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June 7, 2017June 7, 2017

BREVIEW: The Growlers @ O2 Academy 24.05.17

Words by Giles Logan / Pics by Rob Hadley

A disappointingly half full venue for the first show of The Growlers’ UK tour; what will the laconic extremists from Southern California make of it? No sweat. Lights dim, intro music and the band shuffle on stage in City Club macs (they must be melting) and instantly the dreary functionality of the O2 Academy transforms into what could be a Vegas lounge.

“Let’s do this”, announces front man Brooks Nielsen and the band breeze easily into ‘Big Toe’ from 2014’s Chinese Fountain album – a trademark tune of uplifting misery, the breezy rhythm hosting a pained song of suicidal heartbreak. “She’s got me on the bridge looking down at the old cold river”. Who opens a set with a song about self destruction? This is the dark beauty of The Growlers. Their mischievous lyricism is delivered with a cute self referential nod and a wink; Nielsen has an enormous cheeky glint in his eye with lines such as “she can hex like a crow”. It’s a theme that runs through their music: hey guys, shit happens but we’ve got this.

The Growlers’ approach to set lists is a bit like their approach to genre, happily skitting from surf, rock blues and in the instance of ‘Hiding under The Covers’, from 2013’s Gilded Pleasures album, to a greasy cha-cha-cha through more heartbreak. “It’s hard to choose the right thing to do when you’re so in love”, croons Nielsen in that glorious West Coast drawl of his.

Coming off like a weird hybrid of Jim Morrison and Elvis, snake hipped Nielsen is a great front man. An infectious personality with an inviting smile he welcomes us into The Growlers world with honest warmth. “We’re going to rush through as many songs as we can before curfew, been a long time since we had a curfew”. The whole band posses an addictive enthusiasm and swagger; with major line up changes before last year’s City Club album fans baulked, but there is a collective energy and humour about them, shared smiles and laughter – they’re having fun if we have fun.

‘Naked Kids’ from The Growlers’ third album, Hung At Heart, with its gospel keyboard, is a rousing stab at redemption and enlightenment – “I picked myself above the ground” intones Nielsen with raw Southern pain, now minus his City Club mac and wearing the coolest bowling shirt we’ve ever seen. A rapt and youthful audience with arms aloft share in this sweaty epiphany; there’s even kids on shoulders, “go for it boys” smiles Nielsen.

One of the set highlights is ‘Night Ride’ from The Growlers’ latest album, City Club – a wickedly funky rhythm and a lingering, almost yearning, look back at memories of bacchanalian excess with a deliciously sing-a-long refrain: “over and over and over again, till you can no longer pretend you are sane”. There is a charmingly shambolic nonchalance, as The Growlers enter a hazy reverie in a song that has been suggested is aimed at ex-members of the band.

With such an incredible back catalogue of material spread over five albums, the classics continue with the dreamy psychedelic sprawl of ‘Nobody Owns You’, the downbeat joy of ‘Too Many Times’ and a journey into the sleazy guilt of ‘Feelin’ Good’: “just cause it feels good, doesn’t mean it’s right”. There’s even an up tempo (ish) moment as playful keyboards guide us through ‘One Million Lovers’, as “something strange just takes over you”.

“Well let’s fucking go”, threatens Nielsen as another set highlight growls into life: ‘Vacant Lot’, again from City Club. Harder edged than other tunes, it’s lumbering pile-driving riff joins a swirl of keyboard and tribal drums, really hammering home “like a bullet train”. Cue a mini mosh pit, mass sing-a-long “way down in the valley of the mud”. There’s even time for some human beat boxing, as the whole song is accompanied by epileptic levels of strobe.

Then as if to confuse us with their rampant eclecticism, The Growlers follow this with a disco-lite rendition of ‘Pet Shop Eyes’ and the dub bop happy ‘I’ll Be Around’ – a song that confounds with its major rock out chorus. “Ignorance is complacency”, too right. For those that didn’t catch The Growlers in Birmingham, you missed a classic.

For more on The Growlers, visit www.thegrowlers.com

For more Mystic Braves, visit www.mysticbraves.com

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For more from the 02 Academy (B’ham), including full event listing and online ticket sales, visit www.academymusicgroup.com/o2academybirmingham

For more from DHP Family, visit www.dhpfamily.com

For more from This Is Tmrw, visit www.thisistmrw.co.uk

June 2, 2017June 8, 2017

ALBUM: No Desire – MUTES / INTERVIEW: James Brown

Words by Ed King / Pic by Aatish Ramchurn / Video by Trapeze Film

On 2^nd June, MUTES release their debut album, No Desire – out in the big wide world thanks to the Birmingham based FOMA Records. And for anyone in the 0121 there’s a launch gig at COW vintage clothing (Digbeth) on the same day: doors open at 7pm, admission free, click here for more info.

Birmingham Review caught up with MUTES‘ front man and founder, James Brown, at Blotto Studios in Digbeth – to check out our full interview click here or on the Youtube link below. Watch out for the solo performance of ‘Blood’ at 26mins 36secs.

Meanwhile, back at the ranch…

The first release from MUTES as a band, No Desire is a ‘sprawling’ nine track endevour that works ‘through urgent noise-fests, slow-burning drone sequences and seductive siren songs with assured ease.’ Well, yeah, kinda… I wouldn’t want to write a press release for it either.

Kicking off with perhaps the most obvious track, ‘A Burial’, the first word that comes to mind is Nirvana – as in SubPop grunge and not the end game of Saṃsāra. Nothing wrong with sounding like Kurt Cobain or dying your hair blond, I’d even forgive an awkward morning with Courtney Love… just don’t make a habit of it.

Fast, frivolous, only two minutes long, ‘A Burial’ will probably be the soundtrack to some self indulgent teenager as they raid the kitchen draw to make those all important marks for school on Monday. But it’s not the best No Desire has to offer. Neither is ‘Knotting off the Vein’, the second track on the album, but grab something objective and in under four minutes you’ll be onto the more appealing main course.

(James Brown has been curiously, candidly disparaging about No Desire’s opening two tracks – citing the decision to open with ‘A Burial’ was more “to get it out of the way”. They’re not bad, they’re just not the best representation for No Desire as a whole; the album steps up once you’re a safe distance away from the start.)

Rabbit punch percussion and affected vocals launch ‘Primrose’, as the psychedelic spangle guitar that will be your guide trough this LP starts to embed. Raucous, then reserved, this is heading in a better direction. Makes me think of…

Then we have seven minutes of distorted sound fuzz; in a Spritalized haze we float through the middle of the album before a twenty second six string kiss leads us into ‘Dust’. Beginning as a shoegaze affair extraordinaire, ‘Dust’ picks up halfway and throws itself into a Smashing Pumpkins ‘Starla’ supernova with just over 1 ½ minutes to go. For me, this is where No Desire makes its mark. This is also where I stop picking the album apart track by track.

The beauty of No Desire is a dichotomy of extremes. There’s some ‘noise rock’ fluff, some short hit quick fixes, but those handful of minutes become an acceptable background to something much bigger. To something much better. It’s the marriage of the heavier rock (for want of a better expression) and the circling opiate haze that makes this LP memorable.

Nailed in only three studio days (can’t quite get my head around that) the man behind MUTES claims they don’t have ‘a sound’ but I beg to differ – I think they’ve got three. And when they’re all rolled into one, long, ooze… glorious, even without Lou Reed in your veins.

No Desire, to this set of ears, feels like a step up for MUTES – a more crafted ensemble of songs that are best listened to in their entirety, although the bottom’s not going to fall out if you began from track three.

An album, all the way through, who has the time?!?!?!? Don’t worry, it’s only 9 tracks long. The above word count is 626. The interview below is about 20mins long and No Desire will take you under three quarters of an hour from start to finish. YOU MUST CONSUME EVERYTHING WE CREATE.

But there’s an easier way to get your chattering teeth into this new body of work from MUTES, just listen to the title track first. Or you could always get to the MUTES Album launch gig at COW and see it first hand – either way the clue’s in the title.

MUTES’ front man & founder, James Brown, talks to Ed King for Birmingham Review @ Blotto Studios 01.06.17 – watch out for the solo performance of ‘Blood’ at 26mins 36secs

‘A Burial’ – MUTES (from their debut album, No Desire)

MUTES debut album, No Desire, is out on general release from 2^nd June – with a launch event at COW vintage clothing in Digbeth, click here for more info.

For more from Mutes, visit www.mutesuk.bandcamp.com

For more from FOMA, visit www.wearefoma.bigcartel.com

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For more on Blotto Studios, visit www.facebook.com/BlottoStudios

For more on COW Birmingham, visit www.wearecow.com/contacts/#birmingham

June 1, 2017

BPREVIEW: Ed Geater + Lady Sanity, Andrew Souter @ mac 02.06.17

Words by Ed King / Pic by Rob Hadley

On Friday 2^nd June, Ed Geater headlines a showcase at mac for his upcoming single with Lady Sanity, ‘Found a Place’. Alongside their collaboration Lady Sanity will be performing a full set of her own material, with further support coming from Andrew Souter who will be opening the evening.

Doors open at 8pm, with tickets priced at £7.50 – as presented by Impact. For direct gig info and online ticket sales, click here.

Coming out on Brox Records, a new Birmingham based label, ‘Found a Place’ will be available to purchase from 16^th June – check online outlets including iTunes, Spotify, Apple Music, Deezer, Google Play, Amazon. “I’m so excited,” says Ed Geater, “Lady Sanity is one of Birmingham’s most exciting talents right now, and the combination of our different styles has sparked something original and fresh.”

“When writing the lyrics for ‘Found A Place’ I really wanted to focus on the beauty of the world I see despite how much negativity we see on a daily basis,” adds Lady Sanity. “‘Found a Place’ is really about finding happiness in the small things and appreciating them. In my case that joy and relief comes from music. Ed’s guitar really brings it to life. You can hear the frustration in the track but it also uplifts you.”

‘Found a Place’ was first released into the public domain via Ed Geater’s Soundcloud page, with an audio only version posted on 29^th May. Click on the link below to listen:

‘Found a Place’ – Ed Geater Feat. Lady Sanity

Ed Geater performs in mac’s Theatre on Friday 2^nd June, with support from Lady Sanity and Andrew Soulter – as presented by Impact. For direct gig info and online tickets sales, click here.

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For more on Ed Geater, visit www.edgeater.co.uk

For more on Lady Sanity, visit www.ladysanity.com

For more on Andrew Souter, visit www.andrewsouter.co.uk

For more from mac, including a full programme of events and courses, visit www.macbirmingham.co.uk

May 30, 2017

BREVIEW: Whisky Galore! @ Electric Cinema 16.05.17

Words by Damien Russell

It’s beginning to look a lot like Christmas….

Okay, perhaps not quite so much, but when sat in a room with The Lost Distillery Company – who ‘bring back the ghosts of whiskies past’, and The Birmingham Whisky Club – fine promoters of whiskies present, it’s easy to see how the festive vibe creeps in.

Tuesday might sound like a bit of an odd evening to be surrounded by such whisky pedigree, but the theme tonight is very much tasting and appreciating (over quaffing and getting squiffy). We’re at the Electric Cinema for a mixed event of whisky tasting and film viewing, with a Q & A with the film’s director, Gillies MacKinnon, at the end.

It’s the pre-screening of the 2016 remake of the Ealing comedy, cult classic Whisky Galore! – the tale of the SS Politician that ran aground off the coast of Scotland during the Second World War with a cargo of 28,000 cases of whisky. In reality, the ship sank off the north coast of Eriskay in the Outer Hebrides off the west coast of Scotland; the island is known as Todday, which is a much funnier name (I am still that childish).

Whisky Galore! tells the tale of the island inhabitants who have already drunk their entire whisky supply and, with rationing being what it was, the drought has little end in sight. A ship crashing offshore with a cargo of whisky is therefore met with great delight and the slightly farcical romp that ensues – playing off Police, Military and Islanders – is light-hearted and fairly believable.

Naturally such a tale involves a lot of references to whisky; The Birmingham Whisky Club and The Lost Distillery took the excellent approach that such a tale deserved whisky in the flesh (so to speak) and not just on the screen.

And it’s hard to tell which takes the lead tonight, the whisky or Whisky Galore! But both take prominence in turn and if the stage is well shared, does it matter who the ‘support’ and who the ‘lead’ is? I feel, not.

The evening is started off with an introduction by Ewan Henderson (Global Brand Ambassador from The Lost Distillery Company) and a well organised distribution of whisky No1 Towiemore, based on a Speyside that would have been on the SS Politician when it sank. These Speyside whiskies are/were typically put into sherry casks giving them a sweeter note than some of their counterparts and a rich fruity finish. If you’re not into your peaty/smoky whiskies, it’s sherry cask for the win in my opinion.

I found the Towiemore a very palatable whisky, not overly strong of flavour but not suffering much for that. I also found more crisp flavours, like apple and peach, than the red fruit notes I’ve come to expect from many sherry cask whiskies, which was a nice and unusual touch.

It’s worth noting here that all of the whiskies served through the evening were blended. I’ve never been a believer in the ‘single malt is better’ approach personally and I feel that blending is an art. Which I suppose means that blending to get a whisky that has long since passed out of production must be some sort of Fine Art, but I digress…

After a joint Sláinte and some time to take in the flavours, the film began. I remember a bit about the original version and I did always like the tale, but the original presentation is certainly now dated and some of the themes and expressions don’t quite translate as well as they did, a consideration that has certainly been picked up and fixed in the new version. For example, back in 1949 women would not be portrayed as being part of exploration party whereas today it would be a matter of course that all comers are welcome to participate. Of course the island and the story can’t change too far out of recognition and the religious themes and the relationships between many of the villagers hold true: demanding parents, controlling priest etc. Without such vehicles the story wouldn’t move and while it does date the tale, the presence of military and the ship itself date it more obviously.

In fairness, I found Whisky Galore! slow to start. Not unreasonably, as there are a lot of people and relationships to introduce and a lot of groundwork to lay. But nevertheless when the film took a break and the second whisky was brought out, I wasn’t entirely unhappy.

The second whisky was Dalaruan, originally from Campbeltown, which had I not seen it written down I would have assumed was spelt Dalaroon. A west-coast whisky for a west-coast film and something like what the locals in Whisky Galore! would have been drinking regularly on the island, we are told. A slightly smoky and richer whisky, my favourite of the evening, it was just the right balance of flavour for my palate and balance is the word – it’s not middle of the road or any such boring description but Dalaruan comes well rounded and has a lot to offer. There’s a distinct salty finish to it that I liked (to my surprise) something further mentioned by Ewan Henderson in his tasting notes.

Continuing on the whisky, for a moment, the third and final dram of the evening was Lossit, an Islay from the era of rural farm distilleries. Almost like a Scottish moonshine in some ways. Reputed to be smokier than the Dalaruan, I actually found it less so, with a higher alcohol hit and a less rounded flavour. An interesting taste of what local whisky might have been like but not one I would rush to try again.

After the first break, Whisky Galore! picks up momentum and the stellar cast (Gregor Fisher, Eddie Izzard, Ellie Kendrick and Sean Biggerstaff to name a few), make it enjoyable viewing. The humour builds, the relationships develop, and it’s a good showing all round.

I would have said that at times it was a bit too farcical for me, but then if my ailing memory serves me the original is very similar so maybe I’m just grumpier in my old(er) age. And in fairness there are some tense moments to keep Whisky Galore! edgy, brining some balance so it never goes 100% over the top. I was left with that warm feeling that a well done cutesy film can instill and as the credits rolled, the audience applauded. Director in the room or not, if you can get an audience to applaud a film I think you’ve done well.

The Q&A was a mix of interesting, intelligent questions and the usual ‘advice’ type questions. One man who seemed to think it was Gillies MacKinnon’s job to bring films back to small cinemas (which of course it isn’t) but our guest director was a patient and eloquent interviewee. Listening to him tell us about Whisky Galore! being made, alongside other stories about the film and the cast, made for a lovely end to the evening.

And as for the drinks at hand, The Lost Distillery Company are the ones for the whisky but The Birmingham Whisky Club are the ones for the events. I’m keeping an eye out for the next ones from both.

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For more on Whisky Galore! www.whiskygaloremovie.com

For more on The Lost Distillery Company, visit www.lost-distillery.com

For more on The Birmingham Whisky Club, visit www.thebirminghamwhiskyclub.co.uk

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For more from the Electric Cinema, including full film/event details and online ticket sales, visit it www.theelectric.co.uk

May 29, 2017June 6, 2017

BREVIEW: The Levelling

Words by Ed King

N.B. Birmingham Review would like to thank the British Independent Film Awards (BIFA) for inviting us to the screening of The Levelling at Everyman – The Mailbox. Click on the highlighted links for more from both.

The Levelling will be next screened in Birmingham at mac on Mon 11th June (7pm) and Tues 12th June (8pm). For direct info and online ticket sales, click here.

When you grow up without trust you build a selfish shell behind the facade – a subtle barricade; a wall to keep out the corrosive, stagnant waters. A flood defence if you will. But all rivers lead to the sea and subtly, especially within families, seldom goes unnoticed.

Hope Dickson Leach wrote and directed The Levelling, her first feature film after an impressive portfolio of shorts, and marches us up the path and through the gate to the zenith of dysfunction. Set in rural Somerset, The Levelling tells the story of the Cato family – as sister Clover (Ellie Kendrick) returns to the washed out, literally, homestead after bother Harry (Joe Blakemore) dies at the end of an ambiguous shotgun. Father Aubrey (David Troughton) is convinced “it’s just a stupid bloody accident” but in the community of silence that surrounds them, that at times both supports and smothers them, no one argues or agrees. That’s our job.

Beautifully shot: long stills of an empty working farm, raw brutality left on the grill, a muddy princess slipper forgotten every time we walk past it – Leach knows how to point a camera. The soundtrack is cherry picked too, with Hutch Demouilpied’s pivoted score taking us from the lamented strings and sporadic keys of a house revisited, to the white noise nightmare of the film’s most (for me) harrowing scene. Audio and visual are wonderfully tied together.

Focused on the frayed relationship between father and daughter, the narrative of The Levelling is an extrapolation of explanation; a painful question asked over and over yet always unanswered. Initially we’re backing Clover – the estranged daughter who navigates the clipped emotions and quip deflections of a man strong enough yet unable, or unwilling, to deal with the reality around him. A man who could have some answers about the death of his son; a man who should hug his daughter.

But as we pick through the silent deceit of a family who don’t communicate we are introduced to a wider culpability – the selfish escape, the tacit support of someone clearly out of their depth, the community celebration of a broken toy, the alcoholic exoneration of abuse, and the focus of your biggest concern at the most crucial of moments being on yellow, fucking, flowers. A blanket ban on anything of substance – a world quietly prepared to fall in on itself, to “put your family in the ground one by one and not give a shit”. I call it ‘the poison’. Leach doesn’t give it a name but every rose draws blood if you hold it hard enough.

You can count the main cast list in The Levelling on just over one hand, and Hope Dickson Leach makes rich use of her principals – telling a difficult story through a series of duplicitous and intimate interactions. Delivering most of the script, the muted affection and vocal sparring between Clover and Aubrey is particularly frightening; always on a razor edge, we’re left waiting for someone to finally break down or lash out with brutal regret. The scene where father and daughter reminisce through a dusty attic is particularly poignant, whilst the late night drunken cupboard slamming/search will have some audience members curled up in memories and fear.

Harry’s closest friend, James (Jack Holden) is superb – balancing his love, fear and stilted anger as the Catos rip themselves to shreds and stamp their feet asking everyone else “…what happened?” Whilst the ancillary interruptions – the Tupperware band aids, the police sergeant who eventually remembers to take of his hat, the adventurously blunt vicar – serve to bolster both the determined pretense of the principals and the dangerously rose tinted world they are now at the centre of. And don’t be dazzled by the magpie machinations of a silver screen story, communities like this are just as real, just as frightening, and just as inevitable as The Levelling portrays; there will be countless more horror we’ll never see on film.

It is, perhaps, the high calibre of The Levelling that brings its only downfall: there’s arguably too much going on. Bear with me here. And just throw the prefix ‘to me’ around as much as you need to. But the essence of the story is a warning – learn to open up to those you love, learn to share your emotions, learn to be truthful, or you’ll end up surrounded by “stupid bloody animals” whilst burning a calf in a wheelbarrow.

There were points in The Levelling’s narrative that added layers without allowing enough time for them, or their context, to match the same level as the rest of the film. The digging army, Mrs Cato, the gasoline in the kitchen, boarding school, Lady Macbeth hands, the world’s most terrifying Sheppard Pie. Even the funeral. But the irony of The Levelling’s success – namely telling a story of repression through repression – made these plot points arguably unnecessary; the punch had already landed. Plus the ending is too forgiving. Although that may say more about me than it does about the film.

The Levelling is a superb piece of cinema though. And whilst I don’t know how much money was behind the production, God knows there’s a few partners and ‘special thanks to’ as the credits roll (Vegetarian Shoes being my personal favourite) it represents a cast and crew who should be given buckets loads to do it again.

I, for one, will be doing my bit to support this and the rest of the British independent film community, buying several copies of The Levelling DVD when it comes out on 17^th July. The Levelling is also available on demand and still showing in cinemas across the UK, so you can get a copy of it whenever you want. But it’ll make an excellent Christmas present for some people I used to know.

The Levelling was produced by Wellington Films, with the support of BFI, BBC Films and Creative England – through iFeatures.

The Levelling (cert 15)

The Levelling comes to the Everyman cinema in The Mailbox on Tuesday 23^rd May, for a one off screening – as presented by the British Independent Film Awards (BIFA). For direct event info and online ticket sales from BIFA, click here.

For more on The Levelling, visit www.thelevelling-film.com

For more on Hope Dickson Leach, visit www.hopedicksonleach.com

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For more from Everyman – The Mailbox, including full show times and online sales, visit www.everymancinema.com/mailbox-birmingham

For more from the British Independent Film Awards, including more details of previews and screenings, visit www.bifa.film