Listening Post – May 2024

Words: Andy Hughes

Alongside our bumper playlist for the year (cataloguing everything we’ve been loving from January through to now), the ‘Listening Post’ returns this month and it’s full of our favourite choice cuts of late, 20 of them – old and new!

It’s a crisp 70 minutes so you can rip through this playlist again and again – be sure to tell your loved ones all about it!

Whilst you’re here, why not get involved with our new podcast? ’60 Minutes or less’ has been up and running for over four months now, featuring interesting chats with Joe Casey (Protomartyr), Paul Hanley (The Fall), Philip Frobos (Omni), Jonathan Higgs (Everything Everything), Peter Brewis (Field Music), Steve Davis OBE (The Utopia Strong), Steven Hodson (USA Nails) and Alex Edkins of METZ! When you’re done here, get yourself listening to the new episodes and give it a rating on your favourite streaming service!

Metronomy x Pan Amsterdam – Nice Town
(Posse EP Volume 2)

Stepping into the new year with some bumper news, Metronomy have just signed to Ninja Tune for the release of a new EP, the follow up to their killer collaborations EP out in 2021 (appropriately titled ‘Posse EP Volume 1’). Featuring NYC multi-instrumentalist Pan Amsterdam rapping in an old school stylee and ripping it on jazz trumpet, ‘Nice Town’ is an energising dance-y hip-hop bopper.

Skydaddy (feat. Tyler Cryde) – Tear Gas
(Pilot)

Skydaddy a.k.a. London based musician Rachid Fakhre, toured with Black Country, New Road ahead of releasing any actual material, so it makes sense that the band’s own Tyler Cryde would make an appearance on his debut EP. Featuring Cryde on classical guitar, her dual vocals with Fakhre make ‘Tear Gas’ such an engaging, yet sombre listen.  

Katie Von Schleicher – Pilea

Fresh off the back of releasing ‘A Little Touch of Schleicher in the Night’ in 2023, Brooklyn’s Katie Von Schleicher just last month released the lovely, summery ‘Pilea’, a swell little song about her pilea plant and her sweet tweetie-pie bird, Ursula. Dig that bass clarinet!

Ora Cogan – Feel Life
(Formless)

Real killer moody post-punk of the N0V3L and Preoccupations variety here from Ora Cogan, the sharp instrumental really creating a fire under the hypnotic, ghostly vocal. From a record featuring international guest spots from Y La Bamba and Mac Diarmada of LANKUM, ‘Feel Life’ moves ahead at a real clip.

Haasan Barclay – Curfews

Boston, Mass artist Haasan Barclay gets real deep on this vibe of a cut from his oeuvre, released in 2021 – “…pleasure’s just an overdraft away”. ‘Curfews’ is an ice-cold, many-moving-parts hip-hop peach of a record.

Jalen Ngonda – Illusions

London based soul artist Jalen Ngonda well and truly captured our hearts with his storming debut LP ‘Come Around and Love Me’ and he’s followed up its 2023 release sharpish with new single ‘Illusions’. It’s crazy to think this is a cut from our year of the lord 2024, rather than some uncovered gem from a Northern Soul DJ’s loft!

Helene Smith – I Tried So Hard To Be Good To You

Said to be Miami’s ‘First Lady of Soul’, Helene Smith totally wows on this heart-swelling soul piece from the 60s. This has got late Sunday morning with a giant cup of coffee on the go written all over it!

Girlfriends and Boyfriends – Ambulance
(Lost In The Noise)

I was mildly obsessed with this when I first heard it – a revved up, bass and synth attack heart-stopper that sounds like DEVO if they’d put out a New Romantic record. From Vancouver, British Columbia, Girlfriends and Boyfriends really hit the spot on ‘Ambulance’, a raging bit of nostalgic punk.

Mary in the Junkyard – Ghost
(This Old House)

The opener from a forthcoming debut EP from Mary in the Junkyard, ‘Ghost’ sounds a wee bit like Big Thief – soft and sparse, then opening with bursts of noise as the ethereal vocals of guitarist Clari Freeman-Taylor really soar.

Wine Lips – Derailer
(Super Mega Ultra)

Fair cop, ‘Super Mega Ultra’ is the perfect title for a new record from Canada’s speed-punks Wine Lips. Discovered in this house off the back of their third album ‘Mushroom Death Sex Bummer Party’ (another gnarly title), ‘Derailer’ is a total fuzz-fest ripper of a good time!

Anna Erhard – Botanical Garden

I was literally just thinking – when are we going to be getting a new song from Anna Erhard? Consider us tickled pink then to discover brand new material from Erhard, her latest off the back of brilliant standalone single ‘170’ out last year. ‘Botanical Garden’ has a touch of the Darwin Deez to it and is a sugary-sweet delight to these ears!

Astrid Sonne – Boost
(Great Doubt)

January 2024 saw the release of the third album from Danish composer and viola player Astrid Sonne and from it, ‘Boost’ is a proper head-wrecker. Booming beats cut through what sounds like the theme for some end of level boss fight at times. Love that record sleeve too!

Shabaka (feat. Saul Williams) – Managing My Breath, What Fear Had Become
(Perceive Its Beauty, Acknowledge Its Grace)

Album title / cover of the year here from London born Shabaka Hutchings for his latest release, the brilliantly titled ‘Perceive Its Beauty, Acknowledge Its Grace’. Known for his work with Sons of Kemet and The Comet Is Coming, on ‘Managing My Breath, What Fear Had Become’, Shabaka hooks up with MC and poet Saul Williams for a completely tranquil, mind-escaping three minute journey.

Stuck – AITA?

Seeing this live last month really cemented it for us. From a standalone single (alongside ‘Deep Tunnel’), ‘AITA?’ is yet another dynamite hit from Chicago outfit Stuck, vocalist Greg Obis asking the big question again and again – ‘Am I The Asshole?’

(Photo Credit: Carrie Davenport)

Manukahunney – Moved On Up
(My Dark Side)

Appearing in numerous gospel groups before starting Manukahunney in 2012, Northern Irish soul vocalist Siobhan Brown recently celebrated a decade of Manukahunney with the release of a new EP. ‘Moved On Up’ is a total showcase of that powerhouse vocal. Nails drumming too!  

John Grant – It’s a Bit…Disconcerting
(The Art Of The Lie)

Prince has returned, but this time around the vessel with which he gets funky is a mid-50s bearded white male by the name of John Grant. A few years on from the release of ‘Boy from Michigan’, Grant gets the party started on this total groove-fest from his forthcoming new album, ‘The Art Of The Lie’.

Fran & Flora – Fishelekh Gefinen
(Precious Collection)

Inspired by traditional Eastern-Europe melodies and folk songs, violin and cello duo Fran & Flora are completely captivating on ‘Fishelekh Gefinen‘, the vocals as striking as the driving instrumentation. From their recently released second album ‘Precious Collection’, self-produced by the pair.

Liz Lawrence – Strut
(Peanuts)

Shades of Cate Le Bon and Dana Gavanski on this cucumber cool, wonk-pop stomper from Liz Lawrence, searching for somewhere to feed her ego – “…somewhere between my dreams and the fruit machine.” From a new album out this June, potentially named after Charlie Brown, Snoopy and all their mates.

Hiro Ama – Music For Peace and Harmony

Come in, relax and get 100% soothed by the wonderful ‘Music For Peace and Harmony’, the new single from London-based multi-instrumentalist and producer Hiro Ama. Known for his 9-5 as the drummer in indie-rock outfit Teleman, his new material centres around the Waraku synthesiser (‘Waraku‘ translating literally to ‘peace and harmony’), an obscure Japanese instrument that blends the sounds of traditional instruments such as the Koto and Shakuhachi.

Jane Weaver – Emotional Components
(Love In Constant Spectacle)

If you’ve been in my company recently and Jane Weaver’s been the topic of discussion, you might’ve heard my hot take that ‘Emotional Components’ – the enchanting bop from her latest album ‘Love In Constant Spectacle’ – very much has the vibe of ‘There’s Nothing Like This’, the early 90s smooth number from Omar.

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!

Release Rundown – Black Country, New Road, Cassels, Rolo Tomassi and Thank

Words: Ben Forrester

Black Country, New Road – Ants From Up There
(Ninja Tune)

At the time of writing, Isaac Wood, vocalist and guitarist in Black Country, New Road, has just announced his departure from the band, alluding to mental health reasons. Admittedly it’s come as a shock to us all, particularly with this here second album just about to land and it’s hard to imagine the band without his distinctive vocals. But with the band vowing to continue, ‘Ants From Up There‘ acts as the perfect swan song for this chapter of the collective.

After seeing the band air a lot of new material live last summer, I remember thinking there was a definite change of pace from the genre shifting drama of ace debut ‘For The First Time’. With a focus on slow burning, post-rock dynamics, ‘Ants From Up There’ swaps intensity for atmosphere, bringing in new layers of beauty and vulnerability.

The intro is a jubilant, math-y burst of staccato sax and piano stabs that towers overtop a driving, full band backing. It’s such an uplifting start that is almost over too quickly, but brilliantly leads into the sprightly, orchestral indie pop of ‘Chaos Space Marine’. It’s a head on start to the album that feels bright and elegant, but it’s when we get to shimmering indie epic ‘Concorde’ that the beauty of this record really begins to shine.

Dynamically, you can’t help but be engulfed by the songwriting here; the build in ‘Good Will Hunting’ is nothing short of heart-bursting, while the drum track on ’Snow Globes’ is incredibly encompassing. They always know how to keep you interested as a listener, but there’s a fluidity to the compositions here that feels tighter, stronger and even more engaging.

‘Ants From Up There’ retains the excitement and theatre of its predecessor but adds new levels of depth, warmth and even romance. Though it’s sad to think of this as Isaac’s last outing with the band, especially with him putting in such incredibly raw and emotive performances, I still feel hope gleaming through this record, particularly in the instrumentals. And with this I feel a lot of optimism and excitement going forward for this supremely talented group.

Cassels – A Gut Feeling
(God Unknown Records)

There was a point where Cassels seemed like a band that never stopped, with an arsenal of releases (including two full lengths) and countless tours across the past 7+ years. But, like the rest of us, the brothers Beck found themselves in the midst of some unexpected downtime, allowing them to work on new material at a slightly slower pace. Still keeping their noise punk credentials firmly in place, they looked at how they could evolve their two piece sound, and the result is their most assured work to date.

My first thought when hearing ‘A Gut Feeling’ was how raging it is. Huge riffs tower over crashing, muscular drums with ever eloquent yet snarling spoken word vocals. For this third album, guitarist and vocalist Jim looked into writing character based stories in which he found himself able to inject even more personal thoughts and feelings through these characters. It can go from intense to thrilling to even heart-breaking in the blink of an eye.

While the likes of ‘Mr Henderson Coughs’ and ‘Charlie Goes Skiing’ are arguably the most dramatic and gnarliest tunes they’ve penned, ‘Family Visits Relatives‘ and ‘Dog Drops Bone‘ nearly reduced me to tears with there brutal realism and stripped back arrangements. This is pretty potent stuff – at first I just wanted to be battered round the chops with noisy rock songs, but the depths this album goes to can be rather breath-taking.

‘A Gut Feeling‘ requires the same amount of attention that was put into it. It’s not an album that you can digest straight away. Though it has some pretty immediate moments on it, as a whole piece it’s a record that soaks into your skin more on each listen. The foundations of what makes Cassels such a great brand are still firmly in place, but with subtle sonic switch ups and a deeper understanding into composition and texture, Loz and Jim have made their best record by a country mile.

Rolo Tomassi – Where Myth Becomes Memory
(MNRK)

I have a vivid memory of hearing the first Rolo Tomassi EP back in 2006 and being blown away by its mathcore madness. Forever pushing the boundaries of alternative metal, It’s been extremely interesting to see this band’s journey unfold over the years.

Here we land at their sixth album, ‘Where Myth Becomes Memory’, which comes four years on from the critically acclaimed ‘Time Will Die And Love Will Bury It’. To my mind this album feels like the third part in a trilogy of albums which started with ‘Grievances’ in 2015. Though I have a lot of positive things to say about the last two albums, I did sometimes feel that the band were still working out the kinks, heading towards their masterpiece. I think it’s fair to say that this record is definitely that.

Never have Rolo Tomassi sounded so humongous. I’ve always enjoyed their sharp dynamic twists, often going from the extremely heavy to the beautifully melodic, but on this album there is this expertly executed blend which sends the songs into the stratosphere. ‘Cloaked’, ‘Drip’ and ‘To Resist Forgetting’ are superb examples of combining ethereal yet Instant melodies over the top of bone-crushing metal-core riffs. And they sound even more powerful and fearless for it.

It’s also really great to see them push the post-rock undertones of the last two records. It’s something I’ve really wanted to hear the band move into and you could not get more gorgeously expansive than ‘Closer’ or enticingly transcendent as ‘Almost Always’.

Rolo Tomassi have done this really rare thing of trimming the fat but also knowing when to hit you at the right moment. The emotional core of this album has never felt stronger, sometimes it being the instrumentation that completely catches you off guard (the piano passage in ‘Mutual Ruin’ is quite possibly the most stop you in your tracks moment they’ve made). I know I’ve already made a pretty sweeping statement in this rundown, but it must be said that ’Where Myth Becomes Memory’ is the sound of a band at their most realised and is quite possibly their strongest and best album to date.

Thank – Thoughtless Cruelty
(Box Records)

We’ve said it a few times across these pages, but there’s definitely something in the water up in that there Leeds. It’s like you know whenever you see the words ‘Leeds band‘ that you’re going to be impressed. Although, Thank frontman Freddy does state on this record that there’s never been a good band from Leeds. Or London for that matter. But he’s wrong, because Thank have been the DIY scenes best kept secret for a number of years now and we are chuffed to finally have a debut album to sink our teeth into.

‘Thoughtless Cruelty’ continues to expand the horizons of this brilliantly bonkers band, making obnoxious noise fuelled punk for the dance floors. Recent single ‘Good Boy’ is a gleaming example of the above statement, battering your ears with hypnotic sub bass that builds into a disco punk banger from hell, sounding like Gilla Band being possessed by old Lucifer himself.

Described by the band as a stark observation of human cruelty, this is very much an edge of your seat sort of record, often exploding into a rampage of thick bass, spiky guitars, acid dipped keys and groovy beats. On top of this we have Freddy shouting his head off with superbly executed one-liners that range from anxious and intense to sarcastic and witty. The description of viewing the house that smells like grilled sausage and old boots on the electrifying ‘Dread’ is equally hilarious and grimly relatable.

As a fan of the band’s previous releases, it’s really great to see them push the limitations of the foundations they’ve already set. They’ve gone deeper and darker into their sound – everything sounds beefed up and compositionally they really know how to draw you in, scare the shit out of you then just ascend into an utterly thrilling world of chaos. ‘Thoughtless Cruelty’ is intensely smart, beautifully detailed and totally batshit crazy. Welcome to the new norm.

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!

Live Review: Yard Act at YES in Manchester 25 January 2022

Words: Andy Hughes

There’s nothing quite like a chart battle. Whilst you could be forgiven for thinking the charts no longer exist, alternative music bods this week will no doubt have been swept up in the hoopla surrounding a head to head for the number 1 spot in the Official Charts between Yard Act and Years & Years (with the late Meat Loaf right behind them at number 3 like a *ahem* Bat Out Of Hell).

Suggested on these very pages to be “an incredibly smart debut“, the support for debut album ‘The Overload‘ and its route to the top of the charts has seen a number of familiar faces getting involved, the record championed by such industry luminaries as Napalm Death, Field Music, fellow county-men The Cribs and – yes, you’re reading it right – Cain Dingle off that there Emmerdale.  

Following a run of in/out stores to coincide with the release of the new record, a last minute jaunt to Manchester was arranged under the nudge and wink proviso that “The whole point of this one is to sell records…” Tacked on top of three record store appearances across Leeds earlier in the day, the band announced beforehand that having finished up at Jumbo Records, their intention was to set off for Manchester via “golden helicopter“.

Cut to stage time and three quarters of the band came on to much applause, bang on time – slicker than oil this lot. Rightly so, given it’s their fifteenth-or-so outing across five days of promotion, which vocalist James Smith acknowledged when he did arrive on stage. Before that though, the opener (which the internet tells us might be called ‘Strip‘) was particularly raging, a rumble-heavy instrumental evoking The Fall without the bloke up front singing about who knows what.

Smith wasn’t far behind the rest of his band, big glass of red in hand, shouting “Come on, come on, come on!” Showing signs of his fourth show of the day, he still managed to keep the enthusiasm up and the energy didn’t drop once all night.

‘Dark Days‘, ‘Fixer Upper‘ and ‘Peanuts‘ were dotted throughout, making up the debut EP portion of the set – every word shouted back for each anthemic number, bounced back early on as James yelled out “Bit more Manchester, fucking come on!” A big pink mohawk appeared again and again from the front, bouncing up and down atop the head of a buzzing punter.

Plenty of thumbs up were dished out from the vocalist and it may have been down to having a few glasses of red at each appearance throughout the day. Bassist Ryan Needham was straight on it, quick to warn “Careful of that red wine, it’s cream carpet!” The wine was to shift the Christmas weight we were told, Smith suggesting that beer is “too fizzy these days“.

An impromptu chant for the guitarist ahead of ‘The Incident‘ was the first of many, recipients of this later extending to sound man Pete and ultimately, Ghandi. (Too hard to explain – Smith struggled on the night…) ‘The Incident‘ built up fantastically towards its close, Smith shouting again and again of his irrelevance as Needham and guitarist Sam Shjipstone backed him up repeating the chorus, with drummer Jay Russell hammering away behind them.

A rapid fire run through of ‘Witness (Can I Get A?)‘ sounded vital. ‘Payday‘ equally so, the chorus filling the room, with not a soul stationery. It’s on ‘Payday‘ that the crowd became firmly unglued, the centre of the room remaining in motion from that point forward. Album favourite ‘Pour Another‘ was a disco-dance delight, carrying that essence of their gone but never forgotten Prestwich heroes, proper lighting up an already well-lit crowd.

Punters throughout the night were vocal in shouting out any old shite, a number of them persistent in shouts of their rivals Years & Years. Rather than take aim, Smith acknowledged his admiration for Olly Alexander, but suggested with a grin that the ‘It’s A Sin‘ star doesn’t deserve a number one. Rather Yard Act might make more use of it, sorting a mortgage on a house and subsequently disappearing.

With the curfew clock ticking, the lengthy discussions from on stage with Smith atop his soapbox did get tired, and whilst a nostalgic tale about Dutch Uncles being so influential was very sweet (vocalist Duncan was on DJ duties before the band), it all culminated in us having to shift out the door to catch the last tram before the end of the set. (Ryan rightly suggested during ‘Peanuts‘ that they could play another song in the amount of time wasted talking about the spoken word section…)

In recent years it’s been a joy to see reasonably outsider artists the likes of Dry Cleaning, Mogwai, Arab Strap, Sleaford Mods and Black Country, New Road trouble the Official Charts. Whilst it doesn’t mean nowt to some, it’s still a great deal to most. Having put in the graft and really tickled our fancy at YES, we can’t wait to see Yard Act gracing the Top Of The Pops stage next month!

(Photo Credit: James Brown)

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter

Live Review: Black Country, New Road at Yes in Manchester 25 June 2021

Words: Ben Forrester

It was only a couple of months ago that I reviewed a Black Country, New Road gig. The main difference was that it was a live stream, which has been the only viable source of live music recently. But tonight! We are actually at a fucking venue! For me, this is my first gig since March 2020 and those that follow these pages will be aware that that is a ridiculously long time for most of the BCFB team! So it’s a pleasure to be in Manchester watching one of the UK’s best young bands as part of a full, socially distanced UK tour.

After a quick pre-gig pint (which in itself has been somewhat of an alien concept to us recently), we enter the Pink Room in Yes to be greeted by drummer Charlie addressing the audience. He thanks everyone for coming along and tells us how much fun it’s been to be back on the road this past fortnight. He then tells us that the band will be playing some new material that is very much a work in progress, politely asking If we could refrain from recording during those moments. I look around and see the room nodding along, happy to oblige with the wishes of the band. With this being a seated gig, it instantly feels more civilised and I for one am chuffed to not worry about some mad’ed behind me spilling their pint everywhere.

Charlie exits the stage and only a couple of minutes later we hear the Doctor Who theme tune ringing out from the PA. The seven members of Black Country, New Road enter the stage and immediately rip into the wonderfully rousing, scene setting ‘Instrumental’. Not only does this open their superb debut album, ‘For The First Time’, released earlier this year, but it also acts as an excellent start to the set, fizzing away with its urgent keyboard motif and swirling saxophone melody. The rest of the set flickers between these new tracks we’ve been told about, mixed with select cuts from the LP; in fact, with it only being six songs long, we actually get about three quarters of the album!!

The new songs continue the progressive nature of the record but definitely look closer at the orchestral elements of the band, focusing on building these big flourishes of sound, giving the strings and brass more space to breathe than before. They definitely feel less dramatic than the album, sinking more into groove and melody for some really stunning moments.

All three new tracks are greeted with an extremely warm reception and I find myself looking over to our faithful editor and whispering words like ‘lovely, that’. One thing that really excites me about this band is how together they all are, they all have their own individual stage presence and there is a quiet confidence to each member as they play these new songs as if they’ve been part of the set for years.

But of course, it’s really great to hear the likes of ‘Track X’, ‘Opus’ and ‘Sunglasses’ played live! Honestly, it felt like quite a moment when the delectable, twiddly riff of ‘Sunglasses’ came in and just hearing the excitement within the room. It also helps that guitarist/vocalist Isaac wears sunglasses for the entire set, a nice and ironic little nod I felt. I’ve been told that BC,NR like to mix things up a bit and rarely stick to the recorded arrangement of a song. Although I do love the ferocious breakdown in ‘Sunglasses’, it’s cool to hear them take it apart and finish the song with this slow burning build that develops into a big crescendo of noise.

It’s subtle changes that I find really engaging and I’ve always enjoyed the idea of never quite getting the same performance from a band. But of course, hearing the beautifully candid backing vocal melody in ‘Track X’ is a heart swelling moment.

Honestly, I’ve been dreaming about this gig for quite some time now and it couldn’t have been a more perfect comeback show for us. It was great to hear this incredible record played live, it was great to hear new interpretations of the songs that I’ve had on repeat for months and it was also really great to hear an exciting new band building towards something new. If anything, it’s got me excited to see how well this live show will translate in a huge room. There was still a real sense of energy in the room and it was great to see the majority of the audience fully bopping about in their chairs with the band seemingly smiling back. Honestly, a lovely and slightly emotional return back to live music with definitely one of the more unique bands to come out of the country in recent times.

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter

What I Watched This Weekend – Black Country, New Road and Billy Nomates Live Stream Reviews

Words: Ben Forrester

At the back end of last week, I was alerted to not one but two live streams that were due for broadcast on Saturday. So, naturally I felt compelled to tell you all about them because well, artists are working really hard to promote their music without the usual touring cycle and live streams are the best way to do that right now. With the increasing possibility of live music returning later in the year, live streams are getting us one step closer to the real McCoy, so it was lovely to watch two really exciting new acts present their unique live shows through the magic of television.

Black Country, New Road at the Southbank Centre in London

It was just last month that Cambridge based collective Black Country, New Road released their long awaited debut album ‘For The First Time’. I’ll be the first to admit, I was quite on the fence when first hearing this record (leading to a fairly on the fence review in these very pages), but like all good music, this is an album that has grown on me immensely and lives up to the hype that still very much surrounds it. Following an improvised live set to commemorate the album’s release a few weeks back, the seven piece took to the quite frankly massive stage at Queen Elizabeth Hall to perform their first fully fledged live show for the record.

Known for using free visual site Unsplash for their artwork, the band decked out the stage with three huge screens, each projecting various moving images, some projections even splashing out into the near empty auditorium. I say near empty because I noticed a small amount of audience members thinly spread out across the room, their purpose to be revealed throughout the set.

We begin the show with a piece unbeknownst to myself, ‘Mark’s Theme’, which is a beautiful, scene setting track led by saxophone gently introducing the rest of the band before launching into sprightly album opener ‘Instrumental’. It’s here that we really start to see the intensity of this band unfold, drum fills going off here, there and everywhere, a manic keyboard line stabbing away over the top of building guitars, strings and brass. The band themselves play it straight faced, some stand with blank expressions not even looking at what they’re playing, while others writhe around the stage, hypnotised by what they’re playing. I can feel the visceral energy radiating from the TV and I have to say, it’s quite compelling seeing seven people look so within their own worlds come together as one big unit.

Black Country, New Road manage to bash through the whole album hardly breaking a sweat, moving from the graceful, post rock crescendo of ‘Athens, France’ into the feral, noise rock drama of ‘Science Fair’ without a bead. I must admit, I wasn’t too sure on the latter track for a while, but I’ve gone full circle with it and that breakdown (yeah, you heard me) nearly made me put my fist through the telly! Proper raging stuff! Then, just when you feel like you need a breather, they hit us with the phenomenal ‘Sunglasses’, a complete tour de force of dynamics and sonic theatre.

Although I notice that some of the tracks are arranged slightly differently than on record, I love that – I’ve listened to this album so much lately, it’s really cool to see them mess around with it in a live forum. After all, I think that’s what can be so exciting about live music; it gives you a different experience.

Speaking of which, it’s at this moment we get some relief with the gorgeous emo tinged stylings of ‘Track X’ and the scattered audience stand, microphones in hand to add beautiful, heart wrenching backing vocals into the set. They also contribute to two further tracks in the set, ending with ‘Basketball Shoes’, a track left off the album but one that has been played to close many of their live sets. It’s a completely humungous and dramatic ending, especially with the whole band screaming in unison with their mini backing choir. There’s a lot of power behind this show. Black Country, New Road really know how to fill the sound of a big room and draw you in with their apocalyptic brand of alt rock. Honestly, with the album nailed and the live show done, it’s time to get excited.

Billy Nomates – Emergency Telephone Live at The Louisiana in Bristol

Last year saw Bristol based musician Tor Maries launch her brilliant self-titled debut album as Billy Nomates. Packed to the rafters with massive hooks and mega catchy melodies, there was no denying the strength of this song writing talent. Of course, with touring plans on halt, this has been a time for artists to dive into new projects and lucky for us, Billy Nomates returns only a few months since her LP with a brand new five track EP.

To celebrate the release of ‘Emergency Telephone’ just this Friday gone, we have a live performance of the full EP filmed at legendary Bristol venue The Louisiana. In a live setting, Billy Nomates sees Tor armed with a laptop and a microphone. In the same vein as her pals Sleaford Mods, you just cannot fuck with this set up. It is the true vision of this artist, darting around on stage, laying it all out.

The EP itself is just glorious. Continuing the post-punk goes pop stylings of her debut, it’s really cool to see some more dance inspired, electronica elements come in, especially on the title track, as well as some lovely 80’s pop flourishes on the superb closer ‘Petrol Fumes’. The stage set on the night is a backdrop of foil streamers that refract and swirl around strong washes of blue and red lightning. It’s such a simple set up, but it’s incredibly effective and really striking against the energy these songs exudes, particularly on recent single and total bopper ‘Heels’.

The first thing that really strikes me here is the power of Tor’s voice. As much as I like seeing an act take their sound and do something different live, I also adore seeing an act completely nail their sound live and play with such clarity you think you’re listening to the record. I completely love the soul within her voice and I really think she’s explored that more on this EP as she belts out utterly incredible vocal harmonies, really punctuating the power of these hooks.

The other thing that really strikes about Billy Nomates live show is the power and ferocity of her performance. She completely demands the stage, which is why I’m glad that her live show is just her because that’s all you need. At times it’s like watching a dance show as she uses the spaces and interludes of songs to sway and move along with the soundscape. You are just transfixed by her movement because you know that she is feeling every wave of sound. But adding in a stunning vocal that soars over these amazing songs creates such a captivating performance and as said before, you just cannot fuck with this. Demanding the stage and demanding your attention, Billy Nomates is the real deal.

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!

Listening Post – March 2021

Words: Andy Hughes
(Photo credit: Mars Washington)

Take a walk around the neighbourhood near us and you’d not think there was a pandemic in full effect. Add to that a government jumping the gun with a near enough taps aff announcement getting everyone riled up and the worry of another lockdown looms.

On the flipside to that, whilst it’s particularly annoying for us squares following the rules in terms of IRL movements, the memo to crack on has also seemingly gone out far and wide to some of our favourite musicians and it’s been mostly business as usual for new music.

We’re chuffed to have our playlist for March chocka with sixteen NEW tunes to sink your teeth into, mingling with a number of blasts from the past we’ve been hooked on.

Memory of Elephants – Dark Lunch
(Dark Flannel)

A ripper to kick things off c/o Bristolian outfit Memory of Elephants, taking their math-y sound and switching it up with some throwback Slayer-esque gnarliness. Expertly described in our review as the type of riff “that gets a kid excited when they hear Metallica for the first time“.

Death From Above 1979 – One + One
(Is 4 Lovers)

This totally came out of the blue for me but word has it that the lads from Death From Above 1979 have been teasing this for yonks! With the news of a new album (‘Is 4 Lovers‘) comes the raging ‘One + One‘, which finds us feeling very much the same way we did back in 2014 (!) around the release of ‘The Physical World‘. Always good to hear them in action, especially since the last album – which seems like it came out last year – is now a blip in the rear view!

Kiwi Jr. – Maid Marian’s Toast
(Cooler Returns)

One of the singles that really got us hooked on Kiwi Jr., it’s fair to say that their latest record ‘Cooler Returns‘ is one that we’ve been hammering. A real sun-soaked delight from the Canadian outfit, it sounds to us like a real earworm you might’ve heard from the soundtrack to ‘The Adventures of Pete & Pete‘ and has us longing for stretched out days of summer.

The Eurosuite – Line/Void
(Hot Off Depress)

A proper stop-you-in-your-tracks affair from The Eurosuite, throughout the album you’ll find vocalist Dan Holloway yelping and shouting, whilst on ‘Line/Void‘ he’s more hushed and withdrawn, with just a piano for company. Said piano was left behind in his new gaff for 6 months, leaving him plenty of time to tinker with ‘Line/Void‘.

(Photo Credit: Ron Joy)

Nancy Sinatra – Lightning’s Girl
(Start Walkin’ 1965-1976)

Whilst we are first and foremost about new music and all that carry on, it’s nice to discover something ‘new’ from way back when (as we have been doing seemingly all year in our previous playlists). This collection from Nancy Sinatra has really gotten under my skin the past month, with ‘Lightning’s Girl‘ kicking off said mini-obsession. A very clear influence on The Last Shadow Puppets by the sound of the haunting strings within!

Dry Cleaning – Strong Feelings
(New Long Leg)

“I’ve been thinking about eating that hot dog for hours.” Another new playlist, another entry from LDN outfit Dry Cleaning. Having officially announced the release of their debut album proper, they’ve put out another gripping single with the tried and tested (and much loved) Dry Cleaning blueprint. Imagine this will go down particularly well once it’s released in April.

BADBADNOTGOOD + MF DOOM – The Chocolate Conquistadors

A jazzy head-spinner from in-demand Canadian instrumental wizards BADBADNOTGOOD and the late, great MF DOOM. Love that boiling kettle anticipation build that appears throughout! From the updated soundtrack to a new Grand Theft Auto game (which sadly means nothing to me now).

Black Country, New Road – Instrumental
(For the first time)

Out in the garden power washing the fences when I first heard this (yes, I’m in my 30’s now, didn’t you know?) Suddenly the dull task became the most intense of the garden jobs to date. I’ve knocked BCNR in the past for the over the top, too put on vocals, so it was nice to hear a song without them! Seriously though, it seems everyone was right about this lot – really great record.

The Mothers Of Invention – Go Cry On Somebody Else’s Shoulder
(Freak Out!)

An old favourite from Frank and his mates, the mildly piss-take doo-wop cut from The Mothers Of Invention debut album remains a lovely early addition to Zappa’s vast catalogue. Whack this on whilst your having your Sunday morning coffee and looking longingly out of the window.

Paul McCartney – Temporary Secretary
(McCartney II)

Well on this at the minute, having somehow never heard it. Girlfriend thought it was Weird Al taking the piss – ouch. A very oddball art-pop number from McCartney that doesn’t really sound anything like him at all. I NEED A!

Lost Girls – Menneskekollektivet
(Menneskekollektivet)

I recently wrote about a band and suggested that “most of the best songs are in and out within 60 seconds. 120 seconds at a push. Get it all smashed out in a minute and move on.” I still stand by that, but on the flipside – what a joy to get completely lost in a hypnotising 12 minute journey. Enter ‘Menneskekollektivet‘, the latest single from Lost Girls – the Norwegian duo featuring artist and writer Jenny Hval and multi-instrumentalist Håvard Volden.

The Bug Club – We Don’t Need Room For Lovin’
(Launching Moondream One)

I’ve made an effort to listen to the radio more this year and was rewarded in doing so recently with the discovery of Welsh trio The Bug Club. Aim of the game is big smiles and they’ve smashed all their targets with this. Debut single from their forthcoming debut EP, it’s got the best usage of the alphabet in a song we’ve ever heard, ya know.

New Pagans – Christian Boys
(The Seed, The Vessel, The Roots and All)

Firstly, great name for a record. Belfast lot New Pagans have just signed to the big dogs at Big Scary Monsters for the release of said debut record and in doing so have gifted us with the brilliant, anthemic ‘Christian Boys‘, highlighted by the striking vocal of one Lyndsey McDougall.

Lynks – Everyone’s Hot (And I’m Not)
(Smash Hits, Vol. 2)

Joyous and daft in equal measures, the artist formerly known as Lynks Afrikka has put all their best lines into the dance-a-thon that is ‘Everyone’s Hot (And I’m Not)‘. And why not? The video is just as tremendous as the single and well worth your three and a half minutes.

Yard Act – Dark Days

More infectiousness from Leeds outfit Yard Act, who seem to be doing pretty well you know? James Smith continues to captivate with his – well, captivating – vocal marathons. Of their four singles out (now available as an in-demand EP), ‘Dark Days‘ might just be the catchiest.

(Photo Credit: Holly Whitaker + Flo White)

Goat Girl – Anxiety Feels
(On All Fours)

First seen on these very pages back in 2016 (!) marking their arrival with the release of ‘Country Sleaze‘, Southern lot Goat Girl have come on leaps and bounds and have very recently released new album ‘On All Fours‘ to much acclaim. ‘Anxiety Feels‘ is, given the subject matter, a proper pleasant sounding piece all things considered.

Cornershop – Natch
(Cornershop & The Double ‘O’ Groove Of)

Having very recently fallen into a one man Field Music listening party (the best kind), our chosen listening service spat us out into a load of Cornershop records too and the brilliant ‘Natch‘ really took hold of our attention. Star of the show is Bubbley Kaur, a previously unrecorded Punjabi singer, so the story goes.

Field Music – No Pressure
(Flat White Moon)

Speaking of Field Music, the Brewis Brothers have got a new album on the way and we’ve got it on good authority that it’s absolutely first class! Latest single ‘No Pressure’ (other than being a contender for video of the year) is textbook Field Music and is, as the kids say, a proper bop.

Paul Jacobs – Underneath the Roses
(Pink Dogs on the Green Grass)

You’ve likely seen Paul Jacobs very recently on these very pages and upon hearing the second single from his forthcoming record ‘Pink Dogs on the Green Grass‘, we had to stick him in our new playlist for the month. Known for sitting behind the kit in Pottery, he also fronts his own six-piece band and we’re loving discovering his stuff.

Lou Hayter – Time Out of Mind
(Private Sunshine)

Known for her previous work behind the keyboard in the Mercury-nominated New Young Pony Club, Lou Hayter came to our attention very recently with this brilliantly funky Steely Dan cover. From her forthcoming debut album – the first release under her own name – ‘Time Out of Mind‘ has got our ears pricked up for sure.

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!

Release Rundown – TV Priest, John Carpenter and Black Country, New Road

Words: Ben Forrester

We return, once again with our release rundown for the week, reviewing some brand new records ready for your aural consumption. As we always like to gently remind you, these releases are available to buy on the artists web stores as well as online at your favourite record shop.

TV Priest – Uppers
(Sub Pop)

Having only ever played one gig, it seemed London newcomers TV Priest made a lasting impression, getting signed to release their debut single last year which was subsequently all over the wireless. With a debut album all ready to go, it somehow found its way into the hands of legendary label Sub Pop who came straight in with a release offer. As you can imagine for a band that have only played one gig and released two singles, to get signed to Sub Pop is a bloody big deal. So when first listening to ‘Uppers’, the cynical side of me did ask ‘why them?’

The answer is simple; TV Priest take the best bits of the current post-punk invasion and sculpt engaging, well written tunes. ‘The Big Curve’ starts us off with spiky guitar stabs that remind me of the track ‘Bunker Buster’, a pure shot of adrenaline on Preoccupations debut record when they were known as Viet Cong. ‘Press Gang’ keeps this energy up with a full pelt bass/beat combo before spilling out into a sea of snotty guitar riffs tumbling over the motorised rhythm it’s come from. It definitely fits in with the current crop, but it’s how the guitars are played and switched up between usually effect-heavy keyboards that remind me a lot of that mid 00’s indie punk scene. From the noise pop moments of early Tokyo Police Club to an almost No Age level of texture, this is clearly the sound of a band utilising their full toolbox.

Amongst a solid run of opening hits, we then run into ‘History Week’, an ambient inspired interlude. Weirdly, it doesn’t feel out of place due to the subtle textures that are weaved into the fabrics of the rest of the record, as skipping rhythms and fuzzy squeaks sway in the distance. It’s a beautifully layered extract and it’s at this moment that the promise of this band really starts to shine. Of course, after that we jump back into the bangers; ‘Slideshow’ stealing the show on the second side, boasting a totally euphoric chorus! Also, I have to point out the bass tone throughout this album, it almost sounds like the strings are about to snap at any moment because they’re super detuned. It’s the subtleties in both the production and performances that makes you tune in, waiting for a small sonic blast to pop out at you.

I think that’s the nail on the head; on the surface ‘Uppers’ is a decent post punk debut, but listen in and it’s definitely trying to add in its own twists. It’s this one foot forward mentality that gives TV Priest their mission statement, justifying their Sub Pop stamp of approval.

John Carpenter – Lost Themes III: Alive After Death
(Sacred Bones)

A pioneer of the horror world in both music and film; John Carpenter returns with his acclaimed Lost Theme series. Having taken his legendary film soundtracks on the road a few years back, John enlisted the help of his son Cody and godson Daniel to not only help recreate these sounds live but also devise new music. The concept of Lost Themes is that of an imagined soundtrack to the film inside your head and saw the trio fill out rooms around the globe in support of the first two volumes.

‘Alive After Death’ is very much a continuation of that now classic Carpenter sound, doused in bolshy synth bass lines, ominous melodies and scattering 808 high hats. Opening on its title track, you’re immediately suckered into his world, glacial synth textures building slowly with this simplistic yet infectious melody line proudly sitting on top. It eventually builds to a subtle yet well weighted beat drop that brings in this proper wailing 80s guitar solo. At this point it feels like a well used throwback to the era that sculpted Carpenter’s career, bringing in a warm sense of nostalgia.

There are times when this more vintage tone can be tasteful but others where it can feel a little dated. Tracks like ‘Skeleton’ and ‘The Dead Walk’ kinda sounds like Rammstein covering Alice Deejay; I mean no disrespect to either of those artists but it’s just not a cool sounding combo. But then you get tracks like ‘Turning the Bones’, a beautiful enveloping, expansive piece of synth work which proves the strong hold he’s had over the electronica soundtrack scene all these years.

‘Alive After Death’ definitely serves its job as being the soundtrack in your head and does continually bring a high level of atmosphere throughout which I think is its main draw. I get the feeling that this is meant to be very much a look back into Carpenter’s career with a feeling of ‘if it ain’t broke don’t fix it’. With that in mind this is a record to be taken at face value but definitely has enough to keep the soundtrack heads satisfied.

Black Country, New Road – For The First Time
(Ninja Tune)

It was at the back of 2019 that we first got introduced to Cambridge formed outfit Black Country, New Road. Their eight plus minute debut single ‘Sunglasses’ was scooped up by the 6music crowd and naturally garnered a considerable amount of hype. Thankfully, the pandemic has not slowed down the train as the seven piece have been quietly preparing for the release of this their debut album.

What initially intrigued me about this band was the broad range of influences stuffed into just one track. ‘Sunglasses’ was a compelling intro that took us on a journey through free-form jazz, post punk with a little bit of early 00’s emo chucked in. And it’s this same melting pot of sound that bubbles throughout ‘For The First Time’. From noise driven wigs outs to beautiful, post-rock inspired crescendos, they’ve definitely done their homework with some solid reference points. Incorporating strings and brass into the fold also really helps accentuate the extreme dynamics within their sound, whether it’s squawking saxophone or lush violin sweeps.

However, there are elements of this record that don’t grab me in the way they’re maybe supposed to. Recent single ‘Science Fair’ almost tries a bit too hard with its intensity, I don’t quite get it’s warbly vocal style, it just seems a little forced. I get that it’s supposed to be a bit ramshackle but it just misses memorability. And opening track ‘instrumental’ tries to marry a quirky Balearic rhythm with this melancholic melody sauntering underneath. Tonally, it just doesn’t quite fit in with the same sense of drama you hear throughout the rest of the record. I understand that this is an encompassing and dynamic set but I just can’t shake that unevenness in the track-list, it disrupts what actually saves it.

It would be unfair of me to write this album off because it does home some lovely textures and melodies. Recent single ‘Track X’ is a particular highlight, showing a glistening twiddle pop sheen that reminds me of Oxford’s best kept secret Youthmovies and ‘Athens, France’ closes on this glorious math infused beat with a sumptuous orchestral flourish. You can’t deny the strong sense of ambition that lies within ‘For The First Time’ but a little more focus in the songwriting will give Black Country, New Road the staying power they need to keep their hype train running.

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter

Gallery: Black Country, New Road at YES in Manchester 22 January 2020

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter

Gallery: Black Country, New Road at YES in Manchester 2 October 2019

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!

Gallery: Squid and Black Country, New Road at The Trades Club in Hebden Bridge 22 August 2019

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

(Photo Credit: Callum Barks-Moores)

Like what you see? Why not stick around and check out the other articles and interviews!
Don’t forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!