Brum Notes Magazine January 2012

1January 2012

www.brumnotes.com free

January 2012

music and lifestyle for the west midlands

Starting 2012 in style with

The Maccabees

ALSO INSIDE:The CarpelsVarious CrueltiesTownsThe Bombergs

WIN!THE ULTIMATE BAND PROMO PACKAGE WORTH £1,000

PLUS: A look ahead to Fierce Festival 2012, style tips for the new year, plus your complete guide to what’s on in January

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3January 2012

CONTENTS

Regulars

News 3-4

Live Reviews 20-22

Style 24

Food & Drink 25

What’s On 28-31

Music and Features

Fierce Festival: Dachshund UN 6

The Bombergs 8

Towns 9

Farewell to Tantrums 10

The Carpels 12

The Secret Sisters 14

Various Cruelties 15

The Maccabees 16-17

WIN! The Ultimate Band Promo Package 18-19

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EditorChris MoriartyContributorsWords: Amy Sumner, Jon Pritchard, Nic Toms, David Vincent, Jon Sanders, James Martin, Nick HartPictures: Jonathan Morgan, Andy Watson, James Martin, Richard Shakespeare, Harriet HollowayStyle editor: Jade [email protected] Design: Adam Williams, Andy Aitken

ConnectTwitter: @BrumNotesMagFacebook: www.facebook.com/BrumNotesMagazineOnline: www.brumnotes.com

All content © Brum Notes Magazine. Views expressed are those of the author, not necessarily Brum Notes Magazine. While all care has been taken to ensure the accuracy of content, Brum Notes Magazine will not be held liable for any errors or losses claimed to have been incurred by any errors. Advertising terms and conditions available on request.

The Arcadian Kicks live, P22Photo by Jonathan Morgan


kiNgS hEaTh pub hEadS dOwN uNdEr fOr auSTralia day fEaSTFood lovers will be able to head down under to celebrate Australia Day in tasty style at a Birmingham boozer. Soul Food Project will be cooking up an antipodean feast to mark the occasion on January 26 at the Hare & Hounds in Kings Heath. Diners will be able to enjoy a five course feast inspired by the cuisine of Australia, with Under The Counter head honcho and native Aussie Keith Holland stepping into the Soul Food kitchen as guest chef. The one-off tasting session aims to give a masterclass in rustic fusion cooking with Australian cooking taking its influence form the abundant local produce as well as oriental flavours and tastes from its offshore neighbouring nations such as Bali, Thailand and Japan. The evening is limited to 40 people and is priced at £20 per head for five courses. To book visit www.soulfoodproject.co.uk.

brummiE ChEf SET fOr fiNE diNiNg SuCCESS afTEr STOrmiNg maSTErChEf A chef from Birmingham has set her sights on fine dining stardom after narrowly missing out on being crowned MasterChef. Claire Hutchings, from Moseley, finished as runner-up on the BBC series MasterChef: The Professionals and is currently back working in the kitchen at The Kitchen Garden Cafe in bohemian Kings Heath.

But the 23-year-old has been flooded with job offers and interest from renowned restaurants and is now weighing up her next move as she looks forward to starting her career in fine dining.

Claire studied at University College Birmingham where she recently gained a first in Culinary Arts Management and began working part-time at The Kitchen Garden Cafe in York Road while she studied. After entering the BBC series she made it all the way to the final, earning high praise from Michel Roux Jr, Gregg Wallace and a host of Michelin-starred chefs along the way. Despite being pipped to the title by Aussie chef Ash Mair, Claire said the attention she has had since the show has still been incredible, but added she would be taking the time to consider her next move carefully.

“I’ve had a lot of attention, especially in London, so I’ve been back and forth from London a lot,” she said. “I’m really looking forward to the new year and starting my career. “I need to sit down and make a list of what I want to do. It’s obviously very confusing to get so many offers. “I need to choose my next move wisely, I’d love to do a pop-up kitchen so it’s not dedicating myself to my own restaurant just yet.”

Despite Birmingham’s burgeoning food scene, Claire said she had set her sights on a move to London as it offered many more opportunities in fine dining. “Birmingham’s food scene has definitely taken off in the last few years and maybe I’d like to come back here some day, but for now London is the place for me at the moment as that’s where all the jobs are.”

In the meantime, Claire will be continuing her role as a chef at The Kitchen Garden Cafe’s restaurant, which operates three evenings a week from Thursday to Saturday. For more information on The Kitchen Garden Cafe or to book, visit www.kitchengardencafe.co.uk or call 0121 443 4725.

iN briEfA new training course for people who want to build a career in the music industry launches in Birmingham next month. The 13-week course in Managing a Music Business Enterprise (MMBE) launches at Mac in Cannon Hill Park on February 8. For details or to book call 0121 224 7444 or visit www.punch-records.co.uk.

Revellers keen to shake off the January blues can enjoy a drink on the house with a cocktail trail across five Birmingham venues. The Bitters ‘n Twisted Cocktail Trail runs throughout January at Bodega, The Jekyll & Hyde, Island Bar, The Victoria and The Rose Villa Tavern. Visitors will be able to pick up a card to get stamped in each venue and once four stamps have been collected they can claim a bespoke cocktail in the fifth venue for free.

Hotly-tipped Midlands outfit The Arcadian Kicks release their comeback single this month. The Mike Chapman-produced track I Wanna Take You Home is out on One Beat Records on January 22, followed by a headline show at the O2 Academy 3, Birmingham, on February 3.

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Hollywood legend Sir Anthony Hopkins has teamed up with the City of Birmingham Symphony Orchestra to release his first ever album.

The album, which is out this month, is made up of the Silence of the Lambs star’s own compositions and was recorded during a performance at the city’s Symphony Hall. The actor joined the CBSO on stage dur-ing the concert last July, which also featured performances of scores from some of his

best-known films, as well as the music writ-ten by Hopkins himself. The album is released through Classic FM on January 16 and includes nine original compositions by the Oscar-winner, includ-ing pieces composed for two films which be scored, directed and starred in, Slipstream and August.

Sir Anthony, who first began playing piano as a six-year-old, said: “I’m very pleased that I’ve found an extra string to my fiddle.

For years I mused and dreamt about turning my scribbled thoughts and bursts of melo-dy into pieces of work to be performed by a full orchestra and to see this dream turn into a reality through working with CBSO and now Classic FM is something I treas-ure very much.”

Sir aNThONy hOpkiNS TEamS up wiTh CbSO fOr dEbuT album

A brand new clubbing arena for up to 5,000 ravers launches in Birmingham this spring. The Rainbow will open its newest space under the Victorian railway arches in Digbeth, a Colisseum-themed al fresco venue boasting powerful sound systems and impressive pyrotechnics. The Arena launches on April 7 with an all-day rave hosted by hedonistic Ibizan clubbing experience Circo Loco. The impressive DJ line-up includes the likes of Circo Loco favorites Jamie Jones, Kerri Chandler, Matthias Tanzmann, Dyed Soundorom, Dan

Ghenacia, Cassy, The Martinez Brothers and Below main man Adam Shelton. The party in The Arena runs from midday until 1am before the afterparty moves to the Rainbow Warehouse with Lee Foss, Luca

C and more. The festivities continue with a Below daytime party the following day from midday until 3am.Early bird tickets for Circo Loco are available from £35, with additional tickets required for entry to the Warehouse Party and the Below Daytime Party. For details visit www.theticketsellers.co.uk/therainbowvenues.

ClubbiNg havEN ThE raiNbOw prEparES TO uNvEil hugE OuTdOOr arENa iN birmiNgham


Australian artist Bennett Miller is sure to create one of the big talking points of this year’s Fierce Festival when it returns to Birmingham in March and April. Never one to take the easy route when it comes to expressing himself, his latest work will involve 50 dachshunds - sausage dogs as they are often politely known - taking seats in a mock UN Council in Birmingham city centre. It will be only the second time in the world the work has been staged, after debuting in Melbourne in his native Australia two years ago. As attention-grabbing and cutesy as it may appear, the idea does have more serious themes behind it too, as Bennett explains.

“A lot of my work has had political themes, and a lot of it has used animals, more specifically relationships between animals and humans, so this project was a continuation of that,” he says, explaining where the idea first came from. “I was already working with dachshunds a bit, but not so many at once. I developed the work in response to a festival theme ‘no risk too great,’ for the Next Wave festival in Melbourne. It was kind of an open challenge to go for something like this. The United Nations was a good fit because of the inherent risk/reward of that organization - it has utopian aspirations, but is also subject to a high risk of failure.”

Bennett, proud owner of a dachshund named Ruth, says a number of characteristics made the breed a good fit for the UN; the ‘“racial diversity” within the breed, their own inherent restrictions of having short legs and their persistence in spite of such limitations and the proud expressions they sometimes pull, as well as their historical links to aristocracy and war. But he’s not too proud to acknowledge that they are also somewhat funny to look at.

“Those that appreciate them, appreciate them well. Those that don’t, will usually still laugh at them. I’ve never met anyone that finds them offensive, and dachshund owners treat it like a religion, myself included,” he admits.

As with most worthwhile artworks, the Dachshund UN is bound to divide opinions and draw different reactions from people, whether that is nodding sagely to the social commentary behind it or simply enjoying the sight of dozens of sausage dogs sitting on podiums together. It is this variety that the artist finds so appealing. “What I would say is that the high novelty factor is a key component of the work,” says Bennett. “This draws the audience in, but as a

live performance it has a different effect. The serious side of the message is there if you look for it. There are a few different layers to the idea, some are intended, and some are completely unexpected, based on the behaviour of the dogs. I find that it’s really different for different people, and that’s a good thing. It’s a ‘live’ or ‘active’ metaphor, and also largely a social project, so I’m really happy for people to take from it whatever they may find. It also doesn’t have to matter if people don’t see the political commentary, so long as they enjoy the event, that’s not such a bad thing. Dachshunds are pretty entertaining performers. The one thing that I hope people take away from it is that it’s not actually taking the piss out of the UN,” he adds.

Bennett, whose previous work has included giant mazes and depicting the Gulf War across mini golf courses, is the first to admit his projects turn into “logistical hellrides,” and the prospect

of keeping a gang of dogs under control makes this one no different. So was there a moment when he first started out with this that he thought, ‘what have I done?’“I spent a whole year, not just a moment, thinking, ‘what have I done?’ Birmingham winter mornings have brought that feeling back.“A lot of artists are anti-spectacle and large works and may actually describe that as the easy route, but I’m not one of them. It’s important as a tool for imitating political situations or rather, for imitating the perception of political situations.“All of these projects, like the Golf War or Dachshund UN, need an ambitious, architectural scale to fit their context properly,

so it becomes a bit all or nothing. Also working in the public realm, I need to grab people’s attention.”

As for the dogs, he will be getting plenty of help from the owners along the way. “Key part here is that each dog has their owner situated underneath the podiums, checking that they are OK,” he explains. “If they are uncomfortable, there are substitute dogs waiting at the back of the structure, so they get rotated in and out of position during the performance. It’s controlled chaos in that way - and whilst the dogs behave differently every time, the owners are there to keep them in check, keep them safe, and keep them comfortable. That’s what makes it possible.”

More dogs are still needed for the project. Any dachshund owners interested should email [email protected].

FIERCE FESTIVAL returns to Birmingham this spring showcasing the best in art, performance and avant-garde music. One of the most eye-catching acts will be hordes of dachshunds descending on the city centre. Artist Bennett Miller tells us more.

Festivals

Fierce Festival takes place from March 29 to April 8. Visit www.wearefierce.org.

7January 2012

Doors 7.00pm unless stated • Venue box of�ce opening hours: Mon-Fri 11.30am-5pm, Sat 11.30am-3.30pm • No booking fee on cash transactions

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David Bomberg was an English Modernist influenced by the Cubist and Futurist movements. He was heavily excluded from the art scene in Britain in his lifetime due to the extreme nature of his work, and he died in 1957 in severe poverty. And so he’s a funny old chap to name your band after.

“When I started the band, I wanted it to be like a gang,” confides lead singer Rick Wellings, “like The Ramones or The Replacements. I thought that if I called the project The Bombergs, then these Bombergs would materialise from somewhere, and they did.” In fact, it’s rather like the word has taken on a meaning of its own; Bomberg has become a noun, if you looked it up in the OED it should be nestled right in there comfortably between bomber and bombic - ‘Bomberg: a naturally gravitating monochrome-hued male with an inherent predilection for considered guitar pop and a noticeable penchant for a leather jacket.’

“We’ve only known each other for about a year,” explains guitarist Chris Blaydes, “but we were born in the same hospital and grew up within a few miles of each other. There’s a shared sense of humour and we were listening to a lot of the same records independently. We kind of just fell into place with each other to be honest, it felt seamless.”

Like the band, David Bomberg was from Birmingham, and the local associations that the name evokes are clearly important to what is being produced.“I really wanted the project to have connotations specific to the city,” confirms Rick. “And I definitely think that being here has influenced our sound - if the weather was better, I imagine our music would be a bit more optimistic,” he deadpans. “But it does rain a lot here, there’s lots of concrete and I think our music is a reaction to that. In terms of local bands though, I don’t feel like we have anything in common with the other groups here at the moment. And that’s not a conscious decision not to sound like them, but that particular sound just doesn’t do it for us.” And it seems that’s where the David Bomberg connection is most marked - though they’re not deliberately excluded from any local movement, they’re not operating from within it either. By choice, they’re a collective and membership is exclusive.

“I think I respond to things that feel immediate and spontaneous,” says Rick, elaborating on his own influences. “I like human records - records with personality and a sense of where the writer is coming from. So in that sense, I listen to a lot of The Libertines and Arcade

Fire and Rufus Wainwright. And we all listen to The Smiths, The Clash, David Bowie, Talking Heads.”“I think we have to like the same bands in order for this band to work,” agrees Chris. “But it’s also good to have differences because that’s where a band’s individual sound comes from.”“I like Babyshambles and Bob Dylan,” offers bassist Mike Moloney, manifestly taciturn. “Ryan Jarman’s voice, stormy skies and the film Spartacus,” he reels, completing his considered contribution.

In line with their influences, The Bombergs recently opened the Carl Barat edition of Zombie Prom with a set at The Rainbow Warehouse, and tonight on a November evening they commandeer Sutton Coldfield’s premier station-side boozer, The Station. They’re really getting around. And they play a fantastic set. The stage is the uniform black and white affair, but the walls are red and gold, the room is busy and the atmosphere warm.

Already, The Bombergs have some big sounding tunes. Incorporating intrinsic dashes of all of the above (with the possible exception of Spartacus). Please Don’t Stand Me Up and Little Whispers are incredibly expressive and exude popular appeal both musically and lyrically, and if the soon to be notorious Slow Hands Clapping doesn’t steadfastly refuse to get out of your

head for at least a week after you’ve heard it, then you are one hard nut to crack. These songs have merit because we can identify with them and we can relate to what they’re saying. But they’re also just god damn catchy.

The Bombergs sound good tonight, and they’re starting to look good too. They’re all boys and they all have guitars but they manage to deftly sidestep humdrum, and that’s quite a talent at this stage. At the centre is a gaze so intense that, combined with the leather jacket, you’d be forgiven for taking a step back. But instead it does the opposite, it draws you in; it’s intriguing. On the left, Chris embodies the very antithesis as he bounces around with his guitar, and it’s all held down by a bassline that just sounds downright sexy. Wanderers, misfits, troubadours these singular Bombergs may be, but tack ‘em together and they seem to have found their niche.

“I think there are lots of people aged 18 – 35 who are lost and unsure of what they’re doing with their lives,” Rick offers. “I may not always articulate it well, but I think that’s what I’m striving to reflect.” And that reaction against the danger of finding yourself adrift is a theme innate in both record and performance. ‘Great things are never gonna happen if you hold back,’ observes Rick across the closing chorus and that may as well be the band’s tagline. The Bombergs are passionate, talented and determined to make it. And with drive like that and some really good tunes, it is merely an onlooker’s observation that they’re on course for Great Things indeed.

The Bombergs are live at Fierce People, with Horrorshow and Greg Bird, at Muthers Bar, Digbeth, on January 21. Entry is free. Visit www.facebook.com/thebombergs for a free download.

THE BOMBERGS make a distinguished racket with their unashamed blend of noisy, guitar-

driven post-pop. With tunes aplenty and bags of personality, they could be set to take 2012 by storm. Amy Sumner caught up with the band.

introducing:ThE bOmbErgS

“I definitely think that being here

has influenced our sound.”

9January 2012

For people who don’t know you, how would you describe Towns and how did you get together?We’re a four piece made up of two brothers and two best mates. We grew up in the 90s, which shows through our music. Officially I think our first gig was in April so we’ve been together for less than a year. We’ve all known each other since school so we’ve played together in various formats for years.

You have had some great feedback from bloggers and the NME; is it nice to see support and positive responses coming about organically, rather than from a big,

funded promo push?It’s nice that the reaction came about organically because it makes it authentic. It’s all been a bit surreal. We put out Fields and Heads Off without thinking about the reaction we would get.

What did you make of the NME description, “like a baggier, bubblegum version of Yuck”?Yuck are a great band. It’s a compliment to be likened to them. I think we both write pop songs with fuzzy guitars. We’ve both drawn influence from the 90s, I guess.

Are you looking forward to your first appearance in Birmingham?It will be our first gig in Birmingham, our first tour and the first date on the tour so we will be buzzing.

What have you got planned after these dates, are we likely to see an album any

time soon?Nothing’s set in stone at the minute but we want to be on the road as often as we can really. There are lots of new songs so we will be going back into the studio but not sure whether it will be for an album or not. We just want to get out to new places and play lots of shows.

And finally, if you were a town, which town would you be?Birmingham-on-Sea, without a doubt.

Towns are live at The Flapper, Birmingham, on January 13.

TOwNSFuzztastic four-piece TOWNS hail from the seaside getaway of Weston-super-Mare, aka Birmingham-on-Sea, which

makes them pretty much Brummies in our book. They make their first visit to the

Second City proper this month to kick off a UK tour. Bassist

Adam Hastings tells us more.


One of Birmingham’s brightest young bands of recent years have called time after five years together. Amy Sumner caught up with departing heroes TANTRUMS to find out more about the split and their plans for the future.

“I think we’re all at the point where we want to try something new,” explains Tantrums bassist-turned-DJ Josh Mooney. “There’s no bad blood between any of us but we’ve been doing this for a long time and now we want to go out and experience new things. It’s weird because we’ve been together for a long time so now that it’s over I feel quite naked. But life is all about going with it and going onto the next thing so we’re all looking forward and embracing the future.”

They have had a fantastic run though, from tours to gigs to club nights and in Birmingham they’ve become a band close to everyone’s hearts. “I hold dear all the times we spent playing shows with The Scarlet Harlots [now Troumaca] when we were young and just starting out,” Josh recalls. “They were amazing times and those guys are great musicians. I really think Troumaca will go far and I’m very excited to see where they take it. “But I particularly enjoyed playing with Bombay Bicycle Club because they are the same age as us and were experiencing a lot of things for the first time in the same way that we were. The same goes for the show at the Institute with The Twang. I remember going there when I was 15 with fake ID and seeing the grand scale of the room. It was lovely to finally play on that stage and I can’t even put into words how much love we have for the guys in The Twang.”

And so what’s next for the troop, now the curtain’s come down? “Anna is studying at the conservatoire and I think she will be playing under her old name, Little Palm,” Josh explains. “I’ve moved to London and I’m in the middle of writing new music for something I’m going to start up this next year. Stuart is going away for a while and will be starting something when he gets back, hopefully he will be involved in my new project. And Si and Carl have a few new ventures lined up which they haven’t told me too much about, but you should keep your ears open.“I think it’s inevitable that some of the characteristics of Tantrums will bleed into our new projects though. We learned so much together and showed each other so many different kinds of music. Al Groves [producer] taught us lots in terms of songwriting and structure so I think we’re all going to take what we’ve learned from our time in the band and apply it into something fresh and new.”

Tantrums were very much a product of their city; they embraced Birmingham, and Birmingham in turn embraced them. And so inevitably it is sad to see them go. But the age old metaphor of one door closing as another opens is apt, both for the musicians themselves and for the scene as a whole. As the toys are flung out the pram for the final time, the way is made clear for a new sound and a new band to come along and win the city.

farewell to...TaNTrumSPhoto by Andy Watson

11January 2012

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“It’s a bigger problem for some of us that it is for others,” grins guitarist Tom Minchin. “I mean, those of us who got on with the college workload in the first place still do, and those of us who didn’t… .” He breaks into laughter. “It’s what we’ve been used to though,” explains lead singer Dylan Williams. “We’ve never not been at college since we’ve been doing the band, so it’s not like it’s an added pressure.” “Yes, I think we’ve just learned to balance it,” concludes Tom.

And that’s something they managed incred-ibly well towards the end of last year, when they racked up an impressive collection of live dates, including The Christmas Carni-val at The Rainbow with Troumaca, Silver Souvenirs and Cajole Cajole and a date at the 02 Academy in support of The Twang within a hectic 24 hour period.

“We hadn’t played live since early October at that point,” explains Dylan, “but the fact that we’re releasing our third single Bears at the beginning of this month means that we’re working extra hard to promote it.”

Bears is the forthcoming (and third) in a line of free releases that the band have put out, and it’s more of the same raw energy and scallywagship that the band do best. It’s made it onto the Xfm playlist and enjoyed an airing on NME’s website alongside fellow Brummie band Troumaca. With these two inclusions on one of the most frequented music websites, and the Birmingham music

scene beginning to attract a (relative) lot of outside media attention, it wouldn’t be hasty to speculate that 2012 could be Birming-ham’s year for music.

“I think this ‘scene’ has been there for a while,” says drummer Jacob McQue, “although recently it has started to sound a bit less…gritty.” “It was kind of linear at that stage though,” suggests bassist Ewan Wallace. “A couple of years back with Tantrums and Scarlet Harlots etc it was far more a case of three bands or so doing the same thing at the same time… .” “But that little thing was never going to explode,” interrupts Dylan. “And this new scene, and this new buzz around Birming-ham is quite exciting.” “And the dream is to be part of that scene,” concludes Jacob.

The Carpels return to the live stage this month for arguably their biggest gig yet, headlining the Mac just down the road from the school where they first formed. It has also given them a chance to fly the flag for more of Birmingham’s new or young talent, with Is I Cinema, The Heist and Savant also on the bill.

“And I’m talking really young in some cases,” explains Dylan, “I think The Heist are still at secondary school. But this was a conscious decision — we really wanted to get young bands together and give them a platform on which to show what they can do.”And this is one of the things that makes

Birmingham so exciting at the moment. For the first time in a long time it feels as though the best of the city’s musical talent and musi-cal instinct is coming together and creat-ing some really fantastic nights, and that’s something to get excited about on all fronts.

So what have these scamps got planned for the year ahead? “Wembley stadium would be nice,” fantasises Ewan. “But more realis-tically, we want to play some support slots with established bands,” clarifies Tom. Jacob agrees: “Exactly. Next year we finish college and then we’ll have the time to tour with the bands who venture out of Birmingham. I mean, we could end up playing to a room full of people or to no one at all, but we want to shake as many hands as possible. Within Birmingham I think we want to start playing bigger venues that draw in the bigger bands and crowds, like The Ballroom.” “And we’re hoping to secure some festival slots in the summer too,” adds Dylan.

You see, the greatest thing about this band — and the most endearing too — is their confidence, and their drive, and their ambi-tion. And that’s exactly why, though by all accounts it should be, even if 2012 turns out not to be Birmingham’s year for music after all, then it should be The Carpels’ nonetheless.

The Carpels are live at Mac, Birmingham, with support from Savant, Is I Cinema and The Heist, on January 21. New single Bears is available for free download on January 8.

When we last caught up with ruckus-rallying rascals THE CARPELS they’d just resurfaced from a triumphant set at one of London’s finest club nights at the Queen of Hoxton. One return to said venue, two singles and a flurry of December live dates later (and under strict instruction to BEHAVE), Amy Sumner catches up with the five-piece again to talk music scene, plans for the year ahead and balancing college work with being in one of Birmingham’s most promising up-and-coming young bands.

13January 2012


It was a chance open audition that turned Laura and her sister Lydia Rogers into The Secret Sisters. Having spent their child-hood singing Everly Brothers and gospel tunes at family events and church, a career in music was never a consideration. In fact, the elder Laura had left for college to study business when, on the spur of the moment, she attended an open audition in Nashville, Tennessee, in 2009. “After they heard me sing, they called me back in and said that they wanted to hear more songs,” she recalls. “So I played some more stuff for them, and then told them that they had to hear my sister sing.”She called Lydia, who they loved just as much as Laura. “We were then asked to sing together, and so we sang a couple of things, completely unrehearsed, and that was the catalyst for everything that has happened since.” That ‘everything’ includes tours with Ray LaMontagne, Bob Dylan, KD Lang and Paul Simon, appearing on Jools Hollands’ New Year’s Eve 2009 Hootenanny after Elvis Costello personally recommended them to Jools, meeting rockabilly legend Wanda Jackson, releasing a single on Jack White’s Third Man label, and record-ing their eponymous album with executive producer T Bone Burnett - the man who previously helped shape Robert Plant and Alison Krauss’ acclaimed collaboration, Raising Sand. Turning their back on the Nashville fad for slickly produced country/pop, the Al-abama-born siblings see themselves very much in the tradition of their idols - Loretta Lynn, George Jones and The Louvin Broth-ers. This is country music, old school.

“Absolutely!” Laura declares in agreement. “And we don’t mind being categorised as that, because our record is primarily a country record. We always have to explain to people that we aren’t your typical pop, mainstream country. We tell them that it’s roots country, a throwback kind of sound. We are so influenced by life in the coun-try, and by pure country music, that we’re proud to be associated with that sound.“I think that our lives and our childhood re-ally fostered within us that love for really great music - the roots country music that we love so much and of course bluegrass music and gospel music.” Mixing two originals with a selection of cov-ers, including tracks by Buck Owens, Hank Williams, and Sinatra’s Something Stupid, the rich, warm atmospheric sound was captured thanks to the use of old, analogue recording equipment.“We think that it was crucial to the sound of the record,” says Laura of their ‘no-digital’ policy. “Plus, it just enhanced the atmos-phere in the studio, and I think that feeling really comes through in the recordings.” “We just wanted to be true to the era, be-cause we felt like that was the most hon-est, sincere way for us to make the songs feel genuine,” interjects Lydia. “It was really educational for us, and we were both re-ally pleased with the final result. There was so much excitement, so many emotions involved in that record. We were nervous, excited, timid, nostalgic; so many different things. And all of that combined with the way it was recorded just made for a really

magical record.” For many, a key component of that magic is the girls’ close harmonies. “It still surprises us today that our voices have gotten the attention that they have because to us it’s just everyday - like breathing or brushing your teeth every morning, or showering,” states Laura. After their return to Birmingham’s Glee Club at the end of the month, the new year will see the duo support Brit folk su-perstars Bellowhead in Europe, appear on the T Bone Burnett-produced soundtrack for The Hunger Games (a post-apocalypse movie starring X-Men: First Class’s Jennifer Lawrence), and getting work underway on their second album.“We really feel like our next record will be primarily original material, with a couple of covers thrown in,” says Lydia, who says they’ve been busy penning material while on tour. “We feel like it’s important to es-tablish ourselves as writers on the second record.” “We are really excited about the next one, and feel like we’ll have so many new sto-ries to tell, and a new level of confidence in what we are doing,” adds Laura, who also confirms their intention to continue using vintage equipment to maintain the warmth of sound. “As long as we can just keep making good music, we’re going to be two really happy country girls.”

The Secret Sisters are live at The Glee Club, Birmingham, on January 29.

“We are so influenced by pure country music that we’re proud to be associated with that sound. ”

Alabama siblings Laura and Lydia Rogers have come a

long way since the childhood gospel singalongs which

shaped their vocals, going on to take their 1950s-inspired

country music harmonies on tour with the likes of Bob

Dylan and Ray LaMontagne as THE SECRET SISTERS.

David Vincent finds out where it all began for the duo

ahead of their UK headline tour appearance in Birmingham

this month.

family affair

15January 2012

“Jools Holland was pretty weird,” admits songwriter and Various Cruelties main man Liam O’Donnell. “You sort of grow up watching Jools Holland and you can think off the top of your head of lots of great performances on there so to end up being on it and doing a show with Lou Reed and Metallica is crazy. When you are at home watching it you never really think you’ll end up doing it.”

For the Leeds-born musician, it is just one of a long list of unexpected experiences he has enjoyed since relocating to London and forming Various Cruelties, something that appeared to come about as much by accident as design. “I’m from Leeds originally and I’ve been in London for two years. It wasn’t primarily a music move, I came down from Leeds be-cause I didn’t really know what I was going to do. I’d always been involved in music but I moved down thinking about getting a job and was going to do that for a bit and I was writing music on the side,” he continues.

“I knew I had some decent songs and then it was just a case of working with a few people. I was writing these songs and playing them acoustically but I didn’t want to be an acoustic artist so it was a case of finding the right people. I met the guitar player and the bass player and they used to be in a band so were used to working with each other. A lot of the songs were already written so it was about getting the right ar-rangements and turning them into Various Cruelties.”

If the first year has been hectic, then the second is set to take things up another notch, with a headline tour and new sin-gle Great Unknown out this month ahead

of the release of their debut album in April, which was recorded in Los Angeles under the tutelage of renowned producer Tony Hoffer (Beck, Air, Goldfrapp, Foster the People). “It’s all finished, we did it in LA so that was pretty amazing as well,” recalls Liam. “We spent a month out there. Tony Hoffer has a lot of experience and has worked on some great records, so he definitely had a big influence on things. We hadn’t even been together a year at the time we were mak-ing the record so in terms of going into the studio, we had the demos and things recorded already, but in terms of putting it altogether into a cohesive piece of work I would say that Tony’s brought a lot to it, in a lot of ways he was instrumental in linking it all together so we have a lot to be grateful to him for.”

There has already been plenty written about the Motown influences and Northern Soul roots of Various Cruelties’ music, but Liam is conscious that they don’t want to be pigeon-holed as some kind of retro pas-tiche act and is confident they bring some-thing new to the table. “In any band you’re going to have your own individual influences and I guess that you have to be careful that you don’t make a backward looking record but you’ve got to have confidence in your own songs and make something fresh and hopefully make the record you’ve gone in to make. “Linking all these things together, it’s defi-nitely a pop record but hopefully it’s inter-esting and different and modern as well.”

Liam and co certainly seemed to be de-livering something interesting when single Chemicals was unveiled in October, with the record winning widespread acclaim and earning significant airplay on Radio 1 and 6 Music in particular, bringing a certain freshness to the airwaves. “If that’s the case then that’s great,” says Liam, “I was excited about that song after I wrote it. It’s a pop record and that’s the way it was intended but I definitely think the sounds in the studio and the little added bits in there are quite fresh sounding, that was Tony’s vision for it.”

After 2011 saw his band catapulted from virtual unknowns to mainstream radio play-lists, Liam admits he is excited about what 2012 may have in store. “It’s not all mapped out,” he says. “We’ll do some shows and hopefully people will like the record, obviously the last year has been a total buzz and hopefully it will get even better. At the start of the [last] year we weren’t signed and we got one of our demos played on Radio 1. Huw Stevens was standing in for someone during the day and we had two daytime plays and that was the first thing that made us think that there might be something in this. All we did was send it out to a few internet blogs to be reviewed but I didn’t think there was any chance that someone like Huw Stevens would come across it. I still to this day have no idea how or why that happened.”

Various Cruelties are live at The Rainbow, Birmingham, on January 18. New single Great Unknown is out on January 1.

“We’ll do some shows and hopefully people will like the record, obviously the last year has been a total buzz. ”

After being together less than a year,

VARIOUS CRUELTIES have made

an album in LA, performed on Jools

Holland, supported Kasabian on an

arena tour and headlined shows up

and down the country. Not bad for a

lad from Leeds who moved to London

not knowing what to do. Frontman

Liam O’Donnell tells Chris Moriarty

about his “total buzz” of a year.

SOulmaN


While guitar music in 2011 may have been dominated by talk of being ‘stuck in the doldrums,’ 2012 kicks things off nicely with the return of one of the most innovative expo-nents of the genre in recent years. Not that The Maccabees feel any sense of responsi-bility for helping to drag indie music back up by its bootstraps. For the London fi ve-piece, all that matters is making the best music they can, irrespective of what else may be going on around them.

“I think we’re just conscious that we put a lot of work into making the record and we want to do it proud, that’s all we’re worried about, I defi nitely don’t feel any responsibility to guitar music,” admits Orlando.

And why should they? Orlando and his band-mates are right to be proud of their album without worrying about the ever-evolving musical landscape upon which it is being unleashed, one which is very different from

when debut Colour It In was released back in 2007. He is also confi dent that it represents another leap forward for the band creative-ly, yet underneath that confi dence is still an artistic apprehension that something the band have worked so hard on will be not neces-sarily be appreciated by fans. Not that they are a band writing songs simply for approv-al from the masses, but it seems they have poured their hearts and souls in to the album and naturally hope that their fans can connect with their craft on a similar level.

“I think every time you bring out something you’ve put a lot of work into you worry about it a little bit but I feel confi dent that this is the best record we’ve made and so I look forward to being able to show it off a little bit more.

“We were all conscious of trying to not make the same record twice and we didn’t feel there was any other way of going about it than starting afresh.”

Coming up with material for the new record also involved a fresh approach, one which allowed their creativity to come to the fore once more. The challenge, it turned out, was not coming up with the material to fi ll their third record, but making sure it all fi tted together.

“When we started out writing, all of a sudden we were quite aware that we could do more of it not all in a room all staring at each other, so we did lots of bits and pieces either on our own at home or as ones and twos or threes or whatever, and then just tried to then take that and make it sound cohesive rather than cobbled together bits and pieces.

“I think that became the challenge rather than worrying about stuff, we knew we’d get enough new material but we had to make sure it didn’t sound like it was all written in bits and pieces. That was a nice thing to start going back into the studio as a gang and making sure it didn’t sound ‘bitty.’

“We’ve always done it that whatever happens, whoever writes whatever, whether it’s a chorus or a verse or a bare bones structure of a song or whatever, we know that it’s gonna be made better by putting it to the gang.”

That confi dence in each other and gang mentality is something that has helped The Maccabees push forward, without resting on their laurels, leaving egos aside to be able to write the best songs they can as a band.

“Yeah, it’s a weird one because sometimes you think you know best but it turns out you don’t. There’s no room for egos in most things let alone in bands, there’s a lot of room for people to get annoyed, ‘no, that’s right, no I think that’s right,’ and you sort of fi ght your battles and choose them, but at the end of the day the point of a band is to be the sum of its parts. Everyone knows that if you try and impress your opinion on something it’s because you think that’s the best thing, I don’t think it’s ever an ego thing.”

Another fresh element involved in making Given To The Wild came in the shape of a new production team, with Tim Goldsworthy and Bruno Ellingham (UNKLE, LCD Sound-sytem, Massive Attack) taking over producer duties alongside the band. But despite the pair’s obvious electronic background, this

was not a hackneyed attempt to blend into the current trend for crossover music, but more a fresh set of ears bringing their own infl uences and approach to the new material and help-ing push The Maccabees on to create a more sonically challenging record than ever before.

“I felt that when we started and people came down and listened to the songs and stuff, it was really nice to have that, as we hadn’t really played them to anyone,” recalls Orlando. “In the past we would write these songs and play them for a little bit and see how they go down but with this one we didn’t, it was just, ‘right, we’re gonna write these songs and we’re gonna see how they feel in a studio.’ So when Tim and Bruno came down it reassert-ed our confi dence in the songs and made us feel there was something there, they wanted to be involved and they wouldn’t want to do that unless they thought there was something going on so that was like a really nice thing.

“They came from a very different musical world so we were trying to cover bases, you know? We were thinking, we sort of understand, or we think anyway, we understand how to make the most of guitars and record vocals as well and they understand how to take samples and bits and pieces that we’d already record-ed and make them sound classier and make them sound record-worthy, and they did in many ways. But also, we started understand-ing that sometimes you’ve already hit upon a happy accident, so there were things that we’d recorded in our bedrooms or in our studio and thought, ‘wait until we record this properly, it’ll work,’ and then you start realis-ing that actually what you’ve already recorded was the best that was ever gonna be record-ed or, if not the best, it was the right way. So the whole thing we felt was a pretty steep learning curve really, and I think Tim and Bruno were the same, we were all kind of fi guring stuff out as we went along.”

It was a learning curve that certainly paid off, but the learning continues this month as the band take the new material on the road for the fi rst time since the release of the record, due out on January 9. Having showcased some of the songs during an intimate set of shows during the autumn, Orlando says he was pleased to see fans responding well but admits fi guring out how to transfer some of

the songs from the studio to the live stage is still a challenge.

“I can’t wait to try it out. We’ve still got to learn four or fi ve of them, we haven’t fi gured out how to play them live yet. [The October tour] was really good, we played fi ve or six new ones and all of them were met in a nice way, people were sort of waiting for them, interested and not just wanting old songs that they were used to, they were keen to hear new stuff and that was a good sign.

“That’s all we could hope for really, that’s what we were going to do and we didn’t feel like we wanted to rest on our laurels or get staid, so the fact that we did what we were going to do and to be met with the kind of appre-ciation that we would hope for was a really nice feeling.”

For Maccabees fans, the band’s new offer-ing represents the perfect post-Christmas present to blow away the January blues. If the timing seems a little odd — new releas-es often slip under the radar at this time of year — Orlando insists it doesn’t matter, as he would have felt odd whenever it came out, so it was just a case of making sure the record was ready to be released out into the wild, for want of a better phrase.

“We just knew we had to make the best record we could. We were hoping it would come out in September and when it got to September it wasn’t right, we knew it was more important that we waited and pushed on to try to make the best record rather than a record that came out on a deadline.

“From my point of view, it feels pretty weird bringing out a record whenever, it’s an odd thing to do, just all of that work and worry and thoughtfulness and all that kind of stuff that goes on for one thing, so it could come out whenever and I would still feel a bit peculiar about it. I’m not worried about it coming out then [in January], I think it’s nice at the start of the year to bring out something new and I feel excited about it, starting afresh, it’s good.”

The Maccabees are live at the HMV Institute on January 27. New album Given To The Wild is released on January 9 on Fiction.

The new year starts off in real style with the return of THE MACCABEES this month. With their much-anticipated third album and a UK tour to follow, they are once again ready to show why they have become regarded as one of the fi nest British bands to emerge in recent years. Frontman Orlando Weeks tells Chris Moriarty why new record Given To The Wild is their best work yet.

“We were all conscious of trying to not make the same record twice and we didn’t feel there was any other way of going about it than starting afresh”

WILDTHINGS

17January 2012

While guitar music in 2011 may have been dominated by talk of being ‘stuck in the doldrums,’ 2012 kicks things off nicely with the return of one of the most innovative expo-nents of the genre in recent years. Not that The Maccabees feel any sense of responsi-bility for helping to drag indie music back up by its bootstraps. For the London fi ve-piece, all that matters is making the best music they can, irrespective of what else may be going on around them.

“I think we’re just conscious that we put a lot of work into making the record and we want to do it proud, that’s all we’re worried about, I defi nitely don’t feel any responsibility to guitar music,” admits Orlando.

And why should they? Orlando and his band-mates are right to be proud of their album without worrying about the ever-evolving musical landscape upon which it is being unleashed, one which is very different from

when debut Colour It In was released back in 2007. He is also confi dent that it represents another leap forward for the band creative-ly, yet underneath that confi dence is still an artistic apprehension that something the band have worked so hard on will be not neces-sarily be appreciated by fans. Not that they are a band writing songs simply for approv-al from the masses, but it seems they have poured their hearts and souls in to the album and naturally hope that their fans can connect with their craft on a similar level.

“I think every time you bring out something you’ve put a lot of work into you worry about it a little bit but I feel confi dent that this is the best record we’ve made and so I look forward to being able to show it off a little bit more.

“We were all conscious of trying to not make the same record twice and we didn’t feel there was any other way of going about it than starting afresh.”

Coming up with material for the new record also involved a fresh approach, one which allowed their creativity to come to the fore once more. The challenge, it turned out, was not coming up with the material to fi ll their third record, but making sure it all fi tted together.

“When we started out writing, all of a sudden we were quite aware that we could do more of it not all in a room all staring at each other, so we did lots of bits and pieces either on our own at home or as ones and twos or threes or whatever, and then just tried to then take that and make it sound cohesive rather than cobbled together bits and pieces.

“I think that became the challenge rather than worrying about stuff, we knew we’d get enough new material but we had to make sure it didn’t sound like it was all written in bits and pieces. That was a nice thing to start going back into the studio as a gang and making sure it didn’t sound ‘bitty.’

“We’ve always done it that whatever happens, whoever writes whatever, whether it’s a chorus or a verse or a bare bones structure of a song or whatever, we know that it’s gonna be made better by putting it to the gang.”

That confi dence in each other and gang mentality is something that has helped The Maccabees push forward, without resting on their laurels, leaving egos aside to be able to write the best songs they can as a band.

“Yeah, it’s a weird one because sometimes you think you know best but it turns out you don’t. There’s no room for egos in most things let alone in bands, there’s a lot of room for people to get annoyed, ‘no, that’s right, no I think that’s right,’ and you sort of fi ght your battles and choose them, but at the end of the day the point of a band is to be the sum of its parts. Everyone knows that if you try and impress your opinion on something it’s because you think that’s the best thing, I don’t think it’s ever an ego thing.”

Another fresh element involved in making Given To The Wild came in the shape of a new production team, with Tim Goldsworthy and Bruno Ellingham (UNKLE, LCD Sound-sytem, Massive Attack) taking over producer duties alongside the band. But despite the pair’s obvious electronic background, this

was not a hackneyed attempt to blend into the current trend for crossover music, but more a fresh set of ears bringing their own infl uences and approach to the new material and help-ing push The Maccabees on to create a more sonically challenging record than ever before.

“I felt that when we started and people came down and listened to the songs and stuff, it was really nice to have that, as we hadn’t really played them to anyone,” recalls Orlando. “In the past we would write these songs and play them for a little bit and see how they go down but with this one we didn’t, it was just, ‘right, we’re gonna write these songs and we’re gonna see how they feel in a studio.’ So when Tim and Bruno came down it reassert-ed our confi dence in the songs and made us feel there was something there, they wanted to be involved and they wouldn’t want to do that unless they thought there was something going on so that was like a really nice thing.

“They came from a very different musical world so we were trying to cover bases, you know? We were thinking, we sort of understand, or we think anyway, we understand how to make the most of guitars and record vocals as well and they understand how to take samples and bits and pieces that we’d already record-ed and make them sound classier and make them sound record-worthy, and they did in many ways. But also, we started understand-ing that sometimes you’ve already hit upon a happy accident, so there were things that we’d recorded in our bedrooms or in our studio and thought, ‘wait until we record this properly, it’ll work,’ and then you start realis-ing that actually what you’ve already recorded was the best that was ever gonna be record-ed or, if not the best, it was the right way. So the whole thing we felt was a pretty steep learning curve really, and I think Tim and Bruno were the same, we were all kind of fi guring stuff out as we went along.”

It was a learning curve that certainly paid off, but the learning continues this month as the band take the new material on the road for the fi rst time since the release of the record, due out on January 9. Having showcased some of the songs during an intimate set of shows during the autumn, Orlando says he was pleased to see fans responding well but admits fi guring out how to transfer some of

the songs from the studio to the live stage is still a challenge.

“I can’t wait to try it out. We’ve still got to learn four or fi ve of them, we haven’t fi gured out how to play them live yet. [The October tour] was really good, we played fi ve or six new ones and all of them were met in a nice way, people were sort of waiting for them, interested and not just wanting old songs that they were used to, they were keen to hear new stuff and that was a good sign.

“That’s all we could hope for really, that’s what we were going to do and we didn’t feel like we wanted to rest on our laurels or get staid, so the fact that we did what we were going to do and to be met with the kind of appre-ciation that we would hope for was a really nice feeling.”

For Maccabees fans, the band’s new offer-ing represents the perfect post-Christmas present to blow away the January blues. If the timing seems a little odd — new releas-es often slip under the radar at this time of year — Orlando insists it doesn’t matter, as he would have felt odd whenever it came out, so it was just a case of making sure the record was ready to be released out into the wild, for want of a better phrase.

“We just knew we had to make the best record we could. We were hoping it would come out in September and when it got to September it wasn’t right, we knew it was more important that we waited and pushed on to try to make the best record rather than a record that came out on a deadline.

“From my point of view, it feels pretty weird bringing out a record whenever, it’s an odd thing to do, just all of that work and worry and thoughtfulness and all that kind of stuff that goes on for one thing, so it could come out whenever and I would still feel a bit peculiar about it. I’m not worried about it coming out then [in January], I think it’s nice at the start of the year to bring out something new and I feel excited about it, starting afresh, it’s good.”

The Maccabees are live at the HMV Institute on January 27. New album Given To The Wild is released on January 9 on Fiction.

The new year starts off in real style with the return of THE MACCABEES this month. With their much-anticipated third album and a UK tour to follow, they are once again ready to show why they have become regarded as one of the fi nest British bands to emerge in recent years. Frontman Orlando Weeks tells Chris Moriarty why new record Given To The Wild is their best work yet.

“We were all conscious of trying to not make the same record twice and we didn’t feel there was any other way of going about it than starting afresh”

WILDTHINGS


We’re looking for talented hopefuls with the potential to grab the attention of fans from far and wide and we’ve got all the tools to set you on your way to stardom.

One lucky act will get the chance to spend three days recording at Birmingham’s Arkham Recording Studios, under the expert watch of producer Alex Cooper.

Once you’ve captured your perfect sound it will be time to work on that all-impor-tant image. We’ll help you look your best with a full photo shoot with renowned

professional photographer Steve Gerrard to give you perfect pictures for your press pack. And if that was not all, you’ll enjoy a free video shoot courtesy of Captured Music at their purpose-built studio in West Bromwich, giving you a professional-quali-ty music video to show off on your website and social network sites and anywhere else you want, or even to submit to music televi-sion channels.

As a added bonus, we’ll also throw in a professionally-written band biography and press release penned by Brum Notes

Magazine’s own team of journalists and PR experts.

The prize, worth a staggering £1,000, will give your band the ultimate promo package to help you get noticed with a high quality EP, video, professional press photos and a professionally-written biography to help get your band seen and heard where it counts.

And as if that was not all, Kerrang! Radio DJ Alex Baker will play the winner’s music on the airwaves during his radio show, getting your music out to thousands of listeners.

ARKHAM STUDIOSBased in the heart of Birmingham city centre, Arkham Studios offers professional quality studio record-ing nestled away inside the popular Madhouse rehearsal complex. Alex Cooper (Ocean Colour Scene, Shy, The Quireboys), who boasts more than 10 years practical experience in the music industry, will be on hand to help out with produc-tion duties and look after you through every step of the recording process. For more information visit www.arkhamrecordingstudios.co.uk

Are you in a band and looking to make waves in 2012? Well we’ve got the perfect post-Christmas present to help you start the new year in style in the shape of the ultimate band promo package.

WIN THE ULTIMATEPROMO PACKAGEFOR YOUR BAND

STEVE GERRARD PHOTOGRAPHYSteve Gerrard has established himself as one of the most in-demand photographers in Birming-ham and has photographed everyone from U2 to Elton John, as well as sprinkling his photographic magic on hundreds of new and unsigned bands over the years. For more information or to book a shoot visit www.stevegerrardphotography.com

CAPTURED MUSICCaptured Music prides itself on creating top quality music videos at competitive prices and can cater for live shoots on location or fi lm your band from its purpose-built facility in West Bromwich. For more details on video services visit www.capturedmusic.com

BRUM NOTES MUSIC MARKETING SERVICESBrum Notes Magazine’s team of professional jour-nalists and PR experts can help your band stand out from the crowd by crafting the perfect press release or band biography to capture attention wherever you go, making the perfect addition to your press pack and promotional material. For more informa-tion on how Brum Notes Magazine can help your band get heard email [email protected] or visit www.brumnotes.com

HOW TO ENTER:To be in with a chance of winning, simply tell us in no more than 50 words why your band deserves to win the ultimate promo package. Email your answer along with contact details, a photo of your band and a link to your music to [email protected] no later than January 31.

A shortlist will then be drawn up with readers invited to vote on their favourite acts on Facebook after the closing date. Entries are open to any genre of live music and can be from solo artists or bands. Terms & Conditions apply and are available on request or at www.brumnotes.com

an

19January 2012

We’re looking for talented hopefuls with the potential to grab the attention of fans from far and wide and we’ve got all the tools to set you on your way to stardom.

One lucky act will get the chance to spend three days recording at Birmingham’s Arkham Recording Studios, under the expert watch of producer Alex Cooper.

Once you’ve captured your perfect sound it will be time to work on that all-impor-tant image. We’ll help you look your best with a full photo shoot with renowned

professional photographer Steve Gerrard to give you perfect pictures for your press pack. And if that was not all, you’ll enjoy a free video shoot courtesy of Captured Music at their purpose-built studio in West Bromwich, giving you a professional-quali-ty music video to show off on your website and social network sites and anywhere else you want, or even to submit to music televi-sion channels.

As a added bonus, we’ll also throw in a professionally-written band biography and press release penned by Brum Notes

Magazine’s own team of journalists and PR experts.

The prize, worth a staggering £1,000, will give your band the ultimate promo package to help you get noticed with a high quality EP, video, professional press photos and a professionally-written biography to help get your band seen and heard where it counts.

And as if that was not all, Kerrang! Radio DJ Alex Baker will play the winner’s music on the airwaves during his radio show, getting your music out to thousands of listeners.

ARKHAM STUDIOSBased in the heart of Birmingham city centre, Arkham Studios offers professional quality studio record-ing nestled away inside the popular Madhouse rehearsal complex. Alex Cooper (Ocean Colour Scene, Shy, The Quireboys), who boasts more than 10 years practical experience in the music industry, will be on hand to help out with produc-tion duties and look after you through every step of the recording process. For more information visit www.arkhamrecordingstudios.co.uk

Are you in a band and looking to make waves in 2012? Well we’ve got the perfect post-Christmas present to help you start the new year in style in the shape of the ultimate band promo package.

WIN THE ULTIMATEPROMO PACKAGEFOR YOUR BAND

STEVE GERRARD PHOTOGRAPHYSteve Gerrard has established himself as one of the most in-demand photographers in Birming-ham and has photographed everyone from U2 to Elton John, as well as sprinkling his photographic magic on hundreds of new and unsigned bands over the years. For more information or to book a shoot visit www.stevegerrardphotography.com

CAPTURED MUSICCaptured Music prides itself on creating top quality music videos at competitive prices and can cater for live shoots on location or fi lm your band from its purpose-built facility in West Bromwich. For more details on video services visit www.capturedmusic.com

BRUM NOTES MUSIC MARKETING SERVICESBrum Notes Magazine’s team of professional jour-nalists and PR experts can help your band stand out from the crowd by crafting the perfect press release or band biography to capture attention wherever you go, making the perfect addition to your press pack and promotional material. For more informa-tion on how Brum Notes Magazine can help your band get heard email [email protected] or visit www.brumnotes.com

HOW TO ENTER:To be in with a chance of winning, simply tell us in no more than 50 words why your band deserves to win the ultimate promo package. Email your answer along with contact details, a photo of your band and a link to your music to [email protected] no later than January 31.

A shortlist will then be drawn up with readers invited to vote on their favourite acts on Facebook after the closing date. Entries are open to any genre of live music and can be from solo artists or bands. Terms & Conditions apply and are available on request or at www.brumnotes.com


livE

BRUM NOTES CHRISTMAS PARTyThe Victoria, BirminghamDecember 21

It may be winter outside, but in The Victoria it’s freakin’ roasting hot, both on stage and off it. We warned you to get down early and plenty of you heeded that warning as Brum Notes and This is Tmrw joined forces to devastating effect for a red hot night of raucous rock action which delivered a deadly soundtrack to the festivities. Gruesome twosome Horrowshow were never go-ing to ease the audience into the evening gently, starting off the night with a high octane assault on the ears, with a devastating set of ramped up punk reaching volumes that defied their skeletal line-up. The crowd responded in kind too, with fans pouring in leaving punters queued up outside the jam-packed room. Next up, Bryn Bowen & The Shalfonts made a rare

live appearance but their intriguing blend of off-kilter indie and Americana-infused post-pop was a joyous combination and gave no hint that this is a collective divided by international boundaries. Turning the vol-ume up a notch once more, The Cedar House Band brought garage blues bang up to date with a rocka-billy rollercoaster ride, including putting their own twist on the Home Alone soundtrack. Headliners Calories played with the sort of swagger they have earned, hammering into FFWD before delving into a mesmerising set of old favourites and future classics, including their customary audience-participation rou-tine seeing them keep the party spirit going as they swapped stage for dancefloor. Now that’s how to rock around the Christmas tree. Words by James Collins

Photos by Jonathan

MorganClockwise

from top: Cal-ories; Calories; Bryn Bowen & The Shalfonts;

Horrorshow; Calories; The Cedar House

Band

21January 2012

Taking a short rest from bringing the finest international acts to Birmingham, Moseley Folk lined up a real Christmas treat of a gig with some local heroes. The night opens with the legend that is Paul Murphy. In recent years he has wowed audiences as the fran-tic frontman of crazed Balkan gypsies The Destroyers. This evening he returns to his singer-songwriter roots sharing work from his new album The Glen. Poignant and per-sonal, the work is in sharp contrast to his other frenzied musical project and quietly reflects on love and loss. But as always the Celtic charm is not far away and the audience is enchanted by his between-song banter and poetic prowess with an old favourite Shoplifter’s Talking Blues; you’ll never look at a Fray Bentos pie the same again.After a mammoth summer festival schedule

Goodnight Lenin show no signs of slowing down with this appearance at Birmingham Cathedral being yet another sell-out headline show to add to their list. The bright young things presented old and new material, highlighting their spectacu-lar harmonies and wealth of musical talent. Moving from folk-inspired ballads to heavier electric pieces, the whole set is delivered with sheer ease and proficiency. New tracks such as A Cautionary Tale prove they can write and deliver timeless songs in a nu-folk fashion, while there is the usual healthy dose of stage repartee and audience interaction. With new material and a national tour along-side Beth Jeans Houghton to come in the new year, 2012 promises to be a very spe-cial one indeed for Goodnight Lenin. Words by Nic Toms Photo by Richard Shakespeare

21

It’s a brave band that choose not to play the song that made them massive, and at the end of the set there are audible delibera-tions about where the anthemic Let’s Go Surfing has moseyed off to. However with tracks from critically acclaimed second al-bum Portamento accounting for half of the set tonight (and accounting for it success-fully), The Drums illustrate exactly why they don’t need that fallback anymore. Portamen-to is an accomplished album, arguably bet-ter than the first, and yet this accompanying tour has fans in frenzied adulation over songs from them both. When they first hit the UK scene in 2009, it was a certain type of person who bonded with this band’s particular brand of surf pop – expertly quaffed hair, a Beach Boys-tint-ed record collection and an eye for a nice jumper or two. But looking around the room tonight, it’s clear that the sound of The Drums now satisfies a far broader spectrum. “Please don’t leave,” implores lead singer Jonathan Pierce on the second album swinger of the same name, thereby pinpointing that precise heartfelt-lyrics-set-against-a-backdrop-of-limb-jerkingly-popTASTIC aurality which enamoured us with them from the off. However with appeal like that and moving in such a way as to make even the most unromantic come over just a little bit wistful, he really needn’t worry. We’re all marching to the beat of the same drum tonight. Words by Amy Sumner

THE DRUMSHMV Institute, BirminghamNovember 28

gOODNIgHT lENINBirmingham CathedralDecember 3

Shed Seven may be considered something of a guilty pleasure to many, but few in the audience could care less about their lack of street cred tonight as York’s finest entertained a packed crowd full of Friday festive feeling. Preceded by ex-Seahorses frontman Chris Helme, fans were taken back to the care-free years of the mid 90s with some Britpop classics. It is 15 years since the release of Shed Sev-en’s breakthrough second album A Maxi-mum High. At that time they were full of an over-confidence and swagger that did them no favours and had been completely lost by the time of their ‘farewell’ tour in 2003. Nowadays they seem to be enjoying them-selves once more. With a hook-laden set, the Sheds treated fans to classic tunes such

as Disco Down, On Standby and Going For Gold and in the encore their version of The Smiths hit Panic, followed by their greatest hit Chasing Rainbows. This continued even once the band had left the stage to a rousing applause, with the ex-iting crowd spontaneously erupting into an-other chorus of Chasing Rainbows, showing that even though Shed Seven may no longer be in the public eye, their music lives long in the memory for all those who remember the good ol’ Britpop days. Words by Jon Sanders

After nigh on five years of tabloids and bra-vado, The Ordinary Boys lead singer Preston finally put his pride to one side and decided to tour their first two albums once again.

The joy on his face of having the opportunity to do this is clear for all to see as he bounds around the small stage to some of his classic tunes that would’ve filled rooms five times the size eight years ago.Over The Counter Culture and Life Will Be The Death Of Me sound almost as vibrant and as important as they did all those years ago before you remember the mess Preston has made of his career. But, for those prepared to let bygones be bygones, this was a fantastic set; full of en-ergy, swagger, tunes and attitude. Talk Talk Talk and Maybe Someday were epic, while new download-only single Run This Town harks back to the glory era for The Ordinary Boys, and Boys Will Be Boys sounded as rancid and fantastically dirty as ever.The encore included a cover of The Spe-cial’s Little Bitch and the brilliant singalong Seaside showcasing the best of their debut album. A stunning gig, but maybe about six years too late. Words by Jon Pritchard

SHED SEVENO2 Academy, BirminghamDecember 16

THE ORDINARy BOySO2 Academy 2, BirminghamDecember 9

January 2012


It has been upwards of six months since The Arcadian Kicks last picked up their instru-ments in front of a live audience - they’ve been away writing, recording and talking shop on the radio. And by the energy emu-lating from the stage tonight, it is obvious to everyone present that the break has been worth every single second. The room, warmed up deliciously by seem-ing support band-of-the moment Corelli, is

completely crammed, and completely en-amoured with the headliners tonight - and for reasons which are far from unfounded. Playing a set of almost entirely new materi-al, the power behind both the vocals of lead singer Rebecca Wilson and the accompany-ing sound is beyond impressive for a band of their years. And they look stunning too. Closing with forthcoming single and high-light of the night I Wanna Take You Home, The Arcadian Kicks leave the stage to a cho-rus of, “More!” with beer pouring into their mouths from every direction. Yes, tonight marks the triumphant return of a band who, in Corelli’s words, have been gone far too long. And judging by the recep-tion they receive it is patently evident why,

because The Ar-cadian Kicks re-ally do pack a punch tonight.Words by Amy SumnerPhotos by Harriet Holloway (above) and Jonathan Morgan (right)

When a band puts on their own night for free and supplies the punters with a complimen-tary shot you know it’s either clever market-ing or a group of people intent on having a good time. For the band, it was their own way of starting the festive season in style, thank-ing fans for the support received in 2011. The past 12 months have been good to Soldier, playing with the likes of Athlete, Datsuns and Viva Brother and impressing audiences along the way. Tonight, the room is packed full with the gather-ing hordes eager to have that good time, no doubt aided and abetted by those free shots. The band launch into opener Broken Bones with gusto, making a statement with its brash open-ing guitar riff and high energy. The real

surprise comes in the intricacies of song Sparks, building from a tender guitar riff as if it was coming from a ballerina music box to a powerhouse chorus and a huge ending. Hurricane showcases vocals melting into seamless harmonies, while the klaxon start of Horizon unashamedly demands atten-tion and beats you into submission from the opening bars with Scott Cooper’s snarling vocals and rolling riffs ensuring heads nod in unison. Previous single Lifeline ends the gig on a high, with the rowdy crowd seemingly having enjoyed more than just their one com-plimentary shot of sambuca along the way.Words and photo by James Martin

THE ARCADIAN kICkSSunflower lounge, BirminghamDecember 14

SOlDIERSunflower lounge, BirminghamDecember 9

It was hard not to cross the threshold of the O2 Academy tonight without a slight feeling of nervousness. Back touring with their origi-nal line-up for the first time since 2004, you might be forgiven for feeling uncertain as to what to expect from The Darkness, much as you would when going to meet an old flame.The mix of anticipation and unease can be sensed amongst the coalition of long-in-the tooth rock fans and those for whom tonight is perhaps a guilty pleasure, many of the lat-ter young enough to be the former’s children (and some are).However, any reservations quickly vanish as Lowestoft’s most famous sons take the stage. The set is a slick succession of crowd pleasers, and the playing of each song as per the original recorded versions only works to their strength, as hook-loaded numbers go past at a rate of knots. To a man the crowd can’t help but sing along to favourites from debut album Permission To Land; Black Shuck, Growing On Me and Friday Night to name a few. Listening to the latter tale of two school sweethearts who meet through their shared

love of extra-curricular activities serves as a reminder of what sets The Darkness apart from their pomp-rock heroes: a talent for brilliantly self-deprecating lyrics on a level with any indie band, but at the same time performed with great gusto.Although the new numbers interspersed throughout meet with a more subdued reception they still display the knack for catchy tunes that lead singer Justin Hawkins honed during his lean years writing TV jingles. When it’s time for hit single I Believe In A Thing Called Love, it’s hard not to feel a glow of pride after years of passionately defending the band with daft costumes and a lead singer who sounds like a chipmunk. Despite being dismissed as a joke when the aforementioned smash hit song took the charts by storm, there is clearly still a lot about The Darkness that deserves to be taken seriously.

Words by Nick Hart

THE DARkNESSO2 Academy, BirminghamNovember 18

23January 2012


STylETRENDS

2012 FEEL

GOOD COLOUR

2012NOMASCARA

FRENCH

TWISTS

BROWNS

THE 1920s

Q: WHAT IS EVOL HEIST?A: It’s a costume jewellery brand, specialising in Perspex. We love creating dramatic jewellery and accessories and are known for our unique designs. EVOL HEIST is made up of myself ‘M’ and my partner Jandu. We design our collections and hand-assemble each piece, then sell them on our website and send them out to our stockists in LA and the UK.

Q: WHERE MIGHT WE HAVE SEEN EVOL HEIST ALREADY?A: We’ve been doing this for just over a year now and found success be-ing shown on X Factor (Little Mix), Big Brother (Tom O’Connell) and some amazing female musicians across the world such as M.I.A, DJ Miss Yellow and Dev.

Q: WHAT ADVICE WOULD YOU GIVE ANY OTHER CREATIVE ABOUT DEVELOPING THEIR DREAMS INTO A REALITY?A: Stay positive, always! Have a genuine passion (and obsession) for what you are doing. Be unique.

Q: What does EVOL HEIST have planned for 2012? A: We recently did our first stall at the Festive Pop Up Bazaar on New Street, which turned out to be a huge success, so we’re looking to be doing loads more fairs and shows throughout England in 2012.

www.evolheist.com

Twitter: EVOLHEISTFacebook: Evol HeistTumblr: EVOL HEIST

YouTube: EvolHeistTV

Q&A WITH EVOL HEIST

DOCTORS

HANDBAG

25January 2012

fOOd+

driNkCOCkTail Of ThE mONTh: agavE gOOdNESSJanuary detox? That doesn’t mean you can’t enjoy a tasty cocktail...

Agave syrup is naturally produced and much sweeter than normal sugar, making it a healthier alternative as you need less of it in a drink, reducing the calories but not the taste.

Agave nectar is produced when the agave plant has reached ma-turity (between seven and 13 years) and can be harvested. The all-natural syrup comes from the centre of the agave (the pina) when it is cooked. The syrup that is produced is much sweeter than caster sugar and similar in appearance to honey but a lot less harsh on the palate than normal sweeteners and contains a very low glucose percentage so it’s also a lot better for you. Agave syrup can be used to sweeten food - it’s excellent on cornflakes - but we prefer to use it in a nice fresh cocktail.

Tequila is also made from the agave plant, with agave tequilana weber azul, also known as blue agave, being the base ingredient in tequila itself.

Although there are different tequilas on the market we find the best ones are 100 per cent agave tequila where all of the sugars used in the drink come naturally from the blue agave plant. This means un-like inferior ‘mixto’ tequilas there are no additives or random sugars added to the spirit - and some people argue its purity will reduce your hangover as well. It really is the best though and we recom-mend you request 100 per cent agave tequila in all your tequila-based cocktails.

recipe: ThE TOmmy’S margariTaOne example of a cocktail that uses agave syrup and tequila is the Tommy’s Margarita (sometimes called a skinny margarita), which was originally made by the owner of Tommy’s Bar in San Fran-cisco. It is said that Tommy was diabetic but loved Margaritas and still wanted to enjoy his favourite drink without damaging his health. The Tommy’s Margarita exchanges the high glucose content of tri-ple sec with agave syrup; this combined with 100 per cent aga-ve tequila and fresh lime juice gives you probably one of the most natural drinks you can find. The agave syrup adds a sweetness to the drink and brings out the amazing agave notes in the already magnificent tequila.

Ingredients:60ml Tapatio Reposado tequila50ml Freshly squeezed lime juice10ml Agave syrup

Directions:Shake all ingredients in a cocktail shaker with ice and strain into an ice filled rocks glass with an optional salt rim.

By Antony Bubb, bar manager at Bodega Bar and Cantina, Bennetts Hill, Birmingham. 0121 448 4267, www.bodegabirmingham.co.uk


A34From Birminghamand M6 Junction 7

A4031From West Bromwich

B4151From Sutton Coldfield

POOL STREET

SPR

ING

HILL R

OA

D

BRIDGE STREET

SUTTON ROAD

BIRMINGHAM

ROAD

SAN

DW

ELL

STR

EET

PEARL STREET

BROADWAY NORTH A34

A461

LOW

ER R

USH

ALL

STR

EET

WALSALLTOWN

CENTRE

BA

TH STR

EET

WE AREHERE

BRAND NEW

REFURBISHMENT

AND EQUIPMENT UPGRADE

JJM Studios is a purpose built complex of six luxury, sound proofed rehearsal studios, professional recording studio and

tuition services located in Walsall, West Midlands. At JJM Studios we always make sure you have the best possible rehearsal experience.

Tel: 01922 62970020 Pool Street, Walsall WS1 [email protected] FREE membership and further details visit

www.jjmstudios.co.uk

STUDIOS AVAILABLE FORAS LITTLE AS £8 PER HOUR

FREE CYMBAL HIRE, EARPLUGS AND TEA/COFFEE

BRAND NEW IN-HOUSE PRO-TOOLS RECORDING STUDIO

Room Specifications:1 x Tama Superstar EFX 5 piece Shell Kit - Room 5 has a Tama Superstar Custom Hyper D Drum Shell Kit.2 x Tama Roadpro cymbal stands1 x Ashdown ABM Evo 3 C210-500 Combo and ABM 1x15 Cab - Rooms 2 and 5 have Ashdown ABM 500H Evo 3's

and ABM 8x10 Cabs1 x Marshall AVT 150H Stack or Marshall JCM2000 DSL100 Dual Super Lead1 x Marshall MA50C (50 Watt all valve twin channel combo)1 x Peavey Bandit1 x Peavey XR8300 PA and 2 x Peavey UL-15 PA Speakers - Room 2 has 1 x Peavey XR800F PA and 2 x Impulse 1012

PA Speaker with subs1 x Whiteboard in every roomAll rooms have dehumidifiers, fans, heating, bins, tables and chairs

Your box will contain the following equipment:2 x Shure SM582 x Neutrik XLR Leads2 x Wing nuts4 x Cymbal Felts1 x Hi-Hat clutch

SU815 JJM Studios advert 200 x 270 Brumnotes:Layout 1 24/10/2011 13:22 Page 1

27January 2012

TOWER � SONG5� A�IVERSARY GIG

adm.£5

SAT 28� JAN 2012Feat. Tom Martin Celtic Soul Band

and guests Sam Cornwell, Bill O’ Brien,Terry Foley & Jimmy Cox

107 Pershore Rd South, Kings Norton, B30 3JX(Between Toby Carvery & BP Garage)towerofsong.co.uktommartinmusic.com

NEW S INGLE (PLUS DOMINIC GANDERTON REMIX) AVAIL ABLE TO DOWNLOAD FROM ALL USUAL S ITES

FROM 22ND JANUARY 2012 .

www.facebook.com/thearcadiankickswww.twitter.com/arcadiankickswww.silent�ltergigs.co.uk

T H E A R C A D I A N K I C K S plus support at O2 Academy 3, BirminghamS AT U R D AY 3 R D F E B R U A RY 2 0 12Presents…

Lunar Society Special with

Michael Chapman

michaelchapman.co.ukPLUS SUPPORT

Long time fans include John peel and Thurston Moore (Sonic Youth). This cult folk guitar legend's playing is remenisant of the work of Bert Jansch and John Martyn.

friday 3 February 2012Our New Home at The Station7 High Street Kings Heath, Birmingham, West Midlands B14 7BB2 x 45 minute sets starting at 9pmDoors: 8.00pmTickets: £5 + £1 B/FEEAvailable From

WWW.moseleyfolk.co.uk

Presents


Want your gig or club night listed in our monthly guide? Send

details to:

[email protected]

All details correct at time of going to press. Check with venues before setting out. While every effort will be made to ensure the accuracy of listings, Brum Notes Magazine will not be held liable for any errors or losses incurred from errors which may materialise.

BIRMINGHAM: O2 Academy, Horsefair, Bristol St B1, 0844 4772000; HMV Institute, High St, Digbeth B5, 0844 2485037; NIA, King Edwards Rd B1, 0121 7804141; LG Arena, NEC, Solihull B40, 0121 7804141; The Flapper, Kingston Row B1, 0121 2362421; The Victoria, John Bright St B1, 0121 6339439; Hare & Hounds, High St, Kings Heath B14, 0121 4442081; The Actress & Bishop, Ludgate Hill B3, 0121 2367426; The Sunflower Lounge, Smallbrook Queensway B5, 0121 6327656; Symphony Hall, Broad St B1, 0121 7803333; Town Hall, Victoria Sq B3, 0121 7803333; Kitchen Garden Cafe, York Road, Kings Heath B14, 0121 4434725; Alexandra Theatre, Station St B1, 0844 8472302; Bulls Head, St Marys Row, Moseley B13, 0121 2567777; Island Bar, Suffolk St B1, 0121 6325296; The Jam House, St Pauls Sq B3, 0121 2003030; The Asylum, Hampton St, Hockley B19, 0121 2331109; The Rainbow, High St, Digbeth B12, 0121 7728174; Adam & Eve, Bradford St, Digbeth B12, 0121 6931500; The Rose Villa Tavern, Warstone Lane, B18, 0121 2367910; The Yardbird, Paradise Place B3, 0121 2122524; The Glee Club, The Arcadian, Hurst St B5, 0871 4720400; MAC, Cannon Hill Park B12, 0121 4463232; Vudu, Corporation St B5, 0121 643 0859 ; The Crown, Station St B5, 0121 643 4265; Scruffy Murphys, The Priory Queensway B4, 0121 2362035; The Wagon & Horses, Adderley St, Digbeth B9, 0121 7721403; Highlight, Broad St B1, 08700 111 960; Birmingham Ballroom, Dale End B4, 0121 320 2820; WOLVERHAMPTON: Civic Hall/Wulfrun Hall, North St WV1, 0870 320 7000; The Slade Rooms, Broad St WV1, 0870 320 7000; Robin 2, Mount Pleasant, Bilston WV14, 01902 401211; WEST BROMWICH: The Public, New St B70, 0121 5337161; COVENTRY: Kasbah, Primrose Hill St, CV1, 024 76554473; Warwick Arts Centre, University of Warwick, CV4, 024 7652 4524

KEY TO LISTINGS:M = LIVE MUSICCN = CLUB NIGHTC = COMEDYwhaT’S ON

Sunday, Jan 1

CN The United Nation of HardDance

Gatecrasher Birmingham

CN Below NYD Daytime Party

The Rainbow Birmingham

Wednesday, Jan 4

M One Direction NIA Birmingham

CN Big Wednesday Snobs Birmingham

Thursday, Jan 5

M Acoustic Lounge Island Bar Birmingham

Friday, Jan 6

M She Screams Murder

The Ballroom Birmingham

M Black Dollar Bills The Sunflower Lounge

Birmingham

CN DJ Cassie-Philomena

Adam & Eve Birmingham

CN This is… (Normal) Island Bar Birmingham

CN Tiki Friday with Takin Care of Business

Island Bar Birmingham

CN Rag & Bone Snobs Birmingham

CN Remedy with Steve Jones

The Jekyll & Hyde Birmingham

CN Discographic with Tic Tac Toe

The Rose Villa Tavern

Birmingham

CN Hot Wax The Victoria Birmingham

CN Keepin it Soulful The Victoria Birmingham

Saturday, Jan 7

M Screaminabdabz + Bionic Krugerrands

Adam & Eve Birmingham

M Karma Suite The Ballroom Birmingham

M The Nortons + Terella + Give Up the Ghost

The End @ The Ballroom

Birmingham

M VNV Nation The Library @ HMV Institute

Birmingham

CN On the Rocks Island Bar Birmingham

CN Loaded Snobs Birmingham

CN UPRAWR The Asylum Birmingham

CN Dr Jekyll’s Potion with Back 2 Life


CN Juqebox with DJ4D The Rose Villa Tavern

Birmingham

CN DJ Royale The Victoria Birmingham

CN Vertigo The Victoria Birmingham

CN The Beginning of the End Party 2012

The Wagon & Horses

Birmingham

C Joe Lycett The Glee Club Birmingham

Sunday, Jan 8

M Free Love Club Island Bar Birmingham

M Calais The Ballroom Birmingham

Tuesday, Jan 10

M Mallory Knox O2 Academy 3 Birmingham

M An Evening With Danny & Ben From Thunder

The Glee Club Birmingham

Wednesday, Jan 11


Thursday, Jan 12

M Gasoline Thrill Adam & Eve Birmingham

29January 2012


M The Arkhamists + Save the Heavens + Stranger in Death

O2 Academy 3 Birmingham

M A Hero At Heart The End @ The Ballroom

Birmingham

M Gunnrunner Robin 2 Bilston

Friday, Jan 13

M Minimum + Framed + Not By Design + Pre Sleep Monologue

The Actress & Bishop

Birmingham

M Arthur Rigby and the Baskervilles


Birmingham

M Kissmet Hare & Hounds Kings Heath

CN Pub Tropicana Adam & Eve Birmingham

CN Lucha Libre Bodega Birmingham

CN This is… (Tmrw) Island Bar Birmingham

CN Tiki Friday with Neither Nor


CN Seedy Sonics Rainbow Warehouse

Birmingham

CN Click Snobs Birmingham

CN Remedy with Sounds from the South


CN Discographic with Hot Wax


Birmingham


CN Music for the People

The Victoria Birmingham

C Steve Williams The Glee Club Birmingham

Saturday, Jan 14

M Eat Y’Self Pretty Adam & Eve Birmingham

M The Stacks + The Gazelles + Soley Morning


Birmingham

M Weatherbird The End @ The Ballroom

Birmingham

M Gwar Kasbah Coventry




CN Dr Jekyll’s Potion with Cold Rice


CN Loose Joints with DJ Kaminski


Birmingham

CN Beats by Numbers The Victoria Birmingham


C Steve Williams The Glee Club Birmingham

Sunday, Jan 15


M Katherine Jenkins Symphony Hall Birmingham

M The Classic Rock Show

Town Hall Birmingham

Monday, Jan 16

M The Black Dahlia Murder


Tuesday, Jan 17

M Ed Sheeran The Civic Hall Wolverhampton

Wednesday, Jan 18

M Various Cruelties The Rainbow Birmingham

M Ed Sheeran The Civic Hall Wolverhampton


Thursday, Jan 19


M Anti Vigilante The End @ The Ballroom

Birmingham

M Lawson The Rainbow Birmingham

M Casio Kids Hare & Hounds Kings Heath

M Henry Rollins The Civic Hall Wolverhampton

C Adam Bloom The Glee Club Birmingham

Friday, Jan 20

M The Jam DRC Adam & Eve Birmingham

M Christina Perri HMV Institute Birmingham

M Never Shout Never O2 Academy Birmingham

M The Lieutenants + Sons of the Desert + The Last Pursuit + The Bad Passengers


Birmingham

M Last Masquerade The End @ The Ballroom

Birmingham

M Ben Ottewell The Temple @ HMV Institute

Birmingham

M Asking Alexandria Wulfrun Hall Wolverhampton

CN This is… (Normal) Island Bar Birmingham

CN Tiki Friday with Education in Sound


CN Rag & Bone Snobs Birmingham

CN Remedy with Back 2 Life


CN Tim Ryan’s Birthday Bash


CN Flavour The Rainbow Garden

Birmingham

CN Discographic with Jock Lee


Birmingham


CN Live Forever The Victoria Birmingham

CN Say Nada First Birthday Party

The Wagon & Horses

Birmingham


Saturday, Jan 21

M M83 HMV Institute Birmingham

M The Carpels + Friends

Mac Birmingham

M Wraith + Only the Good + 7 Days Late


Birmingham

M Smoove & Turrell Hare & Hounds Kings Heath

M We Are The Ocean Kasbah Coventry

CN KANYINI feat DJ Kristian

Club PST Birmingham




CN King of the Bboys 5

The Ballroom Birmingham

CN Only After Dark The End @ The Ballroom

Birmingham

CN Breakthru Solution

The Library @ HMV Institute

Birmingham

CN FACE Meets Mustachio!



CN Juqebox with Feva The Rose Villa Tavern

Birmingham

CN Sweat The Victoria Birmingham



Sunday, Jan 22

M Free Love Club Adam & Eve Birmingham

M The Jasmine Moon Ensemble

Mac Birmingham

M Lower Than Atlantis


M Pay No Respect + The Departed


Birmingham

M The Monobloggers Robin 2 Bilston

CN Secret Sunday Burlesque


Birmingham

Wednesday, Jan 25

M Bellowhead Alexandra Theatre Birmingham

M Hello Monroe The Rainbow Birmingham

M The Magic Tombolinos

Hare & Hounds Kings Heath

M Fifteen English Pounds

Robin 2 Bilston


Thursday, Jan 26


M Post Descartes + VeXXen + Kissing Lieutenant + My Haunting Revenge


M Tubelord The Flapper Birmingham

M Four Year Strong The Library @ HMV Institute

Birmingham

M Half Man Half Biscuit

Robin 2 Bilston

M A Pale Horse Named Death

Slade Rooms Wolverhampton

M Danny & Ben From Thunder

Wulfrun Hall Wolverhampton

C Ben Norris The Glee Club Birmingham

Friday, Jan 27

M The Maccabees HMV Institute Birmingham

M All Time Low O2 Academy Birmingham

M Reel Big Fish O2 Academy 2 Birmingham

M An Idle Man’s Band + The Emma Skipp Band + Carly Dee


Birmingham

M The Dirty Minutes The End @ The Ballroom

Birmingham

M Jesus Jones The Temple @ HMV Institute

Birmingham

M Dirt Box Disco The Wagon & Horses

Birmingham

M Thin Lizzy The Civic Hall Wolverhampton

CN Lucha Libre Bodega Birmingham

CN This is… (Tmrw) Island Bar Birmingham

CN Tiki Friday with Hot Wax


CN Click Snobs Birmingham

CN Remedy with Mustapha Dance


CN Kool FM Reunion The Rainbow Birmingham

CN Discographic with Steve Jones


Birmingham


CN Out of Bounds The Victoria Birmingham


Saturday, Jan 28

M Punk All Dayer Adam & Eve Birmingham

M All Time Low O2 Academy Birmingham

M Shockparade + The Van Cortlandt Rangers


Birmingham

M La Dispute The Asylum Birmingham

M Way of Life The End @ The Ballroom

Birmingham

M Crucified Barbara Robin 2 Bilston

M My Ruin Slade Rooms Wolverhampton

CN Godskitchen Air Birmingham


CN Brothel Episode 3 Rainbow Warehouse

Birmingham


CN UPRAWR vs Slam Dunk feat All Time Low DJ set & afterparty

The Asylum Birmingham

CN Atomic Jam The Q Club Birmingham

CN FACE Meets Creche ft Alexis Raphael, Lee Brinx, Scott Bleepz, Elliot Croft


CN Juqebox with Missy Rodriguez


Birmingham

CN Sid’s The Victoria Birmingham



Sunday, Jan 29


M Panic! At The Disco

O2 Academy Birmingham


M The Secret Sisters The Glee Club Birmingham

Monday, Jan 30


M Man Overboard The End @ The Ballroom

Birmingham

M Roots Manuva The Library @ HMV Institute

Birmingham

Tuesday, Jan 31

M Boyz II Men HMV Institute Birmingham

M Lindi Ortega O2 Academy 3 Birmingham

M Alfie Boe Symphony Hall Birmingham

31January 2012

A U D I O

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Documents

Brum Notes Magazine January 2012