Category: Releases

Today (27^th Jan) sees the launch of Call Me Unique’s latest EP, Urban Gypsy.

Originally scheduled for a pre Christmas release, the 7 track EP had to take its place behind a punishing schedule – pushing its final freedom back until the New Year. Available via free download (more info on Call Me Unique’s website) Urban Gypsy will get its first live outing at a special free party at The Yardbird tonight – joined by a healthy line up of support. Click here to read our Preview.

One problem with Call Me Unique is her success, or rather the success of her material to date and the expectation it creates. She is, as quite clearly stated, unique. And whilst that won’t guarantee you’ll like her approach; the controlled growl to lark song voice or heart on the sleeve lyrics, but those that do can get quite nutty about it. Like something rare in a cage, you want to own it. Or part of it at least. Your part of it.

Urban Gypsy is a step away from the raw six string acoustic verse you’ll have seen Unique perform on YouTube posts and MPEGS. ‘The Wife’ is not on it. But in its place is a perfectly pitched production from the 33 Beats founder and producer, Professor F. Bravely stripped back, simple, mature, elegant, and with a constant respect for the material, the singer’s range and an ever present melody.

‘Bombs & Wars’ uses a dark sonar to underpin its message, challenging the confused violence of the world’s powerful and scared (watch out for the additional verse from MaliK MD7) . ‘Here’ carries Unique’s whispered plea with a soft backline and educated clarity, allowing every nuance in her vocals to take the right place at the right time. A simple repeated clap gives ‘Showlow’ a perfectly restrained hook, although the 80’s synth sometimes edges the song to a distracting boarder; whilst the EPs title track survives a risky cacophony of with a solid rhythm and well paced verse. The whole ensemble carries an air of melancholy and summer; it makes me think of tired journeys, love and something soft on my back.

But the shining star is ‘Stranger’, a beautiful lament to an unidentified love – supported by a simple piano riff and the dutifully, deftly, stripped back snare and kick drum that pepper this EP. Plus the subtle guitar makes a welcome return to the front.

Throughout ‘Stranger’ Call Me Unique feels alone, strong but isolated, and you can’t help but wonder who the recipient of her woefully honest plea is. I joked recently that Call Me Unique is ‘now officially the busiest woman in Birmingham’ after an excitedly long answer to my obvious question and small talk. But 2013, it seems, was an intense year for the singer/songwriter – acting only as a precursor to busier schedule in 2014. And whilst Unique explains “…trials and tribulations makes the boy the man he need to be”, I question if the song’s subject is so easily defined by gender.  Is it a man, is it a crowd, is it the road? All we know is “I’m the stranger… and I try to make you smile, if that’s OK.”

Urban Gypsy is an excellent EP. Call Me Unique has been worth attention for a few years, with her on street confidence, controlled vocals – confidently jumping from Soul to scat, and professional approach to graft; but Urban Gypsy is something new.

The pairing with Professor F is an absolute powerhouse, bringing a flavor to her material that SCREAMS ALBUM and of a producer’s understanding to their subject and craft. I am constantly reminded of Reachin’ or Baduizm – and whilst no comparison is fair, to be lined up against those debuts means you’re doing something very right in my book.

The only criticism I have about Urban Gypsy EP, and it’s an important one, is that it’s free. Call Me Unique works hard, and artists producing content of this quality deserve to get paid. Otherwise they will inevitably have to stop, and when that happens we all lose.

Urban Gypsy EP is available for free download from Monday 27^th January. For more information visit http://callmeunique.co.uk

Urban Gypsy EP Launch Party is being held at The Yardbird tonight / Monday 27^th. Read our Preview for further details – click here

Monday 13^th January sees release of Feathers’ debut EP, Only One.

With two new tracks, ‘Wild Love’ and ‘The Only One’, alongside two remixed album offerings, Only One EP is out on digital release from today.

The four faced evolution of Anastasia Dimou’s ‘recording project’, Feathers’ official start date is 2011 – with Dimou reportedly first performing under the name after her relocation to Austin, Texas.

Feathers’ first single, ‘Land of the Innocent’ was released in on March 4^th 2013, with their debut album, If All Here Now, following at the end of May last year.

Combining Pop melodies with a darker Electronic edge, Feathers have drawn comparisons to Chicks on Speed, Little Boots and Depeche Mode – the latter directly requesting Feathers to support them on their 2014 European tour, coming to Birmingham’s LG Arena on Jan 27^th.

Talking about If All Here Now, Dimou claimed it “may be too poppy for some, and too dark for others” in an interview with Paul Lester at The Guardian (New band of the day, No1044 – 28.1.13)

But flavours of Dimou’s cited influences, Nine Inch Nails and PJ Harvey, are softly present across the 10 track album –creating an arguably more palatable Fischerspooner or Miss Kitten. But as the New York state bred producer also states in her Guardian interview, “I will always love a good chorus, that is certain.”

Only One EP is out on digital release from Monday 13^th January. For more on Feathers, including a digital downloads/purchases, visit http://www.feathers.fm

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Ed’s Note…

Arriving late to this party, If All Here Now is an intriguing debut – one that’s firmly hooked me into Ms Dimou’s portfolio for now.

Reminiscent of some more exciting producers of yore, its Feathers’ sensitivity to a simple melody that’s got me most interested; because that, despite the grandiose pretensions in some corners of Electronica, is what I listen to music for. Be it Erik Satie or Simple Minds, it’s gotta grab ya’.

‘Wild Love’, the opening track on Feathers’ Only One EP, does just that. And currently, after a weekend of repeats, has not let go. ‘The Only One’ is sadly not as memorable, but steps aside for a crisper (or Alternate) remix of the addictively punchy album track, ‘Believe’.

Closing the four track EP is a Vogel remix of ‘Familiar So Strange’, where the LA based producer makes Feathers’ calmly ethereal album track sound like an early Perfecto release. Not that there’s anything wrong with that (casually glancing at my CD rack) I just preferred the album version.

But with If All Here Now giving me more each time I play it, I’m saddled up for the next adventure from Dimou & her three musketeers. A lot of promise here, tbc…

Ed King is editor of Birmingham Review: https://twitter.com/edking2210

Review by Ed King

I’m a sucker for piano led vocals. So, on hearing London Grammar’s first signed single release, ‘Wasting All My Young Years’, my AmosMcLachlan metre went straight into the red. Like it or loathe it I had to know it; and thank god for SoundCloud.

Formed whilst at Nottingham University, London Grammar are vocalist Hannah Reid, guitarist Dan Rothman and the multi-faceted Dot Major. This I knew, but after an initial rush of blood I decided to wait for more music before making any definitive statements about the electro rooted three piece.

The worlds of ‘stripped back’ and ‘melancholic’ can be tremulous places, and I can be too quick to judge something without exploring the cracks, especially from new bands. This, in turn, leaves me over critical about any distress lines I later find; and occasionally red faced after exulting too early. And after all, I once bought a copy of Inside In/Inside Out.

So with an album in offing, I resigned myself to a summer of their Metal & Dust EP (plus remixes) and a judgement in reserve.

That was June, it’s now September, and London Grammar’s debut LP is finally ready to kiss, marry or kill; as the appropriately titled If You Wait went on general release today.

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Opening with ‘Hey Now’, one of London Grammar’s initial online releases that got them noticed and signed up, the slow piano riff and plucked guitar strings set a familiar yet reassuring pace.

For about 15 seconds I know where I am, then Reid’s vocals saunter through an echo effect and drum roll. Soft, deep, precariously precocious – I’m not sure. And I’m reminded of the ‘Femme Fatale’ see-saw, with Lou Reed’s vocals on one end and Nico’s on the other, and a question of delivery I’ve never been able to answer. But by 1min 20secs I’ve stopped thinking. There’s something too endearing and complimentary about the whole.

Fading out on Reid’s vocals, I consider pressing repeat – before the foreboding initial skies of ‘Stay Awake’ clear to a slide guitar and fast high hat. And before I realise this is the first new material I’ve heard from London Grammar, we’re back into the simple soft keys, plucked guitar and vocal intro of ‘Shyer’.

‘Wasting My Young Years’ follows, standing up to its new neighbours with confident sequencing, before a slight key change introduces ‘Sights’; with Reid’s vocals travelling up and down her mysterious register, as the boys behind the curtain building a mournful dénouement.

The rest of If You Wait follows a seemingly inherent formula; sparse intros of vocals, keys and string – building to ebbs and flows of melody and production, ending in an almost clandestine crescendo.

There is ‘a sound’, but unlike some contemporaries in this genre London Grammar seem focused on songs too. And when Reid’s vocals are given a somewhat freer rein, as in the penultimate ‘Flicker’, they show much more than just stage school potential. I kind of want to hear her sing at something.

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If You Wait is an accomplished debut album, one that will remain on repeat a while longer at Casa King; 11 tracks that set out a very promising stall.

The danger London Grammar face will be in comparison; to which I have one word. Drums.

Another threat could be some canny music exec trying to focus on one aspect over another, when it’s the synergy of vocals and production that will carve them a sustainable corner. I’m already interested to see what Reid, Rothman and Major come up with next, provided it’s Reid, Rothman and Major.

I’d also like to see them perform live, and on Oct 23^rd Birmingham Review will hopefully get a chance to do so when London Grammar play the Birmingham O2 Academy.

Until then I’m keeping my mouth shut. I’ve probably already said too much already.

London Grammar’s debut album, If You Wait, is out on general release today – Sept 9^th.

For more on London Grammar, including digital downloads and gig listings, visit http://www.londongrammar.com

London Grammar play the Birmingham O2 Academy on Oct 23^rd. For more on this and other gigs at the O2 Academy, visit http://www.o2academybirmingham.co.uk/

Review by John Noblet

It would be impossible to write this review without a full disclosure. Seven years ago I heard the song ‘Wanderlust King’ by Gogol Bordello and it completely changed my life.

Not only did the album it came from (Super Taranta) have a massive effect on the music I make and the band I would eventually form, but I related to the lyrics and energy of the band with an intensity usually reserved for thirteen year olds discovering Nirvana.

The restless energy, the sense of intoxicated romance, the rejection of modern civilisation’s promise of safety. Yep, I bored the hell out of my friends with that one for a few years.

However, there are some that see Eugene Hutz and his gang of merry pranksters as the music industry’s equivalent of the twats who dress up in bowler hats with twirly moustaches to sell ridiculously overpriced crepes at boutique festivals; a point of view which has not been helped by the band performing with Madonna or releasing a song with Coca Cola’s name on it for the European Cup in 2012. Nor has it been helped by Hutz’s slightly embarrassing habit of sprouting pseudo mystical gibberish in interviews.

“So Johnny,” I hear you ask. “What’s Pura Vida Conspiracy like?”

The short answer is that those who are already fans of Gogol Bordello will probably find a lot of stuff to enjoy. Opener ‘We Rise Again’ finds the band in rambunctious form, with a country style backbeat giving way to pounding hardcore drums, and some nice political touches in the lyrics, including “Borders are scars across the face of the planet.”

‘Dig Deep Enough’ also kicks out the jams pretty hard with its NOFX versus the Gypsy Kings sense of aesthetics, though does middle aged Euguene Hutz actually sing the words “We are the youth”?!

And despite the most open invitation for a critical mauling in a song title since Hole released a track called ’Awful’, ‘My Gypsy Autopilot’ certainly brings home the goods. I suspect it’ll make a great addition to their live sets.

However, I don’t think Pura Vida Conspiracy will convert many of the bands’ detractors either. There’s a nagging sense on some of the tracks that Hutz is trying to give the fans what they want (“needs more gypsy!”) rather than singing from the gut.

This seems particularly true of ‘Malandrino’ which opens with the midwives who have just delivered the infant Hutz gasping in wonder at his “singing heart”. Even for a fan, this sentimental self mythologising is a little rich. On the track ‘Hieroglyph’, the band get dangerously close to writing the gypsy punk equivalent of R Kelly’s ‘I Believe I Can Fly’ with lyrics like “I am inside of every tree, I am inside of every atom”.

Some of Pura Vida Conspiracy‘s ballads work really well, and even bring in new influences to the band’s sound. For instance, closing track ‘We Shall Sail’ is Hutz’s remarkably effective take on a campfire song with his eccentric vocal phrasing suiting the form entirely. ‘Name Your Ship’ seems to take influence form the likes of Dropkick Murphys, with a cheeky but welcome steal from the chorus of Nick Cave’s ‘Supernaturally’.

In conclusion, though I’d probably rather listen to Pura Vida Conspiracy than many of the other albums released this year, I don’t think it quite hits the same incredibly high standards of Gogol Bordello’s best releases.

Doubtless their live show will still be world beating, and will probably still convert fans with every gig they play.

Where I will still be at the front of one of them the first chance I get, singing and dancing and sweating with my shirt off.

Pura Vida Conspiracy is out on general release from today – Tues 23^rd July.

For more info on Gogol Bordello, including digital downloads of Pura Vida Conspiracy and a free copy of ‘Malandrino’, visit http://www.gogolbordello.com/

Words by Katherine Priddy

Johnny Kowalski and the Sexy Weirdos are not a band for those of a fragile disposition.

With raucous vocals, loud (and sometimes manic) trombone and fiddle solos, alongside lyrics centred on alcohol, revolution and anarchy, they’re a self-proclaimed ‘overexcited invitation to party’ and a ‘declaration of war on the forces of mundanity and boredom’.

I’ve caught the Sexy Weirdos playing their Gypsy-Punk-Carnival-Ska music on numerous occasions throughout Birmingham’s Gypsy and Swing scene, and I’ve never yet seen them fail to stir the audience into a dancing frenzy with their fast-paced rhythms and growling, slightly sinister, vocals from Johnny himself.

However, when approached with their new album, Victory for the Monsters, for review, I was concerned it may not live up to their performances. I was worried that they might be one of those acts best seen live, with the intoxicating atmosphere created at their gigs not quite translating onto a recording.

Victory for the Monsters was recorded throughout 2012, in an abandoned gym in Worcester – a temporary set up dubbed Carnival Punk Studios.

On the Sexy Werido’s blog, Johnny writes that he felt the time was right to make ‘a fully-fledged album’, so they cobbled together blagged bits of equipment and expensive microphones that they’d ‘somehow’ found the money for, and set to work.

On reading about the creation of their debut, it becomes evident that despite their seemingly indifferent and anarchistic attitudes, the album was a labour of love, as the band spent winter, spring and early summer arguing about the finer details and playing around with the tracks between their hectic gigging schedule; even suffering from ‘paranoid panic attacks that it wasn’t good enough.’

One thing in particular stood out for me. Johnny also writes that when it came to the funding and pressing of the CDs, they disregarded the idea of crowdsourcing (as many upcoming bands rely on these days) in favour of the more ‘honest’ approach of paying for it themselves.  I personally have a lot of respect for this, as in my experience a lot of bands these days rely on spamming those who have ‘Liked’ their Facebook pages with links for donations and ways to give them money.

It’s refreshing to see a band still doing it truly DIY; creating an album themselves in a makeshift studio, spending months honing it, and ultimately paying for it all themselves. I feel this deserves some real credit, and even if Gypsy Punk’s not your cup of tea, it’s worth showing support for bands that really do it for love and not money.

As for the album itself, it is (as is, I imagine, most music under the Carnival-Gypsy-Punk-Ska-Brass-Folk-Rock banner) an acquired taste simply due to the small niche of the genre.

Victory for the Monsters opens with a high-paced and explosive track called Something Wonderful; setting the tone with Johnny’s boisterous vocals, accompanied by some serious drumrolls and fiddling.

However, it’s the second track that really stands out for me. Night Before tells the story of a late night argument between a man and his wife, and his realisation that drinking more beer is not going to aid the situation.

It has a slightly more Ska-like rhythm than some of the other tracks, and a repetitive but catchy hook. Towards the middle there is a breakdown of rhythm, as the trombone takes over and punctuates the somewhat chaotic melody. Some of it could be seen as messy and disorganised, but I feel it rather adds to the home-made, rough and ready atmosphere of the music. After all, revolution is rarely neat and tidy.

The third track, Park Lane Strut, also strongly stood out, despite being purely instrumental. It’s one of their more ‘pretty’ tracks musically, with a taste of Gypsy rhythms and a strong brass section.

Again according to the Sexy Weirdo’s blog, Park Lane Strut was written by their fiddle player John-Joe while he was squatting in a mansion that gained attention from the tabloids. Johnny jokes that it was described ‘squalid’ by a man who lived in a ditch. However, its little back stories like this that often give albums their charm, and in this case also adds to the strange, Gypsy allure of the track. And with some of the rough, Punkiness of the other tracks stripped away, it also shows off the band’s talent and musicianship.

That’s not to say I don’t appreciate the roughness on other tracks. Johnny Kowalski’s voice adds an edge to the songs, with his husky, slightly angry delivery.

And as with most Punk style songs, his voice isn’t necessarily the most accurate at times, but is a passionate delivery that compliments the anarchistic music. However, Johnny’s voice does lend itself well to a quiet, acoustic track called Johnny Draw Back the Knife.  It’s a pleasant way to mix up the tempo of the album, and contrasts well with the more energetic nature of the rest.

Klezmer Prayer (track 8) is another strong contender. It draws on Eastern European influences and creates a wonderful swaying tempo, with John-Joe’s fiddle echoing Johnny’s vocal melodies to create hypnotising rhythm, before breaking into a faster instrumental score.

I’ve heard this song live many times before (with a lot more shouting) and it’s good to hear it a little more… contained.  And again, with this track it’s hard to ignore the musicianship of some band members.

But the wonderful thing about Klezmer Prayer is the anticipation. You know there’s going to be a tempo change, but you’re not quite sure where; so when the beat finally kicks in, its infection and hard to resist a foot tap.

This is also demonstrated in the final track on the album; a traditional song called Bubamaru, which again as an instrumental track gives the musicians and opportunity to show off their skill. It’s also great to hear some true traditional Gypsy music being played well and with the energy it deserves; a slow beginning, swaying and sultry, gradually building up to an explosive and fast paced ending.  It rounds off the album with a big Gypsy bang.

Victory for the Monsters lives up to the Sexy Weirdo’s high energy live performances; although it could have been so easy to lose some of that dynamism on a recording, without the lights and stage presence. But the 11 track debut shows a pleasant variation in tempo and subject, making it an engaging album to listen to in full.

Perhaps Carnival Gypsy Punk may not be a genre for everyone, with its disorderly and sometimes scruffy nature, but I feel Johnny Kowalski and the Sexy Weirdo’s debut album has a roguish charm, in keeping with their overarching theme of Punky rebellion.

And for those who want to tap their feet, drink beer, dance and maybe cause a little havoc, Victory for the Monsters could well be the perfect soundtrack to a one man revolution.

For more on Johnny Kowalski and the Sexy Weirdos, including digital downloads of their debut album Victories for the Monsters, visit http://www.sexyweirdos.co.uk