damienrussell Archives - Page 4 of 6 -

May 2, 2017

BREVIEW: Ed Geater @ Hare & Hounds 24.03.17

*Ed’s note… due to some appalling diary manoeuvres on my part, our post-gig Ed Geater content is woefully late. Apologies to all involved, on stage and off. But if you want to check Ed Geater out live he’ll be performing with Call Me Unique on Friday 5^th May – as part of her Urban Gypsy II EP launch party at Mama Roux’s. For direct gig info, click here.

Ed Geater produced Call Me Unique’s latest release; to read our Birmingham Review of ‘Shoulda’, the debut single from Urban Gypsy II, click here.

Ed Geater will also be performing at mac for the first time on June 2^nd, joined by Lady Sanity and Andrew Souter. For direct gig info, including full venue details and online ticket sales, click here. Ed Geater and Lady Sanity release ‘Found a Place’ on 16th June, click here for direct news and online orders.

Words by Damien Russell / Pics by Rob Hadley

With a background in rock and blues, I walk into the Hare and Hounds on Friday night with little to no idea what to expect. I’ve read a few bits about Ed Geater, and having been about a bit I’ve seen singer/songwriters with loop pedals before and even the odd beatboxer. That said it’s still a rare thing to see anyone using a loop pedal, singing, playing guitar and beatboxing all at once. Definitely intriguing.

I head upstairs to the soft strains of Amy Louise Ellis, a gentle welcome to the venue. Walking in there’s a reasonable sized crowd, listening intently, quietly and they kindly part ways to let me and my friend get to the bar. Ellis (and her guitarist) has a soft breathy voice that reminds me in some way of the theatre; something about the tone, I think, and the way she applies her range. She moves through her set in a slightly shy, understated way and leaves to a strong applause.

After a short break, we are treated to a set from Dee Ajayi; a dynamic performer. Ajayi (and her guitarist, albeit no relation to the previous one) has a presence and smile that you can’t help but smile back at, performing with animation and enthusiasm. She touches on Soul, R‘n’B, Funk and treats us to the odd story of a past breakup, an unrequited love, and memories of her father. These glimpses into the personal moments that have inspired her music makes me feel we, as an audience, are being given a intimate peek into the life of Dee Ajayi.

(Side-tracking slightly, about halfway through Dee Ajayi’s performance a large group of people come in to the Hare and Hounds’ Venue 2 and make a racket an elephant would be proud of, yacking away and shouting bar orders. From this point on significant numbers of people were talking and generally being inconsiderate; all the performers did admirably to ignore them and put on the show they did. Kudos to those on stage. Taking inspiration from Dee Ajayi, I try to ignore them too.)

The next act on tonight, and final support, is Bear – another duo, but this time guitarist and beatboxer Gordon Begard and singer/rapper, Faye Smith. Standing at the back of the room as Bear start their set, I have no idea where all of the sounds are coming from. I’m sure there are only two of them on stage, but I could swear there was a whole band up there. Bear perform with great energy and make an impressive sound, performing with skill, passion and a whole lot of power. As they close their set, a bigger and more hyped up audience see them off with another strong reception.

Our headliner takes the stage now, and I’m reminded that I still don’t know what to expect from Ed Geater. I’ve seen soft acoustic, funky soulful acoustic, heavy rap/hip hop acoustic… tonight could be leading up to just about anything.

As Ed Geater begins to play, a flood of influences run through my mind; all massive names. I can hear Massive Attack in the chilled out trippy vibe and steady pace. That leads me to thinking about Newton Faulkner, which I hear in the flowing intricate guitar work (fantastic guitar work, I was very jealous). Then I start thinking about vocals and how there’s a little bit of Passenger in there, alongside some more mainstream sounds. All in all the mix is a deep, rich harmony that’s a little mesmeric, wrapping itself around you like a warm blanket.

The songs start in the way that a lot of performers using loop effects songs start, and there is a bit of time ‘building’ before we really get into it. But from there Geater shows he’s at the top of his game as everything flows smoothly from section to section, making, as with Bear, a sound that far outweighs the rather understated figure on stage.

You can tell it’s a hometown show as Ed Geater gets his brother, Charlie, to join him on backing vocals for a song. There are a few other guest spots throughout his set including a collaboration with Lady Sanity, with each new sound on stage complimenting the often solo performer; it makes me wonder what Ed Geater would be like with a full group behind him. Geater’s sound is well developed and his songs are strong, but with the limits of the technology he’s using you could fall into traps at the start and end of each song, in turn losing some of the impact they bring.

But for tonight, with the set highlights for me coming in the form of ‘Gracia’ and ‘Symmetry’, I don’t feel like any of us in this Hare and Hounds crowd could ask for a better Friday night vibe.

For more on Ed Geater, visit www.edgeater.co.uk

For more on Amy Louise Ellis, visit www.facebook.com/AmyLouiseElliis

For more on Dee Ajayi, visit www.soundcloud.com/dee_ajayi

For more on Bear, visit www.soundcloud.com/fayesound

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

For more from Birmingham Promoters, visit www.birminghampromoters.com

April 29, 2017

BREVIEW: Table Scraps + Black Mekon @ Hare & Hounds 27.04.17

Words by Ed King / Pics by James Thomas / Video by Trapeze Film

*Birmingham Review caught up with Table Scraps just before the doors opened. To watch our interview with the band click here, or on the YouTube window at the end of this BREVIEW*

There are more qualified people here tonight, than I. As the evening rolls out conversations about blues, rock, blues rock, punk, rockabilly and the hangover of Ozzy Osbourne (figuratively), I stand on the periphery looking in. My extensive knowledge of the Tori Amos back catalogue won’t help me here.

Luckily, I have Damien Russell: drinking companion, back up wordsmith and the Cyrano de Bergerac of American blues and pan Atlantic punk. All the informed references come from him. The visceral reactions (which you could argue are just as punk as punk) and tired metaphors, they come from me.

A packed room cut in half, the Hare & Hounds Venue 2 (minus the back bar..?) is comfortably crowded as Black Mekon take the stage – and I mean take, jumping more than any men in matching jackets and Kato masks may have ever jumped before. A searing harmonica cuts over a steady, kick, drum… in a barrage of twisted blues. Strings break, shoulder straps break, speaker stacks hiss; the bouncing boy to my left is told politely “…ok, ok.” Reds, greens and dry ice take us into a double jab at “the welfare state” as short blast songs punch their way around an eagerly complicit crowd. “You’ve got to understand, Black Mekon can’t die.” The room continues to fill.

As Round One comes to a close we make a short trip through doors not meant for us, past a cigarette, then into a curiously quiet downstairs bar; maybe amphetamine is making a comeback. “Do you get the feeling if Nick Cage was to start a punk band…” offers Damien, as I write down perhaps the only intelligent part of my summary.

Some more conversations about Americana, blues and the relevance of territory and skin colour, then back up stairs for Round Two – or Table Scraps, as the bill poster presents them. I feel somewhat more confident as I do know some, not all, but enough Table Scraps songs to confidently chip in from this point, and no one is in this room by mistake. But I have ears, the Internet and not just red headed piano players in my iTunes account. And like all artificial intelligence, I too can learn.

But when the immediately faster tempo throws itself on our mercy, or perhaps the other way around, I don’t really care. See, I used an adverb, that’s how reckless I’ve become. Table Scraps on record sound gloriously DIY, but live there an added sheen. I heard ‘Motorcycle’ in the soundcheck (one of my repeated Table Scraps endevours, if not only for the lyrics) and had been “surprised at how clean the sound was”. But being neither musician nor sound engineer, this was the first of my potentially garrulous assumptions.

On stage, tonight, hidden by a sea of frenetic heads, Table Scraps sound raw, low, deep, punchy and all the other adjectives a fucking rock band should be. Or punk, or whatever the appropriate genre moniker may be here (please refer to line one). By the time ‘Electricity’ is basking in a frenetic but tight guitar solo, I’m fully on board. This is fun.

The song of the hour is up next, ‘My Obsession’, as the Table Scraps half of the latest 45 Consortium 7” gets drop kicked off stage; fierce and threatening, in a good way, like some clever simile involving Christian Slater and a Magnum .44. Then an elongated misstep proves DIY is still DIY, and a well natured “…fucking drummers man,” from Scott Abbott take us into a track the set list calls ‘Teeth’. God bless garage rock, a repeated chorus and ‘belched out’ harmonies – it’s good to see something so tight yet so confident, even in its fuck ups. It makes me like them more.

The addition of Tim Mobbs seems to have helped bolster the bolshy two piece into a more well rounded trio, with the band themselves citing the added freedom they now enjoy – on stage and in the logistic that get them there. Mobbs also has a Theremin, which he plays sporadically (is there any other way..?) by using the head of his bass guitar. It adds some extra colour and twist, no pun intended, and for some reason makes me think of the child’s chemistry set I used to own. No idea why, but warm and fuzzy is the end result.

There are moments in the rest of the set where the rapid punches move to more obvious body blows, as elements of grunge and stadium rock wrestle each other on stage. And there is some similarity to a band whose name suggests a violent approach to large seeded fruit… But the tag team vocals and unashamed solos bring a fresh edge. It is perhaps also worth pointing out that being 5ft 7” on a good day I can’t see much of what’s going on at the front of the room; I write and record this evening relying on my more audible senses.

“You know this one…” yells Abbot, before ‘Motorcycle’ stands as the penultimate track of the night – with no pretence of an encore strutting itself to the wings and back. It’s a big sound to get right in a small room, but Table Scraps have delivered their set with aplomb and I am itching with something to see them on a large outdoor stage. Roll on September 16^th.

But for now it’s back downstairs for more cider, by-partisan backslapping and reference points I will have to note down and research. Now what exactly is a ‘Black, Flag..?’

INTERVIEW: Table Scraps @ Hare & Hounds – 27.04.17

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For more on Table Scraps, visit www.table-scraps.bandcamp.com

For more on Black Mekon, visit www.blackmekon.com

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

April 24, 2017April 24, 2017

BPREVIEW: Table Scraps + Black Mekon @ Hare & Hounds 27.04.17

Words by Ed King / Pics stolen from various corners of t’interweb

On Thursday 27^th April, Table Scraps + Black Mekon play at the Hare & Hounds (Kings Heath) – launching their split 7” limited vinyl, as part of the 45 Consortium series.

Doors open at 8pm, with tickets are priced at a friendly £5 (+ booking fee). For more direct gig info, including venue details and online ticket sales, click here. You must be over 18 years old to ride this ride.

‘Belched out of the Midlands’, one of our favourite quotes this year, Table Scraps are busily terrorising people across the UK with a four date tour – coming to their home turf on Thursday 27^th April for the official launch of ‘My Obsession’, their latest single. And now greater in number, with the addition of TJ on bass guitar and vocals, Table Scraps are official 33.333 recurring louder. “Hello… sorry, what? From the Environmental Health. No, no one of that name here… Try the Weatherspoons.”

Released as part of Black Mekon’s 45 Consortium series – a series of six limited 7” vinyl press singles, featuring Black Mekon on one side and a guest artist on t’other – ‘My Obsession’ is ‘a tense and brooding slab of menace anchored around a hypnotic fuzz bass and primal drum groove.’ Sounds like most Monday mornings to me.

What the Black Mekon side of the 7” is, we sadly cannot say. It’s either a closely guarded secret or a digital marketing mishap, but we’ve scoured the public domain (their website, Clash Magazine, Discogs…) and come up with nothing but mystery.

But I guess that’s what Thursday’s all about, and costing a mere five British Pounds Sterling you’re likely to get more bang for your buck than a convoluted scratch card. And some 3D glasses. Win win.

Meanwhile back at the ranch, here’s Table Scrap’s official video to ‘My Obsession’ – produced, as always, by the bionic three piece themselves. Viddy my droogs, what bolshy horrorshow warbles from Birmingham’s ‘most respected (and feared) fuzz merchants:

‘My Obsession’ – Table Scraps

Table Scraps + Black Mekon play at the Hare & Hounds on Thursday 27^th April – launching ‘My Obsession’ through the 45 Consortium series of limited releases. For direct gig info and online tickets sales, click here.

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For more on Table Scraps, visit www.table-scraps.bandcamp.com

For more on Black Mekon, visit www.blackmekon.com

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

April 21, 2017April 21, 2017

ALBUM: Risk to Exist – Maxïmo Park

Words by Damien Russell / Pic by Ed Taylor

Those of you who know Maxïmo Park’s back catalogue will know they are a band who’ve had a little bit of everything over the years: diversity and cohesion, political and emotional, good reception and bad. It would be fair to say that their latest album, Risk to Exist, might be something of an unknown.

The first thing I should say is that this review will contain spoilers. So stop reading now if mystery is something you need in your life before you listen. The reason I say that is that while Risk To Exist has many elements, subtlety is not among them; it would impossible to do any comprehensive review without giving at least some of the game away.

Okay, so the nod to mystique done. Risk To Exist is an 11-song rollercoaster of an album that is instantly recognisable as being Maxïmo Park. Also this is a political record, and it’s clear to see that in the world according to Maxïmo Park politics is in a bad way.

There is a change in mood and emotion in the lyrics as you listen through the record, but also the consistent feeling of dissatisfaction and negativity. Almost at times like moving through the five stages of grief, perhaps missing out the bargaining stage. There is a bouncy melancholy to the album’s opener, ‘What Did We Do to Deserve This’, and the closing track ‘Alchemy’ has a feeling of resignation and being thankful for what you have that rounds the whole thing off nicely. The middle is a melee of anger, confusion and disappointment, with a side order of resentment for good measure.

Of course all of those negative emotions are tempered by Maxïmo Park’s sound and musical style, so an angry song (lyrically) is at times wrapped in a bouncy 80’s synth-pop style; ‘What Did We Do to Deserve This’ is a great example.

That’s not to say the band’s sound hasn’t evolved; through the album Maxïmo Park are both of, and outside, ‘their time’ in equal measure. They capture that early ‘00s Alt-Pop sound and then slide into an 80’s synth-fest, rolling back out again to give a nod towards the rock stylings we all know from ‘Our Velocity’.

It would be overstating to say that the changes in sound are seamless and it would be easy for a casual listener to hear a ‘collection of songs’ rather than an album. But it became clear to me while listening to Risk to Exist that the subject matter brings the whole thing together in a clever way. Although I wonder if the presentation might make this record become dated more quickly, and there are times I found myself listening and wishing that the lyrics had been made a bit less obvious to give more room for interpretation and for me, the listener, to put a bit of myself into what I was hearing. I hesitate to use the word ‘preachy’ but I was thinking it at times; perhaps that will divide listeners, riling those of a different opinion.

I’ve always been a fan of politics and music working side by side, to try to affect positive change. But there is a difference between encouraging unity and positive action and railing against a mood and time that you don’t agree with. Personally I think Risk To Exist has crossed into the latter, which does dilute the message a little.

In summary, Risk to Exist is a good album. Perhaps not a great album, but there are a few tracks on it that I would listen to over and over. My personal favourites are ‘What Did We Do to Deserve This’, which I mentioned earlier, and ‘Work and Then Wait’ – a mid-album track that could definitely be another single, and quite a successful one too.

It will be interesting to see what their overt political leanings bring to the live stage as Maxïmo Park tour their sixth studio album across the UK. Birmingham get’s its first chance to find out on the 5^th of May at the O2 Institute, then again at the inaugural Beyond the Tracks festival on Sat 16^th September.

‘Risk to Exist’ – Maxïmo Park

Risk to Exist by Maxïmo Park is out on general release from 21^st April, via Cooking Vinyl. For more on Maxïmo Park, visit www.maximopark.com

For more on Maxïmo Park at the O2 Institute, including venue details and online ticket sales, visit www.academymusicgroup.com/o2institutebirmingham/events/928783/maximo-park-tickets

For more on Maxïmo Park at Beyond the Tracks, visit www.beyondthetracks.org

March 22, 2017

BPREVIEW: Mad Dog Mcrea @ The Big Bulls Head 25.03.17

Words by Damien Russell

Wending their Happy Bus down to The Big Bulls Head on the 25^th of March are Mad Dog Mcrea. Brought to us by Birmingham Promoters, the show is scheduled to start at 19:00 with tickets are priced at £13.75 (ex-booking fees). For direct gig info, including online ticket sales, click here.

N.B. The Mad Dog Mcrea gig has been moved to The Big Bulls Head, 75 Digbeth, B5 6DY – from Mama Roux’s. For direct venue info, click here.

Mad Dog Mcrea are a modern folk band very much of the old school, blending traditional folk leanings with gypsy jazz and a more modern folk/rock sound. Even the odd nod to bluegrass creeps in occasionally.

And although they lean towards a quintessentially Celtic sound much of the time, the band actually hail from Plymouth in deepest Devonshire. That said, Mad Dog Mcrea seem to spend so much time on the road I would be surprised if they can remember what street they live on. They are a road tested, hard-working, hard drinking good time band and no mistake.

Mad Dog Mcrea currently have four full studio albums and one studio EP on the shelves, with their latest LP, Almost Home, released via God Damn Records in March 2015. Each album has a diverse mix of sounds, tempos and styles, and if you look at their iconic songs: Black Fly, Am I Drinking Enough?, The Happy Bus, Duck Street and Bees Wing, they span twelve years of writing, recording and touring (my favourite is ‘Am I Drinking Enough?’ – check it out live, link below). No flash-in-the-pan group here.

Mad Dog Mcrea were more prominently recognised in 2011 when Radio 2’s Mike Harding gave them some airplay. Harding was quoted as saying they were “one of the most exciting discoveries of 2011,” despite their pre-2011 activities.

Last time I saw Mad Dog Mcrea was in 2014 at the Robin 2 in Bilston. They’d been delayed on the way up by some numpty crashing on the motorway or something, loaded in late and had a hurried soundcheck. Maybe the stress was a factor or maybe it was business as usual, but I’m certain that lead singer/guitarist Michael Mathieson was swigging from a bottle of whisky throughout the set. And emptied about half of it. Quite the stage show.

They also had a bunch of dedicated supporters at the front dressed as crayons, who had apparently followed them for most of the tour. A right bouncy lot they were too. I wouldn’t be too surprised to see such merry madness again this time around. I hope Birmingham’s ready; the Happy Bus is heading to town.

‘Am I Drinking Enough?’ (live) – Mad Dog Mcrea

Mad Dog Mcrea perform at The Big Bulls Bead in Digbeth on Saturday 25^th March, as presented by Birmingham Promoters. For direct gig info and online tickets sales, click here.

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For more on Mad Dog Mcrea, visit www.maddogmcrea.co.uk

For more from The Big Bull’s Head, visit www.facebook.com/TheBigBullsHead

For more from Birmingham Promoters, including a full event programme and online ticket sales, visit www.birminghampromoters.com