Resins to be cheerful - Part 2

Lordy the gods of Hip Hop are raining down upon us with great generosity at the mo. No sooner had I discovered Homecut’s ‘No Freedom Without Sacrifice’ (see the review below) I’m bitten (musically speaking) by Resin Dogs’ Home. Like Homecut’s release there’s a jazzy vibe going on here, albeit with a harder more beat laden, Latin, shake your funky ass kind of edge (I’m sure the thought of me shaking my ass – funky or otherwise is enough to put you off your tea – but my ass took on a life of its own listening to this album). I could give you a beat by beat dissection of the album, I could spout on about the P-Funk or witter on about the kennel full of DJ’s MC’s and musicians stirred into the mix, but you don’t want to keep listening to me though do you? Here, through the miracle of the internet, is a video of the album’s opener, the J5-tastic ‘Coming With The Sound’...my ass is twitching just thinking about it.



Resin Dogs’ More is out on Hydrofunk (and this is one hell of a mutha funkin' release) Records on 1st June. Keep your eyes peeled for festival dates too!

A Homecut above the rest...

Hip hop and jazz. That’s a pretty neat combination. Take Birmingham’s very own Soweto Kinch. His ‘A Day in the Life of B19’ album (featuring guest vocals from Moira Stuart…yes…that Moira Stuart) blended the two and landed him a MOBO for his troubles. Now, three years after that genre splicing masterpiece we’ve got Homecut’s ‘No Freedom Without Sacrifice’ (which spookily enough features none other than Mr Kinch himself on one of the tracks - ‘I Don’t Even Know’ -together with the lovely Corinne Bailey Rae).

If there’s any justice in the world it’s an album that’ll be making the shortlist of more than one music award ceremony. Original, witty, ambitious…it’s the result of three years of collaborations, experimentations and, more than likely, lots of other words ending in -ations. This album demands repeat playing. There’s a whole bunch of stuff going on in there – lyrically and musically, taking in sex, lies and Shepherd’s pies (seriously) set against a glorious landscape of Jazz, Gospel, Soul and Funk. Reference points? Loads…everything from Marvin Gaye to Miles Davis, PM Dawn to Spearhead (check out ‘Innovators’…can’t you just hear Michael Franti covering this?) and DJ Shadow.

You can feel the energy buzzing through the studio. Harmony (one of many album highlights) in particular has that live feel. The tale of growing up mixed race oozes positivity and, for my money, it’s the kind of message that too often gets ignored. We have ‘black’ and we have ‘white’ but mixed race…surely the ultimate example of harmony between the two…is almost always sidelined. Cultural debate aside (although an album like this brings out the thinker in you) if you have even a passing interest in jazz, soul, hip hop…fuck it…music even...‘No Freedom Without Sacrifice’ is an essential purchase. Whilst you’re at it I’d stick a fiver on it featuring in next years Mercury Music Awards too…

Homecut’s ‘No Freedom Without Sacrifice’ is out on First World Records on 18th May.

Bat For Lashes / School Of Seven Bells / Caroline Weeks @ The Town Hall, Sunday 12th April 2009

You've been reading my witterings for years now (I know, it seems like decades...but it's only years). So what better (other than me shutting the hell up and going off to join a Buddist retreat) than a fresh voice, a new perspective...in other words someone who actually does a proper job of reviewing gigs. It is with great pleasure therefore that I announce the first ever guest reviewer (and photographer) for The Hearing Aid, ladies and gentlemen Mr Andy Watson!

This is the first time I’ve been to a gig at the Town Hall, and I hope it’s not the last as the sound in the old building was far better than most of the venues in Birmingham, First up was Caroline Weeks (Aka Ginger Lee in Bat For Lashes). Unfortunately I arrived at the venue with only 3 songs of her set remaining, but what I got from those 3 songs is a feeling of long lost summers, her voice sounded beautiful echoing from the walls of the Town Hall like a female Nick Drake (that would be Nicola Drake then – The Baron), and a stunning cover of The Drowning Man by The Cure helped close what I’m guessing was a beautiful set.

Next up, all the way from Brooklyn New York was School of Seven Bells, featuring Benjamin Curtis (Secret Machines) and identical twins Alejandra and Claudia Deheza (On! Air! Library). For their 30min set they played songs from their debut release Alpinisms. These tracks- a dreamy blend of rock/folk and dance beats - had the crowd moving within seconds and I enjoyed it almost as much as Bat for Lashes. From the dreaminess of "My Cabal" to the dancey "Wired For Light" this band ticks all the boxes. I can’t wait to see them again at THE RAINBOW on the 15th May.

And then it was time for Bat For Lashes. I’ve not been so excited to see a singer live since seeing Bjork for the first time last year. There are a few similarities between both artists as they both use a non mainstream pop formula that, on paper, you wouldn’t think would work but in reality it’s AWESOME, with new CD "Two Suns" battling its way into the top 10 a great follow up to the mercury nominated Fur and Gold. 29 year old Natasha Khan’s Bat For Lashes is great on CD but live all the sounds filled the town hall, delighting the senses and really bringing the music to life. The crowed were so respectful and silent on the quieter songs like Tahiti (performed with Caroline Weeks on harpsichord) that Natasha asked if there was anyone out there. This was followed by a stunning piano only version of 1st single of Two Suns’ Daniel. The set was filled with songs from both albums and the encore of " What’s a Girl To Do" and " Two Planets" left the crowd still wanting more. Natasha didn’t let them down saying "I only have one other song I can play!!!" and burst into a full band version of Daniel that had everyone on their feet. I have to say that, after seeing soul queen Joss Stone earlier this year, Natasha Khan’s vocals are up there with the very best. I’m just glad I got to see her in such a great setting at the Town Hall, before she jets into the superstardom that has to be her future!!!

Gemma Quarterman / The Haiku / Small Blue Fish / The Great Plain @ The Island Bar, Tuesday 14th April 2009

First time at the Island Bar (I know, I don't get out much) and my first Acoustic Brew UK night too. It looks like the Brewsters have been doing this kind of thing for a while, I know they were pretty active at the Atticus Bar (RIP) in Bearwood. The basic deal is this...you get to see a bunch of 'acoustic' artists (up to 5 in one night) for the grand price of...bugger all. Nothing. Nada. Zilch. Sweet FA. That sounds like a bit of a bargain to me. You'll find the nights at the Island Bar on Tuesdays, Katie Fitzgeralds (in Stourbridge) on Wednesdays and at The Dog (in Bearwood) on Sundays...plus other random places here and there. I have no idea how anyone makes any money out of this but gawd bless 'em for going to the trouble of putting on so much live music.

Speaking of which tonight saw a pretty wide range of styles, kicking off with some nice two part male harmonies courtesy of The Great Plain, the new age tinged folk of Small Blue Fish and the new wave flavoured folk stomp (think XTC, Wonderstuff territory) of The Haiku. Some really good stuff in there - the danger with an 'acoustic' night is that one act can blur into the next...but tonight's bill neatly sidestepped that with a wonderfully diverse line up that shows the Brewsters, as well as being damn generous souls, know what they're doing.

It was the last act of the night (for us at least...sadly we had to miss the final band - February March - due to transport related issues) that was the big draw for me though. I've followed Gemma Quarterman's career for a while now and I've seldom seem such huge leaps in confidence, songwriting and the sheer joy that she clearly gets from performing now. Each time I see her that voice is just that bit better, the show that little bit more polished and the set list more varied. Gemma's voice is becoming really individual, a bluesy belter one second, as smooth as the Cadbury's Caramel bunny the next. Lyrically there's some seriously emotional stuff going on. Relationships (and their ups and downs) have formed the central theme for some of the best music ever made and Gemma's material ('Crosses' and 'Do You' in particular), for me, stands up there with the likes of John Martyn's 'May You Never'. That's high praise, but well deserved. It seems that I'm not the only one who's hooked either. Gemma's recently featured in probably the only music magazine that really matters these days, Artrocker, (they used one of my pictures...mad fools), been flown over for a radio slot in Budapest and is heading out to Noo Yawk for some gigs in the summer. There's a rumour of a signing too so, hopefully, the word will spread even faster over the coming months. I've long argued that she deserves a slot in a 'big' venue (The Town or Symphony Halls would be perfect) - hopefully with a label behind her this might happen. But, for now, you've got the chance to witness her close up and personal. I'd make the most of it if I were you...

Frankmusik - Better Off As Two

To celebrate the 'whatever it is that Easter's supposed to celebrate' (Easts?) here's my gift to you...the lovely and not at all egg like Frankmusik with his new single Better Off As Two. Why not buy a copy for one you love in lieu of an egg? Except it's not out until April 13th so that puts the knackers on that idea...anyway...it's electropoptastic and makes me feel 13 again.

Hoppy Easter!

It's eliminatory my dear What's On...

Stop Press! (oh...they already have). News reaches me (by me picking up a copy) that What's On, for over 30 years a guide to what's on (see what they did there?) in Birmingham, is no more. This is sad. What am I going to read on the toilet now? How will people find out what's going on at Rick's? What about the brothels of Brum...oh sorry...'escort' services...what will they do? To be serious for a moment, only a moment mind you, despite the fact that many of us live in an online world, a lot of folk don't. What's On was also a handy 'jack of all trades', a light and easy read covering food, gigs, art exhibitions, brothels etc.

It seems that some of the content will be absorbed into the Evening Mail but that ain't free and it's a bugger to read on the loo. Is this the beginning of the printed media apocalypse that's sweeping the States? Could be. I see a bit of a 7 inch vinyl scenario here - the printed media all but vanishes only for people to realise that it's actually pretty bloody good for some stuff. Like reading on the loo. Or in the bath. Or for covering your head in the event of a heavy shower. Or for sitting on when the grass is damp...you try doing that with your i-phone. Anyway, I may be in the minority, but I'll be sad to see What's On go. The creative scene in Brum (and it's accessibility by a wide demographic) will be just that little bit poorer as a result.

RIP - the last ever issue of 'What's On'.

PS: The monthly Midlands title appears to be carrying on for now...

The Anomalies / Old School Tie / The Suit @ The Rainbow, Friday 3rd April 2009

Ahhhh spring has sprung, the clocks have gone forward and, despite the fact that's it's only about 10 degrees above freezing, some folk are wandering around like it's the south of France. You've got to love our sense of optimism eh? The first (or indeed any) hint of sunshine and it's off with the fleece and on with the shades and aftersun. Watch those nipples though kids...there's nothing worse than nipple chafing. Banishing talk of nipples, for now at least, first up The Suit. Not knowing anything about the band before tonight I was standing there watching 'em thinking that there's a touch of The Specials going on here (have a listen to the music on Cockspara). Lo, I now discover that they're from Cov too. There's other influences too. Portishead for one. The band features two rappers and a female vocalist who, at times, has a hint of the 'head's Beth...almost operatic in places. Ska, Trip Hop, Rap and Opera. You don't get that from many bands. There's dozens of 'em on stage too (well 8 at least) but they all seem to play a vital part in the overall sound. It's impressive stuff...even more so when you consider that the band (in its current form) is just 9 months old - that's how long it takes to make a baby (see...informative and fun...you don't get this in NME eh?).

Next, Old School Tie. None of whom are old, go to school or wear ties as far as I can see. I'll be informing my local Trading Standards officer...maybe even Watchdog...or that annoying gimp who rides around on a motorbike with a Portugese bloke. What can I say about OST that I've not said before? Tonight they were right on top of their game, perhaps less 'wigging out' (apart from the last number...which was wiggier than Tina Turner in a wig factory...on International Wig Day) than at some of the gigs I've seen...more focussed maybe...but packing a greater punch than most bands could dream of. Balaeric beats, African rhythms, ruddy great walls of dub, plinky plonky piano...call it around the world in 80 genres and you won't be too far from the mark. I've said it once (probably to myself, but that's down to my failing mental health) and I'll say it again...but you can see OST on a stage at Glasto as the sun goes down. Not the John Peel stage...or the Jazz World stage...but the biggie. The Pyramid. They'd floor the place. Are you listening Mr Eavis? (NB: If OST do get a slot on the Pyramid Stage can I have two free tickets please? Ta.). Oh, before I go, whilst God's Electric Super Scene remains a bowel movingly great track it wasn't even the set highlight tonight. There were many. That is a very...very...VERY good sign for the future. By the way I can recommend the blog on their MySpace page too. Hilarious.

Finally it's the godfathers of Herefordshire hip hop The Anomalies! Promoting must have album, 'Free Soup Social', 2009 is the year they'll break big. I'll stake my hat on it. Bamboo Beats, Employee Of The Month, Kid Riot and (turning out to be a set highlight) Oldskool...it's just great, fun, party party music. Listen to the lyrics too. Witty, wistful and many other words beginning with w (what am I...a freekin' dictionary?) The Anomalies deserve to be right up there with your Puff Diddlies, 50 Pence and that bloke who riped off Dead or Alive. I want to hear kids adopting West Country accents. I dream of a world where the flat cap takes over from the baseball variety. Cider will become the new 'gin and juice'...people, I have a dream. Once more the set ended with the brain blowing freestyle (where the band invite the audience to suggest three things to rap about...they then ask the audience to pass items onto the stage that they also integrate into the track...live...as they're handed stuff...darn clever) and a bouncy cover of Fatboy's Funk Soul Brother. They're simply 'phanomalie' good...

It's all going Hammer & Tongs...

Coming hot on the heels of their recent single the Drumattic Twins are set to release new album Hammer & Tongs on the 1st June. Being a sneaky so and so I've had an advance listen and it's...as the kids would say...a belter. Kicking off with Don't Be So Drummattic (you remember...the one that sounded like it featured Jonny 5 from Short Circuit) the album takes in influences as diverse as the Middle East (Broken Planet) and Old Skool Euro house (the suitably titled Back To The Old School). Glow sticks ahoy. Any got any Veras? Sorted...etc...etc.

It's amazing how evocative all of that stuff still is. Without wishing to sound like a boring bastard the early days of what is generally lumped together as 'dance music' were incredibly exciting. Granted a lot of what followed become predicable and formulaic but the Drumattic Twins (who were Shades of Rhythm in a former life) have a knack for recapturing that feel good vibe. Away from the old skool influences the Twins aren't afraid to mix things up a bit though. The most experimental track on the album, Antique Vinyl (which almost sounds like an album on its own...there's so much going on in there) starts off all funky before breaking down into a strings backed female vocal number that's strangely moving. Shades of Gavin Bryars Jesus Blood. It's a surprising ending to a surprising album that sounds familiar but fresh all at the same time...which ain't an easy trick to pull. It's Hammer time...

Hammer & Tongs is out on June 1st on Finger Lickin' Records.

Gary Go/VV Brown/Elviin @ The Glee Club, Birmingham, Tuesday 31st March 2009

Despite having dined below the Glee Club at the Dragon Bar (a Wetherspoon's pub naturally...you know how tight I am) we managed to miss the first number of the first act, Elviin. I blame the cider. We caught most of the set though, very pleasant it was too. I especially enjoyed his song about having sex outdoors (it was called Worth Getting Arrested For...I think...or it might have been Whoops I've Got My John Thomas Caught in My Zip...it's the cider again), it had shades of Marvin Gaye to it (that 'Ooooooooh' bit is pure Sexual Healing), a man who probably enjoyed one or two al fresco nookie sessions in his time.

Next up, and the star of the show for me, V V Brown. V V is another one of those 'tipped for big things in 2009' kind of people. Blending an easy on the ear but soulful vocal with a pinch of doo wop and a lovin' spoonful of great pop (doo pop that'll be then) she rattled through what seemed like 100 songs in about 40 minutes. Not for VV the long drawn out guitar solos. Oh no. Get in. Verse. Chorus. Versus. Chorus. NEXT! That's the secret of great pop. Don't dick around. Going back to young Elviin it's like shagging in public. Hang around and you'll get your knob caught in your zip...metaphorically speaking. She's a loveable bundle of musical loveliness and could well produce a debut album that outwines the Winehouse. Cracking...without the crack. Check out 'Leave' (a one woman Pipettes), 'Crying Blood' (50's pop heaven) and 'Everybody' for a crash course in VV and look out for the album in June (of course they'll be no record shops to buy it from by then, but you can always download it from the interweb or listen to it over and over again for nowt on Spotify).

Joint headliner Gary Go has recently landed the Take That tour, so he'll soon be playing to tens of thousands of moist panted 30 something ladies reliving their moist panted teen years. There were a few moist panted ladies 30 something ladies there last night...and three younger ladies (I have no details on the moisture content of their pants) at the front who seemed to know every word to every song Gary warbled. Impressive. Gary looks a little like a cross beween Elvis Costello and Buddy Holly. That's not a bad musical analogy either, at least in terms of his ability to knock off a catchy tune (Wonderful is...well...just as the title suggests). Vocally there's touch of the James Blunt (shudders) in there, but unlike the Blunt there's a lot more more ooomph. Hook laden, piano driven pop. Pure and simple. He's a likeable performer too, but I get the sense that there's more of an acidic side to him than we're currently seeing and, like Costello, you can see Gary Go moving off into more high brow stuff when he gets bored with this pop star malarky.

Next gig The Anomalies, this Friday (the 3rd) at The Rainbow! Yes...Hearing Aid faves The Anomalies! You are coming aren't you? Oh goody. Mine's a cider.

London, Paris, New York…Birmingham…everyone talk about Frankmusik.

Wonky Popster Frankmusik popped into Brum on his Live and Lost Tour (sponsored by Crackberry) last Sunday. The idea is that poor Frankmusik was dumped in Scotland with £20 in his pocket and just one week to get back to London using only the help of his fans. Kerrrrrazy. Along the way he had to set up and play a series of impromptu gigs too. Brave soul. Amazingly he seems to be on the verge of success and hasn’t (so far) been abducted by someone who collects earwigs and lives with an imaginary friend called Purple Pete. His Brum set was short but very sweet with a piano airing of the lovely 3 Little Words, a Postal Services cover and Better Off As Two (during which he endearingly forgot the words). Despite the Crackberry link it’s a nice story – I’m all in favour of breaking down the barriers between fans and bands – and have mucho respect for anyone who has the balls to risk his or her life at the hands of complete strangers. Oh…great songs too. Altogether now…‘Frank you for the musik…’

Barringtone / Colonel Fabien / Is I Cinema @ The Rainbow, Friday 20th March 2009

It's Friday. Officially the sexiest day of the week. Can you think of any sexier days? Nope. Exactly. For those of you who are lucky enough to still have a job...all nine of you...it signals the end of the working week. For the other 68million of us (and rising) it's a good excuse to have a couple of pints of glider and chill out...even more than we have done for the last five days.

First up Is I Cinema. Why the name? I love this story. It appears that one of the band was on the tube in that there London place when a gang of rudies caught him giving them a passing glance 'Oi blud! Whatcha lookin at? Is I cinema?' Genius. So much for the name, whaddabout da music? Well, as the lovely Greg (Sound Bar / sometime Rainbow soundman and all round sound man) pointed out they've got a bit of a Radiohead feel. Which they have. I like the 'head. Despite some of the posturing and grand gestures (pay us what we want for our album..we don't care...yah boo and sucks to you) they are one of the most impressive mainstream bands of the last 20 years. Is I Cinema has a similar sense of introspective retrospection together with a sparse but well used musical palate (nope, once again I have no idea what I'm on about). I love the quiet loud quiet stuff, witness Little Owl. The lyrics stand up to closer inspection too (stuff about Twin Peaks and Watchmen - 'the original comic book, not the film') and Is I Cinema could well have what it takes to become (wait for it)...a main feature. Ba ba ba bahhh ba ba ba ba bahhh (that's the old Pearl and Dean music...for anyone under the age of 40). Oh, they seemed like darn nice people too, giving Ian (Mr Sound) thanks for fixing one of their guitars with a soldering iron. Is there no end to his talents?

Next up Colonel Fabien, thy name is jazz. If you've read my Finley Quaye review you'll have seen my mutterings about the 'jam'. Whereas Fin's set had a little too much noodling in places, the Colonel get the balance just right. There's enough complexity to keep even the most ardent jazzaphobe entertained (i'm sure I caught snatches of the Simpsons theme tune and Take Five in there) and the band look, as well as sound, the part. It's unfair to single out any one member for praise as they all impressed me, but the drummer's solo was simply awesome. Only a particularly agile octopus on speed could compete. It's the second time I've seen them and I'm looking forward to the third time already. Experimental jazz they may be, but it's an experiment that works.

Finally, featuring one (or more?) of the blokes out of Clor, Barringtone. I liked Clor (remember 'Danger Zone' and 'Love and Pain'?). I bought the album. Oh yes...and you know how rare it is that I part with my cash. Clor were always a little odd and I'm glad to report that Barringtone maintain that tradition. Barringtone's debut single, Snake In The Grass is a like The Young Knives jamming with Frank Zappa. It's bonkers, but danceable, rocky and jazzy, punk and post punk all at the same time. I hadn't really picked up on it at the time but George (one of the lovely people behind Kamikaze!) pointed out that Barringtone are an XTC (I lurve XTC) sort of band - clever and arty but really engaging all at the same time. Just cop a listen to Technollipop - the soundtrack to some oddball arcade game from the 80's - or how about the Devo-esque Salad of Despair (what a great title). Like I say, it's clever stuff, simple on the outside but, like an onion, many layered...and it makes a great soup too. Quite. I think I need a lie down...

Finley Quaye / Burnside @ The Rainbow, Thursday 19th March 2009

Soon be Christmas...Ho Ho Ho! Actually I shouldn't joke about it, what with the 'credit crunch' and all that I daresay the shops will soon be clearing the unsold easter eggs and replacing them with mince pies. If it can happen, it will happen. But let us cast aside thoughts of 'figgy puddings', jolly St Nick and Iceland Frozen Party Platters (48 pieces for just £4.99...yum...squirrel foreskin in batter Vicar?) and instead turn our attention to bluesy rockers Burnside. Unusually there's three vocalists in the band, each one of whom is more than capable of doing 'the biz'. There's a touch of Alt Country to some of the tracks, a slightly baggy indie feel to the performance and the whole thing works particularly well when Jonny and Des (I think) back Robbie (who has the bluesier, stronger voice) on vocals. You can listen to Microdots (a live recording) on their space but, to be honest, last night's performance sounded a whole load better so you'd better go and see them live instead.

On to our headline act. Do you want jam on that? A whole load of jam. Jars and jars of the stuff. Oozing all over the place. Thick, sticky jam. Jam doughnuts...without the dough...or nuts. Jamjamjamjamjahhhhhh. Yes, tonight was a bit of a jam. A smaller band than I was expecting, just Fin on guitar, a bass player, drummer and keyboard dude (who didn't seem to do much keyboarding). Of course reggae (like jazz and prog rock) has a reputation for drifting off into a bit of a jam, the success of all this relies on having a central force to really jam around. At times tonight it worked really well (the opening Voodoo Chile jam hit the spot) and we certainly weren't short changed in terms of the set length (a good hour and a half). At other times the jam wandered into a bit of a noodle, a bit too mellow for some of the audience I sensed. Unsurprisingly a chilled out version of Sun Is Shining got the best reception of the night and, had we all been in a field in the middle of summer with a pint of glider and a spliff the size of a draught excluder I feel the noodling bit would've made a lot more sense...

Still, a good night all round and a rare chance to see a Brit winner up close and personal. Jam anyone?

(picture courtesy of the lovely Shakeypix Photography)

I've got the Quaye...I've got the secret.

Remember this? Yep, Finley Quaye with THE sound of summer a few years back. Well, he's back (actually I'm sure he's never been away but I think this is the first national tour for a while) and he's playing The Rainbow on Thursday 19th March! Listening to some of his newer material he's moved more towards his rasta reggae roots and, with the promise of a full live band, this gigs gonna be especially 'irie'. I understand that tickets are selling as fast as a bagful of skunk at Glasto (now that's fast) so, if you want to go, head over to The Ticket Sellers right now.

The Foxes / The Turns / The Vehicles / The Carpels @ The Rainbow, The Thursday, The 12th of The March, The 2009

Yes, yes, yes...lots of bands with 'The' in their names. Of course no one can beat the very great The The (ask your grandparents pop kids)...whatever happened to them eh? First up The Carpels. I've jested more than once that I'm sooooo old now I have boxer shorts with more years under their belt (as it were) than some of the bands I go to see. Often it's for pure comedy value. Tonight though it was probably true. That says much about my wardrobe...in particular my underwear department. Happily The Carpels were anything but pants, fusing a Foals-ish feel with a little bit of that old Buzzcocks spark. Math Punk anyone? It brings much joy to my aging heart that more bands are now being influenced by the some of the artier, edgier groups of the last few years. I've nothing against straight up Oasis flavoured rock (well...I have, but let's leave that debate for another day), but what any avid music fan craves is VARIETY. Delivering just that The Carpels are already a good band, punching way above their weight lyrically and musically. Ones to watch.

Second on the bill, The Vehicles, have played The Rainbow a fair few times. Once again they delivered a solid New Wavey set, the highlights of which being Bright Young Things and The Best Things Come to Those Who Wait - both of which are available right now on their MySpace pagey. Third up, The Turn, had a touch of The Verve about them. Lead Turn Carl's got a good rock voice, well suited to the material and the rest of the band provided the perfect backing, tight but capable of rocking out when duty called.

The highlight of the night for me though was The Foxes. I've been semi-following them for a couple of years now. I bought their original Lover Killer EP (now fetching £500 on ebay...well it might be soon...) and was impressed when they all jacked in their day jobs to follow their dream, setting up their own label along the way. That was waaaaaay back in 2006. How time flies. Now I've jacked in my day job (well, it's been jacked in for me) and The Foxes have made the hallowed pages of NME. What's more they're about to release a new single penned in tribute to the master of mirth himself Mr Bill 'theworldisfullofcocksuckingwhores' Hicks (RIP). There's something very British about The Foxes, a 60's twang to the music that has echoes of The Kinks at their punkiest or even early Beatles. It's just a twang, but it's there. The venue wasn't full but the band put their all into it (the lead Fox's vocal seemed stronger too), just as they have done every single time I've seen them and they've now got a set full of instantly loveable hits. Aside from the music (which is great) I respect the whole ethos of the band. They're putting in the thousands of miles and hours (working as a covers band to help fund the whole shebang), slogging all over the world and now (fingers crossed) it's starting to pay off. It's a real shame that there ain't no mainstream music show no more...you can just see The Foxes on TOTP. That's the kind of big lift that they really need/deserve. But, who knows? With the Bill Hicks single buzz building they may yet 'out fox' the music biz altogether...

Amanda Palmer...because you need her in your life.

A lovely video that I came across during my long dark trawl through t'web...in it Amanda gets drunk, raped and has an abortion. All in the name of art obviously...watch and learn. Amanda I salute you...and your painted on eyebrows.

X

The Rumble Strips / Wet Paint @ The Rainbow, Monday 9th March 2009

The third in a short season of Monday gigs at the 'bow (although, being unemployed, 'Monday' doesn't mean much at the moment) saw the mighty Rumble Strips unveil tracks from their forthcoming album. First up though, Alt Grungsters, Wet Paint (brave choice of name there guys...you can just hear vindictive little reviewers lobbing that back in your face), formed from members of Absentee (who I've heard of) and Economy Wolf (who I haven't). A nice thrashy set with a fair few catchy numbers, pick of the bunch being Save The Whale...in which the band advise the whale to 'get a job'. Whooah there Wet Paint, it's hard enough for me to get a job, you don't need to go around encouraging whales to start applying for work too. I mean, how the hell are they going to fit into their local Job Centre Plus eh? What sort of job could a whale do anyway? Bouncer? Librarian? Pole dancer? I'd stick to the music and cut out the careers advice if I were you. Wet Paint's debut album, It Rots, is out now...unemployed whale's get a 50% discount.

The Rumble Strips. What can I say? They're one of (far too) many bands who deserve far more success than they've enjoyed so far. Wake up people! Unlike many of these bands though it looks like they're going to have another (well deserved) chance thanks to their forthcoming Mark Ronson produced album. Naturally tonight's set saw an airing for much of this new album and, I have to say, these tracks generally stand up really well to the older, tried and tested Rumbles classics. It's always tricky getting a fix on stuff on the first listen but, as with the debut album Charlie's soaring vocal gymnastics remain a key feature (that boy has soul) and the songs retain an air of frustration and regret that the world just ain't as it should be. Opening number, and new track, 'London' is a case in point. 'Why can't I love you in London?' yearns Charlie against a keyboard driven backing that, I sense, might be more of a feature on the new album proper (as opposed to the brassy feel of the debut). Predictably the crowd went wild for old faves Motorcycle, Time, Alarm Clock and Boys and Girls In Love (which saw Charlie plunging into their adoring arms only to be carried aloft then safely returned to the stage...what a nice audience) and the whole band remained as tight, fresh and passionate as they seemed when I first caught 'em back in '06. Tonight was the very first night of a tour that's taking them all over the place. So there's no excuses. If you get a chance to see them, take it. Rock n'soul just doesn't get better than this.

Setlist: London / Backbone / Time / Raindrops / Walk Alone / No Soul / Happy Hell /Douglas / Motorcycle / Only Person / Running On Empty / Cowboy / Daniel / Girls and Boys.

PS: For much better pictures than the ones I took of the gig check out DRW Images and Shakeypix Photography's sites...

Miss Halliwell / King of Conspiracy / Dead Fish / The Concept: Mk @ The Rainbow, Friday 7th March 2009

Gig three at the 'bow this week. I am officially moving in soon. I've secured a spot just behind the toilet bowl in the gents loos. It's a bit smelly, but it's home. Sadly, thanks to West Midlands Transport and their new policy of making you wait for hours before a thousand buses all cruise along at the same time, we arrived at the death of the first band's set. They were called The Concept: Mk and seemed to make a good noise but, alas, I can't give a full set appreciation. A quick listen to their MySpace thingy and free CD that we were handed towards the end of the evening reveals a progtronica (there I go again, inventing genres) vibe.

Next up The Dead Fish, notable for the lead singer's cod Rasta accent in between songs and Stone Roses meets The Clash meets Campag Velocet feel. When they hit their groove it all came together quite well.

If I'm skimping on the details of the first couple of bands it's because I want to focus on the last two (and my typing finger gets sore if I witter on for too long). Third band of the night...all the way from Paris...in France...over the water and far away...King of Conspiracy. This was a simply brilliant set, combining a Hives-ish garage rock feel with a twitchier Foals edge. The drummer was on the verge of exploding from start to finish. Seriously, I've rarely seem anyone put so much into a performance, quite complex patterns too...not just bashing away like a nut job. Nice use of the cow bells by the lead singer too...you've gotta love the cow bells...and a voice that tears a ruddy great hole in your eardrum then procedes to play basketball with your brain. It's all too easy to become jaded if you go and see loadsa bands but someone like King of Conspiracy can chip away all those years and make you feel 17 again. I take my beret off to them. Tres, tres bon (NB: me and Lady Baron have just had a big debate about whether 'bon' should be 'bon' or 'bonne'...answers on a postcard to 'The Baron, Back of The Toilet Bowl in the Gents Loos, The Rainbow, Digbeth, Birmingham).

Finally, featuring (I believe) someone from my home patch of Bearwood, Miss Halliwell. The last (and indeed only) time I've seen them they supported The Fall (their spiritual ancestors)...at the request of the godfather of grumble himself, Mr Mark E.Smith. That's a big deal in my book. They deserved it too. Now, boosted by two new members, they're an even more powerful proposition, the clattering music more closely matching lead singer Matthew's bizzaro lyrics. At times he looks like a man possessed, a wirey young preacher ranting to anyone who'll listen...'Cucumber cucumber cut out the middle bit', 'the leaves on the trees are looking at me', 'people from the Midlands shouldn't be allowed on TV'...these are just some of his observations. And who am I to disagree? I've never trusted those leaves. Like The Fall you'll either love it or hate it (I've rarely met someone who isn't Marmitasised by The Fall) but, if you value something a little different, Miss Halliwell richly deserve to be clutched to your bosom. Check out their only MySpace track The Rash and judge for yourself...or I'll get Mark.E.Smith to visit you in the wee small hours.

Cop u later.

DON'T FORGET...RUMBLE STRIPS ON MONDAY!

Let's get ready to Rumble...Strips!

Okay, another must see gig at The Rainbow. This time it's the simply showstopping merchants of soul n'roll...The Rumble Strips. I've see 'em before a few times and they've never been anything less than awesome. Hints of Dexy's Midnight Runners, raw 50's rock n'roll and enough brass to restore the nuts to a dozen frozen monkeys (at the very least), they're touring to reveal some of the songs from their forthcoming Mark Ronson assisted album. Yes. Mark Ronson. The man with the midas touch. I hope and I pray that this association will get the band the kudos they so richly deserve. You've got the chance to find out if all my praise is worthwhile (as if you'd doubt me...) by popping along to the gig this Monday, the 9th of March at The Rainbow.

PS: It's the first night of the tour too...they'll be all fresh and sweet smelling.

PPS: Tickets are available here!

Ipso Facto / Hatcham Social / Poppy and the Jezebels @ The Rainbow, Wednesday 4th March 2009

Second Rainbow gig of the week, I really must get a room there...it would all be so much easier. Perhaps I could curl up under the Grillfellas grill? Or there's a little space under the stage, I might have to lose about 9 stone to fit under there, but that's a minor quibble.

First band of the night were local indie wonderkids Poppy and the Jezebels, an all girl four piece who've attracted almost as much press for their look and fashion sense as their musical output. Since I last saw them a year or so ago at the Glee Club they've certainly come on musically and now seem to be honing more of an early 90's flavoured indie sound (hints of Stereolab, Add N to X and Blur plus an echo of the lovely Polystyrene in the vocals). No Nazi Girls tonight, but tracks like UFO (their last single) and a rather ace new one called Rhubarb and Custard (which has lodged firmly in my brain for the last 8 hours or so) more than made up for it. I still get the feeling that they're not totally at home on stage but hell, as I've pointed out before, they're only in their teens and, for a band this young, they've achieved oodles more than most. What's really important is that they're clearly developing and gaining the confidence that will turn a good performance into a truly great one.

Next up Hatcham Social who, to my ears at least, offered a fresh take on the kind of clever, arch pop that Orange Juice squeezed out back in the day. The lead singer even has a touch of the Edwyn Collins about his vocal too, that slight waiver and almost operatic quality. It's indie heaven...proper indie...back when it meant something...a world of 7 inch singles and John Peel...ahhhh (drifts off into an age induced reverie). New album 'You dig the tunnel, I'll hide the soil' (how indie is that title?) is out on March 19th and, on tonight's showing, is heartily recommended.

Finally, Ipso Facto. I have a confession to make here, father forgive me, for I have sinned. I have a 'thing' for girls in black. So four sexy (PC-ness be damned) girls in black, playing a goth tinged set...well, it was pretty close to heaven...albeit a very dark heaven, with cobwebs, vampires, those bloody big spiders with hairy legs and black eyeliner for all. The lead Facto, Rosalie, has a Siouxsie edge to her voice (again, heaven for me) and the whole thing is propelled along with meaty drumming, throbbing bass and graveyard keyboards. Have a listen to standout track and set highlight 'Six and Three Quarters' (on their MySpace thingy) and you'll see what I mean. Now, where did I put that black eyeliner...

Marmaduke Duke / Airship @ The Rainbow, Monday 2nd March 2009

Last Monday we had the lovely Joss Stone, this Monday we get men in tights and gimp masks. And they say variety is dead. More of the men in tights later, first up Airship. Despite being a gig goer of some 20 years or so...and despite knowing that loud often comes after quiet...I still get that tingle down the spine when the guitar noodlings and soft dreamy vocals explode like a cat in a microwave (obviously putting cats in microwaves is wrong, wrong, wrong). So it was with Airship, a Manchester band who seem to be attracting a bit of a buzz in t'press with a Mercury Rev tinged rock sound (and shades of really early Idlewild too). Anthemic choruses, a fair degree of thrashing about and a lead singer who manages to make long hair look cool again. Well worth a listen.

Next up...and the last band of the night...Marmaduke Duke. I have to admit to being a bit of a Maramaduke Duke virgin. My knowledge of the two bands from whom the core Marmaduke Duke line up springs from (Simon out of Biffy Clyro and JP Reid...him out of Succioperro) is also sketchy to say the least. However, I now know this - The Marms, described as a 'conceptual rock band' are, quite frankly as mad as a BSE infected cow on LSD. Wearing tights, feathers, masks, capes and a dash of lippie, the band came on to the stage together with a character know only as The Duke. Dressed in a pair of glittery leggings, a white tux jacket and the sort of mask that only belongs in horror movies where teens gets slashed to pieces, his sole role is to pace the stage, freak out the audience and, presumably, murder a few of 'em after the gig. Nice work if you can get it. The music? Oh yes, I nearly forgot that bit. It's a curious blend of out and out rooooooooockkkk (the nearest I can come to is System of a Down) and damn danceable electro, Everybody Dance for example could be the bastard twin of Datarock's Fa Fa Fa. There was a fair bit of mosh action (I stayed out of it tonight, I didn't want to risk turning my back on The Duke for one second...slash, slash, slash...dead), oodles of insanity and odd soft, reflective moments (a track called Heartburn could almost be a lighters aloft anthem...sadly The Duke nicked all the lighters...he needed them to incinerate the pile of bodies building up on the tour van). If you like bearded men in make up, feathers and masks, hard rock, electro pop and serial killers as much as I do, you'll have a cracking night (if you are a bearded man who likes wearing make up, feathers and masks why not get in touch for fun...and maybe more).

NB: On second thoughts, don't. Lady Baron might not approve...masks freak her out.

Deekline and Wizard - meaty, beaty, big and bootyful

Funny things, letter boxes. Most of the time they're (in the words of the old Yellow Pages ad) just there for the nasty things in life...bills, bills, more bills and ads for dodgy sounding take-away joints (Mad Donor...Pizza The Action...that kind of thing) who'll deliver even dodgier sounding food at 3am. But, once in a while, you get something that lifts the heart and soul. Today a CD landed on the doorstep of Baron Towers that did just that. The product of Deekline and Wizard it's a bewitching mix of soul, rap and disco - think classic Soul II Soul meets Stereo MC's in a warehouse party with Stevie Wonder and you'll be someway there. Opener Bounce and Rebound is an uplifting piano led ragga crank jazz hybrid (you know how I love inventing genres...'ragga crank jazz', that has to be one of the best so far) that's a perfect kickstart (love the female scatting) to an album that's never anything less than 'booty shaking' (check out 'One In The Front'). Happily I have rather a nice booty...no, you can't see it...I'm not that kind of boy...although a cheeky 'webcam' sideline could be a nice little money spinner to see me through my current phase of unemployment...

Anyway, away from visions of my butt (nice though it may be) and back to the music. It's the kind of album that Bassment Jaxx would love to make, cool as fuck but danceable too, with enough of a commercial edge to see it crossover to the mainstream without alienating the uber hip. And that's no mean feat. What' s really refreshing about this album is the use of 'live'/ 'real' instruments together with a dazzling array of vocalists from all over the shop. The press release that came with the album highlights strings from Bulgaria, gospel from the US, Canadian MC's and an Oud player from Iraq. I'm reminded in places of the great Ofra Haza (one of the first 'world' artists who successfully fused Middle Eastern flavas with a more Western beat), echoes exist in 'Baila Baila' for example - one of the standout tracks from an album that has more than it's fair share of 'em. In fact you could say it's guaranteed to get you in the 'oud'...geddit...oh never mind...

Back Up, Coming Through by Deekline & Wizard is out on April 13th on the Against The Grain label.

Anyone For Shark? / The Ladders / 360 / The Traps @ The Rainbow, Friday 27th February 2009

Hey kids! Today's review will be brought to you by the words 'Indie', 'Ska', 'Mod' and 'Jazz' (yes I've gone a bit Sesame Street today...right now I'm dressed as the Count...van, two, threeeee...of course if you've never watched Sesame Street this will make bugger all sense...'plus ca change' as Big Bird would say). In fact I'm joined by guest reviewers Bert, Ernie, Big Bird and Oscar The Grouch. O what fun!

The Baron / Count: Right Bert, what do you reckon to the first act - The Traps!

Bert: 'I kinda liked 'em, reminded me a bit of a cross between Orange Juice, Franz Ferdinand and The Killers'.

The Baron / Count: Good observation there Bert, how about you Ernie?

Ernie: 'Can I have some candy?'

The Baron / Count: No Ernie, and here in the UK we call it chocolate...now go and sit over there with Big Bird. Bert hit the nail on the head, really impressed with The Traps. They've got that kind of archness (and the lead singer has a touch of Edwyn Collins to his vocal too) that you'd get in Orange Juice, fused with a Killers-ish knack for a winning riff. Check out 'Feeling and Failing' and you'll see what I mean. Sparky performance that left me wanting more. Okay, who's next Big Bird?

Big Bird: 'I like rainbows...it's like the cloud's have cried then the sun makes a big colourful smile...'.

The Baron / Count: Yes Big Bird, very nice, but who was the next band?

Big Bird: 'Are you angry with me?'.

The Baron / Count: Quite frankly, yes I am a little...oh good grief...anyone...the next band?

Oscar The Grouch: 'Hey asshole, it was 360'.

The Baron / Count: I don't think you're allowed to say 'asshole' Oscar the Grouch, but yep, it was 360. Whilst you're here though, what did you reckon to 360?

Oscar The Grouch: 'Well, I'm a bit of a ska head myself, so they pretty much rocked my can'.

The Baron / Count: Indeed, 360 are an 8 headed skank machine, guaranteed to raise Lazarus...or maybe even the British banking system...from the dead. A decent brass section (can there be a better sound?) is all too rare, but 360 have an impressive threesome (one of them was AWOL tonight, replaced by an equally talented chappie from Colchester). The lead singer has a great voice for the material and the whole band seem to play for the sheer joy of the skank. For an instant party just add 360.

Okay, Big Bird, time to make amends, who were the third band...van, two, threeee? '

Big Bird: Was it Captain Beefheart?'.

The Baron / Count: No Big Bird, good try...it was The Ladders. Over to you again Bert, thoughts?

Bert: 'Mod, soul, sweat...what's not to love?'

The Baron / Count: Quite right once again Bert, you're pretty good at this, you should write for NME you know.

Bert: 'Thanks...see Ernie, you're just holding me back...I'm off, fuck Sesame Street, I'm going to London to take coke and shag glove puppets'.

The Baron / Count: No Bert, that's not very nice, give Ernie a big hug. Bert's on the money though, The Ladders are modtastic, as sharp as an Italian suit and with a set that already sounds like a greatest hits selection. They've supported the modfather himself, Mr Paul Weller, but I'd actually probably rather watch The Ladders myself. They are THAT good.

Finally, and for all our sakes that's probably a good job...what's that Big Bird? No, it wasn't 'Dave, Dee, Dozy, Beaky, Mitch and Titch'...it was Anyone For Shark? Oscar, care to comment?

Oscar The Grouch: 'You got any drugs?'

The Baron / Count: No, not right now, thoughts about the band?

Oscar The Grouch: 'A nice mix of blues and jazz...perfect for sitting in your can, getting off your box and smoking the 'erb'.

The Baron / Count: Thanks Oscar, all good points. Anyone For Shark? have a Bees-ish vibe, chilled out jams burst into sudden explosions of noise. It's a bit like drifting off into a nice dream only to be woken by a slap round the chops with a wet shark. According to their MySpace page they're influenced by the 'Jobseekers Allowance'...hey, me too! Who knows, maybe my enforced period of unemployment will see me starting a jazz, blues supergroup too? Anyway, good stuff as ever from the Sharks and...god...this is getting silly...yet another brilliant Friday night line up. Until next time, from Bert, Ernie, Big Bird and Oscar the Grouch, stay safe, don't talk to strangers and beware the ides of March.

This review was written in front of a live studio audience and brought to you by the words 'Indie', 'Ska', 'Mod' and 'Jazz'. The Hearing Aid is a production of a Deranged Mind.

Joss Stone / Adam Isaac @ The Rainbow, Monday 23rd February 2009

Soul. You either got it or you ain't. Last night, after a strong opening set from Adam Isaac (laid back, acoustic soul with a JK / Buckley tinge), Ms Stone showed - once and for all - that she's got it by the bucket load. Joss is probably the biggest star to play The Rainbow so far, perhaps she always will be. The place was rammed but not uncomfortable, with a nice mix of people and, as ever, a decent atmosphere. Team Joss had pretty much bought everything with them (new lighting, a mixing desk, cuddly toy, kitchen sink, roof, walls...that sort of thing) so the place looked a little different, but it was still a world away from the enormodomes that she's probably used to. It didn't phase her though. In fact I heard a rumour that she'd asked for the crowd barrier at the front of the stage to be removed just so she could be closer to the audience. No diva tantrums here. I'd not seen her live since Glasto a few years back, but the voice...and down to earth attitude...are still both firmly in place. No sign of the American accent that had crept but, to be honest, I wouldn't have cared if it had been there. It's the singing voice I'm interested in. A belter it is too, but not in a Mariah Carey, 'look at what I can do' way. It really is soulful, straight from the gut and with the same sense of passion you'd get from a classic Motown or Stax artist. I got a touch (no, not in that way...pervs) of Randy (steady now) Crawford too, rather than the Dusty that I've heard some people compare her to. Still sticking with the barefoot look and wearing just a simple white dress she looked like an artist reborn (perhaps signalling a return to the more stripped back feel of her debut album?), getting back to her roots (speaking of which I think she's back to her natural hair colour too?...oh jeez I'm turning into Gok Wan). For the trainspotters out there I got a shot of the full set list...there you go.

Not a duff moment in the whole set. The new material (in particular Free Me) stood up really well to the older stuff. Nice to be reminded of just how good that White Stripes reworking, Fell In Love With A Boy is...and Super Duper Love - soul heaven. A nice bit of relaxed between song banter too. Joss made some comment about men not asking girls out anymore and someone shouted, Brummie stylee 'Fancy a curry luv?' I don't think she took him up on his offer but who knows...if you're that mystery man and things clicked over a madras and table naan let me know. Really impressed with the band too. I believe the horn section had worked with the godfather of soul himself, Mr James Brown. That's musical royalty in my book. It was, all in all, a top night and the good folk of promoters Kamikaze! couldn't have done a better job either. To paraphrase our curry loving friend, "Simply Super Duper, luv".

Velvet Texas Cannonball / Silence Is Dead / Jensen And The Interceptors @ The Rainbow, Digbeth, Friday 20th February 2009

Wooooowooooowoooo (that's my Dr Who's Tardis noise...good isn't it?). Yes, tonight we were transported back in time with a treble bill of retro magic. First up, garage is thy name...it's Jensen And The Intercepters. For non petrol heads the Jensen Intercepter was a rather spiffing car back in the late 60's and early 70's, it had a massive rear window as I recall. Jensen And The Interceptors don't have a massive rear window, but they do have a clutch (geddit...boom boom!) of classic sounding garage tunes. Like all of the bands tonight they look the part too. Sharp threads, authentic guitars, Brian Jones haircuts and the kind of high octane enthusiasm that must've made the original garage scene so ruddy brilliant. Pick of the set tonight was I Only Dance For You, nice vocal interplay between the two singers and the kind of raw energy that would give the great Billy Childish a run for his money. A catchy oooooh oooooh aaaaahhh aaaaahhh chorus too. I do like a nice oooooh oooooh aaaaahhh aaaaahhh.

Next up, Silence Is Dead. Again a bit of a garagey feel, but this time with a shot of rockabilly blues (is there such a thing, well there is now). The lead singer has a breathless kind of vocal delivery, like his very survival depends on the words in the song. There's some great slide guitar going on too, some awesome double bass and a great wad of good 'ol harmonica. The drummer looked like he'd just stepped out of a Texas truckstop too. It's the kind of music you imagine driving down some American highway to, in one of those huge 50's cars with chrome all over the shop...stopping at truckstops to talk to drummers.

Finally, an 'on fire' display from psych rock legends Velvet Texas Cannonball, augmented for the very first time with some bongos. Nice touch. The lead Cannonball has a voice that reminds me of a cross between Rod Stewart (Faces era) and Jim Morrison. With some heavy Hammond action there's a Doors feel to the whole set too. But the secret of any band that takes inspiration from the past (like all of the groups tonight) is to do it well, with passion, conviction and sheer joie de vivre...or as they say in France, joy of life. Last night the Cannonballs were right on target. I've seen 'em a few times before but, like a number of Rainbow regulars, they're getting better and better. We've got a decent scene (I hate that word, but hell we have to call it something) growing here. Some real talent. And it's about time the city took the kind of pride in its bands that Manchester, London and Liverpool does. Soapbox moment over. Anyway, just grab a listen to some of their MySpace tracks, crank up the speakers, light a joss stick (not a Joss Stone...she's playing the Rainbow on Monday...seriously) and you'll see what I mean.

So, there we go. Another darn fine line up in one of Birmingham's musical gems - The Rainbow. Close it and set the city back 10 years. Boremingham City Council, the choice is yours...

Stone me...Joss comes to The Rainbow!

Regular readers will know of my love for The Rainbow. Home to many of Birmingham promoter Kamikaze's best nights, it's seen some of the biggest up and coming stars play there in the last year or so (Ladyhawke and La Roux to name just two). But this...this is something else. International soul legend Joss Stone - yes...THE Joss Stone...the 10million album selling Grammy award winning Joss Stone...is playing The Rainbow on Monday 23rd February. This ain't a wind up...it's (as far as I can tell) a low key warm up gig to debut tracks from her as yet untitled new album. Suffice to say that tickets will be as rare as a bankers' bonus (hell...I might not be able to get in and I practically live in the place). They're on sale now at Ticket Web...well...what are you waiting for?

Soupercalifabulosagenrebendingtastic - The Anomalies' debut soon come.

Oh yes, after biggity, biggity, bigging up The Anomalies for some time now their debut album is set to hit the shops (if there any left) this April. But, being a sneaky little devil, I've grabbed an advance listen. Here's a blow by blow account...

Kicking off with what sounds like an outtake from ELO, opening snippet, Population, quickly morphs into a DJ Shadowesque soundscape before landing firmly in much more familiar Anomalies territory with first track proper, 1830. It's a bit Kaiser Chiefs in places, social commentary superglued to a crowd pleasing jumpalong. Next up Creatures of Habit sees lead vocalist Sam showing off some surprisingly jazzy vocals before Mouthmaster Murf crashes the party. That's the key to The Anomalies appeal for me. Yes, there are plenty of other good hip hop acts out there but like Birmingham's own Misty's Big Adventure, The Anomalies mix it all up with loads of other genres to create something that's as fresh as snowball down your Y-fronts (and that's fresh). Kid Riot, as I've writted here before is just a mental mash up of techno, thrash and..er...Mungo Jerry's In the Summertime. See? Glorious. Bamboo Beats keeps the pace up, fusing shades of Martha and the Muffins Echo Beach with 1920's style public service announcements. Vibrations, a mainly instrumental turntablist track, has hints of J5's debut EP coupled with The Avalanches. Smoothly done.

Employee Of The Month remains for me one of The Anomalies' best tracks. I forget the name of the female vocalist who was part of the band back in the day, but her contribution just adds that little extra sweetness. " I am the employee of the month. I've got a badge upon my front. So strike me down, down, down". Wise words indeed. The ghost of a McJob haunts me to this very day. The ska tinged Margarita bounces along nicely, then Blue Peter becomes the first ever track to rhyme Dalai Lama with Barack Obama. Ride that zeitgeist (nope, once again I have no idea what I'm on about). Jacobs Ladder is a bit of an odd one out as it leaves the rappy bits until well into the track. Strings, emotive vocals, classical piano...it's all here. Oldskool lifts us up again, with a catchy 80's feel (I'm getting a touch of Robert Palmer here) before the album ends where it began with Reprise, those ELO strings kick things off, then we're into some furious breakbeat, jungle drums, piano, fucked up vocals, psycho strings...bonkers. I think there's a hidden track then, just pared back guitar, simple bongos and one of those blow keyboard thingy's. It's like a bunch of mates sitting round a campfire on a hot, hot summer's night (kudos to the human beatboxer), just having fun, fun, fun...which is, pretty much the best word to sum up both the band and this entire genre eating album. And, what the world needs now, to bastardise Burt Bacharach, 'is fun, sweet fun'.

Free Soup Social is out on April 6th on Beyond Music. Buy it, download it, love it.

The Coast / All Your Peers / The Heathers / Tom Peel @ The Rainbow, Friday 13th February 2009

Happy Valentine's day! Feel the love. Mwah mwah (that's air kissing by the way, not me being sick). Before I get stuck into another chapter in the continuing adventures of The Baron in Rainbow land I wanted to show some love to Ian/Jimmy (I thought he was called Ian but he's called Jimmy in his band bio?!), the soundman at The Rainbow (and lead singer of The Indigos). I've been to one or two gigs in my time and know that a crap soundman can pretty much ruin even the best of bands. Ian/Jimmy on the other hand, is an awesome soundman and last night was nothing less than a masterclass in soundmanology. Give that man a medal.

Speaking of masterclasses...aaahhhhh...thy name is Tom Peel. Being a slack assed ho I go to the gig a leeeeetle bit late and Tom was already well into his set but we caught a fair chunk of it. At times so fragile he's almost not there, at others (last night at least) channelling the spirits of Louis Armstrong and Tom Waits (yes, I know Waitsy ain't dead), he is, as I've said on more than one ocassion, like chicken soup for the soul.

Next up, The Heathers featuring, for only the second time ever...Rachel! Off the door and all that. Rachel's voice is perfectly suited to the indie rock (with a twinge of West Coast) material and she's bloody great fun to watch too, acting out bits of the songs with little hand gestures and some awesome air guitar. The left breast raising bit in This Copper Heart was a particular highlight. Maybe she'll do it for you next time they play? Like I said in my first review of the band it will be interesting to watch where they go from here but it's an impressive start (catch 'em at The St Patrick's day do on the 15th March and see for yourself).

Brighton Pier, Wigan Pier, Blackpool Pier...yes, it's All Your Piers! What's that? Oh PEERS. Right. All Your Peers are a curious proposition in places. The vocals and much of the music is pure rock, but the lead guitarist plays that more high pitch, faster guitar style that you'd associate with The Foals (maths rock I believe the old men call it) for example. It works though, at times they almost hit Muse (one of the best big name live acts around right now in my humble opinion) levels of sound and impact. Lady B wanted them to all have long hair and wear spandex...I'm beginning to worry about her. I can heartily recommend listening to their standout track, All Fours, right now at their My Space page. It's not at all rocky, but that guitar bit, very catchy.

Last up, all the way from Canada, it's The Coast. Coming from Canada they have to be part of that Broken Social Scene...er...scene...that seems anything but broken really. Like one of my personal favourites, Stars, they share that same emotional edge to the music, big on slow build tunes that reach a crescendo before vanishing like snowflakes on a hot tin roof (yes, I'm only too aware that snow and hot tin roofs have no place together, but I'm a bit hungover and starry eyed today and, besides, you're not actually reading this are you?). I have to admit I'd not heard any of their tracks before tonight but a couple really stuck out and are lodged firmly in the old brain, the piano driven Nuevo York, being a particular highlight. Niiiiiice.

You are not your job...

Well, it's finally happened. After a 'consultation period' - not really sure where the consultation came in as we were told we were buggered pretty much at the start of the process - I've been made redundant along with most of the rest of my team. Never been made redundant before. Lots of my fellow workers keep coming up and hugging me, others find it hard to make eye contact. I've been with the same company (as a Copywriter...ads, websites, radio scripts, brochures, press releases...that kind of thing...can you tell I'm touting for business?) for nearly 7 years and on Friday the 13th (nice timing) I'll be one of a growing band of unemployed folk. What am I going to do? Not sure yet. Part of me is crying out (in a Mr T stylee) 'get your CV up to date and start applying for everything under the sun you crazy fool'...another part is a little more chilled. For the last 17 years or so I've worked pretty much non-stop with no real 'career plan' - I've got even less of a 'career plan' now I guess - and there's a real temptation to just see what happens. Hmmm...straight back onto the corporate career ladder or...and there's the thing...I'm not sure what comes after the 'or'. Watch this space.

The Crimes / La Roux / The Electrilickers / Death Ohh Eff @ The Rainbow, Friday 6th February 2009

Snow...snow? Call that snow. Pah. When I were a lad we had 60ft of snow every winter, t'wer so cold the outside loo would freeze over from October right through to April and we'd have to hold everything in until spring. Happily the Rainbow crowd are made of sterner stuff and we pretty much had a full house. Death Ohh Eff kicked things off with a stunning ambient piece inspired by Eno and Glass. I liked it. Atmospheric. What's that? Oh. It was feedback from a dodgy guitar lead? Right ho. Well, once all that was fixed the Ohh Eff did their twitchy shouty electro thing in fine style. Recently tipped by the walking skellington himself Mr Steve 'give the man a pork pie for god's sake' Lamacq as 'good' (cheers Steve...that's the kind of insight that makes national radio such a treat), they're evolving into a kind of a shoutier, rockier, twitchier Foals. I do like a good twitch, it's probably the sign of some form of degenerative disorder but there we go, you can't have everything, right?

Next up The Electrilickers...well half of them. It seems that the guitar dude was stuck in Croydon (nasty) in the snow. Oh, before anyone from Croydon puts a fatwa on my head I'm sure it's a lovely place to be stuck...really. Anyways, I've seen The Electrilickers before a while back and recall being taken with one track in particular Nous Sommes Allees a la Discotecque, sung in French, all classy like. Just as good tonight. In fact, despite being a man down the lady 'licker (oh dear...that sounds a little close to the bone doesn't it...oh balls...so does that...keep writing, they won't notice) played a great set and, despite her reservations, I quite enjoyed the slower numbers (check out Fears). Tonight I was taken with No Rest For The Wicked too, full marks for the wooowooowooo bits.

Third on the bill...chuff me...it's only hotly tipped next big thing and 80's pop saviour La Roux! I'm loving this whole 80's revival. Old skool keyboards? Check. Simple, easy to follow and sing along with chorus? Check. Signature haircut? Check. Glam videos? Check. Yep. It's all there. "I'm going in for the kill, I'm doing it for the thrill"...hell, it's just great pop. Lead La Roux, Elly, has a surprisingly strong live voice. I'm guessing there's been some serious vocal training there. The songs may sound simple, but there's a fair amount of vocal gymnastics in places. It was a shortish set (6 songs) but she did exactly what this tour is all about I guess, get the buzz going. Debut single Quicksand got the biggest cheer of the night (damn that's a catchy mother...the daughter of Prince's When Dove's Cry), but every track's a pop gem. If you're an old bastard like me you'll pick up little snippets of old friends, like the touch of Blancmange in Reflections are Protection (jeez, that's an even catchier mother). Unlike Lady Ga Ga (just don't get it I'm afraid) La Roux's worth the hype and, following a sold out tour with Lily Allen in March I'm predicting nothing less than pop stardom. Check her out, it would be Roux'd not to (I've been waiting all day to write that).


Last up the multi-headed (there's six of 'em!) funk rocksters The Crimes. Some great guitar playing, bongoing and vocals tonight - they're pretty much guaranteed to get a crowd moving -and three covers, including a blazing version of The Doobie Brothers' classic Long Train Running. Of their self penned material 'I Know' is standing out as the strongest so far...I can almost hear some brass on there (sax, trumpets...that kind of thing). Seb's vocals were gutsy and powerful throughout a set that lasted well over an hour (not an easy thing to maintain) and the encore demanded by the crowd was justly deserved. Constructive criticism? I like the covers but maybe just one per set? I think the band's developing some good material of their own, the danger of putting this next to such familiar tracks could distract from their songs which would be a...oh...I have to do it...crime. Yes, you're right. I'm going straight to bed without any supper.

Drumattic developments...

We interrupt this website to bring you a record review... remember that robot in Short Circuit? Johnny 5? I think he has a cousin. A seedy little cousin who hangs around nightclubs picking up Blackberrys and taking them back to his shag pad. That is him at the start of this track ordering us not to be ‘so fuckin’ drumattic’ isn’t it? Yes, the latest Drumattic Twins release 'Don't Be So Drummatic' kicks of with some kind of crazed robot vocals and the sort of strings Alfred Hitchcock would cream himself over, before descending into an electro squelch fest. It’s a ear bashingly catchy track, pulsating with energy and (Johnny 5) alive with the spirit of old skool rave. ‘ave it!

B side (if they have such things nowadays) ‘Sound of the Drum’ keeps up the pace with a lively chappie informing us that’s it’s ‘the sound of the drum that makes you…er…cum’. Indeed it is sir…that and an industrial tube of lube, a 500GB hard drive of European porn and a selection of root vegetables. Third track ‘Under The Lights’ takes a bit longer to get going, but when it does it all goes a bit trippy n’chilled, it’s perfect for the beach, sunsets, large rum n’cokes and those girls who twirl balls on bits of ribbon around their heads. If anyone would like to pay me to go out to one of these beaches just to check this theory out I’d be only to happy to oblige. No? Oh alright then.

‘Don’t Be So Drumattic’ is out on Finger Lickin’ Records on 2nd March 2009.

John Martyn R.I.P

I just couldn't let John Martyn's passing go by without some form of tribute. A truly unique voice and artist he's responsible for some of the most heartbreaking but life affirming music of the past 40 years. If you've not discovered him for yourself start off with this beauty then enjoy exploring one of the best back catalogues around.