Releases Archives - Page 7 of 18 -

June 1, 2018May 31, 2018

SINGLE: ‘All the Best’ – Quinn 01.06.18

Words by Ed King / Pics by Bryony Williams

On Friday 1^st June, Quinn release their latest single – ‘All the Best’. Phew, where to begin…

Firstly, ALL HAIL SAM LAMBETH. This is unashamedly sycophantic, and mainlines into the comfortable narcissism that turned that fresh faced indie kid from the ‘Near to You’ video into the canine caning rockstar you can see to your left.

But sod it. Some people are born performers and Mr Lambeth’s ‘brainchild’ is a joy to behold if for no other reason than he’s at the front of it.

Secondly, I’m going to try far too hard in this review. Might as well admit it. Centre stage stadium pretensions aside, Sam Lambeth is a better music writer than I am and it pisses me off no end. Actually, to clarify, the fact he doesn’t write for Birmingham Review is what really flicks the nads, but it’s all pretty much the same to my ego.

So, with that in mind, let’s copy/paste something from the ‘All the Best’ press release:

‘All the Best’ represents the best of Quinn’s past and the exciting future they are set to embark upon – Lambeth’s knack for driving melodies are wrapped around soaring synths, pounding Balearic beats and subtle sampling. “We took a conventional rock song and messed about with it, but on some different coloured wrapping paper and tried to give Quinn a new identity,” Lambeth said. “I’ve always loved pop in its purest sense, and hearing Beck’s record Colors made me realise you can have it both ways.”

Couldn’t have put it better myself. Hush ego, hush. But Quinn’s latest single is catchy as hell. Like some metaphor involving an airborne virus and a big thumbed sports star, the boy writes a mean pop hook and no mistake. And whilst I wouldn’t use White Isle rhetoric to describe it, ‘All the Best’ is a clear windows down summer winner. Cars, floppy hair, mirror lens sunglasses etc, etc…

No pretensions, ‘All the Best’ won’t win an Ivor Novello, but it sends an army of smiling earworms marching down your lug holes from the first happy clappy riff until the somewhat unfortunate fade out. Lambeth’s vocals have seldom sounded stronger too. But with ball-out-of-the-park-regular Ryan Pinson in production it’s an unsurprisingly well polished chill pill. Apart from the fade out. I don’t like fade outs. But that’s me.

Lyrically, ‘All the Best’ – as the Bible of sugar coated indie decrees – is about unrequited love with a gracious smile and confident nod to the unknown. The irony is that behind this creative love in was a somewhat public clusterfuck of a fond farewell, one we won’t dwell on but is a) worth mentioning considering the song’s premise, and b) another feather in the cap of a man who seems to be endlessly chasing somebody’s summer. Refer to paragraph one.

OK, time for a counterpoint. There’s always a counterpoint. Hang on. Need to get my right click on the go again here…

When it came to the next project, Lambeth had one rule – don’t repeat yourself. “Our last EP, Crush, was a homage to the hazy melodies and fizzy fretwork of the ‘90s, and thus was very guitar driven,” he said. “For where I was headed next, I knew it had to be completely different. It was time to experiment.”

Different, sure, but completely..? And if you’re old enough, ‘Words that Say’ by Mega City Four. But this is what Sam Lambeth does with Quinn to such Technicolor effect, and there’ll be plenty of time for that dub step opera with the Ukulele Orchestra of Great Britain. Fuck it, it’s summer. We’ve got convertible cars to drive down the M4.

And to surmise with more open ended plagiarism, if it ‘aint broke…

‘All the Best’ – Quinn

Quinn release their latest single, ‘All the Best’, on Friday 1^st June. For more on Quinn, visit www.facebook.com/quinnrocks

May 4, 2018May 5, 2018

SINGLE: ‘Tommy’ – P.E.T 04.05.18

Words by Ed King

On Friday 4^th May, P.E.T unleash their debut single ‘Tommy’ – available for free, gratis, nada, NOTHING, through iTunes, Spotify and other online streaming platforms. Bless their altruistic socks… it’s like Christmas without the snow. So, like Christmas.

‘Tommy’ is the first release from P.E.T since they formed back in October 2017. It’s somewhat of a rubber stamp of authority too, from a band who quite simply mean business.

Described as ‘Birmingham’s rising punk balloon’, P.E.T are now firmly at the forefront of Birmingham’s live music scene – with an endearing on and off stage persona, as well as some ball kickingly good live shows in their shadow. Intelligent, ferocious, absurdly funny, with a set list that pulls people into the stage like Pinhead hurling around a bunch of fish hooks on Hensley chains, P.E.T have spent the past 6 months or so kicking audiences into touch across the city.

Birmingham Review was lucky to snag P.E.T to support Rews at the Hare & Hounds on 22^nd March, a mere week after they tore The Sunflower Lounge a new orifice whilst opening for The Cosmics. Throwing speaker stacks of energy at you no matter where or with whom they seem to play, P.E.T are a band who work hard, deliver on stage, and are experiencing a frighteningly promising (yet well deserved) nascent in the local music secen. And they’re just, frickin’, awesome to watch live.

But now they’re recording/releasing as well, striking two off the holy trinity of ‘ones to watch’. A strong festival season or a high-profile support tour, before you ask. So, what’s this ‘ere ‘Tommy’ ruckus all about then..?

As you’d expect, the track wastes little time declaring itself – opening with a brutally strong guitar riff and bassline, from Molly MacDonald and Rosie Jones respectively, that reminds me of bands from before these punk proteges were even conceived. Literally.

Kris Szulecki’s rolling punch drums then build up to an immediate crescendo and introduce a slight key change; ‘Tommy’ hooks you from the off, then nipple twists a small surprise to keep you interested. You get the feeling very quickly this is a winner.

Absurdly together, the production values shine immediately – laying a confident base to the ferocity of Abi Whistance’s piercing vocals. Then this is where another ‘golden marker’ (as my friend used to call them) appears. P.E.T aren’t just making noise, even if it’s well structured and delivered noise, they have something to say. And whilst ‘Tommy’ isn’t a dissertation of the nuances of shifting global trade and foreign policy, it is a sly attack. Inspired by the on-stage antics of another local punk band, who may or may not have more than cider in their system, ‘Tommy’ is a loving dig at the drug addled culture and purported bravado of exuberance.

Whistance is in your face, with the intelligence to get that close and away with it, preaching her lyrics on a background of tight musicianship. Being all church choir and tofu growing up I wouldn’t know precisely what they’re talking about, but the sense of urgency and intent on ‘Tommy’ is unassailable. I’d even be a little bit proud if it was focused at me.

The downside, for there is always a downside, is this recording is arguably too polished. There’s a slight but exciting lull, if that’s even the right word, at around the 1:45min mark where I began looking for TV sets to jettison and windows high enough to do the job properly. On stage you could imagine this actually happening, or a least a chair or two finding it’s wings. But on the recording you are left to smash screens in your mind. Which feels, for this band, like a bit of a loss of the overall P.E.T experience.

There is a solution though, in fact there are two coming up – P.E.T are playing at The Sunflower Lounge on Friday 4^th May, supporting Bad Girlfriend, and then headlining their own free party at Get the Fear on Saturday 12^th May. And if this is in anyway your cup of snakebite, I strongly suggest you go and check them out live.

But if you can’t, then ‘Tommy’ is not a bad place to start – a punk decadent calling card from a band caught in the rising light of a seriously bright horizon. Awesome stuff. Now where’s my packet of silver Rizlas and wrap of toffee apple gone…

On Friday 4^th May, P.E.T release their debut single ‘Tommy’ – available through iTunes, Spotify and other online streaming platforms. For more on P.E.T, including streaming links and gig listings, visit www.facebook.com/petbanduk

P.E.T are supporting Bad Girlfriend at The Sunflower Lounge on Friday 4^thMay. For direct event information, including venue details and online ticket sales, visit https://bit.ly/2IaWHnP

P.E.T will also be headlining a gig at Get the Fear in Digbeth on 12^th May – with support from Dead Summers, Solsara + DJ Jacky P. For direct event information, including venue details and online ticket sales, visit https://bit.ly/2JS3FeB

April 27, 2018April 26, 2018

ALBUM: The Great Untold – Scott Matthews 27.04.18

Words by James Attwood

On Friday 27th April, Wolverhampton’s Ivor Novello award winning songwriter, Scott Matthews, is set to release his sixth studio album, The Great Untold – out via Shedio Records. Scott Matthews will be also performing at St Paul’s Church in Birmingham on Sunday 20^th May, as part of The Great Untold UK Tour – as presented by Moseley Folk. For online ticket sales from Skiddle, click here.

Recorded over a winter spent at home, The Great Untold is very much a milestone for Matthews and sees him starting a new chapter in life as a married man and soon to be father.

Title track, ‘The Great Untold’, opens the album with a tender, intimate affair between Matthews’ soft vocal and guitar intricacies. Accompanied by nothing more than flourishes of piano, it certainly sets the tone; Matthews goes back to his roots as an acoustic act, with inspirations such as Tim Buckley and Nick Drake ringing through loud and clear.

‘As the Day Passes’ also puts Matthews’ stunning vocal delivery at its forefront; with a lullaby like piano outro, and soothing picked Spanish guitar part that harks influence from world music, it’s the kind of song you would expect to hear in a Wes Anderson film.

The hazy vocals of ‘Silence’ create the atmosphere of a summer’s evening. The chorus sees Matthews muse, “Silence, nothing’s complicated in my solitude, where I can hear myself…” in a statement that confirms his re-kindled solace as an acoustic artist, away from his full band environment.

‘Something Real’ is euphoric and joyous in its musical arrangement, with bold acoustic guitars providing a counterpoint for Matthews’ vocal powerhouse. His mastery of melody and harmony is at the forefront of this track and it would be no surprise to find this particular gem as a Jeff Buckley B-side, its ringing guitars and soaring vocal falsetto harking back to Buckley’s iconic Grace album. The same goes for The Great Untold’s lead single, ‘Cinnamon’; subtle soundscapes and drone like vocal delivery create an atmosphere that creates imagery of the time in which the album was conceived.

Tracks such as ‘Goodnight Day’ and ‘A Song to a Wallflower’ particularly stand out for me and help to diversify the album, which dare I say is needed at times. ‘Goodnight Day’ shows a darker side Matthews’ songwriting; a Gold era Ryan Adams-esque ballad, Matthews is accompanied by a choir of vocal harmonies in this big screen noughties film soundtrack worthy affair. Whilst the steady beat of ‘A Song to a Wallflower’ sounds as if it came straight from the Help soundtrack, with strummed acoustic guitars and Beatles bass sound it could easily have been penned by Lennon and Mcartney.

The album closers, ‘Daydreamer’ and ‘Chapters’, take us back to the place where it began, merely an acoustic guitar and Matthews’ tender vocal delivery.

Despite its thin instrumental textures, The Great Untold is still every bit as captivating as Matthews’ 2001 debut album, Passing Stranger – a yardstick the artist has arguably been judged by since its release. But the lack of percussion on The Great Untold is perfectly subsidised by Matthews’ vocal talent, providing plenty of melodies, highs and lows to keep the listener hooked.

You could further suggest that the largely acoustic sound of The Great Untold encourages the best from the songwriter’s voice and instrumental prowess, as heard on 6 minute epic ‘Lawless Stars’. A combination of moody reverberating guitars accompany Matthews’ blanket of choir like vocal harmonies, seeing the songwriter make the most of the most of his natural vocal gift. The track is a journey, building into a crescendo of guitars and voice before it fades into an instrumental section containing just a slide guitar part – a nod, once again, to Matthews’ Bert Jansch influence.

Although an album of beauty, for me The Great Untold stays a little too much within its seemingly set format of acoustic guitar and vocals, lacking the raunchy guitars and primal beats that can be found in Matthews’ wider portfolio.

But as a relatively new listener to Scott Matthews, this latest album did not disappoint – showcasing his songwriting talent and ability to write catchy melodies that do not conform to the typical songwriter style. And in a time of overdressed pop production, an album that often contains just a voice and a singular instrument is especially refreshing.

‘Cinnamon’ – Scott Matthews

The Great Untold by Scott Matthews is out on general release from Friday 27^th April, though Shedio Records. For more on Scott Matthews, with links to online purchases for visit gig tickets and Matthews’ full catalogue, visit www.scottmatthews.uk

For more from Shedio Records, visit www.shediorecords.com

Scott Matthews will be performing at St Paul’s Church in Birmingham on Sunday 20^th May – as presented by Moseley Folk. For online ticket sales from Skiddle, click here.

March 12, 2018March 12, 2018

SINGLE: ‘Oh Friend’ – Hunger Moon

Words by Ed King / Pics courtesy of Hunger Moon

On Monday 12^th March, Hunger Moon release their debut single ‘Oh Friend’ – wasting precious little time for a band that only formed at the tail end of last year, ‘deep in the heart of Birmingham’s warehouse and creative quarter’.

Out now and ‘available to stream on all major music platforms’, you can always make your own minds up with a quick visit to Soundcloud, Spotify or iTunes. Hunger Moon will also be supporting Joseph J. Jones at The Sunflower Lounge on Tuesday 13th March, if you wanted to check this out live and firsthand – for direct gig info, click here.

But who need independent thought or travel? Sit back, make yourself a cup of tea, look wistfully at rain, and let Birmingham Review do all the cognitive reasoning. Ssshhhh, there there… We’ll tell you.

But first a bit of background… Hunger Moon are the newly formed two piece from vocalist Natalie Jenkins and multi instrumentalist James Atwood, with a sound that draws immediate comparisons to London Grammar and Daughter. Their debut single, ‘Oh Friend’, had Ryan Pinson working behind the glass – with the skeleton written and rehearsed in Digbeth, and the skin produced at RML Studios in Wolverhampton. So, there’s a pretty solid start.

In the words of Hunger Moon, ‘Oh Friend is an ode to companionship, which has been the single constant within the lives of the duo over the past year throughout changes, some for better and others for worse’ and you get an immediate sense of longing, loss, or both.

Mournful yet comforting, ‘Oh Friend’ opens with an echoed guitar riff that is the linchpin to the Daughter comparison. Then after about 15 seconds, Jenkins’ vocals power though with the titular lyrics and ushering in the London Grammar comparison. This low cloud rolls across the horizon, with some ‘soft piano nuances and subtle electronics’ nudging their way in towards the end of Minute #1, before the instrumentation steps back leaving Jenkins’ vocals to introduce the first crescendo towards the end of Minute #2. A silent thunderclap… and downpour, with the emotional ebb and flow continuing in layers until the end of this nearly 5min single.

There is a beautiful proficiency to ‘Oh Friend’, with a confident subtly propelling an addictive melody. It’s not an easy sound to deliver well, and Hunger Moon have taken some bold steps down a road that is full of homage and potholes. But superbly handled by Ryan Pinson, the delicate strength that this genre requires is given its appropriate balance here. Plus, it could have been easily clipped to make it more radio (length) friendly but in fact saves the best minute for last.

As debuts go, ‘Oh Friend’ is solid introduction, managing to find a new corner of the electro/pop shadows to lurk in. The melody is rife too, which bodes well for an album of material to wrap around it – an LP we sincerely hope is on its way. But if we were to find one piece of constructive criticism, as is our job, it would be that the strength of Jenkins’ vocals can sometimes be a little, a small touch on the desk perhaps, too much in the lead. And to jump back to the two previous comparisons, one of these bands falls into this trap too, whist the other nails it perfectly on its perfect nail shaped head.

So, this is a little par for the course for the genre, kinda sorta. And having a strong asset in your box of musical tricks is one of those better problems to have. But for the first foray for Hunger Moon, ‘Oh Friend’ is cracking introduction from a band we have a sneaking suspicion have a lot more to offer over the next twelve months.

‘Oh Friend’ – Hunger Moon

Hunger Moon release their debut single, ‘Oh Friend’, on Monday 12^th March – available through all major music platforms.

Hunger Moon will also be performing at The Sunflower Lounge on Tuesday 13^th March, supporting Joseph J. Jones – for direct gig information, click here.

For more on Hunger Moon, including links to stream ‘Oh Friend’, visit www.facebook.com/hungermoonmusic

February 23, 2018

ALBUM: Autonomy – Table Scraps 23.02.18

Words by Ed King / Lead pic by Meg Lavender

Reasons to be cheerful: 1) Winter has fucked off, 2) Winter II has also fucked off, 3) It’s Friday, 4) Table Scraps’ new album, Autonomy, has been set free into the wild.

I’m feeling a little spring in my step, pun intended, so the ten-track-quick-hit-monster that is Autonomy could not have come at a better time. Just when I’m starting to plan my Fear & Loathing summer road trips, Table Scraps have come along with the perfect soundtrack to a bit of windows down anarchy.

Opening with ‘Sick of Me’ (which has a gloriously literal video – see below) the repeated riffs and dual vocals punch through with simplicity and style. Ain’t alliteration ace..? Garage rock as its most gorgeous, the 2 ¼ min opener sets us up for the slightly faster and drum punched ‘Always Right’, before a little dark self (kinda/sorta) deprecation with ‘I’m a Failure’. “I hate everything I do”… surely not. “And it’s all because of you”. Fair enough.

It’s difficult not to review this album track by track, but if you can listen to ‘Takin’ Out the Trash’ without thinking of Black Rebel Motorcycle Club with elephantiasis of the kahunas… awesome stuff. Then just past the midway point we get the album’s lead single, ‘My Obsession’, which Birmingham Review saw smash itself into the world at the Hare & Hounds back in April 2017. ‘Fierce and threatening, in a good way, like some clever simile involving Christian Slater and a Magnum .44’ were the words I used then, and I’m sticking with ‘em.

And whilst the first half of Autonomy was full of summer fun and ferocity, like Day #3 of a barbecue hosted by The Beach Boys and the Ramones, the latter half turns a little more dark and twisted. As David Lynch gatecrashes with “some special meat for the flames… sshhh, just eat”.

‘Frankenstein’ leads the charge with some oil drum vocals and good ol’ fashion twisted blues rock, before one of my favourites, ‘Treat Me Like Shit’, stomps out with a heavy drum spinal chord and guitar lead skin from the off. I’m pretty sure there’s a Theremin in there too, but I can’t be certain. ‘More Than You Need Me’ pulls the foot off the gas a tiny, weeny, little bit, but makes up for any perceived loss by stretching it across the longest song on the album – before Autonomy comes to a close with the lighter, almost jangly, ‘Do It All Over Again’. Which is ironically what I did. And again…

A pretty ball out of the park release from one of Birmingham’s best bands (any beyond, but fuck it – a bit of civic pride), Autonomy is a step up from an outfit that didn’t have much room to maneuver in that direction to begin with. And if you didn’t know, Table Scraps will be unleashing this particular beast at an album launch party at the Hare & Hounds on 2^nd March – presented by This Is Tmrw, with support from Yo No Se, The Hungry Ghosts, Captain Süün and a DJ set from Black Mekon.

Otherwise, or even as well as, go out and get yourself a copy of this album – for the tiny rays of sunshine expected this year WILL MEAN LITTLE without it. Fast, ferocious, fun fun FUN, Autonomy is full of summer smashing rock and roll goodness. TVs and toll booths beware.

‘Sick of Me’ – Table Scraps

Table Scraps release their latest album, Autonomy, on Friday 23^rd February – with a nationwide tour, kicking off at the Foodhall in Sheffield (23^rd Feb) and coming to the Hare & Hounds in Kings Heath, Birmingham (2^nd Mar). For direct info on the Autonomy album launch party at the Hare and Hounds, click here.

For more on Table Scraps, including full tour dates and online purchase points for Autonomy, visit www.table-scraps.bandcamp.com

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

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