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May 12, 2017May 12, 2017

BREVIEW: Alien: Covenant @ The Mockingbird – midnight 11/12.05.17

Words by Ed King

I thought there’d be more people here. I thought there’d be more Aliens; apart from a beautiful but woefully unsupported bust on the counter, this could have been any other bar on any other night – complete with the ‘80’s New York drunk’ that staggered by the pumps. Where’s a murderous Xenomorph when you need one. But it’s a shame; this was a pat on the back idea. I thought more people would have shown up to agree.

I loved Alien, and, as teenage appreciation took hold, Aliens. Tonight is my Star Wars. I’ll probably say something similar when the new Blade Runner is played on screen, but for tonight I’m childish with excitement. Plus the writer and professional (excuse) hat I wear gives me carte blanche to pick, this, to, fuck (did I say, ‘excuse’?). And with pen in my hand that’s what I set out to do.

I don’t. At least, I don’t step by step. My overriding response is ‘job well done’; they give the studio what they want in the last twenty minutes, but my knee jerk is ‘good save’. It brings the de facto blue collar slaughter in line with an elevated premise, or question at least. Like a Scotameron baby ran away with the notebook. I watched Prometheus on Sunday, for the second time, and the infantile handling of any even remotely acceptable narrative (let alone the garrulous approach to inter-planetary anthropology) made me curse. And made me curse Ridley Scott. Which just felt wrong, and a little like an overzealous school teacher. But also right, like an overzealous school teacher. And whilst I enjoyed it more than the first time, when you sit down you to write Covenant…

So, bog standard, everyone dies – quicker than you’d think, later than you’d think, and eventually as you’d think. Good luck with that. The Engineers get a satisfactory, albeit a film in itself, explanation. And the beauty of twisted morphology gets a lovely slide by slide. Although various crisp fucking audience members (it’s all I can imagine they were doing to create such a sound) were apparently less than impressed. But they stimulate snacks; not my bastion of reasoned opinion.

Better script writers tie up some of the fumbled loose ends from Prometheus, whilst allowing for a (possibly self defeating) start to the final in this triptych. Whilst Michael Fassbender takes what Ian Holm started and marches one more step down the macabre, bleeding Lawrence of Arabia into the mind of a genocidal killer. Like Lawrence of Arabia. There’s also a warm nod to the first ship’s overriding/controlling computer, as well as the ship drops in the second. Not overdone, but a handshake to homage.

We are given a starting point. We are given an end. Alien: Covenant delivers a well carried, and narrative following, plot. And I promise you Charlize Theron won’t say “…father”.

I’m re-engaged with the franchise now, but when you’ve sent the body blows that were Alien 3 and Alien Resurrection you’ve still got some apologies to make. But Alien: Covenant serves as the film Prometheus wanted to be, but for some reason wasn’t. If they nail Round Three we’ll all be golden.

So feel safe, go and watch Alien: Covenant – you’ve got just under two weeks to see it at The Mockingbird. There are some great set pieces and Michael Fassbender does his work, twice, with aplomb. Just switch yourself down during the penultimate twenty minutes. But back up for the last five. Enjoy.

DROP IN T MINS 20… 19…

Alien: Covenant (official trailer)

Alien: Covenant (extended trailer)

https://www.youtube.com/watch?v=zX7URpWBNKE

Alien: Covenant will be screened daily, except on Sunday, at The Mockingbird Cinema & Kitchen until Thursday 25^th May, For more from The Mockingbird Cinema & Kitchen, including full event listings and online ticket sales, visit www.mockingbirdcinema.com

For more on Alien: Covenant, visit www.foxmovies.com/movies/alien-covenant

May 11, 2017May 11, 2017

THE GALLERY: Maxïmo Park @ O2 Institute 05.05.17

Words & pics by Michelle Martin

I do love a good cup of tea. Fruity, spicy or a simple Earl Grey. I enjoy tea like I enjoy music, always open to trying new things.

Admittedly, I know little about Maximo Park. From releasing the debut LP twelve years ago on Warp Records, the Mercury nominated A Certain Trigger, to their latest Risk to Exist LP, the band appeared to have slipped through my music collection. And now I know the reason. As I stand in a sold out main arena at the O2 Institute, with fans and adulation all around me, the most interesting thing in the room is the man in the hat, centre stage. Him, and one audience member who was dancing like a T-Rex.

But as much as I enjoyed Paul Smith’s energetic performance, even his stage presence couldn’t make up for the music. Opening strong with ‘What Did We Do to Deserve This?’ – the second single from Risk to Exist, things fell flat pretty quickly for me after that.

Covering a deluge of work from their twelve year portfolio there were the inevitable ebbs and flows, with ‘Our Velocity’ and ‘Girls Who Play Guitars’ – the opening two tracks from the Our Earthly Pleasures sophomore LP – bringing some ear catching open guitars and much stronger vocals to the stage, more so than I found in their recent work. The rest of the set, which I was free to enjoy sans camera after track No#3, felt forgettable. Perhaps I came to this party too late.

But clearly the O2 Institute audience were having a fantastic time, all dancing and singing along, so I guess the opinion of one doesn’t really matter. Maybe that was why I was distracted by a man in the audience attempting to recreate a scene from Jurassic Park – Maxïmo Park’s blend of anarchic stage strutting and political laced indie rock was definitely his flavor. Although I think I’ll pass on this cup of tea next time around.

Check out a selection of Michelle’s shots from Maxïmo Park from the O2 Institute gig in THE GALLERY below. To see the Full Flickr of Pics, click here or on the relevant links.

Maxïmo Park @ O2 Institute 05.05.17 / Michelle Martin – Birmingham Review

Risk to Exist by Maxïmo Park is out on general release from 21st April, via Cooking Vinyl. For more on Maxïmo Park, visit www.maximopark.com

For more from the O2 Institute, including full venue details and online ticket sales, visit www.academymusicgroup.com/o2institutebirmingham

For more from SJM Concerts/Gigs and Tours, visit www.gigsandtours.com

May 10, 2017May 10, 2017

BPREVIEW: Victories at Sea @ Hare & Hounds 13.05.17

Words by Ed King

On Saturday 13^th May, Victories at Sea play at the Hare & Hounds (Kings Heath) – with support from Mutes, Matters + Sunshine Frisbee Laserbeam.

Doors open at 7pm, with tickets priced at £5 (adv) – as presented by This Is Tmrw. For direct gig info and online tickets sales, click here.

Last time Birmingham Review saw Victories at Sea was back at the Hare & Hounds in January 2016, three months after their debut album – Everything Forever – was unleashed on the world. And now it’s back to the familiar Kings Heath venue, this time with a new EP and some absurdly stonking support in tow.

But the masters of maritime (…nice) haven’t been floating around aimlessly (…ok) for the past year and half, with their five track A Place to Stay EP released on Static Caravan Records on 5^th May. And shiver me techno timbers (…the last nautical reference I’m going make) it’s dark twist of brooding electronica meets meaty indie rock; all the goodness you’d expect from a Victories at Sea endevour. Fair to say it’s had its airplay at Birmingham Review HQ – with everything from Swervedriver and Explosions in the Sky to The Cure thrown around for comparison.

It’s a beautifully produced record no matter what your reference point, with some signature/ethereal melodies to send you blissfully out across the waters (accidental metaphor). But with Helen Knott, whose words I trust sometimes more than my own, citing the ‘slick and controlled’ sound from Everything Forever as a frayed edge to the sharpness of a live performance, we shall see what comes off stage on Saturday. Only a fiver an’ all; oddly accessible considering the line up would round off Day One at a small festie.

And as for the supports… Two from the FOMA portfolio: Matters, Mutes – both of whom Birmingham Review last saw at a FOMA showcase in Blotto Studios in mid March; click here for Aatish Ramchurn’s photo led feature in THE GALLERY. Both bands would be worth a fiver each, but with Mutes’ ‘sprawling debut full length album’ waiting in the wings, No Desire – out 2^nd June, this is a good chance to see them polishing the final product.

Then there’s the perennial bridesmaid and winner of the Most Syllables Award, Sunshine Frisbee Laserbeam. Or as Jeopardy would call them, ‘things that make Cannon Hill Park more fun’. Always worth a stop, look and listen. And whilst we’re on garrulous popular culture references, here’s our Graham with a quick reminder…

‘Sirens’ – Victories at Sea (from the 2016 album Everything Forever)

Victories at Sea perform at the Hare & Hounds (Kings Heath) on Saturday 13^th May, with support from Mutes, Matters + Sunshine Frisbee Laserbeam – as presented by This Is Tmrw. For direct gig info and online tickets sales, click here.

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For more on Victories at Sea, visit www.victoriesatsea.co.uk

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

For more on Matters, visit www.soundcloud.com/mattersband

For more on Sunshine Frisbee Laserbeam, visit www.facebook.com/sunshinefrisbeelaserbeam

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For more from the Hare & Hounds (Kings Heath), including full event listing and online ticket sales, visit www.hareandhoundskingsheath.co.uk

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

May 10, 2017May 10, 2017

BREVIEW: Call Me Unique’s Urban Gypsy II EP – launch night @ Mama Roux’s 05.05.17

Words by Ed King / Pics by Michelle Martin & Ed King

‘You’ve always had the power to go back…’

It’s here: the day in question, of reckoning, red letter. Call Me Unique is launching her Urban Gypsy II EP tonight, three years since its predecessor came off stage at The Yardbird, with a smorgasboard showcase at Mama Roux’s – the raw and raucous live music sponge in the Rainbow portfolio. And I’ve seen the running order; I kid you not there’s over ten artists joining Unique on stage, with an average of five minutes to perform and turn around. I’d make a joke, but it’s an important day.

Known for many years as the Girl-With-The-Guitar (and still on some bus routes) Call Me Unique has been frustratingly close to something for some time. Her combination of soul, rap, jazz, verse and scat, peppered with flecks of folk and bonfire laments, has been circling the thermals for a while; deserving of adulation beyond this city, whilst gaining some ground in London and Europe (based out of Budapest) Call Me Unique has sorely needed a win. Not a pat on the back, not a friend saying ‘well done’, a win. And the only way this was going to happen, to really happen, to happen in a way that would push this all forward, was the holy trinity: write, record, release.

So, no pressure then.

Walking into Mama Roux’s the first thing I notice are the numbers. Full room – check. Next are the people who make up those numbers – a regular line up of musicians and music professionals, with some healthy creative faces on the periphery to even things out. Then there’s what I can only assume are Mama Roux’s regular crowd or the throng that attend Digbeth Dining Club, with a handful trapped at two iron mesh tables by the front of the stage. I maybe address that one.

But before anyone can say ‘shall we sit upstairs’ the stage begins, with Unique and guests walking us through the EP that started ‘the Urban Gypsy Experience’ a handful of years ago. ‘Stranger’ is up first, with rappers Trademark Blud and Boy October (aka Christian Deveaux) giving some significant punch to my favourite track from Urban Gypsy I, before trading places with Kezia Soul and Simon Jnr for ‘Here’.

The eponymous track gets Lady Sanity and RTKal up on stage, always good to see, before the pinnacle performance of the first half from Jugganaut and Malik MD7 – bouncing ‘Bombs & Wars’ around the room and back again. So far this is going extremely well. Then Ed Geater and Affie Jam join Call Me Unique to perform ‘Sholow’, with Geater’s vocal leading the song in a memorable Bill Withers moment. It’s not often you see these three on stage without guitars in their hands; wouldn’t mind that happening again.

N.B. Ed Geater produced Call Me Unique’s Urban Gypsy II EP, that’s why he is on stage tonight. All the other artists are here from love, affinity, involvement or love. Life is quite simple.

Round Two is a showcase of Urban Gypsy II, the full EP getting performed with a selection of guests – kicking off, as the god of track listing intended, with the dreamlike ‘Dreamers’. A surprisingly effective cover of ‘Genie in a Bottle’ comes up next, with a mix of vox pops and ‘eerie sounds’ taking us into ‘Birds’ – the second track from the EP in question.

The rib digging ‘Only Girl in Manville’ gets a darker delivery, as the band step back to let the words speak for themselves, before the first (noticeable, at least) slip up on a running order that could have been Chrystal Maze challenge. But without missing a beat, figuratively or literally, a quick crowd search then a “come on up here girl” pulls Tina Amana up on stage for the ‘Say My Name’ cover, who I haven’t seen with Unique since the Sun at the Station gig back in March 2015. It’s a beautiful silver lining, and represents the genuine love and support that fills up this room tonight. They even share a mic. Although that was more a technical issue than some crazed close quarter duet.

Leanne Louise is our next guest of honour, as her and Unique banter back and forth with ‘Hashtag’; no egos, a shared stage and joint presence. Job done. Then a journey back to the source with ‘The Wife’, before the final two tracks from Call Me Unique’s new EP, ‘Shoulda’ and ‘Ashon’, gets their turn in the spotlight tonight. There’s a lot of personal exposure on Urban Gypsy II but perhaps these two tracks are amongst the more visceral – challenging hypocritical fists in the former and honouring a ‘son who never got to breathe’ in the latter. But I’ll sum up the end of this set, of this gig, of this obstacle course release, in one word. Strength. Even with tears streaming down your face.

Call Me Unique has a few more to add anyway, with her standard call to “support local artists” getting sandwiched with a more mature declaration of strength. There’s that word again. But oddly, perhaps, perhaps not, it was the call to “make this our home” that I walk out of the venue carrying closest. The Yardbird was an important playground for Call Me Unique and others; full of talent, ambition and garrulous endevour. It meant a lot to many. And whilst I’ve only been in Mama Roux’s a handful of times I’m old enough to see something unfolding itself here, tonight, with an honest soul at the centre. And I can all too easily be a cynic.

So go out and buy Urban Gypsy II, support your local music scene, support your local music venues. Do as she says. And someone, somewhere under the arches in Digbeth, with an address book and a diary, should start seriously clicking their heals together.

‘…there’s no place like home.’

Call Me Unique’s Urban Gypsy II EP is out now, launched at Mama Roux’s on Friday 5th May. For more on Call Me Unique, including online sales of Urban Gypsy II, visit www.callmeunique.com

For more from Mama Roux’s, including a full events programme and online ticket sales, visit www.therainbowvenues.co.uk/venues/mama-rouxs

May 6, 2017May 6, 2017

BPREVIEW: La Strada @ REP – running from 8th to 13th May

Words by Damien Russell / Production shots by Robert Day

These days I am lucky enough to enjoy a wider spectrum of culture. On the 8th of May, the Birmingham REP will be starting their run of La Strada – Live and I will be nestled in the audience, bravely evolving out of my more erstwhile natural habitat; the pub.

For those not already in the know, La Strada (or The Road, as it would be in English) is an Academy Award winning Italian film directed by neo-realism advocator Federico Fellini, first released in 1954. La Strada is drama, circus performance and autobiography, of a sort, rolled into one.

The story is quite a rich tale of Gelsomina – a young girl sold by her mother to a travelling strong man, Zampanò, who earns a living performing feats of strength on the streets of Italy. Gelsomina is taught to play the trumpet and snare drum, as well as clowning for the passing crowds, and joins Zampanò as part of his act.

A brutal and often cruel relationship develops, until Gelsomina falls in love with another street performer called Il Matto (The Fool). The trio ends up together in a travelling circus, with Il Matto goading the strongman to an eventual breaking point; as is to be expected this doesn’t end well, with disruption and violence finally raining down on all. Even more than that, but I won’t spoil the surprise if you haven’t already seen it.

In Edward Murray’s Ten Film Classics: A Re-Viewing, Fellini is quoted as having a soft spot for La Strada, saying, ‘I feel that it is my most representative film, the one that is the most autobiographical; for both personal and sentimental reasons, because it is the film that I had the greatest trouble in realizing and that gave me the most difficulty when it came time to find a producer’.

With a rich history of difficulties, including last minute changes of voice actors, filming delays due to injury, budget issues, and Fellini himself being struck with a severe bout of depression toward the end of the principal photography, it is of little surprise the Italian filmmaker held La Strada so close to his heart. It is also remarkable that La Strada was ever finished, with audiences around the world still enjoying the story today.

La Strada has been brought back to the stage this time by Sally Cookson, an Associate Artist at Bristol Old Vic Theatre, who premiered the production at The Belgrade Theatre Coventry in Feb 2017. Cookson is known for her alternative presentations of classic productions and challenging gender stereotypes; her 2016 National Theatre production of Peter Pan turned the ‘quite passive’ character of Wendy – ‘nothing more than a domestic goddess’ – into ‘as big a part of the adventure as the other characters.’

With La Strada – Live, Sally Cookson has told the story through Gelsomina – ‘we’re seeing the story through her eyes’ – whilst celebrating the physicality of the original narrative.

‘I always like working with performers who are multi-talented,’ tells Cookson, in a recent interview with 69 Magazine. ‘It’s so tough for actors these days – they have to be able to sing, dance, act brilliantly and play instruments and they’re doing all of that in this show – and be circus performers! Bart (Soroczynski – The Fool) is a wonderful circus performer and he shows off his skills in this show, but they all play instruments and sing. That provides a real delight for the audience.’

Anyone wishing to be a part of the latest chapter in La Strada’s eventful life can do so at the Birmingham REP, with the production running from the 8^th to 13^th May. All evening performances start at 7:30pm (except 8th May) with matinee performances at 2:00pm on 11th and 13^th May.

The Belgrade Theatre Coventry’s Production of La Strada is presented by Kenny Wax Ltd, in association with Cambridge Arts Theatre & Bristol Old Vic. For direct event from the Birmingham REP, including venue details and online tickets sales, click here.

For more on La Strada – Live, including details of the full UK tour, visit www.lastradalive.com

For more from the Birmingham REP, including full event programme and online ticket sales, visit www.birmingham-rep.co.uk