INTERVIEW: Joe House – Outlander

The Valium Machine - Outlander / Richard Lambert

Words by Ed King / Pics By Richard Lambert

Outlander will be supporting Mutes at The Sunflower Lounge on Saturday 22nd June – for direct gig information, including venue details and links to online ticket sales, click here.

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“It’s more thematic than anything really; a lot of the themes are about hopelessness and loss… all the big ones. But the narrative we tried to apply to it was very much a local one. We’re very keen on our music existing within a context, and that context being Birmingham.”

Back in April, Outlander released The Valium Machine – the latest in a line of post rock shoegaze, spawned from their rehearsal lock up in the backstreets of Hockley. Or from the rooftops of Hockley, depending on whether it’s time for work, rest or play.

Out on the Birmingham independent label FOMA (home of Mutes, Repeat of Last Week and Hoopla Blue) some called The Valium Machine an album and some called it an EP. But considering each track on Outlander’s latest record stretches between five and nearly fourteen minutes, the words ‘long’ and ‘extended’ all seem a little moot.

Birmingham’s answer to Explosions in the Sky are unperturbed: “I guess it must feel right to us, to play longer songs,” explains Joe House – one Outlander’s two guitarists. “We’ve never been able to come out with something that’s in the three to five minute area. But as the years are coming and going, we’re trying new things; we try and add new elements.”

'Sinking', The Valium Machine - Outlander / Richard LambertThe “most noticeable” of which on The Valium Machine are vocals. But no Whitney Huston sustained high note, or even Leonard Cohen gravel fed lament – more an ethereal cry through the rising waves and walls of sound that define this genre. “We’ve definitely taken influence from bands like Hum,” continues House, “that are more on that space rock kind of tip. It’s been nice to experiment with something more… I suppose it is more conventional, in a sense. In terms of the song structures, maybe not the length.”

Conventional is not the word I’d immediately run too, which is no bad thing. But is there ever a desire to be more… radio friendly? “‘Sinking’ off the new record (The Valium Machine) is, I think, the closest we come to something that makes sense on the radio. But even that’s like nine minutes long…” Free Radio will have to hunt elsewhere for their playlist.

“I’d heard Ian (Grant – guitar/vocals) doing bits in rehearsals,” continues House, “but we didn’t apply vocals to the songs until we got into the studio.” Sam Bloor’s Lower Lane studios, in Stoke-on-Trent, are the home from home where Outlander have recorded all but their debut release. “I’d read the lyrics and I knew more or less where the they were going to be, like the chorus in ‘Sinking’. But I didn’t hear it until we were in Sam’s studio, about a week in by that point. Sam and I sat there listening to Ian doing the takes and straight away we thought this is a new dimension – we’ve become fairly competent at doing these lengthy instrumental tracks, but then you apply the vocals… I didn’t think we could sound like that, but I’m really pleased that we do.”

Evolution is a tricky thing, just ask the Dodo. Or any vertebrate fish. But as House states “one thing I’d hate is if every record came out the same… that’s Outlander again doing the same thing they always do,” change is set to be an inevitable challenge. And that can be hard enough amongst artists themselves. But what about their audience, what was The Valium Machine’s reception like when it grew legs and crawled ashore? 

'Return', The Valium Machine - Outlander / Richard Lambert“Muted,” is House’s immediate and impressively honest reply, “but that’s always the way with us – we’re trying to do something quite niche, so it doesn’t tend to explode on the Internet.” Ouch, cries the ego. Well, mine would. But despite the kudos of having “a couple of interested parties in America and Germany,” wouldn’t Outlander want a bit more support from the home crowd?

“Not really, it’s one of those things. In Birmingham there is a scene for a lot of different niches of indie, but we don’t really fall into any of them. Not particularly well. What we’re doing is more on the shoegaze post rock side of thing, and there isn’t a lot of that – it’s more psych and garage… which is fine. I suppose we don’t really go too well on a bill with that sort of thing. But we don’t feel aggrieved about it – we just do our own thing and hopefully, eventually people pick up on it… which I think is slowly happening.” 

God bless FOMA, who are backing a few of the Midlands’ more talented waif and strays – and who threw the “really nice and intimate” album launch party for The Valium Machine back in April. “There were a couple of other shows on the same night in Birmingham,” tells House, “so it was a quieter event. It ended up being about 30 people, but 30 really close friends and family. The Hoopla guys are always amazing. Mutes… James is always doing amazing stuff, incredible musicians. I love Muthers as a venue too, there’s a real community of more outside the line artists rehears there. It was a really nice vibe, a good atmosphere – we got to play for a bit longer than usual as well. As you can image, playing ten minute songs… most support sets we get to play two or three songs at most.” 

'Sinking', The Valium Machine - Outlander / Richard LambertHaving programmed a few gigs over the years, I can sympathise with the issues around support slot times. And whilst The Valium Machine is a worthy way to spend 45mins, it doesn’t feel like an album that should be broken up into more set list sized pieces – not too often, at least. The packet says swallow whole, further compounded by the fact “the middle three tracks… were one song that we divided up into a song with three movements – which then became three separate tracks. But in concept it was one piece of music.”

Plus, there’s a significant side to The Valium Machine that is more visual than audio, with local photographer, Richard Lambert, being brought in to help deliver the album’s aesthetics. A series of photographs accompany the physical album, “helping to tell the story (of the album) and figuring out that narrative in general. I actually first spoke to him (Lambert) about the last record, but it wasn’t the ideal time.” I am reminded of the cover photograph on Outlander’s previous release, ‘Downtime’, which features children playing amidst a partially knocked down housing estate in Ladywood, “…you see the kids in the main shot, that are playing despite the ruins around them. I just thought it was a really beautiful shot.”

So, which came first – did your environment effect the sound of The Valium Machine from the start, or was the egg hatched way before Lambert and his camera got a phone call? “The thing with Birmingham is that it wears itself on its sleeve,” explains House, “you walk through Digbeth and see all the old warehouses. Then you walk through Hockley… Our sound is quite doomy, quite heavy – in places anyway. And we’ve always been influenced by the harshness of the very functional utilitarian architecture around us, like the brutalism that you can still see everywhere in Birmingham. The city’s got a really distinct vibe, cut halfway between something that’s being invested in and is a shopping metropolis – very modern in places – but that’s set on a backdrop of functional utilitarian spaces that have started to decay and stand as relics to a time gone by. You can see as things sort of change and money comes in, old buildings get knock down to make way for these new futuristic things. It’s just a really odd place. It’s quite unique in that sense, which is an influence on us.” 

'Threadbare', The Valium Machine - Outlander / Richard Lambert The word that sprung to my mind, when I first heard The Valium Machine and flicked through the black and white images that accompany the album, was ‘dystopian’ – a cordial nightmare, somewhere between a Terry Gilliam film and a Raymond Briggs picture book. And I’m a born and raised Brummie. And perhaps more of a cynic.

But Outlander’s eyes are seemingly much more optimistic in their vision, with House assuring me, “We’re all regular people, we like to have a laugh. I wouldn’t say that any of us are particularly miserable.” Plus, the fourpiece (three from Birmingham and one from neighbouring Stourbridge) clearly have love at the heart of the second city – especially when it comes to their creative hotspot in Hockley.

“We all really like the Jewellery Quarter and Hockley,” explains House, “because of the red bricks, it always looks like it’s had a long day in the sun. And it’s uphill – I always look at Digbeth as a bit dingy and in the shadow of the city, where as Hockley is a bit above it, in a sense. It’s more open. And even though there’s some definite urban decay, and some very big horrible looking flats, I always find it quite an uplifting vibe.” A feeling many people will recognise, as the north side of Great Charles Street Queensway continues to be a hub for burgeoning independent businesses and creatives with a penchant for city centre living. And perhaps a bit more money.

And whilst The Valium Machine is an homage not just to Birmingham, but to the “Birmingham Metropolitan Area, the Black Country, Wolves… it’s all part of the same vibe. In the bigger picture there’s no point distinguishing between those areas,” – it does leave a warm fuzzy feeling to imagine it being born from the skylines of Hockley.

As House surmises, “when we started practicing there that’s when the influence started creeping in – we spent a lot of time on the roof of our lock up complex just looking at it (the surrounding city). It’s an interesting place; it’s quite an impressive thing to look at.”

Outlander released The Valium Machine on 19th April 2019 – out via FOMA. For more on Outlander, including links to The Valium Machine, visit www.outlandertheband.bandcamp.com

Outlander are also supporting Mutes at The Sunflower Lounge on Saturday 22nd June – alongside Magik Mountain and Exhailers. For direct gig info, including venue details and online ticket sales, visit www.thesunflowerlounge.com/event/mutes-magick-mountain-outlander-exhailers

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For more from FOMA, including links to all Outlander material on the label, visit www.wearefoma.bandcamp.com

For more on The Sunflower Lounge, including full event listings and links to online ticket sales, visit www.thesunflowerlounge.com

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any of the issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

ALBUM: Pareidolia – Mutes 21.06.19

Mutes / Courtesy of FOMA

Words by Ed King / Pic courtesy of FOMA

Pareidolia: ‘The perception of apparently significant patterns or recognisable images, especially faces, in random or accidental arrangements of shapes and lines.’

It’s been nearly two years to the day since Mutes released their debut album, the nine track No Desire that was self-described as ‘urgent noise-fests, slow-burning drone sequences and seductive siren songs with assured ease.’ Honestly, I love a Mutes press release. But packed with angry jam, dark imaginings and the occasional pop-rock sacrifice to the Gods of radio friendly playlists, whatever words you throw around it was a pretty impressive debut.

But that was then, now is sometime later, and the sophomore proffering from James Brown & Co is an altogether different affair. Pareidolia is released through Birmingham based FOMA, as with No Desire, and will be available in the big wide world and web from Friday 21st June onwards. And for those too busy to read on, here’s a single word review: corker. But for those of you who can spare a few more syllables…

Pareidolia opens with the expected fuzz and distortion that must be permanently squatting in the back of James Brown’s head – sweeping in with just over a minute of echoed guitar tuning and white noise gone rogue. No surprises. Then the curiously chronological ‘Swallowing Light’ stamps Mutes across the front of this new LP, mirroring all we’ve grown to love, loathe or lament about this one-man-band split into three. Still no surprises. But no complaints either.

Then it changes. Everything shifts. Soft strumming and softer vocals cascade across the record, as the gentle melody of ‘Guarded Young’ moves us into an arena of almost indie pop – until the Swervedriver effect takes over at about 2mins 32secs. And despite the deluge of spangly guitar music in the Midlands, this Steve Lamaq championed single still feels fresh. Let the surprises begin.

The rest of the album jumps from one wonderful edge of this dichotomy to the other, combining Brown’s perfect homage to the ‘Stala’ side of those battered butternut sqaushers with what could, would, and perhaps should be described as even tender acoustic-electro.

Tracks such as ‘What It Takes’ and ‘Systematic Bliss’ bring out an almost vulnerability to this LP, whilst the unashamed freneticism and rabbit punch percussion of tracks such as ‘False Promise of Protection’ and ‘Men of Violence’ break this eleven track experience into an opposing battle of wills.

The production is superb, throughout, which the press release tells us is the silver lining when ‘principal songwriter James used the lack of any real support network as an opportunity to go it alone.’ Someone give that man a hug. Or a whiskey. But with a Mogwai-like intensity and sensitivity embellishing an album that is already melody heavy, whatever drove whoever to this point of wherever is no bad thing. For us, at least.

A few pockets of mad glory stand proud, with the dark dream instrumentals of ‘A Coloured Loss’ and ‘A Mercenary Change’ woven into a track listing with moments that would make George Martin blush. And as for the closing track, the curiously titled ‘Form/Colour’… well, I’ll leave that to you and your audio God. But lay me down on my flag and let the fields wash with blood, the king is dead. LONG LIVE THE KING.

However, as with many great works the strength of Pareidolia could also be its downfall. Accessibility. James Brown has long been a voice of dissent amidst the crowded cacophony of the Midlands’ music scene, challenging – verbally and musically, rightly or wrongly – the carbon copy creations that he often claims grab all the attention. From the crowds, from the venues, and from us, your humble music media. And he’s right, to a point.

But even if he’s not (everything by nature is subjective) it’s an important counterpoint to have in the conversation. And Pareidolia is dangerously close to making him popular with the pack, as the wolves of Radio 6 are already howling out around him.

But that’s me, perhaps I think too much. Perhaps I should just put my earphones back in, skip to track eleven and walk home enjoying the sunset. And as I stumble into the world’s most subtle framing technique, perhaps it’s just a beautiful body of work and I’m making something out of nothing. Regardless, Pareidolia is an exceptional album.

Mutes release Pareidolia, on Friday 21st June – out via FOMA. For more on Mutes, including links to online purchase, visit www.mutesuk.bandcamp.com 

For more from FOMA, including links to all Mutes material on the label, visit www.wearefoma.bandcamp.com

Mutes are also celebrating the release of Pareidolia with special gig at The Sunflower Lounge on Saturday 22nd June – support comes from Magik Mountain, Exhailers, and Outlander. For direct gig info, including venue details and online ticket sales, visit www.thesunflowerlounge.com/event/mutes-magick-mountain-outlander-exhailers

For more on The Sunflower Lounge, including full event listings and links to online ticket sales, visit www.thesunflowerlounge.com

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any of the issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

BPREVIEW: Mutes – Pareidolia album release party @ The Sunflower Lounge 22.06.19

Mutes / Courtesy of FOMA

Words by Ed King / Pic courtesy of FOMA

On Saturday 22nd June, Mutes celebrate the release of their new album, Pareidolia, with a special gig at The Sunflower Lounge – support coming from Magick Mountain, Exhailers, and Outlander.

Doors open at 7pm, with tickets priced at £7 (+booking fee) – as presented by FOMA. For direct gig info, including venue details and links to online ticket sales, click here.

Ah, the tortured artist… we have a small gooey soft spot for the one-man whirlwind of frustrated angst that sits at the centre of Mutes. Not just because, let’s face it, the man is pretty damn talented. But also because he’s kind of right. Most of the time. Some of the time. A bitter pill that leaves you a little sore to swallow, but one that will probably help clear away the mucus and bile that rests in the belly of Birmingham’s musical guts. Or who will one day go fully mad and burn down half the venues and recording studios in the city, so you know – either way, there are worse things than the occasional clean slate.

So… what’s all the fuss about, eh? Mutes have a new album coming out, that’s what – on Friday 21st June, Pareidolia will be set free into the world and you all are being invited to embrace it. You lucky lot.

Mutes - Pareidolia / UK tour posterMore about that later… but what we can do right now is plagiarise the press release, which describes Pareidolia as ‘a meandering, exhilarating record that sees the Birmingham post-punk group delivering something entirely new.’ And whilst I’m not sure about ‘meandering’ (more a sneaky creeper that kicks you square in the throat) it’s certainly a step into more digestible territory than its predecessor, No Desire. Although we did like No Desire.

Currently being toured across the UK, with The Sunflower Lounge show being the midway mark, Mutes’ new LP has already been picked up by the great and good of Radio 6. Lamo (a nickname that reminds me of bullies at a Grammar school) even debuted the single ‘Guarded Young’, so for that we salute you Sir Steve. And you can’t get much more of a high profile new music endorsement than that.

Although it did, with Pareidolia also having a healthy thumbs up from Tom Robinson, DIY Magazine, Louder the War, and The Line of Best Fit – so prepare your greasy hands Birmingham, there’s a rising balloon leaving soon and you’ll want a firm grip.

It’s a pretty stonkin’ line up at The Sunflower Lounge release party too – with those ‘playful proto punk’ers, Magick Mountain, coming down from Leeds to play in the second city. Or third city, depending on which tour bus you’re on.

Lining up the local support are the ‘three-headed apeoid’ art-rockers, Exhailers, who also have a release on the table – their latest single, ‘Planetary Spin to the Stomach’, is now available via the usual online suspects.

Then breaking the magic number rule on this bill are Outlander, who’s latest five track release, The Valium Machine, came out in April this year – more about that later too…

So there you have it. And if all this well rounded/meaning foot stamping hasn’t convinced you to shimmy on down to The Sunflower Lounge on Saturday 22nd June, then perhaps a little AV persuasion is in order. In fact, have two. We’ve got a few minutes (seven) to spare:

‘Overfed’ – Mutes

‘Guarded Young’ – Mutes

Mutes perform at The Sunflower Lounge on Saturday 22nd June, celebrating the release of their new album Pareidolia – with support from Magik Mountain, Exhailers, and Outlander. For direct gig info, including venue details and online ticket sales, visit www.thesunflowerlounge.com/event/mutes-magick-mountain-outlander-exhailers

For more on Mutes, visit www.mutesuk.bandcamp.com.

For more on Magick Mountain, visit www.facebook.com/magickmntn
For more on Exhailers, visit www.exhailers.bandcamp.com
For more on Outlander, visit www.outlandertheband.bandcamp.com

For more from FOMA, including new releases and back catalogues from all the artists on their roster, visit www.wearefoma.bandcamp.com
For more on The Sunflower Lounge, including full event listings and links to online ticket sales, visit www.thesunflowerlounge.com

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any of the issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

THE GALLERY: MUTES – No Desire album launch @ COW 02.06.17

 

 

 

Words by Ed King / Pics by Eleanor Sutcliffe / Video by Trapeze Film

On 2nd June MUTES released their debut album, No Desire.

Out via FOMA Records – the Birmingham based label for Repeat of Last Week and Hoopla Blue, the nine track MUTES LP was launched with a one off gig at COW, the mahoosive vintage clothing shop next to the O2 Institute. So big you could cram a cheeky rave in there, which we tried to do once before it became a clothes shop; good to see it being used for events.

Piggy backing a Digbeth First Friday for a free showcase event MUTES were the only act on – giving the marching musical marauders on their way to Mama Roux’s an intimate bite into the band’s new material. Five years ago I’d have said ‘to the The Custard Factory’; ah Heath Mill Lane, when it was all fields…

Birmingham Review had been chomping its eager beaver teeth through No Desire all week, managing to get MUTES’ front man and founder, James Brown, to sit down and talk to us too. To check out the Birmingham Review of No Desire, click here – or to watch the man who gave birth to this sonic monster you can click here, or on the YouTube link at the bottom of this post.

So there’s no reason to go outdoors ever really. Just sit here and we will bring you all your thoughts, ideas, opinions and post (INSERT NATIONALLY GALVANIZING EVENT HERE) diatribes; ah informed thinking, when it was all…

Or you could peel yourself away from something Apple branded and try and catch MUTES for yourself, which might not be as easy as I’m goading you to do – but click here to stalk them with more online efficiency.

Eleanor Sutcliffe was at COW to check out the No Desire showcase and launch – see some cherry picked pics below, or click on the relevant links for the Full Flickr of Pics.

MUTES @ Cow 02.06.17 / Eleanor Sutcliffe – Birmingham Review

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MUTES’ front man & founder, James Brown, talks to Ed King for Birmingham Review @ Blotto Studios 01.06.17  – watch out for the solo performance of ‘Blood’ at 26mins 36secs.

MUTES debut album, No Desire, is out on general release. For more from Mutes, visit www.mutesuk.bandcamp.com

For more from FOMA, visit www.wearefoma.bigcartel.com

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For more on Blotto Studios, visit www.facebook.com/BlottoStudios

For more on COW Birmingham, visit www.wearecow.com/contacts/#birmingham

ALBUM: No Desire – MUTES / INTERVIEW: James Brown

Words by Ed King / Pic by Aatish Ramchurn / Video by Trapeze Film

On 2nd June, MUTES release their debut album, No Desire – out in the big wide world thanks to the Birmingham based FOMA Records. And for anyone in the 0121 there’s a launch gig at COW vintage clothing (Digbeth) on the same day: doors open at 7pm, admission free, click here for more info.

Birmingham Review caught up with MUTES‘ front man and founder, James Brown, at Blotto Studios in Digbeth – to check out our full interview click here or on the Youtube link below. Watch out for the solo performance of ‘Blood’ at 26mins 36secs.

Meanwhile, back at the ranch…

The first release from MUTES as a band, No Desire is a ‘sprawling’ nine track endevour that works ‘through urgent noise-fests, slow-burning drone sequences and seductive siren songs with assured ease.’ Well, yeah, kinda… I wouldn’t want to write a press release for it either.

Kicking off with perhaps the most obvious track, ‘A Burial’, the first word that comes to mind is Nirvana – as in SubPop grunge and not the end game of Saṃsāra. Nothing wrong with sounding like Kurt Cobain or dying your hair blond, I’d even forgive an awkward morning with Courtney Love… just don’t make a habit of it.

Fast, frivolous, only two minutes long, ‘A Burial’ will probably be the soundtrack to some self indulgent teenager as they raid the kitchen draw to make those all important marks for school on Monday. But it’s not the best No Desire has to offer. Neither is ‘Knotting off the Vein’, the second track on the album, but grab something objective and in under four minutes you’ll be onto the more appealing main course.

(James Brown has been curiously, candidly disparaging about No Desire’s opening two tracks – citing the decision to open with ‘A Burial’ was more “to get it out of the way”. They’re not bad, they’re just not the best representation for No Desire as a whole; the album steps up once you’re a safe distance away from the start.)

Rabbit punch percussion and affected vocals launch ‘Primrose’, as the psychedelic spangle guitar that will be your guide trough this LP starts to embed. Raucous, then reserved, this is heading in a better direction. Makes me think of…

Then we have seven minutes of distorted sound fuzz; in a Spritalized haze we float through the middle of the album before a twenty second six string kiss leads us into ‘Dust’. Beginning as a shoegaze affair extraordinaire,  ‘Dust’ picks up halfway and throws itself into a Smashing Pumpkins ‘Starla’ supernova with just over 1 ½ minutes to go. For me, this is where No Desire makes its mark. This is also where I stop picking the album apart track by track.

The beauty of No Desire is a dichotomy of extremes. There’s some ‘noise rock’ fluff, some short hit quick fixes, but those handful of minutes become an acceptable background to something much bigger. To something much better. It’s the marriage of the heavier rock (for want of a better expression) and the circling opiate haze that makes this LP memorable.

Nailed in only three studio days (can’t quite get my head around that) the man behind MUTES claims they don’t have ‘a sound’ but I beg to differ – I think they’ve got three. And when they’re all rolled into one, long, ooze… glorious, even without Lou Reed in your veins.

No Desire, to this set of ears, feels like a step up for MUTES – a more crafted ensemble of songs that are best listened to in their entirety, although the bottom’s not going to fall out if you began from track three.

An album, all the way through, who has the time?!?!?!? Don’t worry, it’s only 9 tracks long. The above word count is 626. The interview below is about 20mins long and No Desire will take you under three quarters of an hour from start to finish. YOU MUST CONSUME EVERYTHING WE CREATE.

But there’s an easier way to get your chattering teeth into this new body of work from MUTES, just listen to the title track first. Or you could always get to the MUTES Album launch gig at COW and see it first hand – either way the clue’s in the title.

MUTES’ front man & founder, James Brown, talks to Ed King for Birmingham Review @ Blotto Studios 01.06.17  – watch out for the solo performance of ‘Blood’ at 26mins 36secs

 

‘A Burial’ – MUTES (from their debut album, No Desire)

MUTES debut album, No Desire, is out on general release from 2nd June – with a launch event at COW vintage clothing in Digbeth, click here for more info.

For more from Mutes, visit www.mutesuk.bandcamp.com

For more from FOMA, visit www.wearefoma.bigcartel.com

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For more on Blotto Studios, visit www.facebook.com/BlottoStudios

For more on COW Birmingham, visit www.wearecow.com/contacts/#birmingham