My unique qualities as a musical artist are my voice, my lyrics, and my “instrumental” background. It's been said throughout my whole life that my voice is “unique,” has “a lot of color,” and is something that most don't normally hear in the music industry. I’d like to think it’s a breath of fresh air to not hear the same sound over and over again. I’d like to think I bring something new to people’s ears, something they neither love or hate. Just something different. When referring to my lyrics, I'm straightforward, something people have a difficult time hearing since I favor depressing lyrics. If I'm writing about murder, kidnapping, hating oneself, going insane, I don't sugarcoat it. I don't ignore it. My lyrics are for people who'll face it. Bravery's a trait someone must have if they want to read my whole lyric journal. Thirdly, my “instrumental” background doesn't refer to a stringed instrument or piano. I cannot read notes, yet alone play an instrument that isn't my vocal chords. When I say “instrumental” background, I mean I know how to write a song with background vocals that can replace all instruments. I don't have to have a piano, a harp, or a bass to create a whole song. Admittedly, I haven't done anything like this in the past. However, for this last project, I plan on doing what I can do on my own.
	 What do I have to offer the music industry? I don't know. I presume I bring not exactly a new genre, but a new voice where I can show people you don't need to be a musical genius to produce music. You don't have to play an instrument and sing. You can do one or the other. But I don't believe it has been shown that you can “make it big” with only a voice because even those who only use their voice will incorporate someone who can play an instrument or technology. I do no such thing.
	Things I can improve on my years to come would be: lyrics, my understanding of the music industry, and how protools works. My initial problem with my lyrics is I struggle to write something that's completely my own. Other artists inspire me. This isn’t necessarily bad, per se; it just is a bit tiresome. I’m sick of writing someone else’s emotions. The only reason I do is because mine do not trigger some sort of spark other people’s emotions do. My next issue is comprehending how the music industry works. I'm not one who can easily grasp reality, yet alone concepts within reality. I have tried to grasp something, anything. But I always come up empty-handed. Perhaps, I need to concentrate harder, force my head to wrap around things I couldn’t this year. I don't know how to do that. Maybe one day it’ll click. Until then, I think I’ll stick to my imagination, my pencil, and my journal. My final problem would be protools. Not only do I detest technology, but technology also detests me. I write the lyrics. I sing. I don't work computers, yet alone feel confident in composing something on protools unless the goal is to have smoke rising from the back and a shattered screen. Maybe one day I’ll willingly work with my unwilling partner.
	My aspirations for music in the future? To be honest, the question is quite laughable. I plan on continuing in my choir outside of school, and I plan on travelling with them for the years to come. But I don't see myself doing anything in the future with my voice. I cannot read notes; I cannot understand how to record and edit; forget about protools; and I prefer singing someone else’s work instead of my own. What I can definitely say is that I'll sing for the rest of my life, whether or not people “like,” “love,” or “hate” my voice. I couldn’t care less. It doesn’t affect me. After all, I don't need to pretend the public is smarter than me. I’m not doing it for fame or for them. If people connect with my voice, great. However, that's not my goal. My goal is to make myself feel better, to offer myself some comfort in someone else’s, or even my own, lyrics. To know that being alone's an impossible end to live. 


I cower before you and beg for mercy; you comply by effecting my complete destruction.

I wake up pink and raw, like a well-scrubbed boy, blinking with wonder into the surf. My nose is filled with the smell of salt, my ears with gulls and endless roaring.

My hair is newly blond and I am naked, my small frame lithe and leonine–each muscle with its own special economy. This, for turning my head just so. That, for drumming idly on my belly. My hazel eyes now a deep living brown, like flesh beneath the sun.

I drink from rock pools and eat the prawns that gather there. My stomach has learned to digest the coarse grass of the dunes. I sing to myself in strange languages and modes that were forgotten before they existed. 

The songs signify nothing. They would be songs of praise, or maybe even laments that ache from your absence, but with my first death you have also snapped the neck of all of my memories. You are no more real to me than the places beyond these dunes.

Each morning brings new demented gratitude. I stand staring dumbly on the shore and feel the water lapping at my feet. The waves are friendly tongues of bewildered dogs, welcoming me between horizons.

The Revolution 
  
  A three-piece indie/punk rock outfit hailing from Lowther, a rural district south of Penrith in Cumbria, comprising of Jeeves, Seamus and Benj, started out as a five-piece in February 2008 when singer/songwriter Jeeves teamed up with young drummer Ben Cuthbertson (ex-member of local punk band ‘The Scabs’) and began to pull together the bare bones of a rock band. By April that year they made their first appearance as a five-piece at The Board &amp; Elbow Room in Penrith to a packed out pub supporting local punk legends ‘No Thrills’. 
  
  They began making headway in the local music scene and were spreading throughout the northwest of England by late summer 2008. With a scheduled TV appearance on the books and a single release deal with Diffusion Records on the table, disaster struck as guitarists, ‘Swedish’ Paul Crompton and Rick ‘McFlurry’ Trowbridge, both parted company with the band in August of that year. To everyone, from their loyal fans to the band itself, fear was rife that The Revolution could be over. True grit, determination and strong friendships, combined by an overwhelming passion for the music they create, kept the band together despite the difficulties. Frontman Jeeves strapped a guitar round his neck and the band went underground, locking themselves into their Penrith rehearsal room and not emerging again until October, when Cockermouth’s The Globe was smashed away by a new, fresh, high energy three-piece sound. 
  
  The hard work had paid off - they were back and better than ever. Things moved from strength to strength from then; they received a nomination for ‘Best Live Gig in Cumbria &amp; South West Scotland 2008’ for one of their performances at Carlisle’s The Brickyard, and have also gone on to support ‘The Detroit Social Club’ and ‘The Airborne Toxic Event’, helping to harness an ever growing fan base. Their long-awaited debut Demo EP, “The Revolution – Made In Penrith”, a DIY EP (available now by contacting the band on this site or by e-mail) was well received by fans and critics alike, but it was a self-confessed fact that the band were not yet the finished article and were searching hard for a lead guitarist to complete the line-up. 
  
  After a promising start to 2009 the air of expectation surrounding the band and the relative success and acclaim gained in the media, to all it seemed things were just gonna get better and better. Then, unexpectedly, problems began to develop within in the band. Gigging up and down the country two or three nights a week playing to one man and his dog began to takes its toll. The lads had given everything just to tread water and when news came that all the major summer events had rejected there applications to perform, it was no secret that moral had hit a new low. Left bewildered at what more they could do, the band disbanded for a while. Frontman Jeeves played out a large amount of the remaining gigs acoustically and Ex-Bassist Ox stepped in temporarily until matters could be resolved, but with a fresh enthusiasm and perspective on the music, the band started to pull together again and managed to play a select few appearances, mostly for charity events, in late summer, providing great hope to the loyal and dedicated fans of the band. 
  
  In early September 2009, The Revolution announced perhaps there biggest gig to date, supporting The Towers Of London at The Brickyard Carlisle on the 20th November of that year. The gig fell amongst some devastating times for Cumbria. Right in the middle of the catastrophic Cumbrian floods it was feared by some that the gig, if it were able to take place at all would be a total wash-out but The Revolution and there loyal Penrithian fans did not let Cumbria down as the band outsold all others with there ticket sales for the event, gaining new fans from all over the flood stricken county and with the Towers Of London publicly declaring them the best support band they had ever had. Frontman Donny Tourette spent The Revolutions set in the mosh pit dancing with the Penrith bands fans. 
  
  The same night saw the launch of there second demo E.P. The Revolution – From The Middle Of Nowhere, as can be heard on the bands myspace, and the E.P. packed with new demo’s recorded at Newcastle’s First Avenue Studio of favourites from the live set, blended with bonus tracks of home-made recordings, previously recorded demo’s and an original demo of the anthemic Sundown Feeling, showing the growth of the band from a pipe dream to the present day, and portraying real depth and great lyrical strength to the bands song-writing. 
  
  Also on the 20th November 2009 voting opened for the annual TGM Music Awards covering Cumbria and Southwest Scotland. The Revolution received nominations for Best North Cumbrian Act, Best Punk/Ska Act, Best E.P. For the debut demo E.P. The Revolution – Made In Penrith , and have been re-nominated for Best Live Gig In Cumbria &amp; Southwest Scotland 2009 for there appearance at The University Of Cumbria’s Gig On The Grass ’09 held at their Newton Rigg Campus and when results were anounced in December they walked away with Best North Cumbrian Act, a massive accolade which meant a lot to everyone involved with the band. 
  
  In January 2010, Drummer Ben Cuthbertson left the band to be replaced by Ed Crocker and the new line-up are currently rehearsing for up and coming gigs. 
  

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