Ape Rising – Self Titled

It is hard to believe that it is five years and a few months ago that we were tantalised and hooked on the melodic dexterity and acoustic mischief of The Radioactive Grandma and their debut album, the fact that numerous of its tracks from it are still a regular part of our intimate listening for pleasure moments. Ready to re-energise that playlist, the outfit has returned with a new offering to grip ears and seduce the imagination.

It is not quite as simple as that though. Firstly the Co Cavan and Maynooth hailing band is now called Ape Rising and where once a trio it is now a tenaciously inventive quintet. Band originals in vocalist/guitarists Johno Leader and Peter Donohue are still there leading the way in melodic enterprise and lyrical suggestiveness but now joined by keyboardist Peter Denton, drummer Fran Mc Donnell, and bassist Jimmy Deface who is/was also one half of the excellent duo Juggling Wolves alongside Leader. Whether it was the need to recruit new members or the evolution of their sound which inspired the new moniker, or as hinted at elsewhere a dubious porn site taking their previous domain name, it certainly comes with a fresh wind of invention and a broader array of sound with the outfit; a blend simply lighting up their new self-titled treat.

Their acoustic prowess is still in evidence but embraced by a new indie/progressive/math rock venture which truly refuses to sit in any camp but embraces plenty of styles and flavours within its retro kissed synth inspired adventure. To say it is magnetic from start to finish does not do the increasing irresistibility of the album justice. It swiftly gets under the skin and engagingly niggles away whether with or without its company. It all starts with In Their Masses, the song rising from an initial ignition sparking sample in a melodic haze before guitars begin weaving their suggestive enterprise around the vocal prowess of Leader and the assisting tones of Donohue and band. Perpetually blossoming second by second as melodies and harmonies cluster, a seventies synth essence brings its flowing colours to the creative canvas. It is just one of the emerging traits though, a raw alternative growl having its moment in voice and sound too before things settle back into the track’s gentler yet still fiery seduction.

The song is pure temptation sparking things off and setting the heart of the release in fine style before being eclipsed by the following Oddysee. Straight away a great nagging hook is at work, its touch part celestial part espionage like resembling one of the teasing attributes of those classic sixties/seventies spy/sci-fi TV show themes. From its intrigue, a strolling body of infectious energy and endeavour surges, spun by guitar and keys as rhythms dance boisterously around zeal fuelled vocals. There is theatre in its nature, adventure in its heart; a combination with individually cast bold invention unites to simply hit the spot.

There is a bit of early Jimmy Eat World to next up King Of The Universe, Denton’ s keys bubbling with that ever present seventies  revelry alongside the irresistible acoustic craft of the guitars. Incessantly catchy to feet, neck muscles, and appetite, the song whisks the imagination away into its own climate of warm temptation; a plateau frequented just as captivatingly by Divide where imagining Young Knives and KingBathmat fused together gives an idea of the enticing progressive hug of the song and its graceful voice.

Keeping Me Away is a slice of indie rock ‘n’ pop which has the body bouncing with just its first eager strum, and swinging by the time keys swarm poetically across high-spirited rhythms.  Of all the songs within the album, this has the boldest Radioactive Grandma feel to its swinging body but it comes with the organic infectiousness which made eighties outfit The Woodentops so glorious, and now adds the same addictive quality to Ape Rising.

The calmer reflection of Medicine Part 1 shares a poetic suasion which reminds of songwriter/composer/musician John Bassett while Medicine Part 2 loads all of its predecessor’s assets into its own rousing sortie on ears and imagination, at times bewitching like a hybrid of Yes and Voyager. Numerous tracks make a play for best honours but this always stands at the front of the pack with every listen.

It is probably fair to say that To Daze The Day I borrows something of Juggling Wolves for its emotive canter but a stroll which bubbles with an energy which borders on raucous as keen invention simply lights up ears and the passions with an unrelenting imagination.

New single, The Model Prime skips in next; its melodic dance and harmonic sways animatingly lighting the song’s retro tone and mesh of glowing flavours. Like a siren it calls on ears and the spirit, unafraid to add unpredictability to its warmly cast temptations before the shuffle of the album gets even more kinetic within Joysticks & Stones, a song which at times has a touch of eighties band Furniture to it and in other moments the more hot-headed devilry of someone like Bloc Party.

The album finishes on the lustfully simmering progressive pop of Flicker and finally the pop rock beauty of 6 Eight 7. Both tracks simply match the pleasures before them with their own ear stroking, spirit stirring enterprises with the stunning first again having a great KingBathmat vibe which can never do any harm while its successor offers an acoustically nurtured samba which excites the senses with its unrelenting and greedily accepted infection.

The Radioactive Grandma will never be forgotten here or lose their spot on for pleasure only listening but now they are joined with equal zeal by Ape Rising, a proposition sure to drive you to highly pleasurable distraction.

The Ape Rising album is out now @ https://aperising.bandcamp.com/ and through other stores.

https://www.aperising.com/     https://www.facebook.com/ApeRising/    https://twitter.com/Ape_Rising

Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright

Stripped down and bouncing: venturing into the lively world of Cinders

Exploding on the Salt Lake City music scene in 2015, Cinders has been a bundle of great sounds and fun luring fresh waves of new fans year by year, song by song. Their diverse indie-pop/alternative rock sound has been acclaimed by those fans as “rowdy acoustic pop”, a tag which perfectly fits their releases to date and a live presence which leaves a venue smiling breathlessly. We took the chance to find out more about the sextet with both hands, chatting with the band about beginnings, music, the lure of their live shows and plenty more…

Hello all and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started?

Chelsey: Well- we have Adrian our ’emo punk’ that studies jazz, Jordan ‘the one who never grew up’, Montana our ‘spikeball extraordinaire’, Austin ‘the one with the dad jokes’, Brad ‘the sex appeal’ and me…. band mom. We are just a bunch of geeks that like music.

I would say the vision of Cinders came from Montana and Jordan. As to how we all came together, some members of the band are long time high school friends, work friends, others met later in life while living in Tennessee, and even social media has played a large part in the formation of Cinders.

Have you all been involved in other bands before? If so how has that possibly shaped what you are doing now?

Austin: Everyone has had experience in bands prior to Cinders, even if that experience was jazz band, wind symphony, or marching band… Jordan, Montana, Adrian, and Brad all played in “cool” high school bands. Adrian and Chelsey both studied jazz in college so between the 6 of us we have a lot of experience in many different styles of music.”

What inspired the band name?

Montana: It was the title of a terrible song we wrote in high school, and we thought the name was super cool and deserved more than just that terrible song. It was also the very first song Jordan and Montana ever played together about 7 years ago.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Jordan: None of us have really ever had a backup plan in life ha-ha. We found what we wanted to do and we are going after it! Music is everything to us and when you find 6 people who all have the same goal in mind, work just tends to get done. We are all pretty happy and positive people and think that the world could use a bit of a more hopeful sound. So although not all of our songs have the happiest lyrics, we try to keep in that hopeful tone to spread the feeling that everything will be okay and life is good.

And that still primarily drives the band or have they evolved over time?

Montana: I think we can all agree that of course the love for music drives us, but nothing drives as like crowd interaction at shows. Seeing them dance to the rhythms and hearing them scream the lyrics is the most rewarding feeling on earth.

Since your early days, how would you say your sound has evolved and has it been more of an organic movement or more the band deliberately trying new things?

Jordan: The band started off a bit more calm and chill until we performed live. We would be jumping, screaming, and stomping on stage to acoustic songs sans drums and it was awesome! It helped us realize more that people want to see a show and they want to see a band loving what they do for a living. I think we have all been to those shows where the band looks sad and stands still the whole time. After the show is over I’ll sometimes hear them saying “that was the funnest night of my life.” you can do those same things at a funeral (though at the end of the day they probably wouldn’t say it was the funnest day ever). We wanted to start creating music that fit our live performance better, so we did, and we still are. We want to whole heartedly say each night “This was the funnest night of our life.” Our fans come to have a great night, so that is what we work to give them.

You touched on it earlier, across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approaches and ideas to creating and playing music?

Jordan: We definitely come from very different musical backgrounds, but that is something we root ourselves in and take pride in. Music is not one sound or genre so we don’t want to be that either. We want to sound like who each of us are. Every Cinders song is like a cake. The cake isn’t all good, big and pretty until all the ingredients and frosting are added. We are each an important ingredient (Chelsey and Austin are the couple on top of the cake). So I guess the inspiration comes from trying to see outside of the box. Yes it has definitely helped us to look at music in a more open way!

Is there a regular process to the band’s songwriting?

Brad: So the songs at the beginning generally come from Jordan’s or Montana’s mind. With a few ideas, a riff, or some lyrics. Once we get something tangible to work with, I’ll usually record some drums for them. And then bit by bit we each add ideas and mess with it. Montana works his pro-tools magic and next thing you know we’ve got a solid demo, or a song.

Where do the prime inspirations to the lyrical side of your songs come from?

Jordan: Personal experience, words with friends, rhyming dictionaries, childhood books ha-ha. It comes from everywhere. I feel like all of us writers have very strange minds. They are like caves full of thoughts waiting to come out, it is just a matter of searching hard enough to find them. That search can be very tough but super fulfilling.

Would you give us some background to your latest release and some insight to the themes and premise behind it and its songs?

Brad: Our latest release is our acoustics vol. 1. We love to rock out, but we also love the chill feel of stripping everything away and revealing the songs as they are by themselves. We call it vol. 1 because we plan on doing an acoustic vol. 2 of course. Not for a while though! 😉

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Adrian: For our first record we had the mentality of the final state is what we were recording. And then we would only slightly modify what we had. But that has definitely changed. We are now working on demos and having a group production phase to our songs.

Tell us more about the live side to the band, presumably the favourite aspect of the band and as many bands will attest to, it is not easy for any new band to make an impact regionally let alone nationally and further afield, how have you found it your neck of the woods?

Adrian: Our fans are definitely our favorite part. We wouldn’t be a band if it wasn’t for them. And as for the opportunities out here in Utah they are great. Utah has a great sense of community in live and local music.

How has the internet and social media impacted on the band to date?

Jordan: Social media is awesome! It has created a way for artists and fans to communicate and connect in ways they never could have 20 years ago. We really owe it all to our friends and fans who have shared our music all over social media to help us get to where we are! Wherever our fans are, we want to be there as well. So we have loved being able to keep them updated with photos and videos of each show. We have even started a Patreon so that they can be a part of the writing of our new album! The music industry is changing and I think social media is a huge part of it and I think it is very positive.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Thanks again for having us, we really appreciate it. To those reading, we love you and are so grateful for all of the support you have shown us! Thank you for everything and look forward to #album2 coming soon!

Check out more about and from Cinders @ https://www.facebook.com/cindersmusic/ and http://www.cindersmusic.com/

Pete RingMaster 19/07/2017

Copyright RingMaster: MyFreeCopyright

Will Lawford – The Repeating Waltz

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Ahead of his new EP, Young Adult, UK acoustic singer songwriter Will Lawford leads the way to the creative arms of that forthcoming encounter new single The Repeating Waltz. An evocative union of voice and guitar, emotive expression and melodic suggestiveness, the song provides numerous reasons why the Basingstoke musician is stirring up attention.

Will Lawford art-RingMasterReviewFrom his studies in music, the Hampshire-based Lawford has provided a fresh breath in sound and his blend of complex metaphors crafted with simple words and nimble melodic enterprise shaped by the persistent strum of his guitar. The Repeating Waltz is a highly flavoursome example, its honest air and attitude as emotionally entangled as it is boisterously lively and alone providing evidence as to why Lawford is growing in reputation and support to back a potent live stature earned across the South of the UK through festivals and shows.

From its first breath, The Repeating Waltz is a gently nagging insistence of guitar chords, an enticing which ebbs and flows in energy without ever defusing its enjoyable badgering of ears and imagination. Vocally Lawford is just as ear catching too, his tones undemanding but holding a character easy to want to hear more from to match in tempting that of the lyrical adventure they offer.

With a sixties scent to its creative nature, The Repeating Waltz is a great introduction to Lawford and in turn the upcoming Young Adult EP; a teaser which gets under the skin and into a welcoming psyche.

The Repeating Waltz is out now with the Young Adult EP set for release July 1st.

https://www.facebook.com/willlawfordbandpage/   https://twitter.com/will_lawford

Pete RingMaster 10/06/2016

Copyright RingMaster: MyFreeCopyright

Erudite Stoner – Self Titled

Erudite Stoner_RingMasterReview

There has been quite a few ear seducing instrumental albums over the past year or so but it is hard to remember any as charming yet emotively striking as the self-titled debut album from Erudite Stoner. A one man acoustic based project from Brazil, the band creates music which simply immerses the imagination in beauty and suggestive intrigue. Nothing is imposing and no elements forced, but sound and album provide the paint for a myriad of mental pictures and emotive explorations.

Erudite Stoner is the creation of Matheus Novaes, a guitarist leaning on inspirations from the like of Alcest, Agalloch, Gustavo Santaolalla, and Ulver for his first album. Weaving the potent scents of post-rock, shoegaze, doom, and classical guitar into his sound, the Erudite Stoner freely and so often sublimely caresses ears and strokes the imagination across nine tracks of aural majesty. The pieces of music are the perfect length, never too long and over pushing their persuasive limits but equally never too short and leaving the conjuring of imagery adrift. Together tracks create a seduction hard to get enough of and easy to drift away with time and time again.

The release opens with Spiritual Deliverance, a piece of music initially wrapped in nature’s lonely hug whilst sharing melodic melancholy. A warmth and escape from that harsher climate subsequently surrounds ears, the embrace of acoustic and electric guitar as gentle and descriptive as it is at times dramatically tenacious. It is a bewitching start to the album which continues in the similarly melancholic Alienist. Darker hues line the track’s scenic tempting of melody and tone though, essences flirting with thoughts like shadows in the shade of a lonely yet mesmeric day.

art_RingMasterReviewThrough the emotive fascination of Ride to Nowhere with its sultrily melodic calm and the elegant theatre of Far Away From City Walls, imaginative interpretation and pleasure only increases. The second provokes thoughts of innocent smiling children within depressing and oppressing landscapes; a superb merger of contrasting shades of sound and emotion skilfully woven before the riveting majesty of There is No Home sends the listener into new and quaint but equally cosmopolitan lands.

The song, as with the craft and skill of Novaes, easily inspires praise, their tempting and composing creating the most inspiring and engrossing moment yet within the release though it still gets eclipse by emerging favourite Waiting For the Storm. Listening to the track is like its title’s suggestion with a melodic peace initially romancing ears and attention while around it slightly darker essences are glimpsed and eventfully felt in a dynamic and deliciously intensive finale. The piece is simply irresistible, a rousing companion for ears and thoughts.

The pair of Sand Path and Roads to Somewhere continues to keep both those aspects busy, each providing their own individual and tempting palette of melody and emotive expressive for the listener to wrap themselves in before the brief and folkishly intimate Left Behind brings the thoroughly enjoyable and bewitching adventure to a close.

Erudite Stoner, band and album, is a proposition of sheer beauty which it is hard to imagine anyone failing to be easily touched and seduced by. Go treat yourselves is our sole recommendation.

The Erudite Stoner album is out now @ https://eruditestoner.bandcamp.com/releases

https://www.facebook.com/Erudite-Stoner-784870508325321/?fref=ts

Pete RingMaster 19/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Venus de Vilo – Slashing Through The Snow

Venus de Vilo2_RingMaster Review

Bringing Halloween to Christmas with more charm and bloodlust than Tim Burton could ever imagine, Irish queen of the macabre Venus de Vilo recently unveiled her new Frightmas EP Slashing Through The Snow. Consisting of three tales of festive mayhem sculpted in the distinctive and seductive style the Dublin born songstress of the grave is increasingly renowned for, the EP suggests there is hope for the Christmas song after all.

Once more Venus de Vilo tempts ears and imagination with her mix of acoustic and vocal rockabilly/vaudeville inspired prowess, a sound and temptation littered with additional aural candy. It is a blend which has already lured acclaim for previous releases such as the Edgar Allan Ho EP and Handle With Scare; a creative haunting and bewitching trespass masked as songs which has also seen the lady light up Dublin’s rock/metal bars, Burlesque and Cabaret nights, and open mic nights for the past years. She is also an alluring artist and writer/poet amongst many things, qualities also adding to the enthralling package of Slashing Through The Snow.

artwork_RingMaster Review   Santa’s Slay is the first dark deed on the EP, Venus instantly enticing ears vocally as her fingers strum with equal temptation on her guitar. A twisted and uncompromising visiting from the guy in red, song and artist reveal the real bloody heart of the revered protagonist of the festive event. It is a gripping insight, the outstanding and persistently compelling voice of Venus as mischievous as it is creatively harmonic and a rousing incitement on the imagination alone, but especially when loaded with her lyrical devilry.

Second track Mistletoetag is a dark folk lined encounter, Venus colouring her words in the most open and strongest lilt of her accent heard before in her songs, which only adds to the pull of the siren-esque croon. Every noted element of the season is sinisterly woven into the dark romance taking the listener from the heart to the slab, each a flirtation drawing the imagination deeper into the beguiling treat playing like an intoxicatingly intimate Black Christmas.

The EP is completed by The Night Before Christmassacre which as expected twists the ‘traditional’ yuletide story into one of visceral foul play and inescapable outcomes. Venus spins a web of grim and murderous predation, entrails and body parts littering the superb piece of rouge red prose cradled by haunting harmonies and electronic ambience.

The track as both its companions is outstanding, Venus at her best and more whilst taking ears and thoughts on a thrilling horror stained ghost train ride, one stalked by the big bloke and his guts splattered beard. Christmas is the time when you find out if you are on Santa’s good or bad list, though it matters little in the world of Venus de Vilo as confirmed by Slashing Through The Snow; there you are going to get yours come what may.

Slashing Through The Snow is out now @ https://venusdevilo.bandcamp.com/album/slashing-through-the-snow-album-comic-book-and-killendar-2016 and includes illustrated lyrics, comic book, and the digital version of Venus de Vilo’s 2016 “Killendar”.

https://www.facebook.com/VenusDeViloTheVoiceOfHorror   https://twitter.com/VenusDeVilo

Pete RingMaster 11/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Feanor Omega – Anima

Feanor Omega Live2015

It may be raw and at times uncomfortable on the senses but Anima is equally one fascinating invasive proposition. The debut solo album of Feanor Omega, an Austrian musician with a long list of projects and bands played with on his CV, including Sakrileg, Make A Change… Kill Yourself, Tongueless Cuntkiller, and Scargod, Anima is an absorbing and ferocious embrace of styles and textures within unpredictable and atmospheric black metal climates. At times it is a corrosive listen and in other moments a melodic seduction, but from start to finish ears are held and thoughts relentlessly intrigued.

With just bassist Mike Hell (Disastrous Murmur, Sakrileg, Scargod) alongside and an occasional guest contribution, Carinthia hailing Omega creates a series of individual yet emotionally united soundscapes which absorb and immerse the listener with varying effects. It all starts with Waiting and a gentle melodic caress of guitar. There is an immediate calm and elegance which washes over the senses though in the background brews a darker more tempestuous air. Its break through is not as ravenous as first expected, beauty and raw causticity uniting to temper any emotional trespass whilst similarly potent clean vocals mingle with pestilential squalls as the track ebbs and flows with intensity and dark charm.

Bracing sonic winds brings Otherworld swiftly into view next, the track opening with a cloudy imposing atmosphere though one soon showing clearer melodic skies crafted by guitar and again clean vocals. Everything about the song and indeed album has uncertainty though, an unpredictable breath which means nothing can be taken for granted, any peaceful passage coming lined with threat or a ruinous underbelly whilst any destructive incitement carries the means to fluidly slip into calmer if still intimidating waters.

ANIMA_cover_web   Risen is such an example, its opening oasis of melodies and nature bred flirtation soon the centre of a tsunami of sonic ravaging and rhythmic hostility yet that too has its own invasive beauty lit by the maelstrom of vocals. It is not an easy listen at times but continually an alluring one, which as the album itself, leaves the seeds to entice the listener back again and again. That fertile essence in an arid sonic landscape emerges again with captivating guitar craft from Omega, its beauty immersive in the ever waiting inhospitable air.

The bracing instrumentation of Drowning next inspires an equally enticing clean vocal delivery. Omega is not the greatest vocalist you will meet but one which really manages to sync his tones and vocal character with that of the sounds around him. It is a great track, a respite before the abrasing presence of Die Sonne Weint, though it too, as all songs, veins the ambient fury with emotive strands of delicious melodic enterprise. There is a serpentine air to the song, an insidious essence which seeps from every squall and pernicious blaze of sound and also prowls the following Noir even in its more temperate climate. The shadow loaded instrumental is a canvas for the imagination to paint, though its bare emotion and stark atmosphere is an instant incitement to spring ideas from too.

The twelve minute plus Epos: Anima similarly is a palette for thoughts and emotions, an asylum like air which underlining every second and sound of the black metal and acoustic union. If a little over long for personal tastes, there is no hiding place within the controlled bedlam of the track from its emotional rancor or its tantalising imagination.

Missing Home provides a turbulent and darkly charming finale to the album with bonus track Not All Those Who Wander Are Lost providing one last impressive piece of composing and instrumental poetry. Both tracks ensure a great end to the thoroughly intriguing and ultimately enjoyable proposition. It does test but also rewards across it magnetic length, and though Anima will be too much of challenge for some it is a proposal all black, extreme, and atmospheric metal fans should at least investigate.

Anima is available now on CD and digitally @ https://feanoromega.bandcamp.com/

https://www.facebook.com/feanor.omega

RingMaster 06/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

 

 

 

The Bivouac Detectives – Shooting The Breeze

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If you are looking for a mellow moment to wash away the grime and emotional trespass of the day then a date with The Bivouac Detectives is definitely in order. The British duo from Birmingham has just released debut album Shooting The Breeze, a twelve track seduction of acoustic rock ‘n’ roll providing chilled and often mischievous adventures for ears and imagination.

The band consists of vocalist/guitarist Norm Elliott, formerly of Norm and The Nightmarez and before that Micky & The Mutants, and bassist Mick Couch of psych/indie poppers The Oracle Project. Their union has emerged as Norm’s last band comes to a close and the Mick’s outfit releases their new single Shine A Light On You. The Bivouac Detectives has a distinctly different sound to both of those propositions yet equally fuses whispers of rockabilly instinctiveness and psych temptation into the songs which tantalise from within Shooting The Breeze. Recorded this past January and now released via Western Star Records, the album is a web of flavours colluding to present rock ‘n’ roll at its stripped down, expressive best.

With all songs penned by Norm and coloured by the united skills of both men, the album opens with Sant Amorai. Norm’s guitar instantly caresses ears with a melodic seduction, its tone and the song’s atmosphere sultry and melancholic simultaneously. It is a climate aided by wistful keys around tenderly plucked strings whilst the bass provides a slow croon in its own right, adding solemn hues to the tale being revealed by the distinctive vocals of Norm. The song borders dark country with psychedelic spicery and for four minutes plus has senses and thoughts transfixed.

11018871_369520576560947_6746865838487829245_n   The following Fine Memories brings a more folkish embrace, though yet again those emotive shadows show their magnetic faces again. An intimate reflection hugged by bass and guitar, the song serenades with a raw mesmeric charm before making way for the smiling enticement of Beyond the Planets and in turn the reflective/nostalgic commentary of Car Windscreen. The first of the two has that aural Englishness which no other land can emulate, a quaint and infectious devilment which has body and psyche bewitched whilst touring additional spices from further afield. Its successor has a sound which is almost Brit pop like in an acoustic scenery sparking thoughts of those sixties/early seventies visual dramas of real life from the streets.

That looking at the lives of those which came before across varied decades of Britain continues with the excellent Friends, King and Country, the tale of old soldiers and sacrifice. Melodies and bass hues cast a creative theatre which is shaped further by the striking narrative of lyrics and vocals, it all inviting ears and thoughts to be potently involved in an aural archive of life.

I’m Fallin’ In Love has the listener entranced yet again with its fifties rock ‘n’ roll croon. Vocals and melodies offer a cheeky twang to their exploits which can only be greedily devoured whilst the bass resonates with its own just as captivating tempting. The best track on the album it has the old school innocence and poetic simplicity which wrapped many a Buddy Holly proposal whilst Wilberforce Montgomery next, returns to that English folk bred persuasion of earlier songs and explores the fictional/real? tale of a soul earning his deserved attention only after a poor and unrewarded life has past.

The album’s title track lays its claim to the passions next with its blues rock temptation, again a vintage tang flavouring the thrilling stroll before the evocative romance of Under the Moonlit Tree dances with the imagination and straight after and the country blues theatre of Show Me Mercy grabs its own healthy share of the plaudits gathering thickly around the album. Like Elvis sings Tom Waits, Norm and Mick create a compelling persuasion bred from decades of musical seeding.

With a title like They Danced By the Light of the Moon you expect a lively romance of a song and the pair does not disappoint, entwining rockabilly and folk in an energetic yet smouldering embrace emulated by the song’s protagonists. It is another inescapable infection of a song, a rich continuation of the creative persuasion fuelling the album, though shaded a touch by the closing revelry of Badabadabadabada. You have seen those films and shows where the archetypal Englishman with the twisty moustache and striped smoking jacket flirt with and charm the ladies? Well this song is the musical equivalent. Once more that specific British sound pervades the imagination but in tandem with a fifties rock ‘n’ roll croon which comes so easily to the songwriting of Norm, as shown across his previous bands.

The song is a brilliant end to a tremendous release, an inspired and mouth-watering escape from the ills of the world if only for forty minutes or so. Hopefully this is the first of much more from The Bivouac Detectives, but if not, Shoot the Breeze alone has the potential to ensure the band gains and deserves a place on the weekly soundtrack of a great and increasing many. We do not want another Wilberforce Montgomery going on do we?

Shoot the Breeze is available now via The Western Star Recording Company @ https://itunes.apple.com/gb/album/shooting-the-breeze/id973800036

https://www.facebook.com/Bivouacdetectives

RingMaster 02/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/