What’s On Michael Portillo’s iPod: POZI

Here at Birthday Cake For Breakfast, we like to get to the heart of what an artist is all about. We feel the music they listen to is just as important as the music they make. With that in mind, we’re delighted to have LDN outfit POZI in the hot seat, talking us through five releases that have helped shape and inspire their debut album.

Television Personalities’ album They Could Have Been Bigger Than The Beatles (1982)

Toby (Drums): “TVP’s are one of my favourite bands ever, if not my favourite. I got to know Dan Treacy very well when I was in Dustin’s Bar Mitzvah, we were in one of their videos and he recorded on our album. I was only about 17 and although my older band mates had such respect for them I had never fully delved into their music. Around 8 years ago I started digging a bit deeper and my love for them grew and grew. The variety and ambition in their songwriting is extremely courageous; yet they are able to deliver their vast vision with beauty, simplicity, charm and without pretence. From ‘14th Floor’ through ‘Anxiety Block’ to ‘Mysterious ways’, you travel a rollercoaster of feelings and emotions.”

Au Pairs – Headache For Michelle’ (Playing with a Different Sex, 1981)

Toby: Although just a single, this song is a huge inspiration for me and demonstrates how space within music can help you connect with it more deeply. I love the rest of the album, but this track eternally resonates with me. The complexity of the mood created is in my mind a much more realistic representation of human feeling than a lot of music. It’s a very simple track, yet the mood created is so complex and deep which is something I aspire to.”

The Fall’s album Extricate (1990)

Rosa (Violin): “The album’s first track ‘Sing! Harpy’ opens with a crazed heavily effected fiddle solo played by Kenny Brady. Atonal/jarring at points but then falling back into consonance with the rhythm section is something my playing in ‘PZ1‘ definitely has in common with the sound on this album. The listener gets a feeling of returning from a hazard-zone into (considerable) comfort, which is similar to tragedy and comedy coming side by side in theatre, it makes both more effective I think. In ‘Black Monk Theme – Part 1’, the fiddle also plays an important part in the harmonic bedrock of the song, droney with occasion higher and less controlled outbursts. It’s varied texturally which is something I tried to do in PZ1.”

Ibibio Sound Machine – ‘Give Me A Reason’ (Uyai, 2017)

Rosa:I remember hearing this single on 6 radio at the beginning of 2017, when we were all hoping things were going to get better after a shambolic 2016. It was powerful and busy whilst leaving a very clean and crisp imprint in my mind. Reminiscent while very of this time. The lyrics sung so brutally “Give me a reason! Why! Why! Why!” whether is it or not in the artist’s eyes, seemed to me very political/ how I was feeling about world affairs at that time, a confrontational/heartbroken shout to the powers that be. It’s also a great disco tune that I listened to as a morning boost for a good while afterwards.”

Go-Kart Mozart ‘When You’re Depressed’ (Mozart’s Mini-Mart, 2018)

Tom (bass): “I’m quite obsessed with Go-Kart Mozart at the moment. There’s nothing else that really sounds like them out there and I love the beautifully eccentric soundscapes Lawrence creates. There’s a nineties computer game quality to some of the songs and I mean that in the best possible way! One really striking thing about the music is the songs often deal with very sad and tragic themes yet there’s still this bouncy, happy feel and rhythm to the tunes. Take a track like ‘When You’re Depressed’ – you want to get out of your seat and dance even though the song literally documents the day to day pain of living with depression. After listening to it you’re left with a peculiar juxtaposition of emotions happy from the tempo yet saddened by the lyrics. To my shame I’m still yet to properly listen to his first band, Felt, but if Go-Kart Mozart’s anything to go by I’m sure it’s pretty special.”

PZ1‘ is out now! Bag a copy (or two) here – Or grab it from your local indie!

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Live Review: BBC Radio 6 Music Festival in Liverpool – Sunday 31 March 2019

What better way to spend a brisk but sunny morning in Liverpool than in a stuffy, dark room listening to Cerys Matthews humorously engage Merseyside poet Roger McGough? Dark and stuffy it might’ve been, but Camp and Furnace – a short walk from Liverpool’s city centre and part of the rather splendid Baltic Triangle – is quite the setting, one that in recent years has hosted some wonderful events (in particular, the brilliant Liverpool Psych Fest).

This past weekend was devoted to everything 6 Music, with the BBC descending upon Greenland Street and the surrounding areas to host live music, in depth discussions and more, with all manner of stalls dotted throughout the venues selling screen prints, cakes and vinyl. It was whilst rooting through the various record boxes that made up the centre of the room that resident 6 Music DJ Chris Hawkins arrived on stage, introducing the final day of the weekend.

Pretty good for half past 11 on a Sunday morning…” He said in jest, running through what was scheduled throughout the day in both rooms of Camp and Furnace. Given this was all live for radio, it was slightly surreal to then hear the news blaring out across the room, with talk of what we expect these days – Brexit banality and violence statistics. Thankfully, it wasn’t long before our first hint of live music – appearing across the way at ‘Furnace’, Aussie singer-songwriter Julia Jacklin.

Having been bang into Australian entertainment this past year – TERRY and Cath & Kim, for starters – the discovery of Julia Jacklin has come just at the right time, with the release of ‘Crushing’, her second album. Whilst our definitive favourite ‘Pressure To Party’ didn’t end up in the setlist, the rest of the chosen few that did more than made up for it. From the hushed, pensive opener ‘Body’ to the equally subdued ‘Don’t Know How To Keep Loving You’, her voice came across enchanting in the wide open, much brighter room.

Thanks for coming to the breakfast show.” She says with a laugh, not long before tucking into a few from her 2016 debut ‘Don’t Let The Kids Win’. ‘Leadlight’ is absolutely heart-racing, whilst the title track sees Jacklin go it alone, the rest of the band momentarily leaving her to it. A bloke in front puts his arm around his partner’s shoulder and suddenly it gets a bit dusty in the room… That or someone’s been chopping onions. Either way, ‘Don’t Let The Kids Win’ is stop you in your tracks beautiful. ‘Head Alone’, one of the lead singles from the new record, acts as her swansong for the day, resulting in raised fists for the anthemic call of “I had your back more than I had mine” and premature whoops from the crowd, ultimately leaving us with goose pimples and jelly legs.

Having heard great things about the mysterious Snapped Ankles, it was a treat to discover the oddball brilliance in the flesh (leaf). The complete opposite side of the coin to Jacklin, their wigging out and variety of tweaked noises could be heard throughout both venues. Getting stuck into it when I arrived, the quartet were all dressed in their Sunday best, save for crazy camo foliage that made up their appearance from the neck up. The two chaps (?) up front each had a drumstick in hand, beating bits of wood attached to their mic stands, generating synth sounds – very much making noises like your Dad tinkering about in the garage.

Whilst they’re all a delight to watch, it’s the enigmatic vocalist you’ve got to keep an eye on. When he’s not hanging his jacket up on a hanger off the 6 Music sign hovering behind them (hitting it with a drumstick of course, bringing out its synth potential), he’s out in the crowd, branch microphone in hand, bringing with him a tape measure at one point and journeying past punters and announcing that he’s “measuring the room”, ultimately leaving it in the hands of a fan and seemingly forgetting about it until the last note.

Recent single ‘Rechargeable’ sounds manic, purely life-altering – the pulsating speakers matching the rapid heartbeats of all and sundry. ‘Jonny Guitar Calling Gosta Berlin’ has the crowd elevated, a super charged, mind-expanding, eye-melting hyperbole free-for-all, its last note ringing out as the frontman made his way back through the crowd, reeling in that forgotten measuring tape as a sea of smiling faces looked on.

(Photo Credit: Matt Martin)

A big Tom Robinson introduction preceded the arrival of Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Robinson seemingly the most excited person in the room (his enthusiasm side-stage for Snapped Ankles didn’t go unnoticed either!) Opener ‘GNT’ is volatile – we expected it to be loud, but bloody hell! Frontman Matt Baty stands barefoot, shirt open, eyes open, howling to the back of the room. Guitarist Adam Ian Sykes stands tall, observing the crowd, with hair across face and wide-eyed, horror movie stare. He raises his pint in appreciation on occasion, but rarely shifts his 70’s horror demeanour.

How was the rest of it then? In a word: brutal. From their new LP ‘King Of Cowards’, the mammoth ‘Shockmaster’ is pulverising, the bass bursting through the speakers, so much so that a lad in front had his fingers firmly in his ears. So loud that confetti stuck in the rafters slowly came floating down bit by bit throughout. As I ‘woo’, I physically feel the sound and rumbling energy fly in and out of my mouth, unexpected and uninvited, the crushing noise defeating. I spy the light of someone’s phone and realise it’s only been about 10 minutes, but in the deafening yet glorious wall of noise, it feels like we’re an hour deep.

Baty tells us that 6 Music gives them the feeling of being “legitimate pop stars” and they’re thankful for being in the leagues of such contemporaries as “Bomfunk MC’s.” At their set’s end, they announce one more song – “…it’s a long one.” We’re told that through the release of ‘A66’, the road itself has become much safer, which we should be thankful for. No thanks required for the filling-loosening gnarliness that follows, with their raucous performance ending when the guitarist hands his guitar out to someone in the front row who, fair play, riffs like a bastard. Sykes sips his pint and looks on with *almost* a smile.

Over at Mountford Hall in the early evening, Irish outfit Fontaines D.C. opened up the festival ‘By Night’. Whilst there have been some doubts in our camp about these chaps – Yet another group of angry young white lads playing punk, dressed in smart casual clobber they’ve borrowed from their Dad’s – It starts to click into place about about three songs in. Frontman Grian Chatten stalks the stage, looking into the eyes of everyone in the first few rows, whilst drummer Tom Coll hurtles through the opening minute in earache fashion. You get the feeling something’s happening, you believe it. It’s nothing new and it fits the current crop of bands that are riding this particular wave of hype, but live – yeah, it definitely adds up. For a bit.

There’s a big crowd for it and I’m told on the door that everyone had been asking when they were due on. Not so sure about the advertisement behind the bar for two pint Guinness pots, mind – A touch insulting to the lads! That being said, I did duck out early – nipping down the road to play House of the Dead on the arcade at Font, with a pint of Director’s (actually some crafty ale) like Alan Partridge

Mark Radcliffe was on later to introduce Gang Of Four, suggesting that we were all in an illustrious room, played by the likes of The Beatles, Alvin Stardust and others. He then admitted that he’d made it all up for effect, but it was still likely to have seen its fair share! For Gang Of Four, he mentioned how their post-punk influence is everywhere and he’s bob on – There’s no denying the impact four lads from Leeds would end up having, the shape of post-punk to come. On Sunday night though? I’m not sure. Maybe it was a day of boozing and lack of sleep the night before creeping up on me, but with guitarist Andy Gill the only remaining member, it felt like a bit of a tribute act. A slowed down tribute act.

That’s not to say it’s not a bloody good tribute act though and certainly not to take away from the current roster, with assured performances from bassist Thomas McNeice and vocalist John “Gaoler” Sterry. McNeice is a particular highlight to watch as he navigates his way around the stage, looking cucumber cool. Sterry does the same, picking up where he left off across each microphone at the front of stage throughout the night, putting on a real shift for opener ‘Not Great Men’. It doesn’t really get any better than this, Sterry and McNeice on the move throughout, perking everyone up, matching the jerky nature of the song. Sole original Gill kept his shades on throughout meanwhile, even though it was dark as anything…

New single ‘Change The Locks’ sounded pretty good, but unsurprisingly they came across best on cuts from ‘Entertainment!’ and ‘Songs Of The Free. ‘I Love A Man In A Uniform’ is proper earworm territory, with the vocal of Sterry actually sounding better than the original. ‘Damaged Goods’ had the pace knocked right down, but the bass sounded superb and again, Sterry had the vocal spot on. Set closer ‘I Found That Essence Rare’ was dedicated to Stephen Fitzpatrick and Audun Laading of Liverpool’s Her’s, which was a sweet moment and nice end to the evening.

The aforementioned late night, day of bevving and last train prospect meant I sacrificed a chance to see Charlotte Gainsbourg, but one I thought worthy for the option to be in bed before midnight. Whilst we only managed one day of it this year, the festival was a roaring success and as sure-fire a reason as any for the continuing vitality of BBC Radio 6 Music. It would be selfish to suggest 6 Music Festival should set up shop in Manchester next year (given it took place in Salford in 2014) – but we can hope!

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a/s/l: DBOY

Remember the days of the old schoolyard? Remember when Myspace was a thing? Remember those time-wasting, laborious quizzes that everyone used to love so much? Birthday Cake For Breakfast is bringing them back! 

Every couple of weeks, an unsuspecting band will be subject to the same old questions about dead bodies, Hitler, crying and crushes.  

This week: Having recently signed up to Alcopop Records, and with a UK tour imminent, leather-clad, nice-jacket-wearing trio DBOY!

a/s/l?
Too old to sleep on floors, but too young to care all that much/apologetically male/Niagara, Ontario.

Who is your favourite Simpsons character?
Joey Ramone, Season 5, Episode 4.

What T-Shirt are you wearing?
More of a ‘proper, white button-up’ guy, really.

What did your last text message say?
‘Bella Ciao

What’s the last song you listened to?
Cate Le Bon – ‘Sisters (Yes mate! – Ed)

How did you meet the people in your band?
Fate works in mysterious ways. Arguably, there are two reactions to meeting gimp-masked and largely androgynous creatures of lust and habit in a Fenwick bathhouse: fight, or flight. It is with great fortune to the modern free world and the universal aesthetic that a third option became apparent: form a creative collective.

What’s the first record you bought?
Welcome to the Rugged North – A collection of forest sounds from above the Canadian Shield.

Have you ever kissed someone & regretted it?
Part of the allure is that as a group, Dboy don’t kiss and tell.

Best Physical Feature?
Cheekbones through a leather mask come off as subtle yet meaningful to those close enough to feel each stitch and socket. The clothes maketh the boy.

Reasonably ok/not bad feature that you’re not fussed about?
I’d say that we are a full package, no? You can’t fuss over aesthetic perfection.

Do you have any pets?
Two: Al Right on Drums, and Ted Bare on Bass.

Ever picked up any injuries on tour?
Trench foot from wallowing in tasteless and boring indie rock from time to time.

What did you do for your last birthday?
Each day is a self-reflexive celebration. That day is no different.

Name something you CANNOT wait for?
In May, we will venture to England, Scotland, and Wales for the first time. On behalf of the people of the UK who I can most certainly speak for, I am excited to spread Dboy’s body of work to current and future subjects of the Scout’s Order.

Do you have a crush on someone?
Collectively, we favour the New World Order built on love, understanding, and sonic progression.

What’s the shittest experience you’ve had as a musician?
The pre-Dboy era… all of it.

If you could go back in time, how far would you go?
Forward.

How do you want to die?
Consumed by wild wolves, preferably before we hit a hypothetical adult contemporary phase.

What are you craving right now?
More Dboy Scouts.

Have you ever been on a horse?
Horses mount Dboy, rather than vice versa. The derby is such a cruel world. We’d like to take the load off, ideally.

What did you dream about last night?
Lou Reed/Jimmy Buffet collaborative record.

If you could go back in time and kill the baby Hitler, would you?
Without any shadow of a doubt.

Have you ever been on TV?
Since seizing the means of production, the Dboy Broadcasting Corporation has become to main source of entertainment for the modern free world, so yes.

What do you want to be when you grow up?
Bigger than Lennon.

Dboy For President’ is out now through our mates at Alcopop Records! All details here – Pledge allegiance today!

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What’s On Michael Portillo’s iPod: Upset The Rhythm 15th Anniversary Special!

Here at Birthday Cake For Breakfast, we like to get to the heart of what an artist is all about. We feel the music they listen to is just as important as the music they make.

In the past, we’ve had the likes of Sweet Baboo and SHOPPING in the hot seat talking inspirations, but for this edition we’ve reached out to the folks at one of our favourite indies – LDN label UPSET THE RHYTHM – who are celebrating their 15th Birthday this month! To coincide with this big-boy birthday, they’ve had a week’s worth of shows up and down the country, culminating in two big shows this weekend in Salford and Cardiff! Details of these can be found here.

Across these shows they’ve been showcasing their diverse roster, so we got to thinking – what’ve been their favourite releases from these artists over the years? Label man Chris was happy to tell us!

DOG CHOCOLATETesco Flag’ (Moody Balloon Baby, 2018)

“A timely anthem questioning notions of national identity done that classic Dog Chocolate way with humour and waywardly wonky panache. Every Dog Chocolate song is saturated with the concerns of life on ‘planet what’s next?’ and their wry take on this really marks them out, thoughtful, considered and often important insights hidden within some of the truly most laugh-out-loud dollops of song imaginable.

ROBERT SOTELO‘Brother You’re Complicated’ (Cusp, 2017)

Andrew Doig is a genius when it comes to abstracting songs into new dimensions, his arrangements for rock group, brass/woodwind trio and electronics are as welcoming and diverse as his take on everyday existence. I just love this song, I listen to it on repeat all the time, it’s so simple and catchy and true in sentiment, which is a lot harder to do than it seems. Serene pop of the highest calibre from one of the UK’s real-deal, next level auteurs of sound and sensibility. So excited for his next record this summer too, ‘Infinite Sprawling’, his cat Raspberry is also a legend! The company they keep!”

RATTLE – ‘Disco’ (Sequence, 2018)

Rattle are a duo from Nottingham, Katy and Tez, seeing how they’ve developed their practice over the last few years has been one of the most rewarding and inspiring things to witness, they are masters of the low and highs, percussion turned into landscape, turned into impulse. ‘Disco’ is a great example of how they’ve pushed their approach of duelling drums and vocalisations into vast vistas of experimental dance sensation and primal lift. Total Euphorics, tension and release. Quite simply they make music that’s unique and celebratory of intuition, just magic music / music magic. Also, here’s a special shout out to Mark Spivey, what a wizard of the dub delay, a third member for the third eye even.”

TRASH KITMedicine’ (Confidence, 2014)

Trash Kit make me proud to be a record label, to get to work with these three, deeply creative and endlessly awesome individuals is the stuff of dreams. With each record they bound into the future with all the charm and musicality of their debut record intact. Now the focus for them has edged towards a perfect construct of the personal politic and the profound, quiet, almost unnoticed observations that we all make through each day without realising their true significance. ‘Medicine’ marks a magnificent turning point for them, as the band started to tangle with longer-form songwriting and stretched the fabric of their compositions into smart new shapes, they began to run away with refrains and unlocked the dancefoor. Everything Trash Kit do is astounding to me and forthcoming record ‘Horizon’ is no exception, look out for that in July!”

SAUNA YOUTHThe Bridge’ (Distractions, 2015)

Sauna Youth are modernist punks from London, book-smart heroes of the underground in all its varied multitude of forms. ‘The Bridge’ is one of my favourite tracks we’ve ever worked on and the video is a remarkable distillation of everything they excel in. A clever, pointed, abstract and ultimately natural expression of the human experience. They bring it live like a comet soaring through the stratosphere, the room crackles with energy, it makes you come alive, become, truly connect.

GUTTERSNIPELoaded From Vector Trap’ (My Mother The Vent, 2018)

Put simply, Guttersnipe rip a hole in the very reality of time, space and sound. I could have chosen any song by the Leeds duo as they all 100% deliver you into their chasm of chaotic splendour. Seeing them embraced by a world often wary of the word WEIRD makes me feel like there’s a new hope for the multiverse. Turn it up, flip out, step through the portal, magnify and disintegrate.”

VITAL IDLESCareful Extracts’ (S/T, 2019)

“Careful Extracts is what great music really should be, it occupies, confounds, surprises and opens you up to dimensions previously un-wondered at. I think Vital Idles are one of the most essential bands out there, they speak into thought process, they deconstruct the very nature of song. The music reigns/rains hard, Jess’ lyrics are nothing short of stunning muses on the poetic verse of now. Consciousness spills from this song, beyond excellent, excelling.

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Exclusive: Stream ‘Leg’ – The debut album from Beige Palace

Leeds, Leeds, Leeds – Birthday Cake For Breakfast has a lorra love for Leeds.

A DIY spirit like no other, any local band you encounter from the Northern city is likely the side-band for the drummer, the singer of which has a side-band playing next door, the guitarist of whom is doing sound for the first band etc. It would be exhausting if it wasn’t so blinking life-giving and exciting.

With their exquisite name, Beige Palace are all the above. Consisting of bods from Puddin’, Thank, Magnapinna and more, next week sees the trio of Kelly Bishop, Freddy Vinehill-Cliffe and Ant Bedford put out their debut album.

From the building euphoria of the brilliantly titled ‘Mum, Tell Him’ to the mega riff of the horribly titled ‘Ketchup Dirt’, ‘Legis discordant shouts one minute, in brilliant post-punk territory the next and delightfully heavy in parts. Then there’s the bite-size chunks, your haunting and sparse ‘Aggregate’, as well as the half-an-eccie horror of ‘Laughing With Friend, Washing Our Hand’.

Ahead of its April 5th release on Buzzhowl Records, we’re pleased as punch to let you listen to it in full below. Get on this, kid!

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Hey, have you heard about…POZI

(Photo Credit: Jack Taylor Gotch)

It’s always nice to be able to hold your hands up and say – I was wrong. Especially so when it’s related to a band that you suddenly become mildly infatuated with.

LDN post-punk outfit POZI first came to our attention via a reasonably fucked alternative Christmas message, ‘Noel’ leaving one feeling all goose-pimply (not in a good way), offering up an audio-visual nightmare not far off ‘Blue Jam’. Woozy vocals, unsettling violin and bad-trip-at-a-stranger’s-house-party vibes.

This all changed yesterday however, with the arrival of their new single ‘Engaged’ – One that’s been on repeat in our household this past 24 hours.

Taken from their debut album ‘PZ1’, out April 5th on PRAH Recordings, ‘Engaged’ is “…a love song about a mobile phone” according to drummer/vocalist Toby Burroughs. There’s something unnerving about the new single, but it’s completely engrossing, punctuated by the haunting violin stabs of Rosa Brook. That closing minute has been swirling around and around my head, an almost lovelorn Burroughs calling out continually ‘My eyes are drawn to you’.

The video, directed by Barnaby Wood and shot by Jack Taylor Gotch, is a worrying snapshot of looking back over your life and realising that the liquid crystal light has been seducing you this whole time, diverting your attention from the important moments of your day to day.

POZI have been knocking about for around a year, putting out debut single ‘KCTMO’ in late October, a song about the Grenfell Tower tragedy (‘May the residents rest in peace’), and the groovy ‘Watching You Suffer’, all about people needing help but being neglected, having a blind eye turned on them relentlessly.

Along with bassist/vocalist Tom Jones, Brook and Burroughs have really captured our attention with their engaging, off-beat post-punk. Grab yourself a copy of their record here.

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Exclusive: Listen to a new one from KENDO NAGASAKI as part of DIE DAS DER Singles Club Volume 02

Having been in the promotion business in Birmingham for the past five years (putting on shows with the likes of IDLES, USA Nails and DRAHLA), self-professed rag-tag DIY collective DIE DAS DER have now moved into the world of vinyl – specifically exclusive 7” singles!

Each exclusive 7” will feature brand new tracks you won’t be able to find anywhere else, available only through the limited run of 250 singles pressed for each release. All will be recorded live in studio by in-house engineer Jimm Zorn of Black Country Recording Company in Wolverhampton.

Edition one featured a split between Wolverhampton’s VICTOR and Birmingham outfit Exotic Pets, whilst their second edition will feature a split between our faves FRAUDS and the mysterious KENDO NAGASAKI!

Borrowing the moniker of a World Of Sport Leg-end, on ‘Darley Dale, Measham & Droitwich’ the noisy improv trio of KENDO NAGASAKI have put together a right fuzzy monster, all double drumming and a head-tripping, pedal-altering trombone.

The intention behind the Singles Club is to give a nudge for bands deserving of more attention and support. As champions of this sort of thing, we’re right behind it. Listen to one half of the April edition below and get pre-ordering here – First 25 orders will also receive an exclusive, numbered, limited edition A4 screen print, along with a host of other Singles Club goodies!

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