About a year after that I decided to send some of my songs to Metal Hammer for review in the Demos section....a name change was required. During 1997 I recorded a host of metal songs in different styles under different names, two songs each, to experiment basically. I had Post Mortem who sounded like My Dying Bride, Whirlwind (Megadeth), Carnage (grindcore), Download (Korn) and Beneath Utopia (Cradle of Filth). Now that last one is a good name I thought, what would be lurking underneath the perfect world? Musically speaking, exactly the kind of stuff that I was playing. None of the other band names went any further (I would find out later that some of them were already bands), but Beneath Utopia was now the new, improved name of Oakenshield.
So, I sent my demo of Beneath Utopia, and also my pop punk band Spraypaint, to Metal Hammer and to my surprise they actually reviewed both of them! Both got 4/10 in the October 1997 issue, which was probably fair in retrospect, but there were some encouraging comments in the reviews. I got a bit of interest, with a feature in a zine called Zeitgeist and a couple of songs (one from each band) played on French radio! Maybe fame was around the corner?
It wasn't obviously, but I pressed on regardless. From July 1998 through to May 1999 (my final year at university) I recorded the songs that would become 'Underdog'. They were definitely the best songs I had recorded so far and I was keen to push them out as far as they could go. The sound still wasn't amazing, which hindered things in comparison to other bands, but it was decent enough. The next national exposure was through a new section in Kerrang! for unsigned bands called Scumscene, I think I was in either the first or second edition of that in the March 4 2000 issue. I have the magazine buried somewhere but rather than spend hours digging it out I have a copy of what was written:
BENEATH UTOPIA are a one-man operation, fronted and indeed, backed and middled by Ian Lipthorne. He's looking to appear on any fresh talent compilation albums anyone might be planning, and he describes his sonics as: "The brutality of Napalm Death wrapped up in 'Draconian Times'-era Paradise Lost." If you bung Ian a blank tape plus £1 p&p, you'll receive an hour's worth of Paradise..., which strangely includes a metal version of A-ha's 'The Sun Only Shines On TV'.
They could at least have got my name right, it's not difficult. In the September 2 2000 issue of Kerrang! I managed to get featured again, as Scumscene was coming to the end of its stint in the magazine.
ONE-MAN project BENEATH UTOPIA is currently recording new material, which, threatens main-and-only-man Ian Lipthorpe, "sounds like the aural equivalent of being battered with a blunt and a sharp instrument at the same time". Ouch! Ouch! For Beneath Utopia's previous demo - which Ian likens to the further shell-like bruising of Napalm Death meets Paradise Lost - why not send a blank tape and an SAE to the following address:
As you can imagine this was good news for me, getting your name in a national magazine once would have been good, 3 times was awesome. The Scumscene features got me in touch with Dan, the guitarist of Stoke band Razorwire, who was putting together a series of compilations called Kill Your Management. Over the years I appeared 3 times - vol. 2 in 2001, vol. 5 in 2004 and vol. 7 in in 2006. Nothing really came of them other than getting the name out there, but it was fun to be a part of it all.
Around this time I was also asked to join a local band of college kids whose guitarist was leaving, after the singer heard my songs and liked them. I guested on vocals on one song at three local pub gigs in Middlesbrough before joining....for one rehearsal. They split up after that, but I had already realised from that one rehearsal that band life (as in playing with other people) is not for me.
In the meantime I had recorded and pressed my first CD, 'The World is Beautiful, Just Don't Look Down' (copies are still available!), in 2002 and I was very happy with how it came out. The previous sound was still present and correct but an element of the first Raging Speedhorn and Haunted albums had crept in as they were big favourites at the time of recording. I also pressed up some 4-track samplers to send out to magazines, labels etc. This time it was Terrorizer who answered the call, printing two 6.5/10 reviews (Jan/Feb 03 and Mar 03 issues), which may as well have been 10/10 to me, again well chuffed with the exposure. The second review had some rather bizarre reference points, which certainly weren't intentional, but it was interesting to see journalistic opinions.
The next album was a long time in the making, eventually emerging 6 whole years after the last one. My brother moved out of the family home, taking his instruments and recording equipment with him, but I had a job by then so I gradually built up my own stock of instruments as well as a 24 track studio for recording.
Those 24 tracks, and the fact I was no longer recording on tape, made a vast difference to the sound. I could record more than two tracks of guitar, I had room for keyboards, backing vocals, clean vocals, and I took full advantage. The new drum machine made things clearer and more realistic, the 6 string bass increased the bottom end where required, rhythm guitar duties were always taken on by the Washburn flying V, leaving my favourite guitar to play, the black Ibanez, covering lead guitar and solos. The 12 string of the triple neck was used sparingly for quieter moments. By the way, using different guitars makes me feel like a different member of the band, therefore putting extra effort into being that person....weird I know.
'The Forgotten Art of Saying No' took me from 2006 to 2008 to record as I perfected the sound during evenings, weekends and holidays. Even the songwriting process changed, one song 'Numb' was written entirely in my head on the bus to and from work over a period of weeks. I then had to figure out how to play what I was hearing in my head, culminating in one sound being created with one hand playing keyboards and the other hand operating a pitchshifter pedal to create a rising crescendo! Unlike last time when the CDs were pressed and designed locally, this time round the cover art was designed by a Finn living in Washington, USA, whose speciality was usually unreadable spiky black metal logos, and the CDs were pressed in Swindon!
I also collaborated with another person for the first time under the Beneath Utopia name, the lyrics and melodies for 'Lost in Winter's Sorrow' being written by my friend Elizabeth, then in Texas. The original plan was for the song to be a male/female duet, but recording constraints meant that didn't work out. The song was written when she sang a verse and a chorus to me over the internet, which I recorded and pieced the music around. The haunting, much more accessible outcome was a big change from the usual BU sound. Overall the sound was more accessible generally though, Paradise Lost references could be heard, as well as The Haunted, Cradle of Filth, Dark Funeral and Iron Maiden - all bands with a lot more melody to their sound than my previous influences like Bolt Thrower, Napalm Death and Raging Speedhorn. Also, with effects, I could mask my clean singing to make me sound half decent!
I also collaborated with my Portuguese friend and singer/songwriter Antonieta in Dark Souls, playing guest guitar on most songs on her 2008 album 'Winter', which even spawned a video for the song 'Sunrise'. My performance and general setting left a lot to be desired....
As for what's next, I'm still pretty much unknown, currently writing and recording some new songs, one has been hanging around for years now waiting to be finished....some day the new album will come.....probably.