The Fawn – Collegium

From the first resonating note of Collegium, the album leaves a deep and evocative touch on thoughts and senses which in many ways is hard to express in words. It is an experience which has to be felt in person to truly appreciate the resonating beauty and provocative touch, anything we say here mere whispered guidance to its potent presence. The first official full length release by The Fawn, an artistic collective led by Nathan Baumann, the album explores the realms of thought and emotion whilst easily igniting those of the listener.

The new album follows a quartet of EPs which with a limited release has bred an intense and dedicated fanbase for the project around Switzerland. Began by Baumann in 2011,The Fawn is a collaboration of the most imaginative musicians, plastic artists and technicians in the country all providing their invention for free alongside Baumann for a project of true DIY spirit. Featuring the talents of members of The Ocean, Coilguns, Shelving, Rectangle, Derrick, and many more, as well as other artists from other medium than music, the experimental and impacting release is a series of small soundscapes combining for one sophisticated experience working on many potent levels.

      Collegium was started in the January of 2012 in the church of St- Imier, his native town in Switzerland. Given the opportunity to have its distinct voice as a canvas for the recording and production for one week, Baumann with producer/songwriter Louis Jucker (The Ocean, Coilguns, Kunz) and sound engineer Christoph Noth, chose to employ a new conceptual approach of recording with the natural reverberation and throat of the building leading the composing and mixing process. Songs were written and explored only once within the walls of the XIth century church with its touch and voice bringing guidance and rich impressions on the recordings and album. For the recording a selection of acoustic instruments were used: piano, 6 and 12 strings guitars, cello, tuba, percussions, drums, as well as the original organ of the building amongst many other factors brought into the intricate and intently crafted preparation to make full use of the opportunity, imagination at large, and the acoustic beauty of the church itself.

From the very first track The Arch, the qualities which ignited the invention and creativity provide a wind through the ear. A melodic drone of organ offers a persistent enticing engagement with a rasp to its invitation whilst leading the listener unreservedly into the arms of the acoustic caress of guitar. The compelling resonate purr of the formidable instrument subsequently lends its exhaustive breath across the whole length of the track to soundtrack the seductive vocals of Baumann and the continuing creative breeze of guitar. It is an imposing but enthralling sensation, an emotively resonating experience which leaves a rich imprint upon thoughts and senses long.

The following Paper Cuts features, as in two other songs, the distinct voice of Jucker; his expressive earnest tones an acidic pleasure within the elegant acoustically caressing narrative crafted by the guitars for an emotional wash. It is a fascinating incitement soon equalled by Two Lines with Baumann returning to coax the deepest heart out of the piece. Already within three songs the echo of the building is a thrilling canvas for the sounds and songs to reach their emotive pinnacles and in the third song with the entry of the cello, it finds the most powerful declaration yet.

The mesmeric Queen of Rain is one of the major highlights of the album, its warm and refreshing waltz through the ear providing a summer walk in an imaginative aural climate of invention and expression whilst Asylum with Jucker returning to lay his individual vocal temptation, is a passion lined conviction of open emotions. Though not every track sparks the same depth of passion and greed as others, Collegium is an album which allows no moment to be wasted, the wave like flow of songs always impacting and bringing strong persuasion before the ear.

Across the likes of Good Friends, the equally haunting and entrancing Nocturne, and the warmly alluring Summerbreeze, the album continues to impress and invite stronger emotion, the tail end of the release its most enriching, whilst closing song Dive uses the building framing its ingenuity, as another instrument of descriptive colour and emotional testament most strongly on the Hummus Records  released album.

Also bringing in to the collective the abilities and invention of two Swiss designers, Gaspard de la Montagne (Spitzhorn) and Jerôme Burgener (Structo) for the album artwork, and Swiss plastic artist Carlo Clopath for photography, The Fawn is a project which is compelling, an imagination of folk pop, to simplify its stance, which deserves to have the chance to bring its undoubted impact before every emotive heart.

Line-up

Nathan Baumann : Vocals, Guitars, Organ, Piano

Louis Jucker : Vocals, Guitars, Cello, Organ, Percussions, Production

Luc Hess : Drums, Percussions

Bertrand Vorpe : Guitars

Philippe Krüttli : Tuba

Pascal Lopinat : Noises and Loops

Christoph Noth: Recording, Mixing and Mastering

Gaspard de la Montagne and Jerome Burgener : Artwork

Carlo Clopath : Photographs

https://www.facebook.com/thefawnweb

8/10

RingMaster 17/05/2013

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Steve Folk – Urban Fox

Urban Fox is the new single from Steve Folk (AKA Steve Thompson of Blabbermouth), a song which travels the senses and emotions whilst transporting them on a peaceful stroll through descriptive warm embraces. The track like its author’s lifestyle, he and his wife travelling the waterways on their roaming canal boat, is a picturesque and passionate narrative with a simplicity which seduces and plays with the affections.

With a trio of albums behind him, two via Hobgoblin Records and the third a self-release on his own Blabbermouth Records, Folk has graced countless festivals such as the Sidmouth Folk Festival, The Crawley Folk Festival, and Wadebridge Folk Festival, played across the UK as well as performed in the US and many European countries, and supported artists such as Seth Lakeman, Sam Carter, The Magic Numbers, and Show of Hands to name a few. He is also a renowned busker only playing his own material which on the evidence of Urban Folk will be a pleasing attention stealer for all encountering him on the streets.

The single celebrates city life and the need for a retreat, its gentle and infectious descriptive waltz upon the ear painting a beauty which one suspects a great many are blind to these days. Then again that is what people like Steve Folk are here for as well as to excite and ignite the emotions. The song sways with a smiling energy whilst the guitar crafts its own visual paint box of emotive colours for the listener to casts their own individual imagery from the lyrical palette box offered. It is a lovely little embrace which becomes more contagious with each inspiring hug.

Accompanying the song is a track called Home, a sequel to the lead track which takes the story on with a returning walk to the beginnings of the release, the sultry strings providing a tempting sunset to the guitar and vocals of the artists and its predecessor. The single as a whole is like a day in the smouldering arms of summer, the first song offering the first spring of day moving through its heated afternoon whilst the second brings a closing evening reflection of what came before and appreciation of what the day and narrator has in his heart.

Urban Fox is a great release which will deservedly find a place in the affections of most given the chance.

http://www.stevefolk.com/

7.5/10

RingMaster 28/04/2013

 

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Josh Savage – Mountains In Hurricanes EP

Photography by Ben Bentley

The Mountains In Hurricanes EP is a delightful release which with craft and ease plucks at the emotions with infectious vibrancy and potent passion. From the skilled musicianship and imagination of Josh Savage, the emotive blend of acoustic pop with rich classical and folk whispers captivates the imagination and treats the ear with a welcoming and pleasing experience.

Spending his first twelve years of life in Paris, Savage was learning the piano from 4 years of age though his bio states it was initially with reluctance until the threat of losing them ignited his motivation for them as well as to subsequently learn the trumpet and guitar too. Equally adept at singing which saw him as a soloist with the Académie Vocale de Paris which then led him to be a the last minute as a soloist for the Choir of the American Cathedral in Paris, Savage after moving to Winchester in the UK in 2003, continued singing and playing classical music. This found him touring New Zealand and Australia with the National Children’s Choir of Great Britain the following summer. With his first introduction to pop as such through A Rush Of Blood To The Head by Coldplay, he stepped forward with his own songwriting and exploration with involvements in jazz bands, rock bands, and musicals along the way. Since then he has developed and ventured into varied experiences including playing his first gig coming at The Talking Heads in Southampton aged 17, fronting indie/rock band Taming The Savage, and playing trumpet for soul band Soultana. Writing, recording, and producing the album Une Migration d’Oiseaux Sauvages in ten weeks came next, the album inspired by the small novel Le Petit Prince by Antoine De Saint-Exupéry seeing the artist go back to his Parisian roots. Having toured since with the likes of Benjamin Francis Leftwich, Feeder, Razorlight, Reverend & The Makers, Rizzle Kicks, and Roll Deep, his self-released debut Mountains In Hurricanes is the clear mark of an emerging very promising talent.

The title track opens things up, cradling the ear with gentle caresses of acoustic guitar which lay the canvas for the expressive vocals of Savage to picture. It is a simple mix with the richest emotive hold, especially when a wonderful breath of strings adds their shade to the air. Once more the song settles back into the dual union of guitar and voice for an inviting hug on the ear but when the strings bring their melancholic shadows to bear on the equally dark tinged lyrics again the track is elevated to further pinnacles and depth. It is a masterful stroke of restraint and enterprise, the proof simplicity can be a pungent poetic persuasion equal to or beyond the mass confrontation of other styles.

The following Figure It Out is similarly clad but with a more energetic gait to its narrative and stroll across the emotions and thoughts. With a wonderful female accompaniment vocally within its contagious invitation and an equally delicious wind of brass temptation, the track enchants and dances with the senses. It is a summers stroll through reflective shadows and wholly magnetic like its predecessor.

Mountains In Hurricanes is completed by firstly the magnificent Take Off Your Shackles, the strings reacquainting their seduction with the ear whilst Savage again paints an alluring canvas with his fine vocals and guitar. The bulging beats bring further diversity to song and release, their resonating punch pressing welcomingly with darkened intent within the mesmeric air and heat of the song. The best track on the release it is followed by the least successful, a mix of the title track. Maybe it is reflected  by the fact the title is not listed on the sleeve of the CD sent through to us, but as inventive as it is and probably fans of re-mixes will love it, the version removes all the power and emotive depth of the impressive song.

Ignoring that final track, Mountains In Hurricanes is a wonderful release from in Josh Savage, an artist destined to provide and receive great things. A must have release for lovers of melodic and emotive beauty.

http://joshsavagemusic.com/

8.5/10

RingMaster 25/04/2013

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Roxanne De Bastion – The Real Thing

In an interview between us and singer songwriter Roxanne De Bastion held after the release of her riveting debut single Red And White Blood Cells, the artist when asked about her first album said it was a collection of songs with numerous characters and styles involved within their breath. The release of The Real Thing more than lives up to her words its wealth of evocative and emotive tracks taking their own individual journeys towards providing a constant richness of quality and pleasure. The single only hinted at the range of expressive depths and musical voices upon the album, the song itself a wonderful ‘cuckoo’ within a varied and captivating clutch of mesmeric ideas and songs.

Born and raised in Berlin, Roxanne moved to the UK after finishing school on a one-way ticket in 2007. The following years saw her continue to develop her craft and creativity whilst travelling all over the country to play shows , her nomadic approach to music giving her many musical bases and a strongly brewing following. As mentioned her first single drew great and potent responses from fans and media with its striking presence and made the anticipation for her first album eager and excitable. Released on her own Nomad Songs label, The Real Thing was recorded with producer Gordon Raphael (The Strokes / Regina Spektor) in Berlin and brings ten inspiring and graciously caressing songs to the passions. It is a release which also holds shadows within its vocal and emotional touch whilst the likes of Bob Dylan, John Lennon, Regina Spektor, and Judee Sill, just some of her potent  musical inspirations, are at times open whispers within her already unique stance.

The album catches the ear with 1964 first of all, its simple acoustic guitar and vocal union an upbeat smile upon the senses with a knowing understanding of how to invite and seduce interest alongside the emotions without making an overstated entrance. The vocal harmonies bring extra warmth to the already wonderfully persuasive tones of Roxanne and though the whistling for personal preferences throws a slight unbalance to the flowing charm of the song, it is a brief aside before the track reasserts its compelling hold.

The following Here’s Tom With The Weather brings a slower walk across the ear, the guitar of Roxanne adding to the narrative painting of lyrics and vocals whilst the touch of the keys add light kisses upon the brow of the song. It is a delightful melodic embrace which sets up the appearance of new single Some Kind of Creature perfectly. The song has an even stronger folk pop lilt to its warm tones than with the earlier songs as well as an open sinew to the vocals and its energy. The Hammond sounds paint an emotive atmosphere behind and around the striking vocals whilst like the first and despite the strong shadows which makes suggestions within words and shaded corners of the track, it has a vibrant and lively stroll to its heart.

The raw Empty Space with its slightly smothered but effective sheltered sound makes way for the excellent Red And White Blood Cells. With a core presence which can be described as The Pixies meets Patti Smith with Belly and the Young Marble Giants adding their unique flavours, the song has a magnetic electric guitar tease stroke niggle which across the song builds and excites itself into a sonic crescendo of energy and eagerness whilst vocally Roxanne is like the angel and devil on the shoulder of the track stroking mischief and beauty with equal clarity. It stands wide apart from the other songs in its individuality and shows even stronger width to the variety at play from the artist.

Both The Life I Lead and Handwriting, in again individual ways, engage the ear and thoughts with accomplished craft and ease, as does the slightly plaintive Somewhere upon Avon before the pinnacle of the album steps forward for the greatest seduction of the release. My Shield begins with a subdued caress of vocals and guitar, the spine and impressive stance of all songs on the album, but then allows hearty beats to add their intriguing touch. At this point the piece certainly has senses and attention riveted but it is when the strings unveil their emotive beauty that a new rapture is ignited. The melancholic yet radiant voices of the cello and violin expand into even more potent wraps and aural beauty bringing every emotive essence from the lyrical narrative and vocal deliverance to irresistible witness.

Closing with the gentle cradle of the title track, The Real Thing is an enchanting and passion capturing treat. The songs recorded as a live capture reaping every ounce of emotive value and musical imagination from their hearts for a mix of styles which leave the purest satisfaction. A must listen from one impressive emerging talent.

http://www.roxannedebastion.com/

8/10

RingMaster 18/04/2013

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Runaway Orchestra – Self Titled

Approaching the self-titled album from Runaway Orchestra it would be fair to say eager anticipation was not really in abundance. The thought of a collection of cover songs was not off-putting but certainly did not fire up any real excitement or strong intrigue. The ten track album proceeded to take barely two songs to slap any doubt or lethargy towards it down to the floor and firmly transfixed and mesmerised thoughts from there on in.  Certainly not every track found the same strength of passion towards it as did others but the album as a whole was one shapely and magnetic pleasure equipped with a powerful and lingering lure to re-join it often.

The album is the work of Tam Nightingale who enlisted the sultry tones of solo artist Sophie Madeline to explore and bring sirenesque radiance to the re-imagination of classic songs. Also featuring musicians from The Divine Comedy, UNKLE, and Cinematic Orchestra, the result is a delicious warm stroll through the charms of an aural sun and its seductive warmth.  Released through Mr Bongo, the album brings the melodic beauty of Madeline and the folk caresses of the music in a summers day worth of luxurious luminance, the release basking and offering a full journey of hazy elegance from its vibrant sunrise to its dreamy sunset. It certainly emerged as a real surprise, a mouth-watering treat easily putting those earlier thoughts in shameful exile.

The release opens up with its potency fully unrefined from the start through the stunning tracks Happy Together and Life’s A Gas. The first, a re-working of The Turtles track, is simply irresistible, the song instantly mesmerises with the bewitching voice of Madeline and the stringed emotive kiss securing an immediate ardour upon impact. Opening up its arms to a full orchestral embrace with compelling textures coaxing further rapture, the song is wonderful and overall steals the show despite the mighty efforts of the other tracks. From its magnetic presence the song passes on to the following T-Rex song and yet another irresistible temptation. The acoustic touch of the guitar and as proves to be a permanent pleasure, the heart thrilling vocals, make an invitation impossible to decline before the track expands into another feast of orchestral light and melodic enterprise with vocal harmonies and the throaty bass shadow adding yet more unbridled enticement. Whereas its predecessor for these simple preferences easily outshone the original, this song does not surpass the richness of the Bolan version, but comes so close it is dazzling.

After such a start there had to come a point where the album loosened its grip but with next up For Lovers the time was not ready, the striking and thrilling cover of the Wolfman and Pete Doherty 2004 hit injecting an energy and vivacity into the tune without losing the originals emotive depths. Within three songs the release shows artists who do even singular covers how to make songs engrained in the heart of the world their own with craft and imagination without losing the seed and core which gave them their stature in the first place.

Tracks like the take on Bob Dylan’s If Not For You and the Lisa Lougheed/ Racoons theme song Run With Us do slip below the immense plateau already reached though both still leave a full pleasure especially with the ukulele craft of Madeline in the second of the two, whilst splitting the pair is a great version of It’s A Beautiful Day, another senses grasping wash of melodic grandeur with a restrained heat but wholly seductive charm from voice and sound.

The next major highlight comes with a storming cover of The Beat Goes On, the band turning the Sonny and Cher song into a hypnotic alchemy of primal beats and angelic glamour, its melodic reserve and celestial harmonies eager conspirators with the pulsating heart of the track to total submission of the passions. It is stripped down mastery elevated into something more powerful and impacting through imagination bred craft soaked in whispers of longing.

The final trio of songs do not quite live up to what came before though again it is just the brilliance of the likes of the just mentioned track which confines their appeal rather than any shortcomings. Nevertheless songs like Daniel Johnston’s True Love Will Find You In The End and the closing Two Of Us with a full dual vocal presence for the first time only ensure the album ends on a satisfying high.

If you have any doubts about Runaway Orchestra project or album allow us to say dismiss them and enjoy one impressive musical attraction.

8/10

www.facebook.com/RunawayOrchestra

RingMaster 15/04/2013

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Disraeli & The Small Gods Guildford Boileroom Saturday March 30th

photo&copyright Sam Allen of Momentum Event Photography

The pleasure and excitement ingrained in the passions from debut album Moving In The Dark meant that there was a heightened anticipation for the appearance of Disraeli & The Small Gods at The Boileroom in Guildford. Could the septet evoke the same power and emotive grip on thoughts and heart in the live setting as on their stunning album as well as find the richness of sound and temptation within their irresistible hip hop/folk fusion was the question on the mind on the way to the venue for this date on their so far very successful tour.

The turn out on the night looked slow initially but it is not unusual to find people turning up later in the evening at the venue from past experiences, and so it proved to the pleased satisfaction of show promoters TST Live Music Surrey, who provided us with a real treat, watch out for their future events is our advice. The evening was sparked into action with the fine and unexpected impressive presence of Grace Savage. Already renowned as the UK female Beatbox Champion of 2012, there was slight expectation of it just being a display of her undoubted talents to set things off, but instead what charmed and warmed the air was a blend of her stunning

photo&copyright Sam Allen of Momentum Event Photography

skills into a performance of vocal and musical strength brought with a creativity which was just immense. To begin with Grace looked nervous yet confident with only the later aspect soaking her first full song Wrecking Ball. From a beatbox tease which had people instantly opened mouthed, Grace left no one in doubt to her singing ability, harmonies and notes as subservient to her vocal skills as the craft to beatboxing is to her inventive imagination and ability. The first track was sensational and the power she demonstrated not to forget the melodic beauty, quite sensational, whilst the two guys alongside her sharing bass and guitar duties for each song, a perfectly restrained yet rich presence to her instantly impressive display. Merging more beatbox skills in demonstration and song was enthralling but it was the actual songs like the commanding Animal and, forgive us if the wrong title, Prowler which left a fire of thrilled pleasure inside. With an album in the works, Grace Savage is an artist to keep a close ear upon for she will undoubtedly be huge at some point, ironing board and all (an emergency substitute for a forgotten piece of equipment). It must be added, and surely I was not alone, that Grace inspired a personal attempt at her amazing skills on the way home and even using multiple orifices, it was a lost cause.

The appearance of Dizraeli and his musical cohorts was met with such great excitement that you sensed the crowd was more than knowledgeable towards the band. They immediately seized the ear with We Had A Song, the word conjuring and expressive delivery of Dizraeli leaping around thoughts with electric breath and emotive infection whilst musically The Small Gods weaved their own contagious design. The song was an instant magnet which captured the majority of the venue, apart from a few with ardour for their own voices, though all succumbed not long after. As refreshing as the sound was the natural between song engagement between band, especially Dizraeli, and the audience, a mutual tease which brought an inclusion of all to the night something quite satisfying compared to the  usual we are the band watch us scenario so many artists still hide behind. It enclosed the atmosphere into a more personal embrace which impacted on the lyrical narrative which drives the passion of songs even more potently in the live landscape.

photo©right Sam Allen of Momentum Event Photography

With songs like Sailor and the excellent To The Garden, the voice of the audience rose in energy and hunger to match the sounds with the first explosive crescendo of lustful energy coming with The Instanbul Express, a pre-show favourite of a great many one suspects such the riotous union between the passion inciting piece of music and eventful bodies. The track proves just how inventive and powerful the band is, and addictively creative with the rampant beats of drummer Paul Gregory just one example of how the individual musicians cage finesse and unbridled musical boisterousness with skilled ease. Such the fire and  impact of the track one suspects the heat generated at that moment in the  room was detectable from space.

The lyrical painting of Dizraeli was easily as striking live as within their studio recordings, something which arguably surprised as you could imagine its clarity being defused within the furnace of stage performance but within tracks like A Trick Of The Moon and Little Things as just two examples, it found an even greater impact on the night, beautifully enhanced by the seductive voice of Cate Ferris as well as her flute magic, and the guitar imagination of Lee Westwood, who also offers great vocal support. The sirenesque tones of Cate especially add another dimension to songs in sound and emotion and again find another depth and flavour live, as shown with her stunning solo song, her voice seducing alone to impossibly transfix a crowd with goosebumps running their fingers down the back of most necks there I am sure.

From Strong Bright the night began its rolling crescendo of a climax which lasted over five songs, each conspiring together to leave the audience blissfully exhausted and enraptured. The outstanding Moving In The Dark brought another rise in temperature with no one by now sat flat on their heels whilst the two recent singles brought everything to a head, ably helped by another treat splitting their incendiary presence. Nevermind threw the local emergency room into panic such its hypnotic temptation on the feet and heads of the audience, whiplash a distinct possibility, whilst the show closing Million Miles had every ounce of energy physically and vocally from band and moving onlookers spent.

Not forgetting in many ways the less dramatic presences but certainly no less stunning craft of DJ Downlow, Jules Arthur, and the upright bassist who was new to me and whose name escaped detection on the night, the performance combined was unquestionably one of the most impressive and importantly, enjoyable encounters for the senses for a long, long time, and the whole gig itself a real treat to linger in the memory..

There are good shows, there are great shows, and there are Dizraeli & The Small Gods shows, DO NOT  miss them if playing in a town near you.

https://www.facebook.com/Dizraeli

https://www.facebook.com/gracesavageofficial

https://www.facebook.com/livemusicsurrey

RingMaster 02/04/2013

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Dizraeli and The Small Gods: Moving In The Dark

     

     Having already captured the heart with their singles Never Mind and Million Miles, UK band Dizraeli and The Small Gods has now seduced and mastered the soul with their stunning debut album Moving In The Dark. As evocative and seductive as it is powerfully provocative, the album seizes thoughts and emotions with a dramatically impacting innovative voice coated in a towering imagination driven mesmerism. Fusing a creatively individual form of hip hop with an equally inventive passionate folk embrace, the band creates music which reflects and discusses with the passion of an activist, issues in social and personal politics whilst wrapping it in sounds and ingenuity which alone has the power to opens up emotive points of view and reactions in the listener. It is a sensational album, a force of pure joy and invention.

The seeds of the band began in 2009 with some of its members already involved with the solo album Engurland (City Shanties) from award-winning rapper and multi-instrumentalist Dizraeli and part of its taking to the live setting. Dizraeli himself had already won BBC Radio 4′s Poetry Slam contest in2007 for his instinctive alchemy with words and the following year won the Spirit of the Fringe award at the Edinburgh Fringe Festival for the dystopian hip hop play, The Rebel Cell created and performed with fellow wordsmith Baba Brinkman. Moving forward with an inevitability such the musicianship involved on the album and shows, Dizraeli and The Small Gods emerged in its own right and has already apart from releasing the two stunning singles lit up stages across the UK and Europe, under taken a very successful tour of Germany, and thrilled main stages at festivals including WOMAD. The seven-piece ensemble consists of Dizraeli, Cate Ferris (vocalist, flute), Lee Westwood (guitar, backing vocals), Paul Gregory (drums), DJ Downlow (DJ, backing vocals), Jules Arthur (viola, keys, backing vocals), and World Female Beatbox Champion Belle Ehresman better known as Bellatrix (beatbox, double bass), and with ease has strong claims as being the most original, diverse, and richly compelling conjurors of passion igniting music around today, the proof being their impossibly magnificent  album.

Released via ECC Records, the album emerges on the brief tide of Odd Creature to step into the immediately stirring grip of We Had A Song. With pulse throbbing beats carrying a flattened resonance alongside shadowed female melodic cries they make a keen wrap for the vocal agility and enticing lyrical poetry of Disraeli. The song soon makes moves on the senses and emotions with a warm tenderness for yet forthright reflection on a specific breath of life. Across the album the rapper and lyricist has the powerful skill of looking at or portraying a small personal or singular aspect, the little things to use the name of a song further into the release, and have them seamlessly and potently translate to a wider and expansive worldly representation, the opener just the first stirring example.

From the impressive start matched by the delicious folk dance of Was A Rapper and the mischievously intriguing and anthemic title track, the album explores and stretches thoughts further with the formidable impacting caress of Strong Bright. A lone guitar and agitated beats shuffle in to view initially within a persistent niggling tease with a certain warning persuasion, setting up the ear with an eager appetite for the colourful narrative of Disraeli accompanied in places by the stunning vocal elegance of Ferris. Combining a continually evolving musical tempest of ideas and flavoursome imagination with equally inventive percussion and irrepressibly pertinent vocals, the descriptive atmosphere and breath of the track brings the in place ardour a new lustful hunger for what is to follow.

The eclectic sounds and craft of the album makes it an inspiring and enthralling temptress throughout with sirenesque lures at every individual tapestry of emotive storytelling and musical enterprise it weaves. The wonderful The Istanbul Express is a perfect example, its exotic instrumental and sultry mystique the perfect curvaceous musical lover to tempt and spellbind senses and heart. The likes of the vivacious Sailor with its vocal ear fondling from the mix of Dizraeli, Ferris, and guest vocalist Jam Baxter, as well as its haunting bass intimacy and psyched stringed taunting, and the noir blessed reflective smouldering White Rum, bring their own unique empowering presences to stretch the album and listener pleasingly further..

Surrounding the just mentioned pair of songs the previously mentioned singles lay in wait to tantalise and intoxicate; two pieces of genius which sing in heart and thought as devilishly as they do the ear such their irresistible infection and majesty. Starting with a Parisian sway and open invitation, Never Mind romps cunningly with the senses and passions, its harmonic swagger and carnivalesque stomp added to the inciting lyrical hug with a definite wink of the eye at play, the most glorious teasing with an almost sadistic wantonness to its allure and impossible not to bounce in union with physically and lustfully. Million Miles also opens with ear catching mischief, this time with the scything strings of the viola and thumping rhythms from drums, as well as magnetic percussion spicery and the again victorious bass. The tale of eternal lovers lost amidst chaos comes to life through the rap accuracy and lyrical prowess of Dizraeli and the golden flames of Ferris. Already the album has cast her as a vocal enchantress with her stunning tones but this song is her finest most magnetic moment, her glorious fire of sound igniting the skies of the song with beauty and emotive passion. The song is not just about the pair though as musically the band lie heated textures and flavours into an electrified and beautifully carved encounter with the throaty deep resonance of bass and one point a singular beat making the most impacting co-conspirator to the building fire of Ferris and waspish vocal craft of Dizraeli.

Further highlights come with the emotional Celtic folk tempest of There Is A Way with both vocalists telling the tale of a life trapped in the torment of drugs and demons upon a stark drone and imposing atmosphere, and Little Things with its precisely woven insightful imagery, piano discord, and stirring melodramatic whispers. A song inspired by the grandmother of Dizraeli, it is another stunning and emotionally impacting portrait. Every one of the fifteen songs on Moving In The Dark though are incredible in their very unique stances and characters with the closing The End Of The World another riveting and fascinating thought piercing glory. Dizraeli and The Small Gods has created a masterpiece of beauty, imagination, and emotively soaked inventive contagion, as well as undoubtedly the best album to bless 2013 so far.

http://www.dizraeli.com/

10/10

RingMaster 24/03/2013

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Sam Lee: Goodbye My Darling

Photo -rick pushinsky

Taken from the impressive The Ballad Of George Collins EP, new single Goodbye My Darling from UK singer songwriter Sam Lee is an enchanting yet quizzing piece of invention which evokes and provokes with craft and imagination. The song also featured on the 2012 Barclays Mercury ‘Album Of The Year’ nominated album Ground Of Its Own, the release which brought Lee to the attention of a much wider recognition. It is a song which haunts the senses in the most appealing way whilst in its company and beyond, a piece of music and lyrical evocation which ignites thoughts and imagery with elegant persuasion.

From North London, Lee was a graduate of the Chelsea College of Art  and has been a teacher of wilderness survival skills (having been trained by Ray Mears), a part-time Burlesque dancer, and musically served an inspiring four-year apprenticeship under the legendary, late Scottish Traveller, and balladeer, Stanley Robertson, to whom his album is dedicated, before becoming inspired to research and document traditional music, a craft which has since led him to become a regular visiting lecturer to Goldsmith’s College and Newcastle University, as well as  becoming the first folk singer to teach at the Royal College of Music. Spending plenty of time visiting Stanley in the North of Scotland in his twenties, Lee also built up a vast repertoire of traditional songs as well as gaining ancient, idiosyncratic singing craft. This has all translated and merged into his music of which Goodbye My Darling is a captivating and endearing example.

Brewing its presence within a slightly blistered low key droning electronic persistence with ear picking tones of folk based strings, the song opens gently with the raw but expressive baritone tones of Lee spinning their infectious emotive weave. Slowly escalating its presence with a continual addition of varied strings and simmering energy which gradually finds an increase in urgency, the track takes no time in becoming a fascinating and resourceful companion. The initially restrained smile of the song beams broadly as the now bolder stroll approaches and basks in the invigorating climax, the imaginative track leaving behind a full and rich satisfaction whilst giving the richest pleasure during and after its beguiling company.

Goodbye My Darling is a magnetic introduction to Sam Lee and to the charms of traditionally seeded invention he designs, a release for all to investigate with open arms.

http://samleesong.co.uk

8/10

RingMaster 11/03/2013

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Dizraeli and The Small Gods: Million Miles

After being seduced and excited beyond legal limits by the single Never Mind there was a certain lustful teenager like anticipation when finally getting hands on the new second single from Dizraeli and the Small Gods, and it rewards with original and innovative charm.  Million Miles is another distinct delicious stomp of folk hiphop from the English band, another exceptional tease and conspirator in the brewing impatience and anticipation towards Moving In The Darkness, their debut album.

Dizraeli and the Small Gods formed in 2009 out of the solo album Engurland (City Shanties) from rapper/multi-instrumentalist Dizraeli, many of the band performing on and touring the release. The Bristol septet took no time in grabbing attention including winning a slot on the West Holts stage at Glastonbury, collaborating with Shlomo at the Queen Elizabeth Hall, and lighting up stages across the country. Never Mind with its accompanying video took the band up another level to the ears and lips of a great many more fans and eager media attention.

The ECC Records released Million Miles continues the inspired evocative songwriting and inventive sound of the band and again the line-up of Dizraeli, Cate Ferris (vocals), Jules Arthur (viola), Lee Westwood (guitar), Bellatrix (bass), Paul Gregory (drums), and DJ Downlow, inflame the senses and heart with staggering ease and stunning imaginative strength.

As the viola chisels earnestly at the ear vociferous bulges of rhythms and scatting beats saunter up below vocal sways from Ferris in the skies of the song. It is an immediate enchantment with an uncomplicated mesmeric swagger which tells all about song and its passion. Dizraeli steps forward to begin his side of the tale of two lovers courting and finding love amidst the madness conflict with his usual distinctive lyrical prowess and compelling style and once the glorious tones of Ferris ignite the senses and atmosphere with her stunning voice and smouldering touch, the song has fully enveloped and persuaded heart and soul into its emotive world.

The song is a sultry storm of eclectic and varied flavours and textures fused into a free flowing almost deceptively simple piece of wonder with the grandeur and beauty that love shadowed or in full fire can bloom. Completed by a fuller version of the single, an intriguing remix by Shamanic Technology, and the emotional Celtic folk tempest of There Is A Way where both vocalists singing upon an unsympathetic quelled drone and stark atmosphere tell the tale of a life trapped in the torment of drugs and demons, Million Miles is just exceptional.  The single confirms the stature of Dizraeli and The Small Gods as one of the most exciting and inventive artists in the UK right now…just wish they would hurry up and release their album though.

http://www.dizraeli.com/

10/10

RingMaster 04/03/2013

Copyright RingMaster: MyFreeCopyright

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The Peter Ulrich Collaboration: The Painted Caravan

    The Painted Caravan is an album which offers a gamut of emotions and inspires just as many in the listener. Occasionally it puts pressure on patience and in other moments leaves unsure thoughts and questions behind from its wash of creative intrigue, but given time for its creative argument to make its persuasion, the release from The Peter Ulrich Collaboration emerges as a resourceful, imaginative, and quite compelling release.

Peter Ulrich, the former Dead Can Dance and This Mortal Coil percussionist, has drawn much acclaim for his solo work since his enthusiastically received debut album Pathways and Dawns of 1999. The following Enter The Mysterium album of 2005 equally received impressive responses critically and with contributions to the 2009 album Ovations from Piano Magic and a guest live appearance with Daemonia Nymphe in London in 2012 amongst many things Ulrich has remained a stirring musical presence. With The Painted Caravan he returns with his most expansive sounding painting of a release yet, an album with a concept originally conceived and developed by Ulrich and Trebor Lloyd, the CEO of Canyon Records. Its realisation is aided and brought to life by a core of contributors alongside Ulrich and Trebor in David Steele (vocals/guitar), Sara Wendt (vocals), and Anne Husick (guitar), with additional contributions from other accomplished musicians. It is a collaborative effort which ripples with invention though arguably lacks the definition and consistency to ignite the passions as often as it should.

Released though Market Square Records, the album immediately immerses the listener in its colourful creative visual canvas with In This Or Other Skin, a song of war, loss, and passion soaked in simmering despair and a melodic heart. It is impossible not to be mentally taken across the Mexican border especially with the brass cries offering their gentle mariachi caress, and with the expressive vocals of one presumes Steele and the excellent aural kisses of the vocals of Wendt, the feeling of loss wrapped in reflective emotion is a delicious weave upon the passions and an strong impressive start to the release.

The following Pureland is another smouldering kiss upon the ear, the celestial harmonies and Gregorian like chants behind the golden tones of Wendt, mesmeric to the point of being siren like. Steel guitars of some descript add an off kilter tease to the track for further pleasure further enhanced by loping percussive beats and continually shifting harmonies. It is an inspiring and evocative encounter where the use of ethnic instruments and sounds, not for the first time on the album, leave a tingle of mystique and excitement behind. Further songs within the release employ the likes of Uilleann pipes, bagpipes, ocarina, Yuet ch’in (Chinese moon guitar), Mayan drum, Wagner tuba, and darabuka, to name just some and all bring a voice and colour to the release which is irresistible.

The Secret Gardener has a psychedelic breath to its seductive stance but loses out to the previous songs due to the less successful vocals. To be honest it is hard to tell which male voice belongs to which musician across the album with no sleeve indication but here they do not match up to those in the opener which is a shame as it defuses the quality of the song rife with dramatic brass flames, reminding of latter Teardrop Explodes, and stylish blues tinged guitar. The same problem hits Dark Lover, the lead vocals assigned to Jen Elliot and sadly for her up against Wendt she struggles to light any fires, though the song is still an enterprising Eastern European spiced involvement.

Across the album there are other songs and moments which do not quite live up to others though all are close calls rather than badly conceived ideas. Further major highlights which do excel and lift the passions continue with the new single from the release Children Of The Rain, the dramatic Drug Of War, and the traditional sounding folk ballad Hanging Man. The single is a magnificent summer of melodies and emotive warmth led by a glorious five pronged lead vocal persuasion from Wendt, Jen Elliot, Steele, Ulrich, and Saskia Dommisse, and though a little New Seekers-ish it is a joyful companion for the ear and thoughts. The second of the trio grips a strong vibe of The Mission and Dead Can Dance to add to its sinewy folk march and stands as the finest moment on the album whilst Hanging Man is a haunting tale of dark shadows and sinister deeds hypnotically brought by Wendt upon heavy impassioned melancholic sounds.

With the discord joy Fanfare For The Lost Tribe and Love’s Skeleton arranging final elevated pleasures, The Painted Caravan is an excellent album, and though it has times where it goes a little awry it is in hindsight as much down to personal preferences as to missed opportunities. The album is certainly one which deserves at the very least a moment of every ones time and stands as a release to  leave the listener engaged, involved, and satisfied.

http://www.facebook.com/UlrichMusic

7/10

RingMaster 04/03/2013

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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