Out on the road with their new EP, The Coldest Fire, GHUM are stopping off for a Sunday night soirée in Birmingham – playing their second gig in the second city, before up to Manchester and beyond on an eight date UK tour.
Released though the London based Everything Sucks Music on 28th June – home to Dream Nails, Wolf Girl and Birmingham’s erstwhile Okinawa Picture Show (last seen…?) – The Coldest Fire is a thicker broth than its 2017 predecessor.
Opening with ‘Saturn’, an immediate foundation of frenetic drums and bass (from Vicki Butler and Marina MJ respectively) gives way to Jojo Khor’s piercing guitar lead and Laura Guerrero Lora’s subtle, brooding vocals. Relentless and bold, citing the EP’s title in the second verse, this opening track is a solid introduction to the whole release – which celebrates all the wonderful and dark corners of GHUM’s self-described ‘ghost grunge’.
Produced by Adam Jaffrey, who has worked with acts from Beach Baby to Ekkah to Lucy Rose, the EP’s second half does loosen its grip a bit – with a softer threat to the first two tracks otherwise clear cut knife to the cheek. But don’t be fooled, whilst ‘1000 Men’ and ‘In My Head’ might be a little epinephrine deficient they can still stand up and fight.
Perhaps, however, The Coldest Fire’s brightest moment is in its second track and lead single, ‘Get Up’, with just over four minutes of low menace and rising panic that throw us around the sonic spectrum with frightening control. As a child of the 90’s, who grew up on the foreboding prophecies of early Sup Pop and Swervedriver, this sends me back to the frivolities of my twisted metal youth.
Like an audio ghost train crashing through the walls of a mescaline hall of mirrors; cracking stuff. And God loves a metaphor… at least, that’s what you get in the absence of any Darjeeling railway anecdotes. Out now; enjoy.
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On Monday 12th 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’.
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 12th March – available through all major music platforms.
Words by Andrew Wilson & Ed King / Pics by Denise Wilson
Back in Birmingham for the last date of his UK tour, Puma Blue plays to a comfortably full Sunflower Lounge crowd. But before the birthday boy can take centre stage (23 candles and cake today for Puma Blue) Sam Hollis is up as the evening’s first support act – joined by a full band, the recently solo singer/songwriter launches into a set of confident swagger.
Reminiscent of something between The Libertines or The Slackers, tonight’s Hollis ensemble strike the balance between tight and loose that so many post-Madchester bands have tried to embrace, emulate or evolve. Not an easy task post-naughties either, but one well executed by the first act on stage. And with his first solo EP out in January this year, minus those easy to find reptiles, things look set in a strong new direction for Sam Hollis this year.
Joining Puma Blue across his UK (and possibly beyond) is peer and producer, Lucy Lu – who is actually the solo pseudonym of Hester band mate, Luke Bower.
Stepping into more jazz tinged territory, Lucy Lu is made up of Bower on bass and rhythm guitar – with keys, percussion and saxophone that will jump ship to Puma Blue for the next set. Oozing in talent, the funky grooves and lyrical angst is delivered by an academically tight ensemble, and the room is gripped in a confident and well-schooled musicianship.
The crowd, who would be forgiven for not being seen at much of the Birmingham Jazz programme, are eager in their appreciation, with the effortless strings, charm and soft vocals of ‘Golden Prairie’ getting some well-deserved attention. I smell a return, and possible step up on the Birmingham bill for Lucy Lu. Roll on 2018.
Then it’s time for the rising balloon. Puma Blue is nascent right now, with his summer Swum Baby EP getting all the New Year ‘ones to watch’ lists twitching and ushering in some pretty respectable support slots.
Last time he was in the city was to warm up for Jordan Rakei in October, joining the Brisbane maestro on his UK tour. But now the South London ‘croonah blu’ has his own six string secondment and is back in Birmingham at the top of the bill. A place The Sunflower Lounge crowd seem very happy to welcome him to.
Again, the musicianship is superb; backed by a metronomic drummer, this proficient ensemble move into more Ratpack flavoured waters as the Puma Blue set unfurls. But it’s not pure homage, as the band embraces elements of jazz, dance, reggae and soul – with Puma Blue leading on rhythm guitar and vocals, husky at one end and mirrored by a confident falsetto.
Tracks from his debut EP get a good airing, with the brushed drums and laid back swoon of ‘Only Trying 2 Tell U’ filling out any forgotten corners of the room. ‘Soft Porn’ puts in an appearance, but there is a reggae dipped track midway through the set (whose name I couldn’t catch) that added spice to the proceedings. One to hunt down.
On stage for about an hour with no encore, there is much to laud, applaud and look forward to with Puma Blue – an artist who is earning his place on many people’s musical radars.
And with another jaunt across Europe and a festival summer before we’ll likely see him in the city again, who knows what momentum will be behind this artist by the time Puma Blue returns. One to watch… yeah, sounds about right. Probably in a bigger room next time too.
Puma Blue @ The Sunflower Lounge 24.02.18 / Denise Wilson – Birmingham Review
On Saturday 24th February, Puma Blue will be performing live at The Sunflower Lounge – with support from London based producer Lucy Lu, alongside Birmingham singer/songwriter Sam Hollis.
Ending his 6 date UK tour in Birmingham, before heading out to mainland Europe for shows up until the end of April, Puma Blue returns to the second city – following a support slot with Jordan Rakei at the O2 Institute last October. This time around the ‘croonah blu’ will be headlining his gig, joined by producer peer and collaborator Lucy Lu, as well as the Birmingham based singer/songwriter Sam Hollis.
Puma Blue and Lucy Lu recently released their single ‘Fakery’, which was set free into the wild to coincide with the beginning of this tour. But Puma Blue is still out and about promoting his five track debut Swum EP, which was released in June 2017 – showcasing the laid back jazz, alt-pop, and husky vocals that have taken this Londoner around the smoky rooms and jazz clubs of Europe.
It’s still relatively early doors for Puma Blue too, who is already sitting at the top table of London’s new low-fi and jazz artists such as Cosmo Pyke, Eastern Barbers and Ezra Collective. With a respectably far reaching tour circuit keeping him busy until festival season, Saturday 24th February will be a good opportunity to see Puma Blue before the bigger rooms of Birmingham beckon – not that there’s anything wrong with the larger venues, but you’ve got to love a gig at The Sunflower Lounge for getting up close and personal with an artist on the rise.
But it the meantime, roll back your jacket sleeves, undo the top two buttons on your slightly crumpled shirt, ruffle the mop top, turn down the lights, sit back, pour yourself a drink, and…
‘Want Me’ – Puma Blue
Puma Blue will be performing at The Sunflower Lounge on Saturday 24th February, with support from Lucy Lu and Sam Hollis. For direct gig information, including venue details and online ticket sales, visit www.thesunflowerlounge.com/event/puma-blue
It’s a Tuesday night, and a small crowd packs into the upstairs room of The Rose Villa Tavern in the Jewellery Quarter. A mismatched array of chairs fills most of the space, as well as a projector that hangs from the ceiling… and I am confused.
Director and animator Louis Hudson, alongside writer and producer Ian Ravenscroft, stand before the crowd and explain that they will be showing a mix of their own collaborations, along with shorts that have inspired and influenced their work. The duo make up Dice Productions – a company that boasts an extensive and award-winning body of work, with their comedy shorts and animations appearing on Nickelodeon (DuckManBoy), Channel 4 (Gregory is a Dancer) and the BBC.
The premise is simple enough and this is not what causes my confusion, but rather the eclectic content. The evening opens with Dice Production’s catalyst, Message in a Bottle (2009) – a one minute animated short based on a drawing that Hudson created when he was around sixteen. This, along with the next couple of shorts, did nothing to aid my journey of understanding. The confusion grew to bewilderment, as my brain struggled to catch up and make sense of what I was (admittedly, excitedly) watching.
I carried this dilemma with me until the fifth piece, entitled All Consuming Love (Man in a Cat), a nine-minute short, unsurprisingly about a little man named Yorkie (voiced by Kevin Eldon) navigating life stuck in the body of a household cat. At this point, I realised that I had to shove any preconceived notions aside. Usually when watching something I need time to process my thoughts, to establish an explanation before moving on. However, the format of the evening – showing shorts one after another in quick succession – just does not permit this. So, after battling with myself I surrender to the ‘just-go-with-it’ mentality, which is the point and made for an extremely entertaining evening.
Although all of the shorts’ comedy is uncontainable and indescribable, the first section is darker and more twisted, including Who I Am And What I Want (2005 – directed by Chris Shepherd and David Shirgley) and Myszochujek (2014 – directed by Kristof Babaski). Part two features assorted clips, starring Morecambe and Wise, Reeves and Mortimer and the cast of The Fast Show – creators who took a medium and distorted it to work against its predetermined rules. This is reflected in The Christmas Card (1968 – directed by Terry Gilliam), which played with the repetition of TV and its traditional conventions long before they were established, allowing a comedy format to be created; a short ahead of its time.
Rejected(2000 – directed by Don Hertzfeldt), is also in this section and demonstrates the deeper, more emotional side of comedic shorts. Rejected is a fictional frame story, where Hertzfeldt is commissioned to animate different commercial and television network segments, all of which are ultimately met with rejection. His characters run amuck, and when the intertitle states that the animator has suffered a mental breakdown his work begins to fall in on itself whilst he kills his characters. This could be described as black comedy at a glance, but once you explore the serious implications it demonstrates how much effort, time and dedication go into these works.
The final section of the evening focuses on a more child-friendly narrative, comprising of clips from children’s shows such as Danger Mouse (1982), Brillso Brothers (2008) and Hudson and Ravenscroft’s own work, DuckManBoy (2015). Despite the child-like qualities of these works, they still contain absurdities. I have seen a handful of these clips before, but never thought to analyse or breakdown their comedic properties. This is echoed by Ravenscroft, who states that we often don’t think about how much work goes into shorts and may dismiss them as “throwaway comedy”.
A great example of this is the side-splittingly funny Morecambe and Wise: The Breakfast Sketch. Hudson points out that someone will have taken the upmost time and care creating bizarre props, including a bespoke fridge that mimics the lights in a cabaret, all for a short clip.
This is reflected in their own work, Croissant (2015), which Hudson explains took around five months to make, to ensure that everything was in place to land the desired comedic effect. And the short is only two minutes long. He explains this could have been done easily over a weekend using animation, but stresses the importance of picking the correct format to convey comedy – hence the choice of a ‘live’ short, despite the laborious hours. This particular discussion is nothing short of inspiring in itself, really opening my eyes to each clip and making me appreciate how much effort goes into each frame.
My personal highlight of the evening is the segment about English comedian Rik Mayall, who is one of the first comedians I was introduced to growing up. In part two, they show a clip from Bottom (1992) and this preludes Dice’s own work Don’t Fear Death (2013) also starring Mayall as the main voice over, with Ed Bye (director of Red Dwarf 1988-91, 1997-99) as Associate Producer. The duo agree they felt they had successfully captured all sides of Mayall in the three-minute short, released three months before his death. Hearing Hudson and Ravenscroft talk so candidly about the actor, his mannerisms and genuine character, is uplifting and makes the short so much more enjoyable.
As well as feeling inspired, I come away from Dots & Loops #5 feeling educated by Louis Hudson and Ian Ravenscroft’s reflective, personal knowledge of the clips and the comedy world in general. For example, the Dice Production duo’s discussion of how repetition in comedy affects its audience is perfectly demonstrated through the four-minute Lesley the Pony Has an A+ Day! (2014). And their thoughts on the changing landscape of comedy shorts is fascinating; Ravenscroft explains that the third clip shown, A Heap of Trouble (2001 – directed by Steven Sullivan), was commissioned and aired on Channel 4 but suggested that today it wouldn’t fit a late-night slot, although may achieve millions of hits online. They discuss the changes in YouTube algorithms which make it harder to find new and inspiring content, raising interesting questions regarding the changes in formats and mediums in which comedy shorts operate and are distributed.
So, in an attempt to summarise the immensely enjoyable and eye-opening event… I was expecting to passively observe the shorts shown, as I felt I wouldn’t be able to appreciate them individually in such a short time. However, once I had wrapped my head around the unrelated narratives, it was an interesting event to be part of for many reasons – I learnt something new, was exposed to new content, and felt the importance of creativity reaffirmed.
Dots & Loops’ fifth edition also demonstrated that whilst there are absurdities and idiosyncrasies, no work is completely original; you will be able to relate it to something prior or see where the artist’s influence has come from. It also showed how genres develop and modify over time, adjusting to modern factors.
Shows like Bottom may look dated these days, but you can still break down work to see what it is that makes it entertaining. It’s then up to artists to take and develop this into something new and exciting that works within their own ideologies. And that’s exactly what Dice Productions does.
All Consuming Love (Man In A Cat) – Dice Productions
For more from Flatpack, including full event listings and project information, visit www.flatpackfestival.org.uk
Doors open at 7:30pm, with tickets priced at £6 (+bf) – as presented by Indie Midlands. For direct gig info, including venue details and links to online ticket sales, click here.
Opening with ‘Saturn’, an immediate foundation of frenetic drums and bass (from Vicki Butler and Marina MJ respectively) gives way to Jojo Khor’s piercing guitar lead and Laura Guerrero Lora’s subtle, brooding vocals. Relentless and bold, citing the EP’s title in the second verse, this opening track is a solid introduction to the whole release – which celebrates all the wonderful and dark corners of GHUM’s self-described ‘ghost grunge’.
but there is a reggae dipped track midway through the set (whose name I couldn’t catch) that added spice to the proceedings. One to hunt down.
