Gazing into the fresh glow of The Cathode Ray with Jeremy Thoms

The Cathode Ray_RingMaster Review

Photo and copyright Peter Tainsh

2015 has provided many treats this year and definitely amongst them was the latest and second album Infinite Variety from Scottish indie band The Cathode Ray. It was an encounter embracing the nostalgia of the eighties through fresh and inventive escapades bred of the now. One of the band’s founders is Jeremy Thoms, he also the man behind the great indie label Stereogram Recordings, and someone who to describe as busy is a big understatement. Nevertheless, Jeremy kindly gave us a chunk of his time to talk about the album, The Cathode Ray itself from top to bottom and more, including an insight to his own musical loves…

Hi Jeremy and many thanks for giving us your time to talk with us.

Ever late to the party, we discovered The Cathode Ray through your new album Infinite Variety which came out a couple of months or so ago to, it is fair to say, swift acclaim. In a music world where it seems increasingly harder to actually get people to part with money or indeed offer full attention to things, did you have any particular expectations or hopes for its unveiling or is it more anything is a bonus for bands right now?

We didn’t have any expectations other than hoping that those who had liked the first album would stay with us for the second. We knew we’d made a good follow up album but, as you say, in an environment when it’s very hard to engage with people, nothing is guaranteed.

Photo by Hugh Womersley

Photo by Hugh Womersley

Originally the band was just you and Paul Haig, famed for Josef-K and his own solo career. The press release for the album suggests this was not originally intended to be a serious band project but a writing collaboration. Was that the case and what brought Paul’s involvement to an end?

Paul definitely just saw it as a writing collaboration – “a bit of fun” was one his quotes – with group recordings just being made to illustrate them. However, the reaction to them was so positive, one thing lead to another and I pushed for it to become a band and take it more seriously, which Paul wasn’t happy with so eventually he left. What confused matters in the press and public eye was that Neil, David and I were his backing band when he did a solo tour in 2008. However the emphasis then was completely on his solo work, and he had no intention of being a member of a band again after Josef K, which in the end we had to respect.

The double ‘A’ sided single What’s It All About? /Mind was released in 2006; I believe this was meant as a one off release?

Not initially but it ended up like that. Certainly with Paul participating. When we made the agreement with Pronoia Records in 2006, the album had been recorded with Paul’s full participation, but by the time we got around to discussing getting it released he had changed his mind. So he asked us to remove his lead vocals, which we did, although some of his guitar and backing vocals do remain on the first album.

At what point did that spark the appetite to push things further; as a full band and with more releases?

The point that changed everything was bumping into Steve Fraser at a TV21 album launch in 2009. I told him what had happened and he was keen to get involved. The minute we started talking music I knew he was the man. We didn’t even bother with an audition. I knew the songs were strong enough to survive without Paul’s involvement. That opened so many doors, being able to play live (which Paul would never have done as The Cathode Ray) and generally move things on after quite a difficult start.

Were some of you all already old friends and maybe previously worked together before uniting for The Cathode Ray we know today?

Neil Baldwin and I have known each other for 34 years (!) and have played in bands together intermittently since 1986. David Mack and I had been working together since 2000 so, yes, there was a certain chemistry. Steve was the “new boy” although we’d all known him on the Edinburgh scene previously.

I have to admit for once, and not intentionally, I read about the band and its background before hearing a note for a review, and to be honest once seeing a list of previous projects for members of The Cathode Ray2_RingMaster Reviewthe band which had been indelible pleasures in my personal soundtrack, subsequently luring a revisit to old favourites records after finishing the review too, there was an increased anticipation and eagerness to explore the band and album. Do you think having your musical histories has helped draw awareness to the band or not?

Well obviously there’s going to be a certain amount of that, but I do believe, hopefully without sounding conceited, that The Cathode Ray is more than the sum of its parts. But initially I guess it did help getting people interested through our various previous involvements.

There were whiffs of all some of your previous bands at times across the songs and often nostalgia blessed air of Infinite Variety, The Bluebells and Scars maybe most notably in our ears. You are a band unafraid to draw on previous adventures and spices to hone new and fresh exploits, as potently shown on the album?

The songs that I write aren’t consciously drawing on any of our past exploits, but I guess where you’ve come from does influence where you’re going. In any case, it’s probably coincidental, as Steve only toured with The Scars as a depping bassist so wasn’t involved in their creative process, while Neil only contributed to arrangements with The Bluebells. But inevitably, as we all come from that post-punk background, some of the sounds and styles of these bands are going to rub off.

How would you say The Cathode Ray has evolved over time and specifically between Infinite Variety and its predecessor, your self-titled debut album?

I would say the vague initial brief of merging post-punk Manchester with New York has simply broadened to the point where I regard ourselves now as a band that isn’t easy to pin down musically. Our original press release mentioned 60’s Garage, Soundtracks and Northern soul, to which one critic added Psychedelia, Glam-Rock, Euro-Disco, Krautrock and 90’s Alternative Pop when reviewing Infinite Variety. So it is definitely evolving. I’m currently demoing material for the next album and there’s even more interesting musical areas I’d like to explore. It’s good to surprise people.

TCR cover_RingMaster ReviewGive us some insight into the thoughts and intentions going into the writing and recording of Infinite Variety? Do you build a release on particular aims or ideas or predominantly let things organically evolve?

Things do tend to evolve organically. If you put too much pre-conceived thought into it, the music loses its spontaneity. Although I suppose one particular aim is not to repeat ourselves. Each album needs to be a significant progression from the previous one, so a certain degree of thought does go into that. Also, apart from melodies and lyrics, I’m always interested in rhythms and try to be as adventurous and varied as possible in that area too.

We described the album as a “kaleidoscope of fun, sound, and adventure”, a fair hint we think at the array of flavours and inventive spices fuelling and shaping the songs within Infinite Variety. In the hands of many bands it might be an incoherent mix, but you manage to seamlessly blend all spices and individual characters of songs perfectly. Where do you and the band start when composing songs?

Well I compose the songs and demo them first with the key riffs, chord progressions, lyrics etc. all in place. At that stage they often do sound fairly disparate. I then present them to the band in the rehearsal room and that’s when it starts to sound like The Cathode Ray. Steve, Neil and Dave all contribute parts and arrangements until we arrive at the finished article. Some songs like The Eyes Are The Window took a long time to come together and changed quite considerably from my original demo. Others end up fairly similar to the original template, but all manage to sound cohesive owing to the fact it’s the four of us playing them, I guess.

The album’s tracks manage to be rich and at times expansive in texture and flavour yet also ‘slim’, i.e. no excess baggage or indulgence. They manage to be an open evolution from your first album but also reveal a bolder leap in aural colour and character; how do you hear their relevance to older propositions as one of their creators?

Well obviously it’s difficult to be completely objective about something you’ve created yourself, but I see their place in relation to the first album as a natural progression. The leap in colour and texture which you describe is simply a way of moving the band forward, without cluttering things up unnecessarily. You use the word ‘slim’ and I suppose that comes in at the production stage – cutting off any excess fat!

How long in the making from first note to paper or thought through to last note laid down was the album?

The boundaries are always blurred as we always tend to have songs left over which were either written too late to make the cut or simply didn’t fit at the time. For example, This Force Of Nature had its origins as a completely different song dating way back to 2006. It had never sounded right so was left on the shelf. I went back to it in 2014 writing new lyrics and melodies and it quickly came together then. Eureka Moment and Buck the Trend were written in 2009 when Steve first joined. But the bulk of I.V. was written and recorded between 2012 and 2014 – around two and half years.

Our review stated spices of bands from around the eighties as rewarding aspects but over time sixties/seventies tones have emerged. I sense your own inspirations and musical loves go far back?

Oh yes – my musical tastes stretch way back! How long have you got? Songwriters have always been key to me. From Lennon & McCartney, Brian Wilson, Smokey Robinson, Jimmy Webb and Bacharach & David, through Dylan, Stevie Wonder, Scott Walker, Al Green, Bowie, Joni Mitchell, Robert Wyatt and Neil Young to Costello, Paddy MacAloon and Rufus Wainwright, the song is always key. Then there’s the bands I love – The Stones, The Velvets, The Doors, Faces, Roxy, Yes, Kraftwerk, Television, Talking Heads, Buzzcocks, Chic, Wire, Magazine, Pretenders, Joy Division, Dexys, Scritti Politti; Cocteaus, Talk Talk, Teenage Fanclub, High Llamas, Flaming Lips… the list goes on.

There is no mistaking that Scottish bands and rock ‘n’ roll of all styles and design bred there, has something unique to it, and we could go on a long list of examples. Can you define what it is in ‘the

Photo by Jez Curnow

Photo by Jez Curnow

water’ which helps breed such distinctive and so often inspirational bands from that part of the UK, as ones yourselves?

I think there’s an open-mindedness up here. Maybe Scottish bands tend to draw from a wider pool of influences than other parts of the UK. Or maybe it’s to do with being distanced from what’s happening down south – even in the age of the internet. It’s certainly true that scenes of their own do seem to crop up here around labels like Postcard, Fast, 53rd & 3rd, Creeping Bent and, possibly, our label Stereogram too, which has attracted similar kindred literate spirits. Either that or we all seem to be obsessed with the Velvet Underground!

What comes next for The Cathode Ray?

Firstly, we’ve got two more live shows coming up this year as part of The Stereogram Revue in Edinburgh and Glasgow, plus a new track called It Takes One To Know One on a compilation album. Then there’s a new video shot earlier this year at the Kings Theatre in Edinburgh by Jez Curnow to go with Saving Grace, our other featured track on the comp. After that we’ll be knuckling down to working on the follow up to Infinite Variety. I’ve got five or six new songs written and demoed, plus a couple of leftovers, so we’ll be getting on with them. Expect some new directions.

Your releases come out on Stereogram Recordings, your own label which seems to have out grown and blossomed far more than its original intent I believe. Can you tell us a little about it and what is ahead for the label too?

It has indeed outgrown its original intent which was simply to facilitate a release for the first Cathode Ray album, plus any other projects (The Fabulous Artisans) or archive material I had kicking about. But over the last couple of years it has been growing steadily with first Roy Moller signing up, followed by James King & The Lonewolves, Milton Star, St. Christopher Medal, Lola in Slacks and, Band Of Holy Joy. The critical and public response has been great which is hugely encouraging. As previously mentioned, we’re rounding off the year with two Revue shows which will feature the entire roster in some form or other (minus Milton Star who don’t have a live set up at present). These gigs will be accompanied by The Sound of Stereogram, a budget compilation in the spirit of New Wave in ‘77 or Pillows and Prayers in ’82, featuring both new and old tracks from all eight acts on the label. Next year promises some new signings plus new material from the existing acts.

My big thanks to you again for chatting with us; have you anything you would like to add?

Nothing to add except thanks very much for your support over the last year.

Lastly and looking at band’s influences on your Facebook profile, a list of bands littering my own record collection I have to say, can you indulge me and give us a few of the bands/records which inspired you to get into music and then as a musician push yourself further?

Well I’ve already mentioned a whole bunch of artists who’ve inspired me, so here’s some records that have been key: “With The Beatles”; “Motown Chartbusters Vol.3”; “Pet Sounds”; “Piper at The Gates of Dawn”; “Forever Changes”; “Loaded”; “Scott 4”; “What’s Going On”; “Exile On Main Street”; “Never A Dull Moment”; “Close To The Edge”; “Aladdin Sane”; ”Houses Of The Holy”; “Quadrophenia”; “Rock Bottom”; “Country Life”; “Zuma”; “Songs In The Key Of Life”; “Trans Europe Express”; “Marquee Moon”; “My Aim Is True”; “Never Mind The Bollocks”; “Risque”; “All Mod Cons”; “Love Bites”; “Fear Of Music”; “Closer”; “The Correct Use Of Soap”; “You Can’t Hide Your Love Forever”; “Rattlesnakes”; “Steve McQueen”; “Don’t Stand Me Down”. Again the list goes on…

Read our review of Infinite Variety @ https://ringmasterreviewintroduces.wordpress.com/2015/04/21/the-cathode-ray-infinite-variety/

https://www.facebook.com/thecathoderay   http://www.stereogramrecordings.co.uk

Pete Ringmaster

The RingMaster Review 23/11/2015

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St. Christopher Medal – Sunny Day Machine

St. Christopher Medal_RingMaster Review

It is hard to say the prime lure of Sunny Day Machine and indeed the sound of Scottish quartet St. Christopher Medal; whether it is the melancholic beauty, the expansive yet intimate landscapes of soulful sounds cast, or simply the emotive prowess of word and tone. Whatever the core potency, a mix of all most likely, the result is a captivating exploration which might not have you singing from the rooftops but will encourage a healthy word of mouth recommendation.

The August of 1998 saw Scotpop band Life With Nixon call it a day at Sleazy’s in Glasgow, a memorable show to round of successful adventure as a band. It has taken a fair while, but that foursome of Billy Nisbet (drums), David Mack (bass), and Ali (vocals) and Kenny Mathieson (guitar), have linked up with Andy Jeffries (piano) and returned as St. Christopher Medal. Drawing on loves and inspirations, the band has bred a sound fusing the rich essences of country rock, Americana, folk, and more, all woven into songs bred on reflection and observation, and a fair dose of personal experiences it is easy to suspect. With the first single, Vatersay Love Song, having whetted appetites the band’s debut album, Sunny Day Machine reveals more of the understated but potent depth to the band’s songwriting and sound. At times the release is a glorious arousal of the senses and imaginations, and in other times, a gentle coaxing but from its first breath to last, Sunny Day Machine just enthrals.

It opens up with the quickly beguiling Glori, its warm embrace and melodic caresses as inviting as the vocal and lyrical painting cast by the dry tones of Ali. Immersive and engaging, the song is a lively simmering graced by dazzling shades of keys and the magnetic enterprise of guitar, all merging in a sultry wash of country lined folk rock. It makes for a fascinating start to the album which continues with the tangy harmonic stroll of Vatersay Love Song and the slow dance of Leave The Boy Upstairs. Both songs take attention by the firm hand, the first with its Band of Holy Joy meets Flying Burrito Brothers croon and the second through a smoulder of keys and melodic expression cradling the increasingly potent gait of Ali’s voice. Fair to say though, they get quickly outshine by the album’s best track, Satchel Bag. The song is exceptional, an entwining of urban folk and sixties rock ’n’ roll; like Lennon and McCartney does Bob Dylan with a creative paint box provided by The Sums. More addictive with every listen, next single written all over the song, it offers yet another vibrant colour to the seriously appealing tapestry of the album.

Sunny Day Machine front cover_RingMaster Review   The pair of Great Lakes Morning and The Appin Indians takes the listener into the remote charms of inspiring landscapes and emotional reflections, each venturing through their own melody thick scenery of southern twang and personal exploration. Unlike their predecessor which leapt from the speakers, the tracks spread like mist, enveloping ears and consciousness to similarly strong success before From A Zafira Comfort raises the tempo again with its keen energy and bluesy rock ‘n’ roll. Though not necessarily in recognised sound, Sunny Day Machine is a blues album of sorts but bred from an ever evolving bloom of flavouring from across the past handful of decades.

Through the crystalline charm and fuzz toned temptation of Ernestine and the excellent electric shimmering of Days Like These, band and album continue to spark the imagination with new shades of adventure spawned in that core country/Americana breeding, whilst What She Said On The Street casts a pulsating serenade of emotion and sound. All three, and especially the second of the trio, make a compelling persuasion with We Are The Medal backing them up through a summery glide across a sultry terrain of resourceful musical and lyrical incitement.

Final track West is just one more slice of melodic charm and lyrical prowess confirming Sunny Day Machine as one fascinating and enjoyable proposition. For some it will light a major fire, with others offer something highly satisfying to occasionally embrace, but for all, St. Christopher Medal have created a release to warm the heart and spark the imagination; thus providing something easy to recommend.

Sunny Day Machine is out now via Stereogram Recordings via www.stereogramrecordings.co.uk/audio/sunny-day-machine-st-christopher-medal-cddl/

Upcoming Live dates (as part of The Stereogram Revue):

Wednesday 2nd December 2015 – The Voodoo Rooms, Edinburgh

Thursday 3rd December 2015 – The CCA, Glasgow

https://www.facebook.com/st.christophermedal

Pete RingMaster 06/11/2015

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Band Of Holy Joy – The Land Of Holy Joy

BOHJ_A_RingMaster Review

This past year, two singles from Band Of Holy Joy have sparked expectations of something special from their new album The Land Of Holy Joy, simply because of their own enthralling quality. Fair to say the UK band’s new release not only lives up to hopes and assumptions but leaves them looking rather inadequate. The nine track adventure of urban folk and indie rock is a blaze of ear thrilling and imagination igniting tracks ripe with unpredictable invention and the social commentary and honesty we have come to expect from the London band. Admittedly over their three decades of undeniably helping shape the British indie scene, we have not had the pleasure of devouring all of their eighteen previous albums here but of the fair few we have, Band Of Holy Joy have definitely eclipsed all with their finest moment in The Land Of Holy Joy.

The album gets off to a stunning flyer with its title track, the opener an instantly bewitching enticing of off-kilter guitar melodies from James Stephen Finn. Their discord lined twang has ears alert, whilst a swift healthy appetite licks its lips almost as quickly after as an exotic seducing from Peter Smith’s keys, matched by the flirtation cast by the bass of Howard Jacques, dances with the imagination. Like Eastern sent cosmopolitan sunshine over harsh realities hinted at by the plainer, distinctive tone of vocalist Johny Brown, the track is sensational; a provocative soundtrack perfect for the crisis felt right now by thousands upon thousands of people and Europe.

The outstanding beginning continues with the band’s last single Isn’t That Just The Life. The song enthrals like a sixties kitchen sink drama with, still for these ears, a female centred alternative to The Smith’s This Charming Man. With wistful keys, flames of sax from Smith, and great dourly resourceful harmonies, the song is an expressive croon with a swinging canter to its shadowed wrapped but surprisingly warm body, and also irresistible.

Street bred melancholy lines the following All The Girls Are Wearing Desert Boots Of Pale And Subtle Shade. It is a track which from its initial potent and gentle embrace of sombre air and emotion lifts in energy through emotive brass textures and an increasingly rousing incitement thrown by the craft of drummer William Lewington. Maybe a slow burner compared to its predecessors, the track easily has ears and thoughts hooked before making way for the funky carnival-esque theatre of Men Who Display A Different Kind Of Pain. Keys drizzle temptation and festival like drama over the senses in league with a similarly thick and colourful enticing from the guitar, whilst Brown adds rich vocal and lyrical openness in his ever pleasing mix of raw crooning and spoken narrative. More inventive and compelling with every passing minute and certainly each listen, the song is revelry of sound and honest drama coated with eighties warmth.

Another album pinnacle arrives with the brilliant Violent Drunken Strangers. Its entrance sees skipping beats aligning with a moodily captivating bassline and sultry tendrils of guitar which just seep into the psyche as Brown again varies his delivery to fine and impacting effect. The post punk like stroll and tone of the track is delicious, as too the emerging eighties funk kissed guitar and a vocal union which just ignites the passions. There are essences of bands like Bauhaus in atmosphere, Josef K in guitar jangle, and Original Mirrors to its lively revelry, and along with the title track, the song steals the show though great times simply continue as first the reflective melodic caress of Discredited Art Form cups ears and thoughts and straight after, A Good Close Friend offers its own elegant seduction and tenacious sixties fired enterprise up for eager attention. Both songs provide thoroughly enjoyable proposals whilst stirring thoughts, the second eclipsing the first but only by a spicy whiff of keys and one lively step.

A Place Called Home is another track which smoulders in ears and thoughts rather than quickly stirs them but with superb harmonies between Brown and a female vocalist, and a brass breeze which as the song has a shade of The Walker Brothers to it, lingering persuasion is the ultimate and successful result.

Closing with I’m Crass Harry, a bluesy look at a character which never gives up the fight despite enduring a constant tide of adversity, the album ends with a mighty finale. Merging spices found in the likes of reggae, punk, jazz, and other absorbing flavours into its musical tapestry around that tale of defiance, the song is Band Of Holy Joy at their best, what creatively they are and have always been about and another slice of proof as to why we say The Land Of Holy Joy is their greatest moment yet.

The Land Of Holy Joy is out now digitally and on CD via Stereogram Recordings and the Band Of Holy Joy Bandcamp.

Pete RingMaster 22/09/2015

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Band of Holy Joy – Isn’t That Just the Life

Isn't that just the Life - Download Artwork_RingMaster Review

Ahead of their new album The Land Of Holy Joy, which is released in September, Band of Holy Joy unveils new single Isn’t That Just the Life to seriously whet the appetite for their impending full-length. The song is a fascinating weave of familiar and fresh textures soaked in vocal and lyrical drama, an infectious adventure of sound and energy which needs little time to stir up ears and imagination.

2014 saw the release of the band’s acclaimed Easy Listening album and it’s highly successful single When a Gift is a Curse, both even after three decades of creating persistently enthralling musical and lyrical explorations, saw Band of Holy Joy blossoming new depths of invention and, for want of a better term, creative theatre in their sound. Subsequent single A Place Called Home, also upon The Land Of Holy Joy exposed another fresh and magnetic lining to the band’s resourcefulness, but it has to be said that Isn’t That Just the Life simply outshines them all.

From its first breath, the song bounds in on a lively stroll, bass tempting and guitar lures instantly engaging with hard to escape individual hooks. The ever distinctive tones of Johny Brown soon bring their unpolished but gripping croon and lyrical drama into the mix, rhythms gently shaping the increasingly riveting growth of the song. Once and quickly into its shadowed draped warm and almost swaggering canter, a hue of The Smiths oozes through the song’s veins to only add thrilling colour to a song which in some ways plays like the alternative to This Charming Man from the female perspective.

With keys wonderfully shimmering like light on the sea of sound and festive bursts of brass within the constantly alluring portrait of sound and vocal incitement irresistible, Isn’t That Just the Life simply owns ear, thoughts, and emotions with sublime ease and craft. As suggested earlier, for personal tastes the single eclipses everything from the band over the past year or so, even longer to be honest as great as anything was, ensuring The Land Of Holy Joy will be an eagerly approached proposition along the way.

Isn’t That Just the Life is available from Stereogram Recordings on August 10th.

The Ringmaster Review

12/08/2015

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Band of Holy Joy – A Place Called Home

Picture 12

Following up the success of previous single When a Gift is a Curse, Band of Holy Joy have now tapped into a colourful balladry which musically is as fascinating as the lyrical narrative it colours. The last single impressed if without lighting much more than a spark in the passions, but its successor makes in many ways a much more dramatic incitement and proposal that certainly stirs up lively satisfaction.

As magnetic and striking as they ever were, Band of Holy Joy earned a wealth of fan and critical acclaim with their album Easy Listening earlier this year, with the last single an open doorway into its bracing invention and enterprise. A BOHJ_A_PLACE_CALLED_HOMEPlace Called Home, which has been described as ‘A big city pop song of tradition and place lost in the shiny new urban world of market forces, rising rents and social cleansing’, brings another fresh turn from the band to ignite thoughts and emotions. Released on the band’s own label Radio Joy, the single has an intimacy and broader reach which easily engages with the individual and the climate of life as a whole.

The song emerges from a brew of sonic ambience with a caress of guitar and respectful rhythms beneath the distinctive tones of Johny Brown. It has an immediate grace and charm which intrigues and embraces just as swiftly. There is a feel of The Smiths to the ballad’s croon whilst its melodic warmth has a sultry fifties twang and innocence which equally seduces thoughts and emotions. As its expression of guitar enterprise and stringed melancholy expands over the senses, the track simply glows. Vocals and bass add further character to the temptation whilst the keys bring a whispering glaze of incitement to add further immersive hues to the delightful proposition.

A Place Called Home is a masterful kiss on ears and a tenacious suasion on the imagination, with a romance to its presence which ensures it is a song destined never to be ignored.

A Place Called Home is available digitally now through Radio Joy @ http://bandofholyjoy.bandcamp.com/album/a-place-called-home

http://www.bandofholyjoy.co.uk/

8.5/10

RingMaster 26/08/23014

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Band Of Holy Joy – When a Gift is a Curse

Band Of Holy Joy  Picture 12

The first in a series of ‘libationary’ singles dedicated to the glorious and dark aspects of ‘the older person’s habitual alcohol consumption’, When a Gift is a Curse is another riveting evocative encounter from the UK’s premier folk punks Band Of Holy Joy. Paying tribute to the genius George Best and the wayward life emerging from his world enlightening talent, the single is released on the band’s own Radio Joy to coincide with their second stage headline appearance at the NME C86 festival at London’s 229 Club on June 14th. Taken from their latest and acclaimed album Easy Listening, the release is another slice of unique incitement from a band entering its fourth decade.

When a Gift is a Curse opens with a sultry swipe of guitar swiftly joined by an additional emotive caress of melodic melancholy and the Band of holyjoy When-A-Gift-Is-A-Curseever distinctly expressive vocals of Johny Brown. Opening up its heart and evocative textures, the song spreads like mist over ears and the imagination, keys accentuating the sultry breath and radiance of the song whilst the shadowed tones of bass provides a tempering air which subsequently only highlights the rich hues wrapping the lyrical and vocal potency.

To be honest the song does not make a startling impact or impression initially though there is plenty to intrigue and entice the senses and imagination. This maybe makes not the most incisive temptation for newcomers to their album and its might but given time the song permeates and seduces for another provocative hymn from Band Of Holy Joy which is impossible to ignore or resist…pretty much like the band itself since those early days in the mid-eighties.

When a Gift is a Curse is released digitally on June 16th through Radio Joy.

http://www.bandofholyjoy.co.uk/

7/10

RingMaster 15/06/2014

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