Yet another music blog, blah blah blah...but wait...this is different...it's funky, fresh and new...oh...no it's not...it's just another music blog.
Da Pages
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Wednesday, November 26, 2014
Super Saturday...a big night out for Goodnight Lenin and Kioko
This Saturday sees two of Brum's very best bands play truly significant shows. Over at The Institute Goodnight Lenin are playing their biggest ever headline gig to celebrate the release of their ruddy marvellous debut album In The Fullness Of Time whilst at the Hare and Hounds the newly named Kioko (who previously traded as Tempting Rosie) raise a glass or two to their equally cracking new EP True What They Say.
Sadly I can't make either of 'em so I'm relying on you...yes you...to show the love. Enjoy!
Tuesday, November 25, 2014
John Grant and the Royal Northern Sinfonia @ Birmingham Town Hall , Monday 24th November 2014
Having last toured the UK in 2013 in support of the
distinctly electro flavoured Pale Green Ghosts album Grant’s back this time with
a modest, ahem, 34 piece orchestra in tow. It makes sense though given the
lushness of that voice and the soaring songs (many of which focus on Grant’s
struggles to come to terms with himself, his life and his loves) that
practically cry out for the gravitas that only a full fat orchestra can really
deliver. The venue’s pretty perfect too, Brum’s grand old Town Hall, a Victorian
Grade I listed building that’s seen everyone from Charles Dickens to Black
Sabbath do their thang (although sadly not on the same night).
By the time Grant and his band join the orchestra
there’s already a lot of bodies up there. Dressed all in black he acknowledges what
a huge honour it is to be playing here “in this beautiful place” and, not for
the first time this evening, seems genuinely humbled by it all. It doesn’t take
an expert in psychoanalysis to figure out that Grant’s music is therapy for him
and performing seems to be similarly important. In fact scrap that, Grant’s
shows aren’t so much a performance more a baring of the soul. Take the second
verse of opening number You Don’t Have To for instance, “Remember how we used
to fuck all night long? Neither do I because I always passed out. I needed lots of the booze. To handle
the pain.”
Short of dropping his trousers, bending over and spreading his
cheeks that’s as raw and exposed as any artist gets. Rather than music to slit
wrists by though it’s all strangely soothing, mainly down to Grant’s honeyed
tones which, were he to try such a thing, could probably make Sabbath’s
Paranoid sound like a lullaby.
Mixing the often sparse electro sounds of Pale Green
Ghosts with an orchestra is a brave thing to do but generally it works,
especially when the machine generated beats give way to the lush strings. Less successful perhaps are the odd moments
when the two collide, in particular this evening Vietnam seemed to suffer a
little as the electronica, which on record is relatively subtle, came across as
too harsh. It’s a minor quibble though and the rest of the set found the kind
of harmony that Grant himself is clearly still struggling to achieve judging by
new songs unveiled this evening. Geraldine saw Grant channel his inner Scott
Walker, No More Tangles took inspiration from old shampoo ads to tackle that
knotty subject of codependency and the “horrors of relationships”, Global
Warming looked at being a middle class wanker obsessed with first world
problems (MOR with attitude and the kind of witty pop that Neil Hannon
specialises in) and the title of Black Blizzard alone should tell you all you
need to know about its themes. Again if all this makes the night sound
unbearably bleak it wasn’t...far from it. Maybe it’s the fact that Grant’s
survived, thrived even, despite the years of addiction, failed relationships
and HIV diagnosis, that still makes the whole thing so uplifting, that old ‘triumph
of the human spirit’ thing (in fact one of tonight’s audience called Grant’s
music “aural Prozac” on Facebook, which is as good a description as you’re
likely to hear). Stop peering beneath the surface for meaning though and some
of Grant’s best tracks are just great songs. Marz gets an early airing and it’s
evocation of one of Grant’s boyhood haunts, a sweet shop run by the Marzita
family (hence the spelling) underpinned by some simple piano and that voice of
his, is every bit as soft and warming as the butterscotch mentioned in the
lyrics.
Utterly sublime. Later on Pale Green Ghosts got the kind of grand orchestral
build up normally reserved for the opening sequence of a Bond movie but hell,
if you got a 34 piece orchestra at your disposal make the most of it eh? GMF also benefitted from having all those bods
on stage making it even better than the recorded version...by at least 65%.
After a bombastic Queen of Denmark and it’s polar
opposite, Glacier, the spotlights framing the stage flickered and died as Grant
left the stage to a pretty much universal standing ovation, returning for the
cod German electro-disco of That’s The Good News. It’s a bit of an oddity in
Grant’s discography but after appearing on a deluxe edition of Queen of Denmark
in retrospect it clearly hinted at his new electro direction. Who knows, maybe
there’s a full on OTT disco album in there somewhere, Nile Rodgers and John
Grant...now there’s a hook up the world could do with. Good times indeed.
Mindful of the old adage of saving the best for last
though the night ends with Caramel, with Grant seated at the piano and at his
most soulful it’s a song that sums up the perfect love he’s spent his days searching
for.
As he sings the last lines of the
evening “...and my soul takes flight” looking round it’s clear that many of
those lucky enough to be here felt the same way. Truly beautiful stuff from one
of the greatest mother fuckers in music right now.
Thursday, November 20, 2014
The Bourgeois Four - Celebrity Body Crisis / Facecrime
I’ve lost track of the number of really great
‘local’ bands that imploded / exploded / just faded away over the years without
making the impact they deserved. It’s always happened of course and it always
will but that doesn’t make it any less annoying when you see/hear some of the
toss that sells (or is downloaded for free) by the bucketload. C’est la vie.
One of those bands still lingering in the dusty
corners of my mind were The Bourgeois Four who I last encountered at a gig at
The Actress and Bishop way back in 2007, when Twitter had barely uttered a tweet and
One Direction were still at the breast...I guess they probably are now but...er..in a
different way. Anyway here's a rare and authentically scratchy video of the Four in action back then...
Well now they’re back, back, back with something old
and something new (I guess the borrowed and blue will come on the follow up)
courtesy of Speech Fewapy’s double AA side single Celebrity Body Crisis (the
newbie) and Facecrime (the oldie, see vid above). Deliberately recorded with all the rough
edges left on (on kit that probably dates back to pre 2007...positively
prehistoric) they’re a pair of punk flecked missives with a nod back to that
great garage sound of the 60s. Having only listened to Facecrime (inspired by
George Orwell’s 1984 no less) a couple of times almost a decade ago it’s
impressive that the chorus brings about a Pavlovian twitch in the old leg as
lead singer Tristan Roe warbles “Panic now” in a strangely delicious way. It’s
ruddy great to hear it...and them...again. Now, who’s up for an I Thee Lothario
reunion?
Celebrity Body Crisis / Facecrime is available for
free download at https://soundcloud.com/speech-fewapy-records/sets/celebrity-body-crisis-facecrime-by-the-bourgeois-four and also
available through itunes, spotify and amazon.
Wednesday, November 19, 2014
Big News From Big Bear
On top of bringing back the blues to Brum through
the weekly Nothin’ But The Blues nights at the Asylum 2 Big Bear music main man
Mr Jim Simpson has a major exhibition of just some of his photographs (many
rarely seen) of proper 100% musical icons at the height of their fame.
Little
Richard, The Rolling Stones (still featuring Brian Jones), The Moody Blues, Howling Wolf, Jerry
Lee Lewis, Chuck Berry and, of course, the band that Jim plucked from the back
streets of Aston and launched onto an unsuspecting world...inventing heavy
metal along the way...BLACK SABBATH! The exhibition’s on at new Harborne based
gallery Havill & Travis and, best of all, you can actually buy signed
editions of some the photos too...so there’s that tricky Christmas present situation
sorted. In honour of the exhibition Jim’s done a wonderful interview with the
equally splendid John Kennedy which you’ll find over here at Brum Live.
Last
some sad news, saxophonist Mike Burney, who played at the Big Bear organised
Birmingham International Jazz & Blues Festival for over a quarter of a
century passed away last Thursday evening. Hailed as one of the finest jazz musician
the Midlands has produced he played with everyone from Wizzard and the Beach
Boys to Sammy Davis Jnr and Bob Hope. Here's a blast of the man in action in the appropriately named Wizzard track, Saxmaniax.
Monday, November 17, 2014
Kate Tempest / Loyle Carner and Rebel Clef / Mahalia @ The Hare and Hounds, Sunday 16th November 2014
Poet, rapper, playwright, novelist, Mercury nominee,
winner of the prestigious Ted Hughes Award, inventor of a cure for the common
cold (okay, so the last one was made up but frankly you wouldn’t put it past
her)...for many Kate Tempest has seemingly sprung from nowhere over the past
year or so. The reality’s radically different but no less impressive...
More on this later but first up Mahalia. At just 16
years old she seems incredibly confident and relaxed up there (she’s been
performing for three years or so already) with an easy going and pure
soulfulness that’s impossible to fake.
Playing half a dozen or so self penned
tracks she addressed everything from the struggles of a single mum in the poem
acapella mash up of Matalan to the evils of bullying in Silly Girl. There are
plenty of great singer songwriters out there and it’s a fool’s game to try to
predict who will and won’t make it but there’s just something that little bit
extra special about this Mahalia that makes her well worth following. You’ll
get your chance at her first ever Birmingham headline show at The Sunflower
Lounge on December 21st.
It took a couple of tracks for Loyle Carner and Rebel
Clef to really find their flow tonight but both opening number BFG and Cantona,
touching tributes to the former’s dad who passed away earlier this year, revealed
the kind of emotional vulnerability that a lot of rap sadly lacks these days.
Like
Tempest I’m guessing Carner started out writing poetry and there were some fine
alliterative rhymes in the mix, notably on Night Gown, but the duo left the
best to last with Hendrix, an addictively catchy track that apparently can’t be
released as it features a sample of the man himself. If Jimi were alive I
reckon he’d have no beef with it but it’s too good to stay underground. Shed
the sample...or get some other guitar god on the case...and get it out there.
With the room now packed full of a unusual mix of
punters ranging from a couple of ladies of a certain age right at the front through
to hipsters, bookworms and the odd head nodding hip hopper Tempest lingered
momentarily off stage before joining band seemingly savouring the moment. Once
she’s up there though there’s no stopping her. Most of us have trouble
remembering our pin numbers but the sheer volume, speed and complexity of some
of tonight’s tracks is staggering and she barely stumbles over a single syllable.
Everybody Down, the album that’s finally bought her the attention she deserves,
is a wildly ambitious piece of work set in modern day London and featuring 12
tracks linked by a series of characters. Rizzle Kicks this ain’t. Opening with
the sparse Kraftwerk-ish beats of Marshall Law Tempest packs in more lyrical
content than most artists manage in an entire album.
Brilliantly observed,
witty, insightful, socially aware...the pictures she paints with words are
splattered with sweat, coke (and we’re not talking the fizzy drink here) and
jizz. It’s a wild ride and we’ve only just begun. Over the course of the
evening Kate takes us through her characters’ trials and tribulations set against
the backdrop of the fallout from the recession that’s condemning many of her
generation to a grim slog for survival. Familiarity with the material helps as
the beats can, at times, make catching every word a little tricky, especially
given the pace that some of them run at but it’s perfectly possible to enjoy much
of this stuff as just great pop music (in the very best sense of the word) with
both The Beigeness and Circles (featuring a gloriously soulful solo from Kate’s
backing vocalist) possessing some particularly hooky choruses. More challenging
was the industrial pounding of Happy End that threatened at times to shake the
fillings from yer teeth but it certainly created the right atmosphere for the
track’s subject of Harry and Becky running away together to avoid her uncle actually
removing Harry’s teeth with his boot. Nasty.
If anything the between track chat made an equally
powerful impression though. It’s clear that Tempest has worked her (white
towelling) socks off to get this far and she talked of the night’s she spent
rapping at strangers on night buses and travelling for seven hours to get to a
gig attended by just 12 people...none of whom were there to see her...before returning
home to get changed for work. It’s a subject she returned to in a seemingly
spontaneous performance of one of her older poems The Becoming with Tempest in
the raw, stripped of the beats, addressing the young girl she was, the young woman
in her twenties that she is now and the older Kate still to come urging herself
to keep working, striving, growing.
She’s
been doing just that for some 11 years now (I was lucky enough to see her a few
years back with her band Sound Of Rum, dubbing her “a fly Janis Joplin”, a
description that still seems apt) and the sheer joy and gratitude emanating
from the stage now that people were finally listening to her was almost
physical.
Like her spiritual granddaddy, (Sir) Billy Bragg,
Tempest clearly intends to use her growing fame and influence to... for wont of
a better phrase ‘make a difference’. “If you take just one thing from this
evening it’s to go to battle with your greed and cultivate your empathy” she
concludes after a particularly passionate plea for us all to try to be better
people. Out of the mouths of most performers this would sound like Bono-speak
but you get the distinct impression that she’d genuinely give away her last
penny if someone else needed it more than her. This makes the last track of the
night especially poignant. “I’ve had my heart broken recently” she reveals before
launching into an emotional Hot Night Cold Spaceship, a single tear sliding
down her face as the last beat fades away. Here’s hoping that the obvious love
in the room after tonight’s performance might just go some way towards mending
it eh?
Thursday, November 13, 2014
Kentish Fire - In Our Band
Not for the first time I'm insanely addicted to catchy pop tracks this week and, hot on the heels of Taylor Locke's offering yesterday, here's another cracker. Formed back in 2009 Camden's Kentish Fire do a neat line in indie disco and this one's Ting Tings-tastic. Apparently the video took a year to make which, when you compare it to that comet footage which took 25 years, seems ruthlessly efficient. Bonus points if you can spot all the song titles the band manage to shoehorn into this track...maybe they'll buy you a sticky bun or something if you get them all right. That's what's wrong with the music biz these days, not enough sticky buns...
Wednesday, November 12, 2014
Taylor Locke - Running Away From Love
Friday, November 07, 2014
Motörhead / The Damned / The BossHoss @ The NIA, Thursday 6th November 2014
Now that’s a pretty varied bill right there, a
German Country and Western band who do covers of pop and hip hop tracks (The
BossHoss), the fathers of UK punk (The Damned) and the hardest rocking band in
the world...any world for that matter...Motörhead.
Sadly we missed The BossHoss as they presumably came
on at lunchtime...I jest, but only just. We got in around 7.40 and the roadies
were already dismantling their kit and scratching their arses a lot (their own
arses I hasten to add...as far as I’m aware The BossHoss don’t employ arse
scratchers...although how cool would that be?).
We were there in plenty of time for The Damned
though and it’s always a bit of treat to watch these punk survivors blast
through some of that era’s best tunes. Despite requests Captain Sensible
refused to play Happy Talk (boo!) but we did get a rousing Eloise with lead
singer Dave Vanian in particularly fine voice. It’s the pure punk stuff that
went down best with the ‘head fans tonight though, Love Song, New Rose, Neat
Neat Neat (featuring some truly Hendrix-worthy guitar playing from Sensible)
and Smash It Up were all dispatched with as much vim and vigour as they were
almost 40 years ago...well almost. National treasures.
Speaking of which it looked like we might lose
another one last year. Conceived at the tail end of World War II Lemmy’s
lifestyle appeared to have finally caught up with him recently. Struck down by
heart problems, diabetes and a number of other ailments most people would
probably just curl up in a rocking chair and mainline Werther’s Originals. And
yet here he is, nudging close to 70 and looking pretty much the same as he did when
the ‘head first started deafening the world for a living way back in 1975. The formula’s
stayed pretty similar for the past four decades too, play it fast, play it
loud, play it hard...why mess with rock perfection eh?
Kicking off with the addictively
riffy wild west (Midlands) rock out of Shoot You In The Back Lemmy’s vocal is
perhaps a little rougher these days, but given that he’s always sounded like he’s
been using his own larynx to sand rust off a ship’s hull that’s no great
problem, far from it in fact. Much of Motörhead’s music revolves around
overdoing it a little...okay...a lot...so it’s entirely appropriate that the
man himself sounds like he’s ‘lived’. Mid set number Lost Woman Blues in particular
benefits from this edge and if he ever fancied it you could almost see Mr
Kilmister pulling off a pretty impressive full on blues album.
Pretty much
everyone here to worship at the mole-ter though just wanted the band to rock
their socks off and the longstanding trio of Lemmy, Phil Campbell and Mikkey
Dee dutifully obliged. Sure many of the songs share the same DNA but Campbell
and Dee are phenomenal players and throughout the set they seemingly vied with
each other to see who could pull off the most jaw dropping performance. Dee won
by a knockout during Killed By Death though by somehow playing the kind of drum
solo that a well co-ordinated octopus would struggle with whilst simultaneously
chucking drumsticks high into the air then picking up fresh ones on the down
beat. The man ain’t human.
In the middle of all the mayhem Lemmy remained as solid
as a rock, cracking the odd between song joke, growling out the words and
playing the bass with the ease of someone who’ll probably still be grinding out
the hits when they try to nail down the lid. Predictably Ace Of Spades got the
biggest reception but less predictably ex member “Fast” Eddie Clarke joined the
band (Phil “Philthy Animal” Taylor was also in attendance). This ramped the
volume up to 11 but by this stage I guess everyone in the mosh pit was a
deaf as a post anyway, besides as the lyrics to encore Overkill put it “Only
way to feel the noise is when it’s good and loud”.
Mission well and
truly achieved this evening I’d say.
Tuesday, November 04, 2014
Mutes – No One Is Nowhere
Mutes continues his unique sonic journey with the
release of brand new EP, No One Is Nowhere, seven tracks of fragile ambient dream pop
beauty. Opening up with the shadowy lo fi guitar of Intro (echoes of The
Durutti Column in there perhaps) it’s the perfect soundtrack to lose yourself
in and practically guaranteed to soothe even the most troubled of brows. Much
of it is instrumental, where there’s a vocal it’s buried deep in the mix like a
voice from beyond. Combine this with the beautifully delicate guitar playing
and other worldly sounds, most notably on the sublime Horror, and it’s all
strangely enchanting.
Hop over to Bandcamp and you can buy the whole shebang together with an exclusive t-shirt designed by the equally talented Lewes Herriot for a mere £7 quid!