Author: birminghamreview

Writer Harry Croxford / Photographer Connor Pope

Cutting through electrical fog with acerbic and pointed poetry, Dälek triumphs with a wrathful and critical tour-de-force on the Birmingham stopover on their UK tour. Supported by friends and fellow boundary-pushers Holy Scum, the show exhibits why Supersonic are recognised as cultivators of ground breaking experimental music.

Warm and welcoming are the staff; harsh and angular are the acts they promote. Supersonic Festival astounds once again in Centrala’s intimate Digbeth space, reminding us why they are considered one of the premier experimental music promoters.

The night comprises performances from Holy Scum and Dälek. The close ties between the two groups evidenced not only from their shared members, but a dedication to boundary pushing and dense electronic fuzz.

Holy Scum, an improvisational act formed in 2019, with members of Dälek (Mike Mare), GNOD (Chris Haslam and Jon perry), and Action Beat (Peter J. Taylor), strikes hard and incorporates elements of shoegaze, noise, and an anarchic approach to performance.

Among cables, instruments, and speakers, pedals scatter the floor. Perry and Haslam provide the pulse – high-strung, aggravated. Perry’s characteristic drumming that gives GNOD their characteristic explosivity and pound, and Haslam’s bass erect a steely backbone to the rest of the band’s wild static improvisations.

Mare, drawing on the shoegaze-mist that has slowly developed across Dälek’s recent releases combines live production with highly treated vocals. Taylor’s post-punky, reverb-ladened guitar, winds upwards and repeats in this cacophonic whirl-wind.

And added to this too, is a quasi-pantomimic audience interaction: mid-performance Taylor disappears, only to reappear beside a surprised audience-member, and he continues with this: skating on a transport trolley, passing his guitar to bewildered audience members, and running round with wild abandon.

It is intimidatingly hilarious.

Like warning sirens in a typhoon, this maximalist wall of sound leaves us all wanting as they conclude the set, letting the reverb drenched synths expand and eventually fade.

Luckily for us, however, Mare makes his return to the stage as one half of Dälek. This time accompanied by Will Brooks, or MC Dälek, who enters the stage accompanied with a similar electronic drone that defines their recent LP, Precipice.

This duo are monoliths in the experimental hip-hop world. From Death Grips to Billy Woods, and Lil Ugly Mane to Danny Brown, sonic through-lines to contemporary acts can be traced back across Dälek’s boundary-pushing multi-decade career.

While previous albums explore territories as broad as jazz, sludge metal, and krautrock, the tracks Dälek takes us through result from Precipice: a sharp, acerbic, and enlivened record that stands on its own as a fuzzy, bristling, shoegaze-hip-hop masterpiece.

Live mixing dark ambient drone with pounding drum breaks, Dälek here proves it to be hip-hop at its genre-splicing best, with Brooks’ lyrics deftly sliding serpentine round Mare’s maximal wall of sound.

The backdrop to all of this are fragments from the accompanying art to Precipice. Lit up behind the duo is a flickering and vivid tableau developed by artist Paul Romano and featuring work from Mikel Lavanne Elam, whose Afro-Futurist work refracts much of the themes and history explored by Brooks.

Brook’s poetry is at its best when it marries embittered reflections on social injustices, casting them in an apocalyptic, wrathful, bull-blood-red light. In ‘Good’ his lines ricochet from the Sword of Damocles to police injustice, and references to popular tracks like Sam Cooke’s ‘A Change is Gonna Come’, ironically contrasting with the violence that seeps through the other lines, depicting Cooke’s track as naive, or overly optimistic.

Despite some technical issues, resulting in an impassioned Brooks pausing the show while the sound engineer tries to alter and refine the sound, the show is cohesive and tight. This temporary pause allows Brooks to meditate on the importance of live music despite the past two years of uncertainty, cancellation, and delay.

“This shit means too much,” Brooks states, turning to the crowd. It is clear that he treats his art, and the audience’s experience, with great care and sensitivity.

And by centring on the shared experience of musician/audience, the latter half of the show and its lyrics depicting a world wrought by anxiety, agonising injustices, and the twilight hours of a decaying global order, are supplanted by the vein of rebellion and a social collectivism that constantly emerges in Brooks’ lyrics.

Find out more about Dälek and their most recent release here: www.dalek.bandcamp.com
For more on GNOD visit: www.gnod.bandcamp.com
For more on Action Beat visit: www.action-beat.bandcamp.com  
Mikel Lavanne Elam visit: www.mikel-elam.format.com
For more on Paul Romano visit: www.workhardened.com/links

For details on the upcoming Supersonic Festival (08/07-10/07) visit: www.sup:ersonicfestival.com/supersonic-2022

For more from Centrala go to: www.centrala-space.org.uk

Writer Jasmine Khan / Photographer Connor Pope

Lysergic Lounge must be one of the most dynamic music events happening in Digbeth at the moment. Nortons, the new-ish, ‘not like another Irish bar’, is not an easy space to fill. It’s surrounded by road works on all sides and far enough away from Trinity Street that no one’s going to stroll by accidentally, so I’m surprised to arrive at a gently buzzing venue mid-week.

I won’t throw shade at their drinks prices because I know they pay their staff a living-wage, but I might also start taking a hip flask with me to work.

Whilst the line-up looks great, in earnest I’m here to see Brum’s rising jazz talent Tom Ford. Ford’s Latest 2022 album The Tennis Champions is a melodic, atmospheric dream featuring his impressive guitar skills and vocals from the likes of Poppy Ajudha, Jay Prince, and Simon Jnr. Fingers crossed Ford brings along some of his session musicians to spice up the set, although seeing him for free might be outrageous enough in itself.

The first support band is three-piece Oh Dear and I’m pleasantly surprised when they get started. At weekday gigs the first band can often feel like a placeholder, or some kind of background noise to warm up a distracted audience.

This was not the case for Oh Dear, who brought along their own small enthusiastic fandom. Their disco indie-pop because the synth and keys bring the groove but their frontwomen also captures that indie-soft-girl vibe as her voice soars and falls in a way that reminds me distinctly of Florence + The Machine.

At the end of their set, Oh Dear declares a dance competition the prize of which is a t-shirt. The only disappointing part of their set is Oh Dear decides ‘Zoe’ is their winner. Suspicious, how did Oh Dear know Zoe was called Zoe?

Next up it’s Big Troppy and their big personalities become apparent immediately as they shred their guitars, whip their hair, and squat staring at the audience. The frontman, proudly donning a spiderman snapback, really speaks to my soul. He’s living for himself and frequently gases over the mic explaining this is the bit he’s left to catch his breath between songs.

The four piece rock band has exceptionally pacey garage drums, rough vocals and enough riffs to fill me up. My favourite track is ‘Consider Me Dead’ which is about being “really, really, really, really… hungover”. It begins soft like that moment before you realise you’re actually hungover: “Consider me dead as I lie here in my bed.” Then, the bass and drums come in heavy both, guitars are rinsed, and the sound becomes almost deafening, like when you realise you’re hungover.

The crashing symbols and ironically depressing lyrics are nostalgic, I can’t help but have a little head bang over Big Troppy’s infectious rhythm.

Next up should be Fitzroy Holt, but there’s been timing issues and due to some of Ford’s band needing to return to London that night, Tom Ford is up next supported by Simon Jnr on vocals, Parthenope on Sax, Hugo Piper on bass, and Nathan Shingler on drums.

Ford begins playing his beautiful guitar slowly and emotively whilst also pulling off a mullet. Simon Jnr’s soft falsetto is added, harmonising alongside Ford’s melody, and Shingler’s drums are spontaneous and tight. Piper’s bass twangs, and Parthenope’s sax enters like a welcome breeze on a summer’s night. The artist’s collective sound is impeccable, flowing between different standards with ease.

Ford takes a moment to say “Please vote anything but Tory in the next election” which is well received by the creative crowd.

As the drums peel back and the rest of the musicians on stage minimise their sound, Tom Ford is given a chance to display his extensive blowing talent. His fingers are perpetually blurred as he cascades them up and down the length of his personalised guitar. Despite his tempo, each note is clear and crisp, promoting gasps and rounds of applause from the audience at the end of his solos.

When the full body of the sound returns, carried by the Parthenope immaculate sax, I get stuck looking at the drums for a second, then I’m drawn to Simon Jnr’s sultry vocal and tight rap flow. Ford is working the guitar with even greater determination and a rainforest appears in my mind’s eye.

It feels like Tom Ford’s musical collective is an ecosystem of sound, perfectly in sync, fuelling one another.

It’s a tough act to follow, and whilst matching the technical ability of a Ford’s jazz ensemble is understandably out of reach, Fitzroy Holt’s impassioned alternative rock energy does not disappoint. His powerful emotive vocals cry out into the audience accompanied by complex and creative guitar riffs.

The floor stays full even though the headliners have been and gone and Fitzroy Holt treats us to his latest release ‘Medicine’ which he consistently delivers with precise drama, easing up and then letting us have it at just the right moment. I’m losing my energy to dance and spend the remainder of the set sipping my pint, bobbing my head, and taking in the great sound at the back of the room.

Gosh it must cost so much to heat this place.

For more from the artists please see the links below:
Oh Dear: www.instagram.com/ohdearisaband
Big Troppy: www.Linktr.ee/bigtroppy
Fitzroy Holt: www.linktr.ee/FitzroyHolt
Tom Ford: www.linktr.ee/tommford

For more gigs and events from Lysergic Lounge visit: www.facebook.com/lysergicloungelizards

For more from Nortons, please go to their website: www.nortons.bar

Writer Henry Hanssen / Photographer Celcio Santos

The hip and exciting sounds of fresh jazz can now be heard all through the Custard Factory in Digbeth every other Tuesday. Roberto’s Bar and Tasting Club has become the home of a new local jazz night, run by Birmingham Conservatoire’s Henry Wakley.

Upon arriving, you are likely to be greeted by a stoic, impressively bearded man named Roberto. A purveyor of all things beer, Roberto stocks a vast variety of weird and wonderful refreshments. Follow a steep spiral staircase up and you will find your evening’s entertainment.

With the aim of showcasing young local musicians in the Brum scene, Wakley has put on a range of gigs so far, all featuring students from Birmingham Conservatoire and their budding jazz talent. The night feels homely and comfortable, made more wonderful by the addition of a raffle with a strange and surreal selection of prizes, from red wine to garden gnomes.

On this occasion, London based trumpeter Billy Rowlatt takes to the stage with the Roberto’s house band, Henry Wakley (drums), Tom Marsh (bass) and Ollie Canham (guitar). Rowlatt delivers a highly eclectic set, mostly consisting of jazz standards, with a sprinkling of more contemporary and original numbers.

The band sounds totally together, bringing an electric sense of freedom to each tune and Rowlatt interacts with each member of the band tastefully. Tunes like ‘Nica’s Dream’ and ‘Four’ have a particular feeling of progression as the band tackle them with ease.

Rowlatts’s tone is remarkable, comparable in quality to greats like Lee Morgan and Blue Mitchell. The sophisticated articulation that he achieves from both trumpet and flugel horn is truly admirable and rarely found in someone of his age. He sounds perfectly at home in Roberto’s.

The band itself provides a wonderful jumping off point for Rowlatt, allowing him to explore each tune until his heart’s content. Ollie Canham’s guitar comping feels so natural, adapting to every tune and never sounding lost. For my money, Ollie is one of the finest up and coming jazz guitarists in Birmingham. Henry Wakley and Tom Marsh form a powerful backline, having played together for years previously. They have an audible chemistry which progresses with each gig and this one is no exception.

Upon finding out that they had only a day to rehearse, I must say the band’s performance went swimmingly. The quartet weaved in and out around some of the jazz canon’s most sophisticated standards like ‘Darn That Dream’ and tackled two of Rowlatts’s original compositions which roasted the band on their reading ability.

Wakley has once again delivered an enchanting night of jazz, which leaves you on the edge of your seat while simultaneously lulling you into a feeling of relaxation.  I eagerly await the next gig at Roberto’s, where maybe I’ll finally win the raffle and get that gnome I had my eye on.

For more from Roberto’s Bar and Tasting Club go to their Facebook page: www.facebook.com/robertosbardigbeth or follow them on Twitter @RobertosDigbeth

Writer Jasmine Khan / Images taken from ‘Burden’ video

 

PleasePrettyLea is no newcomer to the Birmingham music scene having featured in BABMAG, as well as played staple venues like Centrala and the Hare and Hounds in the last year. Her new theatre-pop release ‘Burden’ is an alt-ballad with heavy 808 twists and a music video with early 2000 levels of drama.

‘Burden’ begins PleasePrettyLea’s eerie, atmospheric, lullaby vocals. Some delicate but mostly deviant harmonies are combined with waves of sound, before being layered with tingly tones and tasty beats by Zaq Coffee Sawyer.

This sound builds into immense crescendos and then disseminates into earth shattering break downs, over and over again.

‘Burden’ is dark (although not as dark as ‘Ohheycide’) and there’s a pit forming in my stomach. PleasePrettyLea’s music regularly evokes a physical response in me.

In the music video, these swells of textured sound are beautifully represented by PleasePrettyLea (whose white shirt and leather trousers remind me of Janet Jackson) falling to her knees in an abandoned warehouse and drowning in perpetual rainfall.

The bass drops out. We’re left with a low hum and PleasePrettyLea’s lone voice.

At first it whispers, then it shrieks cunningly, as snippets of her vocals clash over each other getting louder and quicker like a witch laughing on a west end stage. PleasePrettyLea’s acting background is surfacing just the right amount.

With clear influences from FKA twigs, Solange and a sprinkling of Billie Eilish,   PleasePrettyLea’s lyrics are fearless and revealing when the bass comes back in. They speak on the deep insecurities that come about when we don’t feel like we’re enough for those we love.

“I feel lonely, in a room full of friends”

“I don’t feel worthy of your love, you’re way to kind”

‘Burden’s pace picks up and with the spiralling beats and off kilter vocals it feels like I’m tumbling down the rabbit hole. PleasePrettyLea’s various theatrical tones prick my ear with the kind insecurities that keep you up at night.

“He left you/ Such a fool to believe/Lies and deceit”

Her to the point lyricism is seriously relatable and reflective and the instrumental perfectly captures being overwhelmed by a negative internal narrative.

“Take me by the hand and I will show you/He doesn’t do the things that he’s supposed to/I don’t want to be a burden to you”

Similarly to other recent releases like ‘Shovelling Shit’ and ‘Nude Silk Dress’, ‘Burden’ isn’t meant to be sexy. Although some people could interpret that way if they got caught up in the way PleasePrettyLea looks, rather than the way she sounds.

Her drowning in water, screaming and throwing herself about the place (for lack of a better phrase) isn’t about writhing around and being wet for the male gaze. It’s two things. It’s physicalising of the way PleasePrettyLea’s partners toxic behaviour impacts her and also a deeper examination of why she allows those she loves to treat her in such a way.

The second point is emphasised by PleasePrettyLea the one wrapping herself up in chains, physically in the music video, and mentally in real life. It’s a clear warning sign and a message to other young women experiencing a similar affliction: Break free.

A self-proclaimed dramatic who seeks to challenge and thrill her listeners, PleasePrettyLea is innovative and unafraid to explore taboo topics like the darker elements of mental health. Which is refreshing because quite regularly my mind feels like a PleasePrettyLea video.

It’s nice to know that you’re not alone in feeling like you have to pull yourself apart to put yourself back together. And it’s also a bit astounding to see PleasePrettyLea drop truth bomb after truth bomb with weird (but somehow still aesthetic) music videos.

Watch this space.

‘Burden’ (sample) – PleasePrettyLea

Follow @pleaseprettylea on all social media and to listen to her on Spotify click here