Author: birminghamreview

Writer Emily Doyle / Photographer Sam Wood – cover art supplied by Dorcha

Sometimes acts feel the need to dredge up a song from their back catalogue over and over. It might be a fan favourite, or something that didn’t quite hit the mark the first time round. This is rarely a rewarding practice for the artist, or for the listener.

That is not the case with Dorcha’s ‘Bruiser’.

Back in 2018, Dorcha released the original version of ‘Bruiser’ as a stand-alone single. It draws the listener in with an irresistible post-punk bassline, before devolving into a cacophony of plaintive violin, organ freakouts and a ¾ breakdown.

It’s challenging, chaotic, and absorbing. Who could have known that what it really needed was…disco?

Flash-forward to 2020. It’s November and the UK has just gone into its second national lockdown. Enter Honey Badger, an album Dorcha has been gestating in Geoff Barrow’s Invada studios. Towards the end of side A there’s a familiar face.

‘Bruiser’ (2020) opens on composer-bandleader Anna Palmer’s breathy vocals, echoed by a string melody that’s straight out of golden age cinema. However, less than a minute in and a host of synths rumble into action. The arrangement has all the same urgency as its previous form, but now it feels like Dorcha have got their hands on the firepower to back it up.

The band proudly describe themselves as “genre-fluid”, and they’ve managed to strong-arm many of those genres into four minutes of surprisingly danceable avant-pop.

Yes, at times it jumps between ideas so fast it threatens the listener with auditory whiplash. But when the mists of psychedelia give way to the insistent rattle of a TR-808, you’ll be begging for more.

For more on Dorcha visit: www.dorcha.co.uk – to listen to ‘Bruiser’ (2020) on Band Camp click here. 

For more from Geoff Barrow and Invada Records go to: www.invada.co.uk

Writer Jasmine Khan / Photographer Connor Pope

I’ve not been to Handsworth for a gig before, and I’m not prone to moving much on Bank Holiday Sundays; but I’d travel pretty much anywhere to listen to Xhosa Cole, BBC Young Jazz Musician of the Year 2018 play his saxophone. 

Grosvenor isn’t elaborate but there are recent portraits by local artist Maryam Wahid hanging on the walls, as well as teas, coffees and patties which gives the space great energy. I’m not disappointed when the crowd is small and somewhat demure. This kind of jazz should be intimate, and with a spot quickly secured in the front row I’m ready to hang off every note. 

The quartet brag Nathan England Jones on drums, Josh Vadiveloo on double bass, Steve Saunders on guitar, and finally Xhosa Cole on saxophone. It dawns on me that the musicians’ suits match their instruments, and I wonder momentarily if it’s deliberate or a jazzy accident.  

Then, Xhosa leads on a relatively tame but still intricate number cascading his fingers gently up and down the length of his sax. Nathan’s drumming keeps perfect time whilst also building texture around Xhosa’s melody. Utilising switch brushes frequently, he never distracts from the clear crisp tones of the saxophone, but rather emphasises and enhances them at every opportunity.

Josh strums the double bass with both hands and Steve plucks his guitar expertly. The two play cleverly against each other, Steve’s eyes stuck to Josh’s bass, and Josh’s stuck to Steve’s guitar in return. The small glances and smiles grow amongst the quartet as the pace on the piece ebbs and flows, which makes it feel like there’s a game afoot. The musicians are passing rhythms and seemingly random but perfect notes between each other too cleverly for us to catch on. 

Suddenly, the sound is stripped back and we are left alone with Xhosa and his saxophone. 

He makes the melody dance with his impeccable musicianship. Breathy notes skip across each other almost entangled, fluttering, ascending and descending, holding the small crowd’s attention absolutely. 

Xhosa lets out a soft ‘mmm’ reiterating our sentiments.

The next song ‘While My Lady Sleeps’ is a darker atmospheric piece which starts with Xhosa sat down, and Josh trailing his hands eerily along the neck of his double bass. The cymbal and guitar synchronise bringing in the rhythm and Nathan’s diverse ability on drums carries us away. 

Xhosa stands up and delivers a long elegant note to the audience. This is the best Sunday I’ve had in a while, I think as the instruments individual sounds swim over one another. 

The quartet’s final song is ‘Come Sunday’ – how fitting.  I close my eyes and each phrase paints different colours and patterns in my mind. Sea blues and sunny yellows twirl and mix together to make deep forest greens. As the piece progresses, the greens warp into purple and then back to bright blue adding to my ever growing synesthetic collage.

Nathan’s eyes are closed too, I wonder if we were seeing the collage of sound. 

‘Come Sunday’ is far smoother than ‘While My Lady Sleeps’, and the gentle rhythm seems to spread in all directions, softly filling the room with a warm glow. When Xhosa takes his place centre stage again the soft glow curated by Nathan, Josh and Steve is ignited by the golden saxophone. 

Is not that the sound is lacking when Xhosa isn’t present, none of these musicians are lacking. It’s just the case that when Xhosa is playing his saxophone, the room is full of sunshine. 

For more on Xhosa Cole visit: www.xhosacole.com 

For more from Grosvenor visit www.grosvenorroadstudios.com

Writer Mark Roberts / Photographs supplied by Katherine Priddy

Katherine Priddy has been an under-appreciated gem in the Birmingham music scene for a long while, but following her 2021 album The Eternal Rocks Beneath, no longer. Priddy’s repertoire has seen some extensive radio play nationally, being championed by both BBC Radio 2 and BBC Radio 6 Music.

Richard Thompson of MOJO awarded Priddy’s EP Wolf in 2018, his gong ‘The Best Thing I’ve Heard All Year’.

Her track ‘Eurydice’ begins with an almost Burial-esque soundscape, whilst Priddy’s voice and reversing strings subtly create an atmosphere of the ethereal. Fitting, given the song’s title references the character Eurydice from Greek mythology who attempted to revive his wife with his enchanting music. The guitar enters, plucked with the fingers, harp-like, yet with an undeniable bounce contrasting the strings that sweep into and out of the mix.

With drama, Priddy extends her reach into the heavens. Stripping back during the verse with a strong, emotive, legato bassline, Priddy’s vocals wilt and yet soar simultaneously creating a feeling of ephemeral beauty. The fragility of the subject matter reflected perfectly in her voice:

“It feels like we’re fading,
you’re miles away,
are you still there though,
do you have nothing to say?”

This is all loosely sprinkled with atmospheric sounds courtesy of a chorus of Priddy’s voice seemingly refracting within the heavenly place she has reached.

The chorus, an undeniable hook, utilises every weapon in Priddy’s arsenal. The strings, in a fashion that wouldn’t be amiss in a Radiohead track, clash in a both dissonant and harmonious way to move from bridge into chorus. The release of the opening chord is much more powerful for it.

Priddy’s voice no longer wilts but ascends with absolute passion. The guitar dramatically punctuates the harmony, like a saw running through wood.

Eurydice takes its time ebbing and flowing and on its largest crescendo falls to its lowest point. Priddy closes with the line:

“You sink under slowly,
I knew you were only a shadow behind me,
I loved you blindly.”

Harrowing and glassy ‘Eurydice’ finishes.

It’s rare that you hear a song like this, so perfectly arranged, so subtly expressed. It truly moved me. So, stop what you’re doing now and go and listen to/watch ‘Eurydice’ below.

Better yet, go and see Katherine Priddy perform it live at The Glee Club on the 11 May.

‘Eurydice’ – Katherine Priddy

For more from Katherine Priddy visit her website: www.katherinepriddy.co.uk

For more from The Glee Club Birmingham visit: www.glee.co.uk/birmingham

Writer Tabitha Green / Photographer Erin Connolly

“I want to channel the artists of the 70s who were all about performance, you know?” MØTE frontman Alex tells me when I ask about his musical inspirations. The word “performance” buzzes around my brain as I watch the local indie-pop fivesome bring their first UK tour to a glittering close at new music hotspot The Sunflower Lounge.

Having just released their debut EP, the band exudes a contagious feeling of excitement that translates into a charming show.

With MØTE receiving support from fellow Birmingham artists Eliza May and Humantide, the night acts as a real showcase of up-and-coming local talent. Eliza May’s sweet, upbeat indie pop melodies starkly contrast with the darker punk offerings of Humantide, but I find myself impressed with both.

“They remind me a bit of Nirvana”, says a smiling audience-member as Humantide thrash and shred.

Half of MØTE casually walk through the audience and take their places on stage at a late start time of 9:45pm. A funky instrumental jam begins, and I find myself unable to resist the urge to dance. Where are the rest of the band? I wonder to myself as movement takes hold.

As if on cue, vocalists Alex and Lauren appear like sparkling beacons. Alex boasts a sequin jumpsuit and face of silver face paint, with Lauren slightly more demure in a sequin dress.

Alex is no doubt a frontman – he has a notable stage presence that really heightens the effect of the music. His rich, belting vocals perfectly balance out Lauren’s lilting, delicate tones, and this dynamic seems to shape the band’s sound. As the set progresses, I notice that the songs fluctuate between groovy dance numbers and slower, more guitar-driven numbers. Lead guitarist Joe is particularly impressive, often launching into solos that make me sharply inhale.

I really enjoy the entirety of the set – MØTE remind me that our local indie scene is ready to flourish again, and with a little polishing I suspect good things are coming for this band in particular.

You can listen to MØTE’s on Spotify here: www.open.spotify.com/artist/7DVeDIk9voXgBTLggANwcA 

For more from Sunflower Lounge, check out the website here: www.thesunflowerlounge.com

Writer Harry Croxford / Artwork supplied by Erbium Records

Ambitious and experimental, with a vision that brings together both sound and image, newfound Birmingham/London electronic music label Erbium Records is an excellent addition to the city’s creative scene.

Formed in 2020, Erbium is the product of DJs Jay Carder and Trieste, and visual artist Olly Green.

Trieste and Carder, mainstays of their respective electronic music scenes in Birmingham and London, have shaped the label’s expansive and malleable sound. The epiphanic highs of acid, the bristling tension of jungle, and the textured ambience of techno can all be found here. No strangers to sonic experimentation, after co-founding Voyage Events back in 2018, this ambitious duo’s new project is complemented by Green’s distinctive graphic style.

Across Erbium’s burgeoning discography, sound complements the visual. The liquid, chemical sheen of SDS MAX’s Trip Advisor album cover substantiates its acid-infused melodies. Meanwhile, the rusted electrical diagram on the artwork for Electric Supply Station’s The Last 10 Minutes foregrounds the vintage electronic sound that pulses and enlivens the record.

The label recalls dance music old guards like R&S Records and Hyper Dub, as well as recent movers like Central Processing Unit where experimental sounds coalesce with a strong visual aesthetic. This branding and musical eclecticism will attract listeners seeking out texture and sonic experimentation.

‘MINING RARE EARTH ELEMENTS’ states the label’s bandcamp, gesturing to an ethos where genres – elements – are spliced together to present the best of dance music’s liquidity and feeling.

Notable in this excellent roster, and a favourite of mine: Sublight Communications by Boulderhead. This impressive release extends Green’s visual throughway of the scientific, cosmic, and futuristic, where the release’s artwork of a space station porthole, bordered by chromatic modular panelling, complements Boulderhead’s sound superbly.

This sound is distinctive from the first track: ‘PG017’ which is rich and spacious. The IDM-tinged techno calls to mind the granular synthesis of artists like Monolake. While ‘Voltage Processor’ with its frenetic kick drum, gradually enveloped by a helter-skelter-like synth-line, never quite arrives and leaves the listener in a euphoric, nervous state.

Tracks like Boulderhead’s are tunes that capture what is best about dance music and what attracts the listener to Erbium.

Through this label’s discography, unity is founded through its variety of sounds. In doing so the team behind Erbium and its roster of artists reflects what makes Birmingham – and Birmingham’s electronic music scene – so great: its incessant and ingenious ‘mining’ of elements to experiment with and mix.

I’m excited about what comes next for Erbium and, if you’re in the least bit interested in the shape of Birmingham electronic to come, you should be too.

To listen to Erbium Records’ most recent compilation Reactions Vol.2, released on the 28 January 2022, visit: www.erbiumrecords.bandcamp.com/album/reactions-vol-2 

For more on Erbium records visit: www.erbiumrecords.bandcamp.com