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September 26, 2018September 26, 2018

INTERVIEW: Liquid Cheeks

Words & by pic by Emily Doyle / Pics by Danny Holden

*Liquid Cheeks support The Taboo Club at The Victoria (John Bright St) on Saturday 29^th September – alongside Lilac Noise, as part of Birmingham Review’s live music showcase. For more direct info visit the Facebook event page here, or for online ticket sales click here*

Inside The Night Owl, the monthly art and music showcase Kaleidoscope is in full swing. Outside in the smoking area, Ben Ollis Gibbs and Greg Clarke of Liquid Cheeks are perched on one of the picnic tables. They’re big fans of the night – it’s where they chose to debut their latest single, ‘Serendipity’.

“I think the concept of art upstairs, music downstairs… it’s wicked,” says Ben. “I mean obviously, I sell my art as well.”

“It shows that Birmingham, it’s so much more than just the whole B-town thing,” he muses. “We’re not in the state of being hungover from a corporate explosion anymore, there’s far more to it and these people have always been around. I mean, coming from Redditch we haven’t always known that crowd, so getting to really see what’s going on is excellent.”

“There’s a lot of great bands as well,” Greg interjects, “so it’s just nice that they’re all together and everyone gets to know each other.”

Ben and Greg are no strangers to the Midland’s live music scene. Most would recognise them from the now defunct Byron Hare, who were championed by BBC Introducing and played Birmingham Town Hall in their final months. They’ve brought the Byron Hare song ‘Serendipity’ with them into Liquid Cheeks. I ask the boys else how they’re carrying on the narrative.

“It takes it back to the start really,” Ben explains. “It was me, Greg and Jodie, and we’d go to the pub over the road to Greg’s Dad’s house, then we’d go back to Greg’s Dad’s house after he’d gone to work, and we’d just write music. That’s kind of what Byron Hare always was, until we realised that Jodie’s voice was far more than that in terms of a presence. That’s why we became a rock band. So it’s nice to go back to just writing and kind of not having any inhibitions about it.”

This ethos is evident in Liquid Cheek’s first release, ‘He’s A Flower’; three minutes of softly spoken indie rock, it rails against toxic masculinity. BBC WM Introducing gave it a spin, describing the band as ‘very pink’.

“With a lot of our imagery we want to be kind of touchy feely, and a little bit provocative in that sense,” tells Ben. “We’re men, we’re heterosexual men – but it’s fine to be a bit effeminate. Especially coming from a town like Redditch, all of my life I’ve had to deal with people throwing shit at me like, ‘So what are you, gay?’ and it’s like firstly, that’s not an insult, and secondly…no? So we wanna push that a little bit. What is it to be a man? Is there a place for this kind of alpha anymore?”

Greg nods along. Liquid Cheeks will be making their live debut alongside The Taboo Club and Lilac Noise at The Victoria (John Bright St) on Saturday 29^th September . I ask them how preparations are going.

“It’s all been very slapdash ’cause we were offered the gig before we even thought we could do a gig,” admits Greg. “Like, way before we thought we could do a gig.”

“It was the last Kaleidoscope!” Ben remembers suddenly. “We were here when we were offered the gig, and we went to The Crown and we had a drink and we said ‘I don’t think we can do it. It’s a shame because we really want to but I don’t think we’re gonna be able to,’ and then we finished the drink and then by the end we were on the phone to Ed at Birmingham Review and we were saying ‘yeah yeah no we’re happy to do it. Yeah, we’ll play it,’ and then we hung up and we were like ‘ah fuck…shall we book a practice next week?’”

“It’s good though,” adds Greg, “because when you’ve got stuff like that it forces you to fucking get on with it because as a writer or whatever you can just dwindle on things and be like, ‘Ah it’s not good enough yet,’ but when it has to be ready it fucking is.”

“Yeah definitely it’s good to have the boost up your bottom,” Ben agrees. It seems Liquid Cheeks like to work under pressure, as he goes on to tell of the band’s origin.

“In all honesty, we were at The Dark Horse, and we’d had a miscommunication, me and Greg. And Greg was telling people we were releasing music on Monday and I was like ‘…are we?’ This was on like a fucking Friday. And we didn’t have a band name, we didn’t have anything.”

“It was going to be Wet Face Society, wasn’t it?” Greg interjects.

“Wet Face Society after David Bowie in ‘Five Years’, he ‘cried so much his was wet,’” quotes Ben, “I liked that that painted such a graphic picture, but it also kind of touches on our generation just being sad about life because of how fucked we are. That’s something I can definitely relate to. So we wanted to go along that kind of graphic sort of line, but yeah Liquid Cheeks just ended up being what it was.”

Greg grins to himself, goes to speak, then hesitates. “Because… no, I shouldn’t… it sounds like diarrhea do you not think?” I’m glad someone said it. Moving swiftly on, I ask the pair what their audience can expect from their set at The Victoria on Saturday 29th September.

“Karaoke!” laughs Ben. Greg concurs. “It is glorified karaoke – for now anyway. It’s gonna become an actual band, but now it’s just glorified karaoke.”

“We want to put a show on,” says Ben. “We wanna really make it quite personal, quite one-to-one. It’s just going to be just us on the stage, so there’s not that backbone of support of musicians. It’s just me, Greg, and a room of people.”

‘Serendipity’ – Liquid Cheeks

Liquid Cheeks will be supporting The Taboo Club at The Victoria on Saturday 29th September, as part of Birmingham Review’s live music showcase. Joining them on the bill will also be Stoke’s melodic electro four piece, Lilac Noise – playing their debut Birmingham gig.

For more direct event info visit the Facebook event page here, or for online ticket sales click here.

For more on Liquid Cheeks, visit www.facebook.com/liquidcheeks

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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 sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

August 22, 2018February 27, 2019

OPINON: Spotify could be the saviour of independent music, instead it chose to help the big boys

Words by Mark Roberts – from The Mothers Earth Experiment

£9.99. That’s all it costs for you to rent all the music you could ever want every month. A steal you say, an absolute bargain, slap me silly and call me Brenda, it’s magnificent. This is all very true; at no point in music history has music been more accessible or cheap. This is the nirvana of the music listener, an endless supply of different bands and different styles, but is it the nirvana of the music creator? Is streaming the best delivery system for artists and listeners?

You see, there’s an underlying inequality with streaming services and that is based in how they pay their artists. I’m going to use Spotify as an example because it’s the largest and because I know Spotify in and out, but this is symptomatic of all streaming services and isn’t meant to attack one business.

To calculate royalties, Spotify take all the money from all the subscribers in the world and divide it up based on individual plays on the service – ergo, the more listens an artist gets, the more money they get. You may be sitting there thinking “seems fair enough, what’s the problem?” but let me show you why it isn’t necessarily fair.

Imagine I’m running a massage parlour (the normal kind you dirty bastard) and I put a relaxing meditation album on… twelve hours a day, five days a week. Each song is three minutes long, that’s twenty songs an hour for twelve hours, 240 plays a day, 1200 plays a week, 62,400 plays a year. One single account can play 62,400 songs in a year for £120. The chances of a regular listener ever playing this much music is nigh impossible (if anyone has listened to this much music in the last year I’d love you to get in contact cause I think I’d like to give you a medal). This essentially means that business accounts, and what they listen to, are worth more than the average listener. Is it necessarily fair to base the money given to this meditation album on how many listens it gets when they’re all coming from one person, me?

This means that the reach and scope of your music is irrelevant it’s all about how many times it gets clicked on. It also means that the shorter your song, the more streams it can get in a year. This rewards short songs and penalises epic songs purely for being what they are.

One of my favourite people in the world, Jack Stratton of Vulfpeck, realised this incredibly early on. Vulfpeck decided to make Spotify their bitch and released an album they called Sleepify. It contains ten songs at 31-32 seconds each, all of which are… absolute silence. They asked fans to play Sleepify whilst they slept; with the songs being such a short length, over one eight hour sleep one person could rack up just under 960 plays a night. If you really loved Vulfpeck you could just keep it playing all day, which would equate to roughly 2880 plays. Sleepify was, you guessed it, pulled by Spotify for breaching terms and conditions, which term or condition however is still unknown today. Jack said, “it was removed under the terms violation that the artist shan’t make money” (basically they realised they’d gamed the system). Sleepify was estimated to have earned Vulfpeck about “$20000 in royalties” before it got taken down, which they used to fund a tour to the places that played Sleepify the most.

As you can see, Spotify and streaming services like it reward short content as well as content that’s played on repeat. They also reward bigger acts with bespoke deals, meaning acts like Pink Floyd – who wouldn’t join Spotify for years – get more than say The Orielles per play. I don’t think that’s fair, but unfortunately that’s capitalism in a nutshell (don’t get me started on capitalism).

You may at this point be wondering how the hell anything can be done about it; what can we do to avoid the pitfalls of streaming music and the way it affects smaller bands and larger songs? Well it’s actually rather simple. Right now Spotify takes all those £10 subscriptions, adds them together, and divides them between every play on the service. What if it was done the opposite way around though? What if Spotify took each person’s £10 subscription, calculated which bands and artists they listened to, and distributed their £10 out by the percentage of time they listened to each artist over a month? For example, if I listened to Radiohead for 30% of my listening time, The Grateful Dead for 30%, and Portishead for 40%, then Radiohead and The Grateful Dead would get £3 each and Portishead would get £4. Obviously Spotify would need to take a cut of that ten pounds to make a profit, but you get the point with the simple use of numbers.

Firstly, the fact that you would be calculating actual listening time and not ‘plays’ would mean that whether a song be long or short it wouldn’t matter; each second of music would be as valuable as the next. Secondly, by taking your £10 subscription fee and dividing it by what you listen to, it means your money is going directly to your favourite artists rather than going to artists that other people streamed a lot that year. It also means that if my massage parlour is listening to that meditation album all day every day, the meditation album will only get the full £10 a month subscription fee I pay, not some ridiculous amount of money.

If it’s so simple, why don’t they do it? The answer, I suspect, is money and influence. Can you imagine artists like Beyoncé or Arctic Monkeys to be over the moon about losing some revenue? They would most likely just say no to the new terms and leave the service. Spotify fears that above all else. However I fear that if Spotify could just play the game, hold its nerve and grit its teeth, eventually the big artists would blink first and come back, realising the mistake they’d made by leaving.

Maybe revolution is just around the corner; maybe we just need a new service for smaller acts, maybe we don’t. All I know is that currently small acts are getting shafted and it’s the fault of the streaming services. If you want to support a small band you could game Spotify to try and give them more revenue, but I’d say just go out and see their shows and buy their merch for now. Maybe one day we can bring egalitarianism to streaming, but for now it looks like nothing will change soon.

Mark Roberts is the lead guitarist/vocalist for The Mothers Earth Experiment. For more on The Mothers Earth Experiment, visit www.themothersearthexperiment.wordpress.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 sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

August 13, 2018

SINGLE: ‘Serendipity’ – Liquid Cheeks 13.08.18

Words by Ed King / Pic courtesy of Liquid Cheeks

On Monday 13^th August Liquid Cheeks release their second single – ‘Serendipity’. Available to stream for free though Spotify, click here to listen.

Liquid Cheeks is name you’ll read on our pages again in the coming weeks, as they will be supporting The Taboo Club at our next live music showcase – at The Victoria on Saturday 29^th September. And it’s a name you should remember, as the fledgling project from Ben Ollis Gibbs and Greg Clarke is one of the most promising new musical corners of the Midlands this year.

Releasing a series of introductory singles, Liquid Cheeks launched themselves with ‘He’s a Flower’ in July – a guitar twanging stab at machismo, delivered through gritted teeth and absurd amounts of swagger, burrowing into your brain like a good earworm should. It was a solid start for the new band from two core members of the erstwhile Byron Hare – grabbing us by enough short and curlies to book them for our September showcase, where they will play their debut live set as Liquid Cheeks. Something we’re more than a little excited about. But have you got any more material I could listen to? Yeah, sure, we’ll send it over… ‘Serendipity’ is being released in August.

Remember the first time you heard Foals, or The XX. Or any band who manage to deliver something with that ineffable… whatever it is. That’s Liquid Cheeks. Self-described as ‘electro garage’, their sophomore single, ‘Serendipity’, is a masterclass in effective restraint – opening with an almost twee keyboard riff from Ben Ollis Gibbs, before a gut punch guitar and Greg Clarke’s vocals hook you into the heart of this track within seconds.

This formula stays true until a little six string tweak at around the two minute mark, giving slightly a tougher middle eight, before bringing it back with a sprinkle of the aforementioned keys and the repeated chorus – a simple two line signature that had me singing it around my kitchen after the second play. But ‘Serendipity’ is solid song writing to it’s core – a track that, just, simply, works. And there’s a deep confidence to it all, with a simple chord progression underpinning a major to minor melody that makes me feel like I’m living through the Drive soundtrack. Although not the lift scene.

Liquid Cheeks seem quite laid back about the whole thing too, which is probably where their song writing gets its confidence and strength. I guess when you’ve been working within an ensemble for a while then move into a more self-governed and directed arena, you can take a welcome deep breath.

But with two strong singles on the table and a cluster making their way through the production process, I am anything but relaxed about it all. Birmingham is due another portfolio to be proud of with Liquid Cheeks looking like a solid part of any new attention the Midlands may get. And if there’s an album of this standard in the offing… Jesus, somebody better make up a new acronym because these boys came to play.

On Monday 13^th August Liquid Cheeks release their latest single, ‘Serendipity’, through Default Man Records – available to stream for free through Spotify, click here.

For more on Liquid Cheeks, visit www.facebook.com/liquidcheeks

Liquid Cheeks will be supporting The Taboo Club at The Victoria on Saturday 29th September, as part of the next Birmingham Review live music showcase. Joining them on the bill will also be Stoke’s melodic electro four piece, Lilac Noise – playing their debut Birmingham gig. For direct event information, including links to online ticket sales, click here.

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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 sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

July 9, 2018

THE GALLERY: P.E.T @ The Sunflower Lounge 01.07.18

Words by Lydia Fizer / Pics by Paul Reynolds

Otherwise known as the Oven of Aural Delights, >1000°C. “Me eyebrows are comin’ off!” – Molly McDonald, P.E.T bassist extraordinaire.

P.E.T. Ah, what can I say about P.E.T? That I’m beyond excited to see them again. That they have the purest punk sound which will pierce you to the core. That they’ve chosen their favourite local bands for the lineup tonight. It’s gonna be a good one. I can feel it in my water.

This gig is special, and not just because the lineup promises greatness. Tonight is the first time that the NOT NORMAL – NOT OK campaign stickers are in action. These are part of a larger campaign working against the cases of sexual assault, violence, and misconduct which are making our local music scene unsafe. Right this moment, P.E.T vocalist Abi Whistance is scouring the venue, slapping a sticker on anyone she can reach.

If you see these stickers at a music event in the future, please wear one. Even better, order some and distribute them. We are all responsible for showing solidarity in the face of sexual aggression, and demonstrating to the perpetrators that their actions will not be tolerated. You can get the stickers and information here, and even more information about the NOT NORMAL – NOT OK campaign here. As Whistance would say, “Get your hands off me, I’m not your P.E.T!”

Onwards. The first band to the stage are Flares, a babyfaced bundle of punk realness. They’re only 14/15 years old, but they are not to be underestimated. Their music is more mature than some bands twice their age.

They open with ‘Anywhere, Anywhere’ and bring a sound that hits your chest like a hammer. Their instrumentals are at once grungy and sharp. They move to the music with confidence. Flares are strong enough that covers of iconic songs are vibrant from their mouths. They get the whole room dancing to Buzzcocks’ ‘Ever Fallen in Love’, and stamp their own sound into M.I.A.’s ‘Paper Planes’. The beat keeps rolling right to the end of their final track, ‘Pastime’. They don’t put a note wrong.

Next up are The Butters Aliens. They have electric vocals from Ed Draper and an irresistible sound. The room is a mass of flailing limbs within the first minute of their set.

They smash a cover of FIDLAR’s ‘Stoked and Broke’, and I can’t help thinking that they play with unbelievable accuracy if they’re as baked as they claim. It’s so catchy. So memorable. It’s shoe-throwingly good (no, really. Shoes and hats are cast asunder. You don’t need them in hell). Later they cover FIDLAR’s ‘No Waves’. The old YouTube videos don’t do these covers justice at all; this show is leaving me blissfully broken – as Draper sings in ‘No Waves’, “I need a new body and I need a new soul”.

They set light to another firecracker, ‘Powerslide’. It makes me smile to see drummer Matt Homback briefly swap places with vocalist/guitarist Draper. Bring your drummers to the front and let them feel the love. They follow this with ‘No Name’. I’m left feeling like I need their CD for when I want to bounce around like a monkey on crack (admit it, you know how I feel).

There’s a whole load of gorgeous camaraderie between the bands tonight. They start mosh pits in one another’s honour, they write each other’s initials across their chests. Vocalist/guitarist of Miilkk, Jack Dixon, is called onto stage with The Butters Aliens to lend his exuberance. The Aliens end on an unearthly headbanging beat. Miilkk take to the stage. Drummer Fin Elwell-Jones’ facial glitter twinkles with promise.

I love it. The crowd loves it. I couldn’t have predicted this – Miilkk have a few bits and pieces on YouTube, but not enough to convey their real character. I left their YouTube account thinking The Moldy Peaches. I see them live and they turn the room into a metal party. Dixon has a classic, almost scratchy voice which takes me back to the first time I heard Kurt Cobain sing (‘Lithium’, in case you were wondering. I forget the year).

Miilkk whip out a fantastic cover of FIDLAR’s ‘Cheap Beer’, supercharging the crowd with an incredible hook. This was a cover worth screaming over (and won’t be the last FIDLAR cover of the night. Why so many songs by FIDLAR? I’m beginning to think this is a conspiracy. Maybe all the bands are actually FIDLAR in disguise. We may never know for sure).

There’s a brief moment where I think I hear bassist Harry Snell sneak a beautiful punk falsetto scream. It was so quick I might have imagined it. Snell, is it real or am I dreaming? If it is real, do it again. Bigger.

Elwell-Jones has lost his shirt by this point. He has ‘THICC DADDY’ scrawled across his chest in red. I notice it through a haze of happiness – I’m riding on bass vibrations running from my fingers to my skull. Miilkk are my favourite band so far. I’m not sure what kind of milk these guys are selling, but I bet it’s of the Clockwork Orange variety because I am tripping.

They do a cover of Dead Kennedys’ ‘California Über Alles’, causing one of the most hyperactive mosh pits of all time. The crowd gets down to the floor, thrumming like motors during the buildup. The room leaps – Dixon steps into the crowd with his guitar – they finish with a marching beat and a wail.

Miilkk launch into a string of cracking originals, including ‘Miss Tequila’ and ‘Pilly Willy’ (which is fast and furious – unlike the willy in question, presumably). They end with their newest song ‘Chinese Wine’; the chorus is the stuff that metal dreams are made of. Dixon screams with soul – I feel it in my bones.

Finally, it’s time for P.E.T. I’ve seen them before. I fell in love with them very quickly, and I’m thrilled to see them again as a headline act. Each band member is a powerhouse of sass. They’re fronted by Abi Whistance, the Ultimate Punk Dream Girl. She’s all fishnets and fiery eyes.

They hurl into the first number, ‘Internalised’, with all the force I’d ever hoped for. They have so much confidence, channeling their power and energy in every way possible. I can’t express how happy this makes me. A few months ago, a little confidence was all they needed to become practically perfect. I reckon they’ve now arrived in their most fabulous form, like a fully evolved Pokémon ready to win every battle.

They play ‘Bunnyboiler’, and bassist Rosie Jones grooves like the goddess that she is. Their cover of The Ting Tings’ ‘Shut Up and Let Me Go’ is honestly better than the original. You’d agree if you heard it. It’s hard not to be lured in by Whistance; she has the piercing voice of a punk-rock siren. A mass of crowd members clamber onto stage and stamp out the beat. They move on to ‘TV’, then finally to my favourite song of theirs, ‘P.E.T’. I really want them to record it so that I can listen to it every second of the day forever.

P.E.T are so entertaining on stage. They’re engaging. They’re cool, witty, personable… I can’t praise them enough. They prepare to cover Pixies’ ‘Tame’. Here unfolds my favourite moment so far. McDonald announces, “I went to Poundland and got some prizes. It’s a bit sh*t […] but whoever moshes the best gets a personal prize from me.” We take this challenge very seriously. The three winners each earn a medal and a lifelong invisible badge of honour. Also, glowsticks for everyone.

The whole crowd screams along to ‘Tommy’ – it’s P.E.T’s first recorded track, which you can listen to for free. It was actually written about the antics of The Butters Aliens, which gives the gig an interesting dynamic; I almost feel like I’m at an alt-family reunion/roasting. McDonald is suddenly wearing Draper’s hat, and more shoes are thrown into the air. How does this keep happening? I’m surrounded by hobbits.

They prepare to play their best known cover. McDonald cries, “Does anyone know all the words to ‘Wannabe’? Anybody can get up if they want.” A mass of crowd members get onto the stage. Together, the crowd and P.E.T give a performance The Spice Girls would die for.

For the final song of the night, we are treated to something spectacular. A song they’ve never played before. A song they’ve only rehearsed once. If I thought the energy was high before, this is a whole new level. Introducing: ‘Rich People’.

There are a series of famous names. Whistance growls, fangs bared, “Weinstein […] Morgan Freeman […]”. She comes to the edge of the stage, trembling like a bomb. “Rich people don’t dance in movies. Rich people don’t dance in films”.

I can’t convey the intensity of the performance in words. I’m afraid you’ll just have to go and see P.E.T yourself.

P.E.T @ The Sunflower Lounge 01.07.18 / Paul Reynolds

For more on P.E.T, visit www.facebook.com/petbanduk

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Miilkk – supporting P.E.T @ The Sunflower Lounge 01.07.18 / Paul Reynolds

For more on Miilkk, visit www.facebook.com/MIILKKBand

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The Butters Aliens – supporting P.E.T @ The Sunflower Lounge 01.07.18 / Paul Reynolds

For more on The Butters Alien, visit www.soundcloud.com/buttersaliens

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Flares – supporting P.E.T @ The Sunflower Lounge 01.07.18 / Paul Reynolds

For more on Flares, visit www.facebook.com/Flares

For more on Psych Productions, visit www.psychproductions.co.uk

For more from The Sunflower Lounge, including venue details and full event listings, 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 sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

June 28, 2018

BPREVIEW: P.E.T @ The Sunflower Lounge 01.07.18

Words by Ed King / Pics by Eleanor Sutcliffe

On Sunday 1^st July, P.E.T headline at The Sunflower Lounge, with support from Miilkk, The Butter Aliens + Flares – as presented by Psych Productions.

Tickets are priced at £6 and available on the door or in advance through the bands performing, so click on any of the highlighted names in this BPREVIEW for the relevant links. Likewise, to visit the Facebook Event Page click here.

P.E.T have somewhat stormed onto the Birmingham music scene, only forming back in October last year yet already carving a place for themselves at the forefront of Birmingham’s punk rock fraternity. Full of raw energy and musical smarts, this Abi Whistance fronted four piece have supported acts from Rews to The Cosmics – delivering a powerful punk rock punch wherever they appear on the bill, driven by the ferocious energy of their ‘tiny but mighty’ lead singer. Not one of our descriptions, but one we love all the same.

But it’s the unity from this band in their entity that makes them so special; both on stage and off, P.E.T are a “real fucking rock band” – to steal a summation that was once yelled out by the Alabama 3 frontman to The Hungry Ghosts. Yep, we’re putting P.E.T in that camp – namely the one where all the bands who kick ass with integrity live. Plus, guitarist Molly McDonald’s dry humour – with some awesome to/fro with bassist Rosie Jones – is freakin’ hilarious. (P.E.T‘s drummer, Kris Szulecki, is also a bit of a legend, but too covered in cymbals to get much of a vocal input whilst performing. Catch him at the bar though…)

But it’s no secret at Birmingham Review we think P.E.T are all alterations of awesomeness, and if you want a bit more background for your bounce rate then check out our 2cents on P.E.T’s debut single, ‘Tommy’, which came out on Friday 4^th May. And if you haven’t seen P.E.T live yet, you can expect a high octane set with some delicious band banter; on stage is absolutely where they shine this band shines the brightest. In all seriousness, P.E.T are a bit of a ‘golden marker’ as my friend used to call it, and as ‘of the moment’ / ‘one to watch’ as you can respectably get on Birmingham’s gig circuit right now. If you have half a live music heart you should pay this band some well deserved attention.

Sliding into the first base of main support are Miilkk, the self professed ‘messy psych, punk, grunge band from Birmingham’ who have a less than discerning taste in cider. We’re not overly familiar with this local three piece at BRHQ, but Miilkk have come recommended to us by P.E.T and that’s usually a good enough witness statement for us. Although if you need a more autonomous introduction, I would like to present to the court Exhibit A and Exhibit B.

Next on the bill are The Butters Aliens, again with the whole hearted support from the night’s headline act. Spangly, jangly, bouncy, garage rock, The Butters Aliens have been on the Birmingham Review Hit List for a while now, and seeing as the current default setting is ‘HEATWAVE’ we thought it would be about the right time to check them out. In a tiny, packed out, sweat filled subterranean mosh pit. In for a penny…

Then there’s Flares, bringing some more indie rock flavour to the evening’s proceedings. Again, we’re not overly familiar with Flares but they did bash out a pretty impressive support set at the Rose Dive gig back in May. Plus, there are a couple of recordings from their recent session at Rain Studios that are certainly worth checking out. But, again (again) if it’s got the P.E.T seal of approval then we’re prepared to sacrifice a pint and a half of cider on the door charge to find out.

So there you have it, not a bad way to see out your weekend. And as mentioned before, tickets can be bought on the door or in advance from the bands themselves – so click on the highlighted links in this BPREVIEW or click here for the Facebook Event Page.

On Sunday 1^st July, P.E.T headline at The Sunflower Lounge with support from Miilkk, The Butters Aliens + Flares – as presented by Psych Productions. For direct event information, visit www.facebook.com/events/1068346046636931

For more on P.E.T, visit www.facebook.com/petbanduk

For more on Miilkk, visit www.facebook.com/MIILKKBand

For more on The Butters Alien, visit www.soundcloud.com/buttersaliens

For more on Flares, visit www.facebook.com/Flares

For more on Psych Productions, visit www.psychproductions.co.uk

For more from The Sunflower Lounge, including venue details and full event listings, visit www.thesunflowerlounge.com