Category: BR Content

Words by Matthew Osborne / Pics by Jonathan Morgan

For a variety of reasons (including a stressful day at the office followed instantly by a four year old’s birthday party) I was looking forward to a few beers on Friday night, and having my rib-cage rattled by supersonic bass lines.

The beer was easy to come by, the Hare and Hounds has a reputation as a seller of ales after all, but I had to wait through a fairly tame DJ set for anything approaching a vibration in my bones.

No fear, I thought, as I knew that the Alternative Dubstep Orchestra (ADO) would be performing soon. As show time approached, the room – which had remained fairly empty whilst the DJ played, began quickly filling up.

When the many ADO members, too plentiful to count accurately with beer inside you, took to the stage, I manoeuvred myself into a dancing position. They started with an instrumental number which kept on threatening to drop in a devastating way, but it ended before it could; the tune acting more as an introduction to proceedings.

But when vocalist Mish Maybe arrived the ambience changed; she and the violinist performed a beautiful and wordless duet. This was the opening to their new single, ‘Power’. It quickly developed from haunting ambience to menacing intensity as the band expertly wove angular guitar parts with vertiginous bass drops and electronic wizardry.

However my rib cage was still very much intact, I noticed after a quick pat down. Song after song ADO played all the right cards to get my feet stomping and my hips telling the truth (my attempt at dancing) yet there was always something missing.

I ran through a mental checklist; drums, tight as a ducks rear entrance; horns, splendid and bright; guitar, sparkling; bass…. great bass lines. But there lay the key, I thought. The Hare and Hounds was perhaps not built to withstand devastating bass attacks, but it felt as though someone had turned the lower frequencies off. 

For much of the night it felt like ADO were dropping it like it was warm, but I don’t think this was entirely their fault. For the whole set I admired their musicianship and inventiveness; ADO reminded me sometimes of Portishead, with Maybe’s vocals possessing that injured quality Beth Gibbons made her trademark. At other times the felt like a more invigorating Massive Attack.

Towards the end of the set I fidgeted around the room and eventually found a sweet spot near the sound desk. Finally, from there, I was able to get a bass sound that slapped me about a bit. My bones still retained all of their calcium, but it was enough to scratch a bothering itch.

Alternative Dubstep Orchestra are an act that needs festival size stages, or rigs big enough to do their sound justice. And when I played the 12” vinyl of ‘Power’ on my home stereo, with the bass turned up full, I immediately got what had been missing at the Hare and Hounds.

For more on Alternative Dubstep Orchestra, visit their Facebook page at https://www.facebook.com/AlternativeDubstepOrchestra

For further gigs at the Hare and Hounds, visit http://hareandhoundskingsheath.co.uk/

Words by Ed King / Pics by Andrew Rawe – full gig shots can be viewed here

Of all the C words I’ve been called, ‘cynic’ is probably the worst. It can be true.

And as I watch Louise Petit’s video to ‘Christmas Time with You’, her Benetton friendly 2012 yuletide release, I feel the Grinch growing under my skin. How dare people be so happy.

I had a similar reaction to the opening track on Petit’s Fear and my Other Friends EP, ‘Love is Pure’; the very title making the angry amphetamine addled teenager in me surface for revenge. Love isn’t pure, it’s painful and spiteful; and if I want any chance of surviving tonight’s gig I’ve got a 20minute bus ride, to the Ort Café in Balsall Heath, to come to terms with my demons. They’d better serve wine.

Arriving at Ort I see an old friend by the entrance; he makes his way home with a Jalfrezi as I walk in to a small and crowded café. Nestling up to the bar I order a “large glass of red” and make my way to the only available spare seat and wobbly table.

I’ve never been to the Ort Café before, and tonight feels like Moseley meets The Custard Factory at a Bring & Buy reunion. But welcoming, in a way I imagine Inns of yore were to travellers, and I’m quickly making small talk to the men sitting behind me.

Having missed the last minute support act Chris Tye, who stepped in when Injured Birds pulled out due to injury, I sit down just as Louise Petit starts her headline set; opening with ‘Ghosts’, another track from her self released EP.

Petit’s voice is soft and sincere, with a reticent power lurking behind it; and the double bass and stripped back percussion that support her, elegantly complimentary. Honestly I was expecting more chintz.

‘Home’ picks up the tempo, before ‘Knots Inside’ – a candid reminisce about her old bass player, who was apparently a “lovely guy, but quite angry…” (sounds like someone I know), introduces a modern jazz flavour and well delivered harmonies. And above the wailing of sirens along the Alcester Road, I’m reminded of both The Kinks and Scott Matthews.

A friendly soft lament gets delivered to us next, making the woman in front of me start the single shoulder sway and wedding knee tap that is usually reserved for tired receptions.

I start to sense most of the room know most of the words; and as I mouth “…not even a crossword” discover, apparently so do I. But from where..? And as the chorus tell us “myyy love is puuurrre” my internal Bill Murray walks out the room in disgust. But bollocks to him, it’s a good song – even if the whistling reminds me of a certain compass specific milkman.

The rest of Petit’s set rolls through with some colloquial banter, soft acoustic melodies, and the occasionally overused metaphor.

Highlights come in ‘All Be Good’, a composition Petit penned for her GCSE Music course, and ‘Plastic & Glue’; the latter and love song being directed to Petit’s fiancée sitting directly behind me. An unfortunate logistical discovery which undermines one of my more preferred C words whilst reporting, ‘covert’.

As the obligatory encore ensues, and a much merrier me sinks his teeth into a sing-a-long, I remind myself to be happier; even Tori Amos has her place. And the Ort Café, for tonight at least, carries a genuine air of camaraderie and companionship. I arrived alone but never once felt it, ending up with another old friend at the bar before leaving.

And as for Louise Petit, I’m further sold now I’ve seen her play live. And whilst I won’t watch the saccharine jumper fest she released last Christmas again, expect to see me front row centre at her Moseley Folk Festival performance.

(which, if I’m reviewing it, may be in disguise)

Louise Petit plays the Centre Court Stage on Friday Aug 30th at this year’s Moseley Folk Festival. For more info visit, http://www.moseleyfolk.co.uk/line-up/friday/

For more on Louise Petit, visit http://www.louisepetit.com/

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Or more on the Ort Café, visit http://ortcafe.co.uk/

With more familiar faces than a Trafalgar Rd house party, Alternative Dubstep Orchestra (ADO) are back at the Hare & Hounds on Friday Aug 16^th.

Describing themselves as ‘genre bending live dubstep’, and consisting of brass, strings, keys and vinyl, the rest of your clue is in the title. But made up of seasoned musicians and DJs, headed by vocalist Mish Maybe, whatever they actually play is probably worth listening to. 

Returning to the place of their birth (ADO started out as resident band for The Honeycomb Club, an old H&H monthly), ADO are back in Birmingham following a lauded performance at the Mostly Jazz Festival.

And after being dotted around the 2013 festival circuit, recently back from The Secret Garden Party and Staycation, ADO continue their steady march around the UK and beyond – a musical war of attrition waged since their conception in Nov 2010.

With a football squad of members, and some seemingly so good they name them twice (Mr Livemore’s evil twin?), ADO have a pretty impressive ensemble – many of whom side step other bands and projects to continue in the collective.

ADO’s debut vinyl was released in 2012/13 on Hero Records, featuring original tracks ‘Power’ and ‘Waterfall’; with various remixes of the later on the digital download, alongside a cover of Rusko’s ‘Cockney Thug’.

Birmingham Review first covered them in Nov 2012, when ADO fever sold out a pre-vinyl release party at the Hare & Hounds, and has subsequently heard an array of weird and wonderful ADO plans – some of which we’ve either missed or have not yet come to fruition.

But since when was working with a room full of people schedule friendly?

And considering the impression ADO left after their recent Mostly Jazz Festival show, alongside an arguably incongruous omission from the Shambala line up, Birmingham Review suspects Friday Aug 16^th gig will be a busy ol’ affair too.

So that should keep us going… for now.

Alternative Dubstep Orchestra play at the Hare & Hounds in Kings Heath on Friday August 16^th. For more on this gig, including tickets, visit http://hareandhoundskingsheath.co.uk/event-listings/event/?eventID=10027648

For more on Alternative Dubstep Orchestra, visit their Facebook page at https://www.facebook.com/AlternativeDubstepOrchestra

Hailing from Staffordshire, Louise Petit cut her teeth on The Midlands’ open mic and acoustic circuits.

After a year of performing solo shows, Petit garnered the support of “like minded” musicians and developed a band – currently consisting of Russ Sargeant on double bass and Tim Heymerdinger on percussion, with a variety of guests at the ready.

Combining a mix of acoustic folk, pop, Americana and country, Lousie Petit released her debut EP in 2012, tilted Fear and my Other Friends.

A 5 track release of original songs (with a handmade cover) Fear and my Other Friends jumps from the up tempo almost bluegrass approach of opening track ‘Love is Pure’, to the soft introspection of ‘Ghosts’, rounding off with the melancholic lament of ‘A Fading Light’.

Jumping between instruments and intonations, the versatile Fear and my Other Friends was preceded by Christmas Time with You – a Ukulele led yuletide single, full of jumpers and good-will-to-all, released in Dec 2012.

Cited for ‘marrying her storytelling to visuals’ and ‘lyrics (that) tell tales of love, loss and sharks’, Petit has plans to release accompanying videos to many of her songs.

Previous videos have included a performance surrounded by stuffed animals for ‘Demons’, and a collaboration with award winning animator Ryan Woodward for ‘Ghosts’.

Louise Petit comes to the ORT Café on Saturday 10^th August, with support from Nottingham four piece, Injured Birds.

For more on Lousie Petit, visit http://www.louisepetit.com

For more on Injured Birds, visit http://injuredbirds.wordpress.com/

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For more on the ORT Café, visit http://ortcafe.co.uk

 

Words by Ed King / Pics by Katie Foulkes

“I think its Jelly Beans,” explains Unique – offering an acute example of her very real (albeit unusual) phobia. “Me and the bottom floor of Selfridges,” a pause and look of reflected consternation, “…no.”

I decide to Google ‘fear of sweets’ later, it’s too nice an afternoon.

We’re sitting in Moseley, enjoying both the bohemian sun and thin air of evening aggression the south Birmingham suburb accommodates so well; counting down the minutes and drinks until Unique’s set at Freestyle – The Bull’s Head’s regular Friday knees up.

Sharing the bill tonight are the Suffolk singer/songwriter Yoji (a last minute change from Phe Phe) and local soulstress Keziasoul. But it’s Unique who’s grabbed Birmingham Review by the short and painfuls, having first found her whilst working on The Flyover Show events in Handsworth.

We make it to The Bull’s Head’s upstairs room just in time to catch the end of Yoji, belting out a cover of Prince’s How Come U Don’t Call Me Anymore? I start thinking of clever segues from her size (small) to her voice (big), but decide to side step one obvious for another. Yoji can sing.

A quick change over and Unique is up next, joined on stage by her percussionist and bassist – but leaving a rhythm guitar shaped hole in the usual line up.

The trio settle in, introduce who’s on stage and who’s not, and open with a reassuringly firm-yet-soft hip hop backline and acoustic guitar/vocal delivery of Covered in Frosting.

I write various one word descriptions into my notebook, then scribble them out. In a room full of talent it’s often simply style that prevails.

 I Dare You moves mournfully into more acoustic territory, with Jazz scat and gruff accusations making me wonder who this was really written for; before Unique declares “I’ll try to make you smile, if that’s OK” with a modern Jazz approach to Stranger.

The rest of the set moves from Jazz beats to Hip Hop, with the ever present air of an acoustic guitar keeping Roots in the ground.

Unique’s voice ranges from a low Eartha Kitt growl to the more mellifluous end of Corrine Bailey Rae. And despite the muffled acoustics from the close quarter speaker stacks (apparently affecting  my ears more than others) it’s clear to hear Unique means what she sings – as only an honest and endearing artist can deliver in a small room.

Lyrics challenging the integrity of art, the place of fame, people’s purported friendship and the importance of supporting musicians (and music venues) on a truly local level, are all delivered directly and to us – the latter getting an impromptu round of applause from the Freestyle crowd.

Unique’s last track is The Wife, an infectious shoulder swaying dedication to the strength of woman – and reminiscent of Erika Badu at her best. It feels like the sound she was aiming for, or perhaps just one she gets a big kick out of performing. Regardless, it’s a solid track and a cracking set closer.

An intelligent songwriter, with soulful intent and an acoustic guitar. And even if you don’t like her candid approach and husky scat, you can’t deny the girl’s got talent. Like a cross between Ella Fitzgerald, Lauryn Hill and Ani DiFranco, Unique is too valid to ignore.

And despite my lazy journalist comparisons (something I usually avoid like an overused simile) she is one of a kind. Awesome. Creative. Original. Unique, in fact; so an appropriate moniker.

I mean, even despite her music, who the hell else is scared of a Jelly Bean?

For more on Call Me Unique, visit http://www.callmeunique.co.uk/

For more on Freestyle, visit https://www.facebook.com/freestylebirmingham  

For further listings at The Bull’s Head, visit http://bullsheadmoseley.co.uk