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Cheers,

Jamie.

The Twilight Sad: Forget The Night Ahead

Some albums are easy to write about. Nuances leap out at you, hooks are obvious, lyrics are noteworthy, patterns emerge through the music. But none of that has happened for me with the Twilight Sad’s second album Forget The Night Ahead.

After ten listens, I’m still struggling to put my thoughts on the album into words. I think I like it. I think it’s good. But I can’t be sure. It’s so deep, so full of layers that need time and thought to unravel that it’s almost impossible to judge at this stage.

It’s definitely a progression musically from their début, I can tell you that for certain. It’s a bigger record, with more going on, more instruments thrown in (apparently the band used a fire extinguisher on one of the tracks), more sound, more everything. But it doesn’t suffer from it, it’s still subtle, gentle and charming, despite its brash, loud exterior at times.

Many of the tracks don’t seem to go anywhere, and they don’t go anywhere particularly quickly. It’s often a pedestrian ride, but that’s good, it gives you time to think, to analyse, to delve into the album’s depths, to interpret the meanings and feelings behind it.

Accessible windows into the album are few and far between. The Room, a future single, is possibly the best song to judge whether the band are right for you, all building, sweeping, epic soundscapes, with glockenspiel used to great effect. The band have never been shy of deviating from the traditional guitar-bass-drums-vocals combo, and they’re the stronger for it. Other styles and sounds might not appear on the surface, but listen carefully enough, and they reveal themselves over time.

Lyricist and singer James Graham could do with being higher in the mix; his voice is often straining to be heard below doom-laden guitar and you have to listen extra hard to snatch a couple of words of lyric. But it’s deliberately obtuse. Forget The Night Ahead is not a record to dip in and out of, to listen to the odd track on the bus or the Tube, to listen to at parties, or indeed in company. But it’s a great late night listen, the atmospheric darkness of the music drawing you in to the mysterious, thick world of the Twilight Sad.

Fans of Frightened Rabbit will find plenty to love here (the Twilight Sad are effectively their noisier, bolder cousins) but Forget The Night Ahead will also attract fans of My Bloody Valentine, the Jesus and Mary Chain, Hope of the States, Phil Spector and My Latest Novel, whose Laura McFarlane contributes to a couple of tracks here.

7/10

This review was written for TMM.

Radiohead ‘will be making an album’

Radiohead’s Ed O’Brien claims the band were misquoted when it was reported back in August that they had given up on making albums.

O’Brien, speaking to NME, said: “We were misquoted. We will be making an album!”

Thom Yorke had told Beliver magazine that “None of us want to go into that creative hoo-ha of a long-play record again.” However, the magazine elected to not print Yorke’s justification of that quote, adding “Not straight off.”

Yorke went on to say: “It worked with In Rainbows because we had a fixed idea about where we were going. But we’ve all said that we can’t possibly dive into that again. It’ll kill us.”

But O’Brien says Radiohead will be heading into the studio soon, with a release next year expected. He said: “We’re going into the studio in winter. It’s always miserable! Are we at the whim of the seasons? We are! When you’re in a studio in the countryside, the music you make is definitely affected by what season it is.”

This article was written for TMM.

Guardian part 7: A tale of two interviews

Just days after my last update I got a call from the Brighton Argus, inviting me to come down for a chat. Brighton is a long way away but I didn't have to think twice and booked my train tickets — all ten hours journey time of them — immediately.

But first was Congleton. I was taken with the place straight away. To get there you have to drive through the footballer's paradise that is Alderley Edge, and I was worried Congleton would be a clone, all boulangaries and pretentious little cafes. But it's a charming little town, formerly industrial, and now very much a place where it feels people go to bring up families, or to spend their last few years in peace and quiet.

I was kept waiting before the interview, which gave me the chance to flick through the three newspapers produced at the offices, the Chronicles of Congleton and nearby towns Sandbach and Biddulph. In essence the newspapers are identical apart from four news pages (the front and back pages, and the centre spread) specific to each paper. They have quite a distinctive design, with stories from the front page continuing onto the back rather than inside, and no set design for the pages. They basically pour the text onto the page and see how it fits, they told me. It's hard to explain, but it doesn't really look like a newspaper on some of the pages.

The interview went well, although I felt I could have sold myself a bit better on some of the questions. I spoke of my passions for music and football, and that I sometimes felt that writing about them spoiled my enjoyment — the editor, a music writer himself, seemed to agree.

After our chat, I had to do a press release re-write to test my news sense and writing skills. I felt very comfortable with this as it was the kind of thing I did regularly during my degree. It detailed some fictional tourism plans, focussing on the town's bearbaiting history, and I had some fun with it, coming up with the so-bad-it's-good word play headline of 'Bearly believable tourism plans'. I hope it raised a chuckle.

It's a small operation there, with only one edition produced per week. The staff seemed friendly enough, as well as busy, with some of the sub-editing and page designing done by the reporters. I'd be given my own patch if I got the job. I left confident that I had given a decent account of myself, but knowing that I could have done better. I was rusty after the long gap between interviews.

Brighton went much better. My day was already six hours long before I got there, and I was greeted by teeming rain and a swirling wind — not exactly what I had in mind from my adventure to the seaside. The Argus has a big, open-plan, office, and a youthful vitality about its staff. I was interviewed by two men, both under 30 I think, which was disconcerting at first but then comforting as the chat progressed.

This time I felt I put across my strengths more positively and more effectively, They seemed impressed by the editions of the Students' Union mag I edited last year. It was a hell of a trek for just twenty minutes or so of interview time, but I think this showed my dedication and hunger for the role.

The interview actually began with them mentioning this column, which threw me a little as for some reason I'd forgotten that potential employers would have read it having given the link on my CV and covering letter. But I recovered enough to explain how I got involved, although it slipped my mind to mention the Guardian careers fair I'm speaking at in a fortnight.

I wandered around the city centre after finding the right bus (the Argus offices are on an industrial estate three miles out of town) and wondered how I would fit in. It seemed a bit bohemian for me, but then perhaps there is that side of me just waiting for the chance to show itself.

Having had time to reflect on my performance at both interviews I think I may not be highlighting my achievements enough. I have realised I've been a bit reluctant to make a big deal out of writing these articles for the Guardian, apart from in pub-based bravado with my uni friends back at the start of the summer. I think I've been scared of coming across as arrogant to employers, who might think I am showing off about my achievements. But actually by downplaying it, I think I could have been depriving myself of the chance to get more interviews.

I mean, writing this column is hidden away at the bottom of the media experience section on my CV, when really, it's easily the most impressive thing I've done so far, and should be right at the top where it can catch the eye better.

I am going to re-do my CV.

I was told at both interviews that they would make their decisions quickly and that I would hear back this week, so I'm just playing the waiting game once more but to round off a productive week where I've learned a lot about myself, I also passed my driving theory test at the first attempt between the two interviews.

This article was written for the Guardian.

The Raveonettes - In And Out Of Control

It’s difficult to pinpoint exactly when the Raveonettes fell out of vogue. Back in 2003 they heralded a bright new era in rock, riding the crest of the wave brought about by the Strokes, showing that women could once more front successful yet alternative bands. Blondie are the obvious point of reference, but the Raveonettes were always a bit more sleazy and exciting.

But somewhere, undoubtedly, it all went wrong. Mention the name of the band to a teenage scenester and you’re likely to get a blank look in return (although this is generally just what their faces look like, so be wary of reading too much into it). A band who formerly adorned many a bedroom wall in poster form are in danger of slipping by the wayside.

So it’s a good job that their latest record, In And Out Of Control, is cracking, and arguably their best collection of songs so far. There’s not a totally duff track present, and although none of the songs really have the stunning immediacy of some of their early work, it’s a mature, thoughtful and polished record. That might set alarms ringing, as the Raveonettes were always brilliantly raw, with none of the rough edges smoothed out, but it’s very definitely a good thing. You have to move on eventually.

They’ve also moved on from the aping of the Jesus and Mary Chain, trying their hand instead at ear-bleeding My Bloody Valentine-style levels of sheer noise on ‘Break Up Girls!’, which, brilliantly, gave me a massive headache the first time I listened to it. That hasn’t happened since the first time I heard Mika, but this was much better. Unfortunately the effect is somewhat spoiled by the ploddingly pedestrian closing track that follows. It seems the duo haven’t quite got their annoying habit of trying to do ballads out of their heads yet. Note to the Raveonettes: You are not the Yeah Yeah Yeahs. ‘Last Dance’, the other prominent slower song here, flops similarly.

It’s a bitter contrast from the opening of the album, which goes, amazingly, “BANG!”, right in your ear. I don’t recommend listening through headphones as your head might actually explode on impact. More albums should definitely start with the singer shouting in your lughole.

The standout track here is the phenomenally brave ‘Boys Who Rape (Should All Be Destroyed)’. Based solely around the repeated line of, erm, “Boys who rape should all be destroyed”, some sinister sitary guitar floats over the top, before a stunning piece of harmonics from Sharin Foo and Sune Rose Wagner closes the track. It’s an astonishing song, and you have to admire the balls of the pair for even attempting it.

It really works as an album too. It’s over before you know it, but that’s not to say it isn’t involving and immersive. ‘Suicide’ and ‘D.R.U.G.S.’ are, conversely, highlights, and the sheen of quality persists right the way through the record, making it the band’s most complete work. As you’ve probably gathered, the album is typically dark lyrically, but the contrast with the newly upbeat music works particularly well. Juxtaposition is the in thing for the Raveonettes as they progress towards ten years as a band.

So could a renaissance for the band be on the cards? On the basis of this, there’s no reason at all why not.

This review was written for Muso's Guide.

Frightened Rabbit announce tour dates and new single

Scottish indie-folk heroes Frightened Rabbit have announced details of a November tour in support of a brand new single.

Swim Until You Can’t See Land will be the first release from the band’s upcoming third album, and is out November 16 via digital release and 7″ vinyl.

Singer Scott Hutchison explains: “Swim Until You Can’t See Land was the title I had in my mind before I even started writing the album. I was becoming more and more interested in the idea of a rejection of the habits and behaviour most people see as normal, and in turn embracing a certain madness.

“It’s about losing your mind in order to reset the mind and the body. Forget what’s gone before and wash it out. This is not necessarily a geographical journey, as the ’swim’ can involve any activity in which you can lose yourself. It’s a good introduction to the record as the theme unravels therein.”

Muso-speak maybe, but we love Frightened Rabbit here at TMM, and we look forward to hearing the new record, which should drop early next year.

The band will also head out on a giant tour in November in support of the new single. The dates:

NOVEMBER
07 Aldershot, West End Centre
09 Oxford, Academy 2
10 York, Duchess of York
11 Nottingham, Bodega
12 Liverpool, Academy 2
14 Coventry, Kasbah
15 Northampton, Roadmenders
16 Brighton, Corn Exchange
17 Southampton, University
19 Exeter, Lemon Grove
20 London, Troxy
21 Tunbridge Wells, Forum
22 Cambridge, Soul Tree
24 Sheffield, Plug
25 Whitehaven, Civic Hall
27 Fort William, BA Club
28 Stirling, Tolbooth
29 Inverness, Ironworks

DECEMBER
01 Aberdeen, Moshulu
02 Dundee, Fat Sams
05 Galway, Black Box
07 Dublin, Academy^
08 Dublin, Academy^
09 Belfast, Mandella Hall^
13 Manchester, Ritz^
14 London, Shepherds Bush Empire^
22 Glasgow, ABC

(^ dates with Modest Mouse)

This article was written for TMM.

The Twilight Sad: Forget The Night Ahead

Some albums are easy to write about. Nuances leap out at you, hooks are obvious, lyrics are noteworthy, patterns emerge through the music. But none of that has happened for me with the Twilight Sad’s second album Forget The Night Ahead.

After ten listens, I’m still struggling to put my thoughts on the album into words. I think I like it. I think it’s good. But I can’t be sure. It’s so deep, so full of layers that need time and thought to unravel that it’s almost impossible to judge at this stage.

It’s definitely a progression musically from their début, I can tell you that for certain. It’s a bigger record, with more going on, more instruments thrown in (apparently the band used a fire extinguisher on one of the tracks), more sound, more everything. But it doesn’t suffer from it, it’s still subtle, gentle and charming, despite its brash, loud exterior at times.

Many of the tracks don’t seem to go anywhere, and they don’t go anywhere particularly quickly. It’s often a pedestrian ride, but that’s good, it gives you time to think, to analyse, to delve into the album’s depths, to interpret the meanings and feelings behind it.

Accessible windows into the album are few and far between. The Room, a future single, is possibly the best song to judge whether the band are right for you, all building, sweeping, epic soundscapes, with glockenspiel used to great effect. The band have never been shy of deviating from the traditional guitar-bass-drums-vocals combo, and they’re the stronger for it. Other styles and sounds might not appear on the surface, but listen carefully enough, and they reveal themselves over time.

Lyricist and singer James Graham could do with being higher in the mix; his voice is often straining to be heard below doom-laden guitar and you have to listen extra hard to snatch a couple of words of lyric. But it’s deliberately obtuse. Forget The Night Ahead is not a record to dip in and out of, to listen to the odd track on the bus or the Tube, to listen to at parties, or indeed in company. But it’s a great late night listen, the atmospheric darkness of the music drawing you in to the mysterious, thick world of the Twilight Sad.

Fans of Frightened Rabbit will find plenty to love here (the Twilight Sad are effectively their noisier, bolder cousins) but Forget The Night Ahead will also attract fans of My Bloody Valentine, the Jesus and Mary Chain, Hope of the States, Phil Spector and My Latest Novel, whose Laura McFarlane contributes to a couple of tracks here.

7/10

This review was written for TMM.

Liam confirms ‘Oasis is no longer’

Liam Gallagher has confirmed that Oasis will not continue as a band following his brother Noel’s departure.

He told the Times: “We’ve always had a lot of fun. That’s why it was never hard work for me. It was a joy and it was always a bit of a bummer when the tour ended. You know, it was great. Obviously you’ve got to get back and see the missus and the kids and all that. Nothing lasts for ever. But it was never, ‘Uh, fuck, I need to get off the tour because my head’s up my arse’.” (A reference to Noel? Most probably.)

“Oasis is no longer. I think we all know that. So that’s done. It’s a shame but that’s life. We had a good run at it. The thing about Oasis is, no one … we ended Oasis. No one ended it for us. Which was pretty, kind of … cool. I’m thinking of what the next step is musically, which is all my mind’s on.”

Whether Liam’s future includes an Ian Brown style solo career or forming a new band is not clear, but it is obvious that in his mind, he has already moved on from Oasis. Whatever happens next, it will be fascinating to compare the futures of Noel and Liam; always inextricably linked through Oasis, and now thrown apart to find their own way.

This article was written for TMM.

The Xx - Islands

‘Islands’ is a brilliant choice of single for The Xx. Most of the tracks on their eponymous debut do not make much sense on their own, but ‘Islands’ makes its breakthrough brilliantly, the girl-boy vocals of Romy Madley Croft and Oliver Sim provide a superb introduction to what the band is all about.

It’s short and sharp, with lots going on despite its typically understated charm, and even contains the closest thing The Xx has produced to a hook, in the repeat refrain of “I am yours now…”, a typically heartfelt and bed-cuddly line that makes The Xx the perfect alternative lovers band.

B-side ‘Do You Mind?’ is no different to the rest of The Xx’s material, which at the moment shows an ability to remain consistently excellent, but in future might show them to struggle progressing their sound. It’s typically sexy, with Croft and Sim inviting the listener to come home with the pair of them, over untypically brash drums. Minimalism is the key to The Xx and at some point they are going to have to bring new things to the party. But at the moment, we should just settle for what they are giving to us, the finest music by a new British band this year.

As a gateway into the mysterious and wonderful world of The Xx, ‘Islands’ is majestic. But let’s hope they remain our little secret for now, yeah?

This review was written for Muso's Guide.

Sergeant: Sergeant

So then, the third album from Dundee’s premier pop scamps the View. It’s a typically upbeat, jangly record with nothing to make it stand out from the crowd… hang on, what’s this? It’s not the View? We better start again…

OK, so this is actually Sergeant, a four-piece from Fife. They’ve been on my radar for a couple of years – I think I even saw them at Leeds festival back in 2007 – but their sound has been polished so much it’s nigh-on unrecognisable from their early ramshackle and lovable noise.

It doesn’t help that Nick Mercer’s unremarkable vocals are almost an exact copy of the View’s Kyle Falconer, and the music is a pale, toothless imitation of the Dundee band’s debut record Hats Off To The Buskers.

The best track present is the album’s last, It All Comes Back To Me. Harmonies make a rare appearance, and it lifts the track above the landfill indie it accompanies for the rest of the record. Jo Whiley probably loves this band, and that should be enough to put you off.

It’s not a bad record. It’s easy to nod your head along to it, and the songs are short and sweet enough to hold your attention. But once the record is finished, the hooks leak out of your brain as quickly as sand through your hands, and all you’re left with is an empty feeling. There’s nothing as interesting in Sergeant as other bands of their ilk either. They’re just a wee bit dull, and it’s hard to recover when you’re first album is boring. What a shame…

4

This review was written for TMM.

Cornerstone will be next Monkeys single

Arctic Monkeys have announced that the second single to be lifted from their Number One album Humbug will be Cornerstone.

It will be released on November 16, and again the band will collaborate with Oxfam for the method of release.

Cornerstone was the obvious choice for the band, as lyrically it is the most recognisably Monkeys track on Humbug, their third studio release. It tells the tale of singer and main lyricist Alex Turner’s attempts to rid himself of his obsessional mooching over an ex-girlfriend by trying to get off with similar looking ladies, and joins Riot Van and Mardy Bum as one of their best ’story’ songs.

The band head out on a UK arena tour in November.

This article was written for The Music Magazine.

Cult With No Name - Careful What You Wish For

A few listens in to this second offering from London duo Erik Stein and Jon Boux, a.k.a. Cult With No Name, I’m still struggling to find anything interesting about the album to tell you.

It’s mostly a male voice singing and a piano playing. The two parts are by two different blokes, with Stein singing (sometimes sounding like Robbie Williams, and on the poppier moments more like the Pet Shop Boys) and Boux prodding away listlessly at the piano, with some moodily atmospheric swirly stuff going on in the background on some of the tracks and, even more rarely, some electronica stabbings that sound like the basic settings on a Casio keyboard for toddlers. And not in a good way.

There’s nothing to lift it beyond the mundane. Stein’s lyrics are mostly trite platitudes, the melodies samey, and the swirls of sound uninteresting. It’s not awful, it’s just dull. It is possible to tap your foot along, even to concentrate on it for a few seconds at a time before boredom inevitably sets in, but it’s too amateurish to be taken seriously, and not pleasant enough to be simply background music.

Cult With No Name have bedroom project stamped all over them. Two friends with big ideas, but without the talent to realise them. Careful What You Wish For is full of half-baked premises, pieces of sound that with the right backing might work, but that fall flat in this setting.

A smattering of violin in ‘Something Better Than I Know’ and a bit of guitar in ‘She B.C.’ can’t lift the monotony in the middle of the album, and by the horrible cover of the Stranglers’ ‘Golden Brown’, any smidgen of interest has leaked away.

It’s not possible to pick highlights or even lowlights from this effort, as none of the tracks are distinguishable from each other. It’s just a big slushy mish-mash of unformed sound, and it’s really not at all worth an hour of your life. Expect something by the Cult With No Name to adorn a car advert sometime soon. It’s that kind of banality.

This review was written for Muso's Guide.

VV Brown - Game Over

I really want to dislike VV Brown. I hate her faux-alternativeness, her desperation to do anything going in her pursuit of success, her hair, her name, pretty much everything about her. She seems to be everywhere, yet somehow I’ve avoided almost all of her music. Until now. So I was all set to deliver a written sucker punch to her flailing career. Kick a woman while she’s down? Why the hell not.

But annoyingly, I like ‘Game Over’. It’s bold and brash, somehow modern yet retro-styled, but more than anything, it makes you want to dance, and that’s what pop music is all about. Well it should be. And there’s none of this breakdown rubbish, calming things down for a bit in the middle of the song. Oh no. If anything it builds in pace to a thrilling climax, and the hooks, of which there are plenty, will live with you for hours. You’ll probably wake up humming it and cursing yourself.

It’s the fourth single from her debut album, which tanked despite all the hype and the promo, but ‘Game Over’ might just be the track that earns her the success she so craves. VV Brown has won me over. Whether the public is as fickle remains to be seen.

This review was written for Muso's Guide.

Burnley 2-1 Birmingham

Burnley swept aside a poor Birmingham team to extend their winning streak at Turf Moor to ten matches, after a one-sided match that the Clarets should have won by more than the final score of 2-1.

Two early goals in the second half were enough to seal the points, with Birmingham's reply coming from virtually the last kick of the match.

Fletcher gave Burnley the lead after an incisive counter attack, and minutes later Andre Bikey added a second with a fine goal.

Owen Coyle had his old mentor Alex McLeish alongside him on the touchline, but he outclassed his old master tactically.

Burnley moved Bikey into midfield to allow a return for club captain Steven Caldwell, and Bikey's physicality negated any threat from midfield from Birmingham, who mustered very little in the way of attacking threat all game.

A gusty wind made conditions difficult and both sides found it hard going for the first half, David Nugent with Burnley's best chance, shooting straight at Joe Hart from twenty yards, and Lee Bowyer diverting a cross away from rather than towards the Burnley goal, from a rare Birmingham foray forward.

But Burnley started the second half brightly and quickly sealed the points. James McFadden wasted a free-kick for Birmingham in a great position, and Burnley broke at breakneck speed.

Tyrone Mears carried the ball for forty yards through the centre of the park before slipping in Steven Fletcher down the inside left channel. Nugent was screaming for the ball across the penalty area but Fletcher took it alone, and although his shot was straight at Hart, it somehow cannoned off the goalkeeper's legs and into the roof of the net. It was an untidy end to a fabulous break, but once the Clarets got their noses in front they didn't look back.

The second goal came quickly. Bikey won the ball in his new midfield role and rode a couple of untidy Birmingham challenges before advancing on goal. The Cameroonian then played a glorious one-two with Nugent on the edge of the area, and Bikey advanced on goal to finish calmly into the far corner, across Hart, before celebrating acrobatically.

Mears had a free-kick tipped over by Hart and Bikey should have done better with a free header from the resulting corner as Burnley briefly smelled blood and a rout, but they sat back and closed out the match instead.

Birmingham got an unlikely consolation deep into stoppage time when Sebastian Larsson curled a glorious free-kick into the top corner, beating Brian Jensen at his near post.

Owen Coyle was furious with losing the clean sheet at the death, but when he reflects with his players over the international break, they will be delighted with a fourth win of the Premier League season. But McLeish has worries. Criticised by home fans for a defensive team selection last weekend, this display was easily their worst of the season, and they won't collect many points on the road with performances like this.

This article was written for FansOnline Burnley.

Burnley v Birmingham match preview

Burnley manager Owen Coyle has lots of decisions to make regarding his team selection as he hunts a tenth straight win at Turf Moor.

Captain Steven Caldwell is available for the first time this season, and Andre Bikey or Clarke Carlisle could make way to make room for the skipper. Another option for Coyle is to move Bikey into midfield, although he has previously stated that he will use Bikey in defence only.

Chris McCann is sure to be a big losee for the Clarets, and more bad injury news has come this week with Jay Rodriguez and Fernando Guerrero both picking up injuries in Wednesday night's reserve win against Hull. Steven Thompson scored two goals in that game but he will have to be content with a place on the bench.

Coyle is known to like a settled eleven and he may name the same team that were thrashed at Spurs, although the pressure is on to make changes to a midfield that has struggled. However, Kevin McDonald is thought to be struggling with a knee problem, and he may miss out.

Up front David Nugent is likely to keep his place, and Steven Fletcher may start alongside him rather than off the flank.

Birmingham are without their record signing Christian Benitez, as the striker has returned to his Ecuador homeland after his father was involved in a car accident. Marcus Bent and David Murphy are doubts, and James McFadden is expected to join Martin Taylor and Cameron Jerome on the sidelines. Stuart Parnaby and Franck Queudrue could be on line for recalls to the starting eleven.

Up front, Birmingham manager Alex McLeish will choose between Kevin Phillips, Garry O'Connor and Gary McSheffrey for his striking line-up, although he could well match Burnley's expected formation of 4-5-1. Sebastian Larsson will be a threat from set pieces on the left, and experienced men Lee Bowyer, Teemu Tainio and Barry Ferguson will make up the midfield.

Summer signings Scott Dann and Roger Johnson have forget a tight partnership at the heart of the Birmingham back line, the pair presiding over one of the meanest defences in the top flight so far this season. On loan goalkeeper Joe Hart will start in goal, with Gregory Vignal and Stephen Carr expected to keep their places at full back.

Both sides will look at the match as a good chance to pick up a crucial win, but Burnley's 100% home record this season makes them favourites to collect the points, despite the injury woes of the last fortnight. It's likely to be a tight game, and an early goal for either side could be enough.

Prediction: Burnley 1-0 Birmingham.

This article was written for FansOnline Burnley.