The Music Quarter

Another local favourite, the lovely Boat To Row will be gracing Moseley Folk Festival later today on the Bohemian Jukebox Stage. I caught up with three members of the band; Michael King (Guitar / Vocals / Mandolin / Banjo), Ben Gilchrist (Bass / Vocals / Percussion) and Lloyd Miller (‘Drums + Percussion / Vocals ) to see what they’ve been up to since releasing their EP, ‘Crossroads’ back in May earlier this year.

The guys describe their sound as having evolved from a love of traditional Folk and pop from the 60’s in addition to contemporary movements of today. They’ve recently been writing and recording new material as a full band (members not currently present are Hannah Riley and Elizabeth Poole) which is exciting news for us all!

” ‘Crossroads’ being an acoustic release, solely consisting of Mike and his guitar has given us a blank canvas to texturise the new songs. We’ve been demoing songs in Lloyd’s garage, trying out new instruments and making the most out of the full band step up.”

Having only formed last year, members from Boat have enjoyed the step up from spectator to performer at some great festivals already such as Wood, Truck and Dot to Dot, but they are very excited about playing the Folk Festival: “It’s been on all our calendars before we we’re even confirmed to play, so yes, quite happy to be playing.”

“To be playing on the same bill as Donovan is a personal dream,” says Michael, “he has been a huge influence on me and Boat, but we’re also looking forward to seeing Johnny Fynn, Low Anthem and our friends in Malpas and Goodnight Lenin.”

So what do the folksters think of Birmingham’s current music scene as a whole? Varied but supportive of each other they say: ”Off The Cuff Festival is a good example of how Birmingham’s music scene can boast such diverse line ups, where bands like 33 Seconds, &U&I and Boat To Row can play without anyone batting an eye lid. Magazines like Brumnotes and local radio station Rhubarb Radio also do really well to keep everybody in the loop with gigs, festivals and new music.”

‘Varied’ is definitely how I’d describe what the band are listening to personally at the moment: 

• LLoyd – Turin Brakes, Cat Stevens,
• Ben – Bruce Springsteen, Calories, Bob Dylan
• Michael – Mountain Man, Horse Feathers, Judee Sill
• Hannah – Belle and Sebastian, Donovan, Arcade Fire
• Elizabeth - Johnny Flynn, Katy Perry

If you haven’t alreaady bought it, Boat’s current release ‘Crossroads’ is out on Danger! Lazer! Phaser! Razor! & Ondryland records and can be purchased on their myspace as well as digitally on iTunes and Spotify.

Photo credit: Richard Shakespeare - Shakeypix photography

Stemming from a nomadic family with roots in both Kenya and Jamaica, Jo Hamilton was brought up in a house two miles from the nearest neighbour in the wilds of northern Scotland. Luckily for us though, she is now based in Birmingham and will be performing on the Lunar Stage at Moseley Folk Festival tomorrow afternoon. I asked Jo a few questions ahead of the festival to find out more about her magical new instrument…

TMQ: How would you describe your sound?

Jo: Imagine standing on top of a mountain as the sun is setting to your right, a range of mountains stretching out around you as far the eye can see, and a huge shadow of the mountain you are on, enveloping the valley to your left. Perhaps a bit like that.  

TMQ: Who or what influences your unique style?

Jo: I like to keep open, so daily occurrences can trigger emotions, little stories, memories and melodies to write songs.

TMQ: What’s all this about an ‘AirPiano’?

Jo: I was looking for a different instrument to play to trigger sounds and found the airpiano which is still in its development stages.  It looks like a plank of wood, and is played by passing your hands over sensors that trigger sounds from a computer.

TMQ: Was it difficult to master?

Jo: I’m far from a master, but I am getting along with it just fine.  It’s quite complicated to learn the music software, but it’s cool once you get into a rhythm.

TMQ: How do you feel about playing Moseley Folk Festival this Saturday?

Jo: I’m looking forward to it.  I haven’t played in Moseley for a long time – and I’ve never been to Moseley Folk Festival before, even though I live just up the road…

TMQ: Will the AirPiano be making an appearance?

Jo: Yes, I hope so.  As it’s a working prototype, we’ve still been discovering things about it that I can then report to the inventor, Omer in Berlin.  I was playing a gig recently outdoors, where the airpiano started playing itself, we think due to the infrared in the sky triggering the sensors.  Anyway, so long as we’re covered on stage, the airpiano will be there.  ;)

TMQ: Who are you most looking forward to seeing?

Jo: I’d love to see the Ukelele Orchestra.  There are quite a few treats playing actually…

TMQ: Have you been been to/played any other music festivals this year?

Jo: I was at Towersey Folk Festival last weekend, the Cropredy Fringe Festival, Nottingham Riverside Festival, Udine Festival in Italy (gorgeous setting) and the Bearded Theory Festival (we didn’t get blown away in a tornado this year).

TMQ: Who are you listening to at the moment?

 Jo: I’m not listening to anyone at the moment as I’ve been doing a fair amount of creative work.

TMQ: Where can fans hear your latest songs online?

Youtube, iTunes and at www.johamilton.com.

While still available, tickets for Moseley Folk Festival can be bought from the following outlets in Birmingham:

• Swordfish Records, 14 Temple Street. 0121 633 8859
• Polar Bear Records, 10 York Road. 0121 441 5202
• Tourism Centre,The Rotunda, 150 New Street. 0121 202 5039
• Marcus Galleries, 135 Alcester Road. 0121 442 0620
• Zen, 3 St. Mary’s Row, Moseley. 0121 449 4995

Tony Iommi: The man with the riffs that started a movement ( Heaven and Hell 2009 Chapman Baehler / Rhino Entertainment)

Birmingham is, of course, famous for heavy metal. Some seminal artists came from here as heavy metal slowly defined itself over the course of the first half of the 1970s. Most immediately one thinks of the original metal band, doom lord Tony Iommi’s Black Sabbath, their speed-metal successors in Judas Priest, and the spin-off solo success of their eccentric front-man, Ozzy Osbourne. Robert Plant and John Bonham, too, played in Birmingham in Band of Joy before joining the mighty hard rock gods Led Zeppelin. These were bands who changed the world, impossible footsteps to follow.

1980s

Birmingham has, however, had more than one generation of bands that play with the Devil‘s hand on their hearts. In the 1980s, a number of bands from the Birmingham area would emerge to significant success, often touring internationally but never achieving the same widespread acceptance and popularity of their 1970s counterparts. Few British rock bands emerged in this period anyway, with fashion favouring American hair metal and thrash, while the bands that did break out internationally from the Birmingham area tended to be of a less mainstream persuasion. One exception were Magnum, who had breakout hits “Goodnight L.A.” and “Wings of Heaven” which specifically targeted that market.

Benediction: Authentic, furious death metal

Nonetheless, the underground scene endured, influencing legions of fans and maintaining appearances. First there was Napalm Death, blending extreme metal with hardcore punk to produce metal’s ugliest, angriest, most chaotic offshoot – grindcore – on their twisted manifesto, the Scum album. Napalm Death would develop further later, evolving into a more technical band while band members involved themselves into an array of side-projects as the 90s dawned. Guitarist Justin Broderick busied himself with industrial/post-metal monsters Godflesh and vocalist Barney Greenway played in death metal blasters Benediction. Greenway would shortly briefly be replaced by Lee Dorian, who would make his name in Cathedral then go on to form another famous band – doom-merchants Cathedral.

1990s and beyond

Blaze Bayley (taken by Richard Warrel at Birmingham NEC)

The last band to come close to breaking the mainstream were Wolfsbane in the early-mid 1990s, but the band would break up when singer Blaze Bayley successfully auditioned for Iron Maiden, staying with them until 1999 before forming a solo band. Blaze’s Maiden years would be the last truly pop success for Birmingham metal. Extreme doom band Esoteric would find themselves a healthy audience in mainland Europe, but not so much at home in the UK.

However, Judas Priest, Ozzy Osbourne, Benediction, and Napalm Death endured. Other legends of the scene have returned to the forefront in recent years: members of Black Sabbath reconvened under the moniker Heaven & Hell while Tony Iommi and Geezer Butler also did solo records, Blaze reformed his solo band and reunited with Wolfsbane, Benediction’s Dave Hunt formed black metal side project Anaal Nathrakh and Judas Priest’s Rob Halford has revived his Halford band.

Check back for Birmingham and Heavy Metal Part 2: The New Breed. In the meantime, for a comprehensive list of well known/influential artists from or with links to Birmingham, click here.

By Richard Warrell

'Fashion Forward' - Thom Egerton models a carrier bag

At first glance, it is hard to believe how much sound is created from just three individuals. Two-thirds Penkridge; but their musical heart belongs to Wolverhampton, ‘Your Biggest Fanclub’ have always been regulars at local music venues, alongside venturing round the country to spread their unique sound.

With a uniform of black skinny jeans, the band introduces their set with the strange decision of a ‘Queens of the Stone Age’ cover. However, fitting with both the venue’s set list and the bands influences, this soon demonstrates the hive of energy that these three humans are capable of creating. Confidence and charisma oozes from every sweaty pore of this band.

Front man Thomas Egerton is prepared to go to the extreme to please his audience. Leaping off stages and climbing numerous tables is the ‘norm’ for this captivating band. Whilst Thom distracts his audience with acrobatics both physically and musically, bassist Ed Cox and drummer Ash Weaver provide a relentless and energetic backbone to their live shows.

Ash Weaver - Vital backbone of the band

At a push, you could try to define the sound that is created as a melting-pot of indie, pop and heavy metal interludes, with a slice of synth added to the mix. This therefore culminates in a live performance that cannot be boxed into one standard music genre. They cross these musical boundaries with tracks accented by cheeky lyrics, heavy bass and disco-beated drumming.

It is always a pleasure to experience this band in a live setting to truly appreciate the uplifting energy and power that each track portrays to the waiting audience. ‘Boy’ and ‘T9 Dictionary’ are both firm favourite tracks of mine, which personify both the diversity and energy of the band; whilst providing glimpses at musical shades of darkness (thus demonstrated through the use of varied vocals- shouts, harmonies, and melodic changes; chanting chorus and spooky synth) which can be found very appealing. The band proved to be playing on top form during both of these songs.

The boys also re-introduced ‘Paperbags,’ a kitsch classic from their old set list into the evening’s performance, which was a pleasant reminder that these boys have always sparked originality with lyrically entertaining records.

Ed Cox - Demonstrating his synth skills

The only criticism that I could muster, was that less talking is needed during their stage show, as I did pay to watch music, not stand-up comedy.

It saddened me to consider that the general public has to temporarily close their doors to another gig from these guys for a while. Concerns for University dawn on two thirds of the band, but hopefully this will not overshadow the bands promising future, or the exciting side-project of ‘God Damn’, featuring Thom and Ash, accompanied by the talented Dave Copson.

On a final note, I go against the bands decision to take a break from gigging by simply stating:

Live and loud is what we need, ‘hiatus’ not included.

By ‘The Bird’

Yeasayer

Yeasayer first came to my attention when they performed on this year’s Later With Jools Holland show. I am not a big lover of bands because I feel that those of late have developed the same look and sound. Yeasayer, on the other hand, were a different story. This Brooklyn-based band excited me and are a breath of fresh air: their music was intelligent, forward thinking and blends the pop and rock genres together to create their 2010 album ‘Odd Blood’. After watching this performance, I researched the band on the internet, repeatedly watching videos on YouTube and became more and more fascinated with the band. So you can imagine my excitement when they announced on their Facebook fan page that they were touring the UK, and were performing at The Slade Rooms in Wolverhampton.

First up to perform on stage were Wolverhampton band Cajole Cajole. At this point I had heard of them but not their music. And I am afraid to say that the band disappointed me when they began to perform. A list of musicians were running wildly through my head when they played: The Maccabees, Jamie T, The Foals, The Wombats.. I do think that they can progress as a band, but they need to develop their own style and not sound like other well known bands, like the ones I have just listed. The lead singer didn’t engage with the audience enough, and one comment that peed me off was ‘Hey! We are Cajole Cajole. Obviously you have not come to see us, you want to see Yeasayer’. Yes that is the truth, but you need to appreciate that although we may not know your music well, we may end up liking you and becoming your fans by the end of the evening.

Cajole Cajole’s sound did become tighter towards the end of their set, and I enjoyed their music when it became a bit dubby. I only give praise to the drummer, because he was the most energetic out of the three lads and really put his heart and soul into the performance so well done, 5 stars for you!

Next up, the one and only Yeasayer. I stayed at the front the entire time, taking photos and a video of ‘2080′, grinning from ear to ear and checking out the fitness of the band. Because I am sad like that.

Their set was very together, and I watched intently how the three main members (Arnaund Wilder, Chris Keating and Ira Wolf Tuton) delivered their music. I love seeing bands who push the boat out to give an amazing performance.

Another factor that disappointed me (I am always disappointed) that evening was the attitude of some members of the audience. I was standing next to a girl who looked fed up, and then I turned round to see most of the crowd looking glum. I did however see some die hard Yeasayer fans bobbing up and down. Maybe I should have joined them.

It is three days since the Yeasayer gig and I am still BUZZIN’!!!!! (this is a word I have heard Brummie’s use frequently when they are excited about something) Without a doubt, Yeasayer have become one of my new favourite bands, and they have intensified my passion for music even more.

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Rochelle Belnavis

The Lexington is a great little trendy venue situated in Islington; one of the capitals most astute musical quarters. The beer at the venue isn’t cheap which is to be expected at any London venue, but at a reasonable entry price this can be forgiven.

The main support for the night came from Islington’s very own “Night Bus”. These were a plucky electro- pop five piece, consisting of two pretty boy guitarists, a girl drummer who could emasculate the drumming of Dave Grohl whilst still being quite feminine and attractive on the eye and a female front singer who was sporting some very dangerous looking erm… “Bang Bang” shoes (citation “Dappy” needed). Their music was fun and I particularly enjoyed their cover of “Lady in Red”, really quite charming! But as for their own tunes, there was a slight waft of desperation which seemed to be chasing the polished electro-pop vibe that hopefully will be out of our unhealthy mainstream soon. They played to a track too; this annoyed me!

Think “Alpha-Beat” meets “ABBA”… Yeah, you get the idea.

Headliners “The Lines” arrived with an army of fans or rather an £18 a head, thirty strong bus load from the misty midland city of Wolverhampton. The band went on at around half past ten which meant by this time the crowd was sufficiently tanked and in good spirits. The Lines played an extremely tight set opening with the song “Tracy”. When it came to fan favourite “Domino effect”, one could be mistaken that the crowd were in some festival field singing along to this indie anthem. The set ended with the epic dance-pop tune “loud mouth”, consisting of the most radical and well rehearsed drum break-downs, which really gets the crowd gyrating.

Think “Embrace” meets “Ian Brown” having a cup of tea with “The Rapture”. Definately check them out if you’re the kind of person who likes to get blind drunk and wears a straw hat at music festivals.

By Thomas Egerton

Rich Batsford will be supporting Aashiq al Rasul on July 16th for what will be his last gig in Birmingham until the Autumn.

This concert follows on from last year’s sell out in Birmingham Cathedral featuring Batsford playing alongside St Mary’s Schola – an eight voice, four part a capella group put together by Mick Perrier who Batsford describes as the man who both introduced him to singing and one of his most influential piano teachers.

Keen to play well again, Batsford says he will be practicing solidly until the 16th: “The atmosphere at last year’s concert at the Cathedral was something really special with people of many faiths and none coming together to enjoy music that moves us beyond any particular allegiance to creed, culture or race, which is what we want to do it again.”

“This year we are doing the show in a different, but equally inspiring setting – the main shrine room at the Birmingham Buddhist Centre in Park Road Moseley (as part of the Moseley Festival).”

Tickets are £5 on the door or in advance from batsfordpromotions@gmail.com

Birmingham promoters, It’s Just Noise posted an announced from The Basement on their blog yesterday which revealed that the venue on New Street is due to close down on the 18th July:

‘Our Basement Brothers and Sisters,

It is with a heavy hearts filled to bursting with 12 whole months of fun that we must announce that The Basement will soon be shutting its doors for good. Sad faces all round, we know.

‘The Man’ has loved having us rent his unused, unwanted basement for ramshackle, packed out, rowdy, rowdy funtimes so much that when it came to renewing our lease he has more than tripled the yearly rent, to which we cannot rise. (Maybe they can turn it into another Subway?)

But fear not fellow underground movers and shakers! For from the 1st right on through to the 18th of July we are going to show Brum that we sure as shit know how to party! We urge you to join us and join us you must cus for 18 days we is gonna be hellbent on good times and loud times and very, very drunk times. Come and tell us how much you’ll miss us, there might be a drink in it for ya…….Let’s make us some memories!

Aimee & Raya and everyone at The Basement x’

The first of The Basement’s closing events hosts Tantrums, Joyous and Savant tonight at 8pm. For further announcements check out their Facebook page here.

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As one of only two planned shows, 35 Seconds are to support Columbia’s  Toro Y Moi for his debut performance in Birmingham at The Hare and Hounds on 12th July.

The first 30 people through the door will receive an exclusive mix CD by the lads. This Is Tomorrow promoter Mathew Beck says a few tracks you can expect to hear on it are by the likes of New Order, Raffertie, Noisa, Cameo and Janes Addiction.

Of Pandas and People  from Redditch will also be supporting.

Entry is £5 on the door