Glenn Hodge Banned – Iconoclast EP

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With a sound you could describe as punk folk, certainly a proposition which casts a striking and bold adventure which hits home lyrically and musically with an inescapable honesty, the Glenn Hodge Banned provides one rigorously riveting encounter with the Iconoclast EP. It is an irresistible stroll of lyrical and vocal incitement which captivates from start to finish in an embrace of equally entrancing sounds. The band offers five tracks which whether addictively catchy or emotively gentle, spark imagination and feelings with relish to spark a greedy hunger for more.

Based in London, Glenn Hodge began life in Ashford, Kent, being raised in East Anglia before moving to the capital. There he found further inspirations to the folk seeded musical canvas his compelling lyrical and vocal talents colour. Musically too Hodge breeds provocative scenery as evidenced by the new release whilst onstage whether solo or alongside other like-minded musicians, he has earned a fine reputation on the London music scene. Earlier this year debut single Faces on Tables caught the imagination of many leading to potent anticipation for the Iconoclast EP. The new release builds on that rich start with a handful of explorations which focus on city life, personal relationships, and honest social commentary, all with a tinge of mischief and resonating veracity.

The EP immediately grips attention with opener Ignoramus, an initial throaty strum soon standing side by side with the distinctive and compelling vocals of Hodge. His voice has a quirky lilt to its tone which only adds to the lure and drama of songs. Voice and a lone riff continue to seduce the senses for the bulk of song as its lyrical painting sparks the imagination, before guitars and strings bring their own increasing revelry to the growing captivation. Vigorously infectious, the song enlisting listener participation with sublime ease, it is a colourful portrait of a city’s social landscape, melodies and strings bringing evocative hues to the enthralling insight.

The following Intrepid Thing saunters in with its own contagious sway of chords and vibrant melodies. Strings make a swifter entrance this time, instantly adding depth to the engaging entrance of the song. There is a Celtic whisper to the folk bred beauty of the music which holds attention as firmly as the ever impressing vocals, but it is the contagion sculpted chorus which ignites the passions most potently, again a moment which has feet and voice unable to avoid joining in with the anthemic persuasion. Maybe hard to imagine, but the song comes over like a mix of Kirsty MacColl and Frank Turner, and as its predecessor is just exceptional.

Wasted Labour keeps the outstanding level of the EP going; its sultry melodies and stringed incitement a resourceful caress on ears as Hodge shows further expanse and vivacity to his voice, almost breaking into a roar for the chorus which is another ridiculously addictive and anthemic moment on the EP, as the stunning song as a whole.

The final two songs do not quite match the first trio but each with their distinctive characters still leave a want and need to hear more. English Folk brings a slight country twang to its rich tapestry of strings, smouldering Irish seeded melodies, and vocal union which engrosses as it deeply pleases. As the rest of the encounters, it is impossible to leave the proposition alone with voice and toes, the song another organic anthem mentally and physically which is emulated by the closing C U Next Tuesday. A little spikey and ridiculously addictive, the track is a magnetic union of guitar and voice which takes its time to employ other spices, saving them for a rousing finale.

Glenn Hodge Banned is a proposition to set ears and thoughts alight, and push passions towards a tenacious greed. The Iconoclast EP is an exceptional incitement providing the fullest of pleasure and enterprise whilst suggesting you should expect to hear plenty more triumphs from Glenn Hodge and his band ahead.

The Iconoclast EP is available on September 22nd

http://www.glennhodge.com/

9/10

RingMaster 15/09/2014

Me For Queen – Iron Horse

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It has to be admitted that the thought of an album set around two wheeled exploits was intriguing but did not exactly spark eager anticipation, but readers do not let that colour any decision to check out the bewitching and thrilling embrace of Iron Horse, the debut album from Me For Queen. Themed by the adventure of cycling in the city, exploring and inspired by events and emotions found by experiences of the band founder’s on a bike, the release lays down an inescapable seduction which bewitches ears and imagination right through to the passions.

Originally the solo project of Talk In Colour’s Mary Erskine, Me For Queen has subsequently grown to a full engagement with the addition Will Dollard, Nick Bowling, and Andy Paine. Last year saw the release of the Live at Red Gables EP, a well-received release sparking strong interest in this following Pledge Music funded release. Talking about Iron Horse, Erskine explained that “there are tracks about the freedom of cycling, the rage and fear you sometimes feel on your bike when surrounded by cars, and a white bike tribute”, going on to add “You’ll like it whether you cycle or not.” That last declaration is certainly very easy to agree with. Equally the album’s tales can be translated to more general experiences in everyday life, how people connect and live within each other’s space for example. It is a fascination of sound merging various flavours into one bike inspired festival of creative enterprise, the album’s sound and presence as cosmopolitan as the pastime and scenery it colours.

The tempting of wheels starts off album and opener The Deer and The Dark, voices from surrounding scenery adding to the atmosphere of the song. Soon though, the attention grabbing voice of Erskine breaks its air with rich mesmeric charm, swiftly joined by a rhythmic coaxing coloured by radiant keys. The song swiftly turns into a funk seeded stroll weaving enchanting melodies into its dramatic lyrical and ambient sunset. Employing samples and riveting brass temptation, the track provides a glorious canter of enterprise and endearing harmonies for one scintillating entrance into the album.

Its glory is matched straight away by Bike With No Name, male vocals taking the lead fully backed by the increasingly transfixing voice of Erskine. With a folk intimacy to its again funky gait, the song idles up to the imagination and 10553901_829249350419623_3979257569886355370_ocaresses it with a seductive blend of vocals and flirtatious melodies from guitar and keys. A darker throat of bass only adds to the infectious bait but it is the pair of vocalists which ignites emotions most prominently and potently. Though music wise there is a distinct difference, vocally and in the impact and quality of their union, the two singers remind of Dizraeli and Cate Ferris from Dizraeli and The Small Gods.

An intriguingly enticing bass lure opens up the next up Zebra, its tone kissed by discord blessed resonance. It is soon joined by both sets of vocals as a jazzy climate and seducing comes over the senses. The song is a delicious blend of distinctively different shades, melodic flames and light slowly grazing on the emotions whilst the darker shadows of bass and a slightly twisted invention to certain chords and notes add a mouth-watering and unpredictable texture to the sultriness. Its glorious presence is matched straight away by Traffic Light Crush, an irresistible croon with romantic tones and catchy revelry in its magnetic dance. Thoughts of eighties band Jim Jiminee easily come to the surface as the brief track sets down another majestic pinnacle on the album, its tango of sound and imagination refusing to leave even after the song has departed ears.

The first single from the album, Slow Jam (Look Out) comes next, its soulful swing of melodies and emotion revealing vocals a gentle and elegant kiss on the senses. As the album, it is impossible not to be thoroughly captivated and mesmerised by it, every aspect from the breath-taking vocals of Erskine to the smouldering flame of trumpet, and the velvet hug of bass to the sizzling harmonies, a poetic toxicity seducing and immersing blissful ears and thoughts. Its gentleness is emulated by the funkier flight of Freewheel, a melodic glide which strokes thoughts and passions from start to finish with a lean structure within provocative beauty.

Both Wobbly and White Bike add new tantalising hues to the release, the first a wash of emotive melodies over a skittish percussive tempting, which itself is hand in hand with the heavier, ever enticing tone of bass. There is a relaxed giddiness to the song too, imagination swirling in its creative sun and similarly flowing sounds before moving on to its successor. The second of the pair slips into something even more leisurely comfortable energy and gait wise whilst turning up the heat with its impassioned and earnest climate lyrically and emotionally as it fully enchants the senses.

For personal tastes the first half of the album is the strongest with its array of lively explorations but there is no escaping or dismissing the spellbinding beauty and majesty of the two songs, and also the following Rat Race. With bubbly electro spicing starting things off before vocals and bass soon lay down their catchy lures, the track is a compelling portrait of fleet footed life. Sounds almost flit across ears, each a different personality in the vibrantly moving scenery whilst the lead vocals provide a singular almost out of sync view inside the tunnel flowing fast around them.

The album is brought to a close by firstly the emotive balladry of Road Out, a track which brews and grows into an imposingly drawn ambience as its melodies and vocals immerse ears, and lastly Wheelie. The final track is a fifty second electro jazz funk romp which hits straight away like The Tom Tom Club but leaves before you can really get your teeth into it. It is a final smile though to an exceptional release.

Iron Horse is simply majestic, a richly hued collection of sounds crafted into an unforgettable and virulently infectious soundscape of adventure. Me For Queen may not have you turning to peddle power with their album but will surely have you breeding a hungry appetite for their sensational sounds.

Iron Horse is available now @ https://itunes.apple.com/gb/album/iron-horse/id913647443

http://cargocollective.com/meforqueen

9/10

RingMaster 12/09/2014

Copyright RingMaster: MyFreeCopyright

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Jane Allison – Just Another Girl

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The album may describe its creator as Just Another Girl but its contents give compelling proof that KarmaDeva’s Jane Allison Stanness is anything but as an artist and songwriter. Under simply Jane Allison, she has cast a blend of intimate acoustic and folk elegance with potent Americana flavouring into a collection of songs which seduce whilst embracing emotive shadows and personal angst. Equally there is an infectiousness to the tracks which adds an inescapable weave of colourful persuasion lyrically and musically, it all suggesting as mentioned that Allison is anything but just another singer songwriter.

The songs for her debut solo album Just Another Girl were written whilst Welsh born Allison was in Berlin, having moved there to finish the second KarmaDeva album. Taking inspirations from childhood heroes such as Neil Young, Bob Dylan, Leonard Cohen, and Joan Baez, the songs were bred from her soul and inspired by the experiences and struggles of previous years. Recorded at The Tea Rooms studio in the heart of the Ardennes and produced by Alonza Bevan, Just Another Girl also sees additional guest guitarists on some tracks in the skilled shape of Country Dave Caven as well as Mark Legassick of Howlin Lord. The now Bristol based Allison, who also has notable acting roles and appearances under her belt, including the Julia Davis penned shows Hunderby and Nighty Night, as well as Human Remains and the Simon Pegg movie A Fantastic Fear Of Everything, takes little time to embrace ears and stroke emotions upon her first album.

The title track starts things off, warm vocals and acoustic guitar instantly smiling at ears alongside evocative melodies. It is a gentle start bringing the folk and country hues which vein the whole album swiftly into view before a subsequent 10351077_671996669557637_1070732306411286045_nbolder Americana suasion adds further texture and substance to the emotive encounter. It is an alluring introduction to artist and release, a soft and catchy coaxing awakening a quick appetite for the proposition which is soon reinforced by the first single from the album, Hymn To Hope. Similarly the track offers an elegant hug to the senses with its melodies and a great skittish rhythmic enticing which courts the thoroughly appealing and impressive vocals of Allison, her additional harmonies just as mesmeric as the track expands its provocative dance. As its predecessor, the folk seeded song complete with a healthy country twang, does not leap from the record but certainly raises further enthralling temptation for ears and imagination to immerse in.

Seizing a tighter grip on thoughts and passions is the following Fading Moon. From its first seconds there is a rhythmic tenacity to the track which even in its simple pace provides potent bait as vocals and melodies emerge and bloom around it. A folk charm soaks every note and syllable with essences of Fleetwood Mac making hints as the song wraps radiantly around ears and emotions. With a contagious swing to its respectful gait only adding to its captivating presence, the track is one of the biggest pinnacles of the album, though it inadvertently places a shadow over the next up Country Lovin’. To be fair the song also strolls along with a infectiousness which is impossible to dismiss and a fascination which actually slips pass our inherent disinterest in country music, whilst with each listen it just grows on increasingly open ears as Ms Allison lays an unexpected hex on the appetite.

Both Catch Me and All Over Now ignite imagination and ears with ease. The first explores western scenery beneath a sultry melodic sky, seducing from its first acidic twang and the open embrace of its Morricone kissed climate. It is a gloriously cinematic narrative with similarly captivating vocals whilst its successor is a slow croon with provocative key sculpted drama, and another track which simply blooms and increases its riveting seduction over time through its sixties enchantment. Each leaves a greedier taste in emotions and appetite before the brilliant Joan Of Arc offers its own impassioned balladry. Allison is scintillating, her voice as melancholic as it is beautiful, whilst the melodic lure of the track combines with her emotional majesty to send tingles down the spine.

From one impressive peak the album brings another straight away with Real Life. Again a sixties adventure cloaks the song, aligned this time to a seventies rock heart with psychedelic whispers. It is a transfixing encounter which shows the inspiration the like of Joan Baez has made on Allison. With guitars bringing electrified invention to the song, it leaves ears wanting more and duly served right away by the just as thrilling Wait For Me. It is a song bred from the same vat of invention and flavouring yet sculpting its own unique proposition within the album. In many ways the second half of the album is its strongest and most adventurous, pushing the creativity and presence of the artist to even greater heights.

Completed by the piano driven ballad Farewell My Boy, with Allison again vocally radiant, the melodically glowing Just Another Girl is a thrilling treat to lose thoughts and senses in with the richest rewards in return. Jane Allison is a bright spark in folk inspired invention with the potential to make a potent mark with her solo endeavours in the future.

Just Another Girl is available now @ http://janeallison.bandcamp.com/album/just-another-girl

http://www.jane-allison.com/

8.5/10

RingMaster 11/09/2014

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Paddy Clegg – Dancing Shoes

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A song which can be best described as a melodic smile, Dancing Shoes the new single from UK singer songwriter Paddy Clegg reinforces why there has been a healthy buzz brewing up around the17 year old. Simple yet skilfully crafted, the single is a refreshing flirtation for feet, ears, and emotions with little more in its intent than to have and give fun.

From Huyton in Liverpool, Clegg at his tender age had already earned good experience from drumming in previous bands but deciding to take up another instrument in the guitar, he began writing and composing his own songs, recording them in his bedroom before stepping out in the Liverpool live scene and surrounding areas. Earlier this year he unveiled his debut single Back To The Start which was met with praise and focus, with his music drawing comparisons to the likes of The La’s, Newton Faulkner, Jake Bugg, and Mumford & Sons. Dancing Shoes now has its moment to push the reputation and presence of the young artist further and it is hard to expect anything other than another wave of potent attention for it.

Dancing Shoes does not make an overly striking or dramatic start, a gentle strum of guitar making a melodic caress which is soon joined by the potent tones of Clegg and punchy beats. It is a track though which seems to grow before and in ears, a dark bass line and a slightly more energetic intent to the drums helping broaden its weight and lure so that before you know it the song has seduced and recruited eager assistance from feet and vocal chords. A great blaze of brass adds to the increasing colour of the song whilst the vocals of Clegg similarly increase in potency and engaging hues. It is a smart and infectious slice of songwriting and musical invention with only the fact that at only two and a half minutes long, just as you are stretching muscles and limbs for an excited sortie on the dance floor, it stops.

Keep them wanting more is a wise old piece of advice and Clegg certainly does that with Dancing Shoes. It is another hint at the potential of Paddy Clegg and his music, an emerging proposition which so far has make a very show go of an obvious talent.

Dancing Shoes is available now via Twin City Records @ https://itunes.apple.com/gb/album/dancing-shoes-single/id915386236

https://www.facebook.com/paddy.clegg/

8/10

RingMaster 08/09/2104

Copyright RingMaster: MyFreeCopyright

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Red Rose Empire – The Ballad of Blondie

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The Ballad of Blondie is a fascinating single, a song which gently spins through flavours and emotions whilst creating one thoroughly rousing and thrilling proposition. Bred by the inventive craft of UK acoustic rock band Red Rose Empire, and taken from their recently released album You’ve got Red on you, the single grips ears and imagination with cinematic vivacity and emotional intimacy to provide an intensely provocative persuasion.

Hailing from London, the trio of vocalist/acoustic guitarist Paul Claxton, bassist Rick Keating, and drummer Paul Rowland has drawn strong attention and praise through You’ve got Red on you and it is easy to see why if it matches the potent incitement of The Ballad of Blondie. The song opens with a swing of folkish revelry, guitar and bass uniting for a smiling intro framed by firm rhythms. The lively opening then relaxes into a gentle caress with Claxton providing an emotive croon, vocally and with strings, which is aligned to the hazy charm of the bass and shuffling beats. There is a drama to the change though, especially in the vocals, which ebbs and flows before erupting in the blaze of the chorus. Chords twang and vocals soar as a sultry climate bursts over the narrative before the song returns to its more peaceful suasion, though again it is just the coaxing prelude to another fiery breath of sound and passion.

The song continues to drift and roar as the landscape of its evocative theme continues providing a riveting adventure. Warm yet haunted, the song is a masterful and thrilling proposition which not only seduces for itself but sparks the want to check out the album it comes from. If Ballad of Blondie epitomises the potential and invention of Red Rose Empire then they have a very healthy and successful horizon ahead of them.

Ballad of Blondie is available now @ http://redroseempire.bandcamp.com/track/the-ballad-of-blondie

https://www.facebook.com/redroseempire

9/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Jimmy & The Revolvers – Whistle For My Love

Jimmy Revolvers

Rattling along with revelry in its feet and joyous enterprise in its heart, Whistle For My Love the new single from UK folk n roll band Jimmy & The Revolvers, is virulent contagion at its boisterous best. Fusing folk music and rock ‘n’ roll with a Merseybeat inspiration, the Liverpool quartet has been drawing a potent attention and following with their vibrant sound, something which the new single just might spark into the fullest national spotlight.

Formed in the early part of 2013, Jimmy & the Revolvers consists of vocalist/acoustic guitarist Jay Rehm, vocalist/bassist Kurt Riley, electric guitarist Jimmy Moon, and drummer Ash Michael. The foursome took little time in stirring up strong interest with their debut single in the June of their first year, the AA sided Aimee’s Song/Frosty. The following Sunday Morning EP which was released on New Year’s Eve 2013 triggered a much more potent interest, the band being featured as one of BBC 6 Music’s Tom Robinson’s Fresh Faves and gaining support slots alongside Ian Skelly (former The Coral). Now Whistle For My Love has its moment to push the band into a wider recognition and it is hard to think of it failing to earn Jimmy & The Revolvers a new wealth of acclaim.

Opening with a keen vocal croon within a melodic caress, thoughts swiftly grab comparisons to the Arctic Monkeys though they are soon driven aside by the unique stroll of jangling chords and hooks aligned to a deliciously broad and throaty bass enterprise. That alone grips the imagination with feet and emotions just as swiftly in tow but it is the glorious flame of brass which completes the heated seduction. The song is insatiable in its infectious devilry, potent spices of funk and reggae hinting their flavoursome additives into the vivacious stroll of summery rejoicing. Thanks to the brass calls there is an additional sultriness to the track which colours further the already boisterous enterprise and adventure of the melody fuelled song and fires up the passions and appetite just that little bit more.

Each summer has a particular track to rejoice to and bask in, a blazing anthem to remember it by, and this year’s, even though it is late in arrival, is without doubt Whistle For My Love.

Whistle For My Love is available now on digital download and Ltd CD Release.

http://www.jimmyandtherevolvers.com/

9/10

RingMaster 04/08/2104

Copyright RingMaster: MyFreeCopyright

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Jacko Hooper – For You

Photo - Nicolas Primout

UK singer songwriter Jacko Hooper has come a long way since emerging in his school days with The Rylics, a trio of school friends. It has been interesting and enjoyable watching his progress as a songwriter and musician over the years, the different twists and turns in his evolution which whilst not always fed personal tastes always left attention and appetite for his endeavours intrigued. For You is the brand new EP from Hooper, his first official solo release and an impressively potent and appetising proposition.

As mentioned the journey for Hooper started in his schooldays and even then he and the band were drawing strong attention especially when from the ashes of the first band, IAM:YOURHERO emerged. The band drew a keen and attentive following of fans and underground media exposure like from our own Audioburger Radio whilst at the same time Hooper was working on his own solo acoustic material. IAM:YOURHERO subsequently became Kai with the threesome continuing to draw praise and a greater following but you could also sense interest in the solo work of Hooper was gaining impetus. Recent years has seen that side take centre stage with Hooper to continued success, his music gaining YouTube views of over half a million and self-released CDRs in 500 runs being sold out in just six days. Inspired by the likes of Jeff Buckley, Bon Iver, Thomas Dybdahl, and Fink, his songwriting and folk teased sound has hit a plateau, with For You the clear evidence.

Funded through KickStarter and recorded with producer Paul Steel over the space of eight weeks, For You steals ears and thoughts within moments of its first song. Eggs Shells caresses ears from its first stroll of chords wrapped in a1353093189_2an elegant melody. It is an immediate enticing which only grows its call with the incoming smooth tones of Hooper’s vocals, their mellow first embrace growing with the song to show the greater texture and power of his voice already realised in the rockier premises of his previous bands. The acoustic stroking of the song is a quality tempting but once the song opens up arms of strolling rhythms and bass shadows within the ever expressive design of guitar, it truly blossoms into a flame of emotive beauty. As the release, the song looks at love and fear and shows that whilst there has always been an intimacy to the music of Hooper which was in advance of his years, there is a real genuine maturity to his songwriting now.

The following November 5th Song also moves from a gentle coaxing into a firmer revelry of beats and vocal adventure amidst vibrant melodic enticing and atmospherically sown emotion. Also as its predecessor, the track grows and swells with poetic expression and a bulging bewitchment of melodic energy and passion spawned energy for an almost rigorous and wholly absorbing stomp of infectious invention. The earlier solo material of Hooper impressed but felt like it was still too deep in its growth and evolution to make a real mark at the time but the first two songs alone on For You show that the Brighton hailing Hooper has not only come to the end of that cycle to fulfil the potential seen vividly within him but opened up another wave of potential to be explored and realised ahead.

Run Away With Me is a guitar and vocal croon which comes drenched in intimacy and shadows, the occasional growl and constant angst of Hooper’s vocals enough to expose the raw emotion of the song. It does not match the might of the first two songs but then it is a different proposition with its open lean canvas beneath an emotive colouring. The closing live cut of Roaming is the same, guitar and vocal reflection at one in an evocatively lighted spotlight within scenery of crowding shadows. It is a fine song but one which may not stand out as strongly in the hands of another, the bluesy scent which soaks Hopper’s delivery bringing it character and irresistible body.

Despite the success earned and found previously, this feels like the point where Jacko Hooper has arrived and is about to trigger the real ascent of his emerging career.

The For You EP is available now via One Inch Badge on Ltd Edition 7″ vinyl and digitally @ http://jackohooper.bandcamp.com/album/for-you

https://www.facebook.com/jackohoopermusic

9/10

RingMaster 16/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

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