You, Watkins, achieved fame and success as the lead singer of Lostprophets. That gave you power, you knew you could use that power to induce young female fans to help satisfy your insatiable lust and take part in the sexual abuse of their own children.”

It was reported in the Guardian that Watkins has made comments to a female fan, named Samantha, regarding his sentencing as “mega lolz”. As well as telling her he had considered explaining to the court “come on, it was not that bad, nobody got hurt.”

Joanne Mjedzelics says she reported Watkins to police on numerous occasions. During an interview with the BBC she says “I would be either going to the police station or I’d be on the phone to them repeatedly saying, you need to do something…giving them details, giving them names of victims.”

“The first thing Ian had said to them [the police] back in 2008 was, ‘oh she’s a psycho’. Whatever he said they basically latched onto that and thought they could just use this as an excuse to just not do anything.”

Detective Chief Inspector Peter Doyle, senior investigating officer tells the BBC  "Today's sentence does not mark the end of our investigations and we will work tirelessly to identify any other victims or witnesses and seek the justice they deserve.”

Founded in 1997 in Wales, Lostprophets reached sales of 3.5 million through the release of 5 albums. The remaining band members of Lostprophets have claimed to have no knowledge of Watkins’s offences and urge other victims to contact the authorities.

Jagged Little Pill (Alanis Morissette) - Revisited Album Review

I was five years old when ‘Jagged Little Pill’ was released in 1995 and about eight when the CD finally made its way into our family car. The soundtrack to long hot summer car journeys, I have fond memories of this album, entertaining not only myself but my parents too. I used to demand having it on repeat, at the time thinking I was just so ‘awesome’, yelling the lyrics word for word at the top of my voice, with little understanding of the deeper meaning behind them. Alanis’s badass ‘take no shit’ attitude captivated me and the catchy melodies would replay in my head for hours after. I loved every aspect of the album, whether it was giggling about the line ‘I'm chickenshit’ or feeling deeply sorry for whoever this Mary Jane lady was.

It wasn’t just the soft rock tunes and intriguing lyrics that gave the charts a break from Girl Bands and Britney Spears, but also the image that Alanis herself portrayed. I was quite the tomboy back then and I felt I could relate to her lack of makeup and baggy men’s clothes. Of course at the time I was oblivious to the fact that this was a calculated decision to defy the objectification of women in popular music.

Aged 23 the album now holds a completely different meaning to me, mature enough to understand the full extent of the themes behind each song I love it even more. A strong willed female artist, Alanis isn’t afraid to speak her mind and this timeless album is still relevant within today’s society. She challenged the role of the female musician and brought interesting insightful messages to the forefront of popular music, something future female musicians have taken inspiration from. For this my god we are thankful, imagine a popular music scene full of bubbly sweet teens with nothing useful to say. Puke. The entertaining sarcastic lyrics I once thought were humorous, I now see as a meaningful way of conveying how it feels to not be taken seriously. The awkward silences within ‘All I really want’ that I never really understood, now make perfect sense, taunting the listener with how it feels to not have a voice. Despite these differences in interpretation Jagged Little Pill was as meaningful 18 years ago as it is today.

The album was only expected to sell 100,000 copies, with controversial messages and speaking in a language of unaltered sincerity, bigwigs thought it was unlikely to catch the attention of the public as it was being delivered from an unknown source. But they were wrong. The album spent 12 weeks at number 1 in the US billboards, was nominated for 9 Grammys as well as selling 13 million copies. It’s ranked in the Rolling Stones Best Albums of the Nineties and for good reason too.

Each track talks the listener through various stages of Alanis’s troubled youth and what it’s like to be a woman in a fickle world. You get lost in the loose carelessness of this album, most of the musical elements are played with emotion and for effect rather than technically on point. But that just adds to the attitude and brutal honesty that the tracks convey. What makes this album so enticing to the ear is the variation in theme, musicality and tone. Each track having it’s own unique story and the musical backing to compliment it. From the raging anger in You Oughta Know to the soft sorrow that sneaks through in Perfect. This is not a man hating, girl power album by any means, but rather a relatable artwork that could move even the steeliest of hearts. Part of the charm of this album are the unedited vocals, the lack of polished presentation or perfect pitched notes, giving it a raw, emotional, haunting sound. At points Alanis wails though the lyrics, tearing through each word, unappealing to some, but personally I think that’s exactly where the beauty of this album flourishes.

An acoustic version of the album was brought out in 2005, delicate, soft and mellow. The acoustic guitars and graceful piano glide though each song and the sweet sounding vocals tinkle over the top. Although it is magnificent, it will never live up to the raw confident sound that the original harnesses.

A classic case of ‘you were thinking it, but I said it’, Alanis delves deep into her personal life and talks about the things the rest of us flinch away from. A creation that just gets better with age, each time I listen to it I hear something new. It’s for that reason that I will keep on revisiting this album.

 was five years old when ‘Jagged Little Pill’ was released in 1995 and about eight when the CD finally made its way into our family car. The soundtrack to long hot summer car journeys, I have fond memories of this album, entertaining not only myself but my parents too. I used to demand having it on repeat, at the time thinking I was just so ‘awesome’, yelling the lyrics word for word at the top of my voice, with little understanding of the deeper meaning behind them. Alanis’s badass ‘take no shit’ attitude captivated me and the catchy melodies would replay in my head for hours after. I loved every aspect of the album, whether it was giggling about the line ‘I'm chickenshit’ or feeling deeply sorry for whoever this Mary Jane lady was.

It wasn’t just the soft rock tunes and intriguing lyrics that gave the charts a break from Girl Bands and Britney Spears, but also the image that Alanis herself portrayed. I was quite the tomboy back then and I felt I could relate to her lack of makeup and baggy men’s clothes. Of course at the time I was oblivious to the fact that this was a calculated decision to defy the objectification of women in popular music.

Aged 23 the album now holds a completely different meaning to me, mature enough to understand the full extent of the themes behind each song I love it even more. A strong willed female artist, Alanis isn’t afraid to speak her mind and this timeless album is still relevant within today’s society. She challenged the role of the female musician and brought interesting insightful messages to the forefront of popular music, something future female musicians have taken inspiration from. For this my god we are thankful, imagine a popular music scene full of bubbly sweet teens with nothing useful to say. Puke. The entertaining sarcastic lyrics I once thought were humorous, I now see as a meaningful way of conveying how it feels to not be taken seriously. The awkward silences within ‘All I really want’ that I never really understood, now make perfect sense, taunting the listener with how it feels to not have a voice. Despite these differences in interpretation Jagged Little Pill was as meaningful 18 years ago as it is today.

The album was only expected to sell 100,000 copies, with controversial messages and speaking in a language of unaltered sincerity, bigwigs thought it was unlikely to catch the attention of the public as it was being delivered from an unknown source. But they were wrong. The album spent 12 weeks at number 1 in the US billboards, was nominated for 9 Grammys as well as selling 13 million copies. It’s ranked in the Rolling Stones Best Albums of the Nineties and for good reason too.

Each track talks the listener through various stages of Alanis’s troubled youth and what it’s like to be a woman in a fickle world. You get lost in the loose carelessness of this album, most of the musical elements are played with emotion and for effect rather than technically on point. But that just adds to the attitude and brutal honesty that the tracks convey. What makes this album so enticing to the ear is the variation in theme, musicality and tone. Each track having it’s own unique story and the musical backing to compliment it. From the raging anger in You Oughta Know to the soft sorrow that sneaks through in Perfect. This is not a man hating, girl power album by any means, but rather a relatable artwork that could move even the steeliest of hearts. Part of the charm of this album are the unedited vocals, the lack of polished presentation or perfect pitched notes, giving it a raw, emotional, haunting sound. At points Alanis wails though the lyrics, tearing through each word, unappealing to some, but personally I think that’s exactly where the beauty of this album flourishes.

An acoustic version of the album was brought out in 2005, delicate, soft and mellow. The acoustic guitars and graceful piano glide though each song and the sweet sounding vocals tinkle over the top. Although it is magnificent, it will never live up to the raw confident sound that the original harnesses.

A classic case of ‘you were thinking it, but I said it’, Alanis delves deep into her personal life and talks about the things the rest of us flinch away from. A creation that just gets better with age, each time I listen to it I hear something new. It’s for that reason that I will keep on revisiting this album.