To Bear Sir – Hold Yourself Tight

Hold Yourself Tight is the debut album of To Bear Sir, the solo project of someone who has already, like for so many others, made a major impact on our ears and passions. The creative provocateur constantly stirring up the imagination is Welsh songwriter/vocalist/musician Russell Toomey though you might know him better as the creator/frontman of My Red Cell, Innercity Pirates, and Denim Snakes; three bands which all made a striking impact on the UK underground scene with their individual sounds and characters, each deserving far more attention and success than found.

It is a height of recognition which just might be sparked by To Bear Sir. Each of Toomey’s bands has even with some strains of similarity been wholly unique propositions to each other and indeed any band around them but To Bear Sir is a gulf away from those before it and just as impressive.

Debut album, Hold Yourself Tight reveals bare intimacy not knowingly heard in its creator’s work before, the songs giving greater meaning and echo to the name of the project. The diverse array of tracks and styles breeding its songs come together to create one of the most haunting, emotionally open, and generally irresistible propositions heard. From its first breath, the release bewitches, its heart akin to the listener’s sharing melancholy and despairs mutually known and felt.

Produced by Todd Campbell, Hold Yourself Tight opens up with Mother I’m Sorry. As solemn strings rise to share emotive fingers on ears, that heartrending air is swiftly inescapable, only thickening as a lone guitar strum takes over with its own shadowed melody. Toomey’s distinctive tones soon follow bringing a dark blues haunting and seduction with it reflected in the sounds hugging his presence. Funereal in gait, compelling in regret and touch, the song is sheer melancholic beauty.

It is a stunning start quickly matched by Medi-Monster, a slightly livelier affair in energy with brooding shadows to its wiry melodies. Vocals are a wonderfully dispirited incitement, magnetic and mournfully introspective but luring full participation with the song’s almost disturbingly catchy chorus. It is impossible not to get physically and emotionally involved with either of the first pair of proposals or with the albums title track which follows. Its rhythmic shuffle has a touch of Fatboy Slim to it making a kinetic canvas for the dark folk serenade of voice and melody. A blend of contrasting textures, the track seduces hips and thoughts with ease even if not quite matching up to the lofty heights of its predecessors.

The new single from To Bear Sir is next, a song which could not be a better teaser for project and album if it tried. The Begging Ends Here is superb, rhythmically shamanic whilst cinematically and indeed emotionally so dark that it throbs with drama. It’s predominantly minimalistic body is enriched by flames of guitar with Toomey’s earnest croon inciting greater intensity in the heart and raw rock ‘n’ roll of the song. People are rightfully drooling about the new ex-Reuben frontman Jamie Lenman’s new single Mississippi, a song actually in similar vein to The Begging Ends Here and just as stirring and thrilling is Toomey’s essential treat.

Strings again lay their suggestive hands on ears as the sorrowful, hope searching Too Late closes in next, its sentiment and sad grace raw potency. It is an essence intensified even more in Loves That One Thing, an emotional incitement of voice and piano trespassing on personal truth and fresh wounds.

The Walk has a low key country scented breath next, a flavour bring new hues to another increasingly alluring mourn and disquieting charm whose persuasive elements conjure 3 Years to similarly enjoyable heights with keys and voice once more an enticing union as darker hues cradle their engaging solemnity. Each of the two pulls ears and thoughts into their world before the bluesy dance of It’s Not Over Until I Say So makes its energetic play. It is a track which did not initially convince as fully as others within the album, though its bursts of scuzzy delta blues guitar quickly had the appetite licking its lips, but lingered maybe more than most to persistently tempt and subsequently seduce.

Hold Yourself Tight is closed by the rueful yet accepting and occasionally hopeful Dream, a captivation echoing the heart of the album in its brief absorbing minutes. There were certain expectations waiting for this album because of past triumphs and not one of them was fed. To Bear Sir is a whole new unique adventure from Russell Toomey, a bold and personal one which is really rather special and deserves your intrigue at the very least.

Hold Yourself Tight will be released the first week of May.

 

Upcoming live dates:

20th of April – Clwb Ifor Bach, Cardiff with Palace and Willie J Healey

3rd of May – Riverside Tavern, Newport

10th of May – The Monarch, Camden

https://www.facebook.com/tobearsir/

Pete RingMaster 04/03/2017

Copyright RingMaster: MyFreeCopyright

Jingo – Make Some Money, Buy Some Love

March 11^th sees the eagerly anticipated second album from British rock band Jingo and it is very easy to say that it does not let expectations, bred from the band’s previous impressive releases, down. The ten tracks making up Make Some Money, Buy Some Love are the band’s most eclectic bunch yet, at times in an understated way with closer attention revealing the new myriad of flavours and broad imagination bringing them to life. Just as importantly, it is another mesmerising collection of songs feeding in us and their growing wealth of fans an already eager appetite for the band’s invention and carrying the potential to excite another hungry wave of newcomers to the world of Jingo.

Formed by husband and wife, guitarist/vocalist Jack and vocalist/keyboardist/guitarist Katie Buckett, Jingo seem to have made a strong impact with every move since Jingo played its debut live show was supporting Blur’s Graham Coxon. Through a clutch of captivating singles, creatively provocative EPs, and striking debut album The Art Of Loving of 2014, as well as a live presence seeing the London based band take their imagination and craft across the UK and over to the US, France, Germany, and Belgium, Jingo has enticed rich interest and fan support which has through a highly successful pre-order campaign enabled the band to release Make Some Money, Buy Some Love on CD and vinyl as well as digitally.

With its line-up completed by the invention of Nima Safai, Michael Hussain, and Kelly Lenahan, Jingo has from day one never been easy to pigeonhole. They are generally tagged as alternative rock and have found themselves compared to the varied likes of Portishead, The Magic Numbers, Not Blood Paint, Fleetwood Mac, Interpol, and Jess & the Ancient Ones along the way. As Make Some Money, Buy Some Love again proves Jingo spins broad tapestries which explore diversity with zeal to match their eagerly creative imagination.

Recorded in New York with producer Kahan James, and mastered by Kevin Blackler (Raconteurs, RHCP etc.), Make Some Money, Buy Some Love opens up with Lifer, the alluring tones of Katie cradled by melodic coaxing as the bass strolls with a controlled but carefree grace. Crisp beats add to the enticement instantly flirting with ears, the song’s underlying funkiness infesting its gait and the listener as pop catchiness and lyrical romancing tempt. Drama is never far from a Jingo twist and turn, its boldest attraction lining Katie’s vocal prowess especially here in a gem of an introduction.

All of the track’s qualities and more emerge in the following Sirens and Vices, Its rhythmic bait quickly infecting feet as melody woven grooves seize hips. Both elements add to the flirtatious nature of the song, impassioned vocals and raw, fiery textures growing in the blend of smouldering and raucous seduction. Grabbing ears and imagination from the first second, it only tightens its grip second by second squeezing lustful responses out before making way for the pop revelry of Money. It is instinctive catchiness with a steely backbone and bold attitude though, dancing persistently and mischievously as the song teases with playful coquetry.

From a busy bedlam Gaia emerges with its own melodic grace and emotive eloquence next, Katie joined by the equally potent tones of Jack as keys and guitars paint their own poetic picture over a more forceful rhythmic spine. It is pure magnetism with a just unveiled eye catching video to match.

Never Love Again also has little trouble winning attention and pleasure as its evocative melodies and warmly invasive essences hug captivating vocals. The song never quite reaches the heights of its predecessors but never lacks a second of enjoyable adventure before the outstanding Death Counts takes over. The track is nothing less than melancholic beauty becoming more exotic, almost sinister, and relentlessly beguiling with each passing seduction of passion fuelled notes and vocal fascination.

The body is back jumping around with Let’s Be Friends next; its noir lit drama and tenacious rhythmic dexterity enough alone to enslave the imagination. Katie is like a devious puppeteer in the midst of the brew of fire bred grooves, agitated beats, and frequently concussive energy; her lures as inescapable as the gloriously tempestuous textures making up another mighty highlight within Make Some Money, Buy Some Love.

Last year’s sensational single Sweet Anne follows, Katie and Jack united in crooning temptation as initially the song gently grows in ears. Soon it is in full swing with boisterous rhythms skirting the tangy funk infused hooks and lecherous grooves uniting and barging against each other. It too has an irresistible tempest like texture to its body but equally melodic calm makes a compelling persuasion in between the song’s moments of vociferous and explosive carnival like devilry.

The album is completed by firstly the melodic romance and harmonic charm of Supersymmetry, one simply bewitching encounter with fire in its heart and finally by the pop rock seducing of The Shell. Both tracks solicit emotions and body to get involved in quick time and each leave only a want for more, the perpetual hunger which seems to come with every Jingo encounter.

For Make Some Money, Buy Some Love, Jingo has honed their sound into something as diverse and bold as ever but exploring both with a more seamlessly and easily flowing touch; the result being another Jingo moment which makes the world a better place.

Make Some Money, Buy Some Love is released March 11^th

http://jingomusic.com/   https://www.facebook.com/jingomusic/   https://twitter.com/JingoMusic

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright

Heavy Temple – Chassit

Listening to Chassit from US trio Heavy Temple is like staring into a fire. At the heart of both, there is a siren like lure transfixing and drawing closer attention; a physical and imagination sparking coaxing soaked in danger and magnetism as suggestive images dance in its flames. Heavy Temple’s creative pyre is an aural blaze of psych/doom with a blues fuelled roar within a fuzz loaded proposal; a dark realm sizzling with warm sonic seduction and heavy visceral trespasses on body and psyche. It is also behind a rather fine quartet of tracks making up the attention demanding Chassit.

Formed at the rear of 2012, the latest line-up of Heavy Temple sees founding member and vocalist/bassist High Priestess Nighthawk joined by guitarist Arch Bishop Barghest and drummer SirenTempestas. 2014 saw the well-received release of the band’s self-titled debut EP, a release marking the cards of a great many to the quality and potential of Heavy Temple. The current threesome have realised that promise and more with Chassit, calling on mind and spirit with its fiery and imposing furnace of sound.

Opener Key and Bone swiftly lays a raw fuzzy hand on the senses, backing it up with just as muggy scuzzy grooves as High Priestess Nighthawk’s voice melodically roars. With the weight of song and emotion packing the leviathan crawl of the rhythms, the track is as captivating as it is intrusive even when slipping into a low key oasis of intensity, that the prelude to a rousing surge of stoner inflamed rock ‘n’ roll. Built on open strands of individual prowess and craft, the song is a weighty proposition full of ravenous intent mixing searing beauty and bestial rapacity.

The following Ursa Machina is an even more imposing and tempestuous affair. Its doom bred heart instantly crawls over the listener yet in its air a smouldering melodic heat resonates with suggestive, devilish eroticism. That siren like comparison is no more apt than here with High Priestess Nighthawk’s tones the beacon coaxing ears from within the track’s haze lit predatory rocks. From its bewitching start, the song lumbers with a raw seductive swing, its carnivorous creative bones prowling the senses and imagination as vocals heartily croon. As with its predecessor, the song’s landscape is an evolving adventure, uncaging new energies and inventive gaits to match its fuzzily flickering canvas of sound.

Pink Glass provides sludgy throat searing liquor next, sharing intoxicating melodies and woozy grooves as bass and drums swagger with irritable intent through ears. That alone is enough to ignite the passions but only a taster as lustier reactions meet the surf rock lined lure of calm and suggestion which rises midway. As minimalistic as it is, the passage has thoughts and appetite aflame with its sultry noir lit blues croon before, from its simmer, the track flares up again, catching ablaze with scorching grooves and attitude clad bass grooves aligned to SirenTempestas’s swinging beats.

Closing track In the Court of the Bastard King is instinctive rock ‘n’ roll clad in Heavy Temple’s fervid scuzz blessed sound. The instrumental is a rousing, spirit sparking stoner/psych dripping stomp which just hits the spot on every level while providing a glorious end to an increasingly enjoyable release.

There is freshness about Heavy Temple which alone picks them out from the crowd and with their inventive craft and the heartiness of their music; they are a band destined for major attention.

Chassit is released January 27^th via Van Records with its cassette version out through Tridroid Records.

https://www.facebook.com/HeavyTemple/    https://heavytemple.bandcamp.com/

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Crooked Eye Tommy – Butterflies & Snakes

Sparking eager attention and acclaim with its release in the US last year, the debut album from Ventura, California hailing Crooked Eye Tommy has set about finding the same in the UK in 2016 and such its eclectic charm and seductive prowess, it is hard not to see Butterflies & Snakes finding matching success.

Created by blood brothers Tommy and Paddy Marsh, Crooked Eye Tommy shares a spicy melodic spell of a sound cast in the elements of heart driven blues and smoky southern rock. As their first album reveals though, it conjures songs embracing an array of flavours and moods too, all essentially seductive and emotively impassioned. Butterflies & Snakes itself is a smoke filled, liquor scented room of creatively wily romances, hip swinging enticements, and spirit rousing encounters which even one without the instinctive appetite for their kind of temptation cannot fail to get a kick out of.

With Hammond organist/saxophonist Bill Bilhou, bassist Samuel Correa, and drummer Josh Herbst alongside vocalist/guitarist Tommy and guitarist Paddy, Crooked Eye Tommy open up proceedings on the album with a track bearing the band’s name. Crooked Eye Tommy straight away entices with woozy grooves, guitars aligning their individual tonics as rhythms slowly but boldly stroll through the swiftly intoxicating proposal, one only blossoming further as Tommy’s tones join the affair.

Unsurprising yet fully magnetic, the song makes a potent start for an album which only continues to enjoyably smoulder and pleasure as the excellent Come On In next shares its sultry blues before I Stole the Blues provides a molten blues persuasion weaving openly familiar hues into something fresh and relentlessly captivating .The first of the pair offers a haze of guitar and keys around the clearer and similarly potent lure of a moodily inviting bassline and crisp beats while the second is nostalgia and imagination in one sweltering seducing, each sharing a fine wine of melodic rhapsody and sax heat.

Time Will Tell follows and soon has ears and appetite engaged in a Hammond spun romancing alone, a lure only built upon by the dazzling guitar craft on offer from the Marsh boys. It is a recipe repeated in its own design by the slow saunter of Tide Pool and though neither track quite catches personal tastes as fully as those before them both only spark full enjoyment before After the Burn forcibly hits the spot with its hip enticing stroll. It is one of those encounters which feet and bodies instinctively move to as ears feast on highly persuasive vocal and melodic endeavour.

The track forms part of the pinnacle of the album, Somebody’s Got to Pay offering the next moment as sizzling sax and serenading guitars join in on another commandingly addictive and energetically catchy affair for ears and passions. Increasingly magnetic, it sets up the more humid climate of Love Divine, a track involving a stronger melodic rock ingredient in its highly satisfying melodic ramble before the outstanding Mad and Disgusted strolls in with fifties scented blues ‘n’ roll to take best song honours. Drawing on early rock ‘n’ roll and country lined honky tonk blues, the irresistible song simply kisses the sweet spot as it pleasures the senses.

Concluded by the increasingly entrancing and melodically woozy Over and Over and finally Southern Heart, a song wearing its sound on its sleeve to reflect its title, Butterflies & Snakes thoroughly pleasures. True to tell, classic blues is not a flavour we find ourselves drawn to naturally but in embracing it Crooked Eye Tommy offers plenty to only get a keen taste for.

Butterflies & Snakes is available now through CDBaby and iTunes.

http://crookedeyetommy.com/   https://www.facebook.com/CrookedEyeTommy

Pete RingMaster 06/12/2016
Copyright RingMaster: MyFreeCopyright

Thirteen Shots – Self Titled

Though the band is no longer active, the hunger and want for Thirteen Shots continues to be vocal. The new release of a self-titled compilation album is a dose of their raw and voracious horror punk sure to be devoured and earn many more belated fans as it treats ears to the best of the band as a free proposal. Bringing together fifteen tracks spanning the band’s releases, one previously unreleased track, and an irresistible live take of the band’s mighty track Graveyard Stomp, the album is an offer no fan or horror punk loving newcomer to the British outfit should and will be able to resist.

Formed by the now Hamburg, Germany residing Johnny Rose and featuring Lewis Manchip, George Chick, Joe Dempster, Chelsea McCammon, and Tom Fenn in its line-ups, the Birmingham hailing Thirteen Shots unleashed a distinct and rousing form of rock ‘n’ roll as seeded in sixties garage rock and blues as horror punk itself. From debut album Vaudeville of 2012, through subsequent releases such as Tales That Start With A Whisper the following year, the 2014 White Noise EP, and their final outing through second album Black Smiles last year Thirteen Shots pushed their boundaries and expanded their sound without losing the incisive rough diamond roar which marked them out from day one. The new compilation brings it all into one thrilling place; all together for one final stomp.

First track is the fiery rock ‘n’ roll of Cobradeer, an encounter which flies from the traps, drops into a predacious prowl before bursting into a rush of fiercely slapping rhythms and ferocious riffs led by the distinct vocals of Rose. It provided a rousing introduction to Black Smiles originally and makes the same attention grabbing impact here before passing ears over to the flesh dropping infections of band classic Zombies From The USSR. Cored by a delicious Caped Crusader like hook, the track expels raptorial grooves and vocal incitement in a battle cry/warning rising up against undead hordes which just gets under the skin and into the psyche.

The variety in the band’s sound has been an open book and illustrated in the garage blues blaze of Nekrosexual and the following drama of Bewitched as well as across the album. The first is a scuzzy roar while the second again uncovering a hook which just fits an eager appetite, uncages predatory basslines and irritable riffs as Rose scowls in the colourful horror punk confines of the excellent encounter.

Within the Thirteen Shots catalogue numerous tracks were like beacons to their presence and sound, arguably the most tempting being Danzig. A tribute to the obvious, the song is a swinging punk brawl wearing its influence clearly but casting is own horror punk ‘n’ roll character with more hooks and temptations than a stripper at a fishing convention.

Punk rock in varying degrees is also an ever present in the band’s sound, Get In My Crypt for example simply fuelled by it in its virulent charge wrapped in metallic flames while other songs like Night Of Sin infuses it into their own individual imaginations, it a liquor soaked blues rock proposal with searing grooves and restrained but heavy rhythms. The outstanding Dead Girls Don’t Scream takes the vital essence into a psychobilly spiced romp, like Misfits meets Resurex while wearing a New York Dolls t-shirt. It is also another of those songs which the band is particularly memorable and noted for, a rock ‘n’ roll stomp to get lustful over.

Through the writhing blues grooved Padded Cell Blues, the scuzzy heavy metal Sabbath-esque riff loaded crawl of Doom, and the severely infectious rockabilly lined stroll of First American Sweetheart, the album does what all good compilations should do; reveal and celebrate the depth and invention of its focus. The last of the trio especially whips up the spirit with its hard rock grooves and garage punk contagion offering something akin to Turbonegro meets The Heartbreakers.

Grooves are equally a major tempting within next up Tales That Start With A Whisper, twisting within ears with salacious intent as the track shares classic/glam rock misbehaviour equipped with the spiciest hooks before Black Eyed Girl enters with a flirtatious and slightly sinister prowl like a dark dusted feline seductress swinging melodic hips to blues bred flames.

There have been a few songs from the band too which have blossomed to greater heights over listens rather than with an instantaneous convincing; the raw shuffle of Black Smiles being one which proves its point perfectly amongst its companions on the album though gaining its first ever outing here, Creak’n The Coffin needs little time to grab ears and the passions. A contagious punk driven slab of rock ‘n’ roll, it stomps and roars with all the flavours the band has consistently shown itself so adept at weaving into their raucous proposals.

The album is completed by the sultry blood red romance of Lost Soul with its mariachi laced smoulder and finally that stomping live roar of Graveyard Stomp, which while drawing eager participation, reminds us what we are all missing from the band at each and every venue they graced.

There are certainly tracks we would have added to the album, This Looks Like A Job For Batman for one, but Thirteen Shots is undoubtedly the life and creative voice of the band to a tee and a certain must for all punk ‘n’ roll fans. Go check it out and grab a rare and free treat @ http://thirteenshots.bandcamp.com/ with a possible very ltd edition CD possible if demand is high and similarly a final UK tour from the band if they are wanted; so go tell them @ https://www.facebook.com/thirteenshotsband

Thirteen Shots is also available for FREE from Google Play and available to stream from Spotify and Deezer from Undead Artists.

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Bernaccia – Growl Peace Belief

Having followed with eagerness the progress of British band Bernaccia since the release of their debut EP in 2014, it has been a source of great enjoyment hearing the evolution in their striking sound. A proposition truly hard to pin down but openly flavoured by essences seeded in the likes of neo-psych rock, desert blues, and Eastern spices, the Newcastle band’s music has blossomed from the low key yet fully magnetic alternative/psych rock tempting of that first outing, the Cinema EP, to the rousingly haunting and spiritually anthemic soundscapes making up first album Growl Peace Belief. The nine track offering simply absorbs the senses, picking up the imagination with equal ease as tribal bred rhythms and melodic suggestiveness unite with harmonic flames and lyrical drama. It is one of those rare releases which comes and along and bewitches with aural alchemy; an album forcibly pushing the band to the fore of the UK rock scene.

Originally a quartet when forming in 2014 and more recently a quintet with the addition of vocalist Ellen Chetcuti’s charmed tones alongside the powerful delivery of vocalist/guitarist Jonny Noble, Bernaccia has increasingly drawn rich attention through a live presence taking in shows with the likes of Royal Blood, Lola Colt, Alabama 3, The Fall, Twisted Wheel, CUD, and Wolf People among many and releases like Cinema, its successor Light//-//Dark later that first year and singles such as Power To The Hills, Awake, and recently Angel. Each has revealed a new blossoming in the sound and imagination of the band, it all now coming to a head in the climactic Growl Peace Belief.

The album opens up with War Cry; a track emerging from an intriguing coastal sounding landscape as the listener is drawn by an exotic guitar melody with inviting tabla inspired beats courting the coaxing. Expanding its embrace with every passing second, an Echo and The Bunnymen feel caressing the imagination, Noble’s voice is the final pull into the shamanic bordering on erotic seducing of the senses. With the darker hues of Kieran Healy’s bass a brooding tone alongside the insistent repetition of Chris Cox’s drums, and the united roar of Noble and Chetcuti an inescapable engagement over their respective psyche entangling enterprise, the track is fiercely irresistible only imposing its persuasive weight further through the creative synth drama cast by Stew Falkous.

The following Spiral is a slimmer proposal in terms of intensity, wrapping ears swiftly with an eighties synth pop welcome with just a touch of Bowie’s Heroes to it. As the synth bubbles and expels riveting mists of electronic enterprise into the air, guitar and bass begin weaving a tapestry of imagination which in turn seems to instigate a growing tempestuousness coming to a towering head as the vocalists expertly combine. Departing with the same masterful charm it started with, the song makes way for an equally thrilling proposal in Awake. Rhythms instantly trap attention with their tenacious dance, Chetcuti joining them with her firmly enticing voice backed by Noble soon after before the song drops into a mystique laden bellow of sound with the latter seizing ears as that shamanic prowess of the band again grips body and spirit. The imagination constantly has a field day with Bernaccia songs, this one like a flight across a cavernous and intimately spiritual soundscape.

Power To The Hills also provides eighties reminding hues, this time King Trigger with their similar rhythmic invention and Nick Cave through the song’s dark rock n’ roll graced theatre of word and tone suggested in thoughts. The track is another which builds dramatic crescendos which boldly ignite the senses, the build of melodic and rhythmic ingenuity leading to them just as rewarding and provocative as the fiery expulsions themselves.

As the ear enslaving captivation of Angel and the poppier shuffle of Vega come and go, band and album simply tighten their grip and further inflame an already discovered appetite for the Bernaccia invention. The first of the pair is arguably the least imposing of the band’s songs but just as virulent in its imagination and infectious psychedelically hued tempting while its successor has all the shadowy beauty and danger found in other songs but with a catchiness which infests the listener as a blues/psych flavouring similar to that conjured by My Baby arrests the imagination.

Every track within Growl Peace Belief is a treat with Murder one of the most thrilling next with its repetitive keys placed melody and volcanic intensity. Graced by another glorious vocal union between Noble and Chetcuti and the individual theatre of sound and suggestiveness crafted by all, the track is superb, it’s nagging quality alone manna for ears before Senorita consumes with its romancing Latin seduction and dramatic rhythms as keys and harmonies virtually swamp the senses.

Concluded by its invasively melodic and drama driven title track, another stunning pinnacle of the album deserving ears more than words to reflect its might, Growl Peace Belief is the realisation of the hard work, thick imagination, and spirited energy Bernaccia has spent and discovered these past two years. It is also the declaration of a band ready to have a big say on the British rock scene ahead.

Growl Peace Belief is out now and available through many online stores and @ https://bernaccia.bandcamp.com/

 

https://www.facebook.com/BernacciaMusic/  https://twitter.com/bernaccia

Pete RingMaster 13/10/2016

 

Bluesness – The Last Valley Of Jupiter

Bluesness comes from Porto in Portugal, a quartet with a sound living in character up to their name. Their style of blues is a flavoursome mix of modern and traditional embracing an instinctive catchiness which grabs ears with swift success. The Last Valley Of Jupiter is the band’s debut EP, and a highly accomplished ear pleasing introduction to a band it has proved to be.

Formed last year, Bluesness consists of vocalist Sara Jimmy, guitarist Ricardo Marques, bassist Vasco Pereira, and drummer Rúben Fernandes, a foursome bringing almost a decade of live and studio experience between them to the band. It is easy to hear that depth in experiences and know how within The Last Valley Of Jupiter, a strength on show straight away with opener My Kind Of People. Quickly maturity in songwriting and sound entices yet equally there is the hungry essence and bold imagination which comes with any new project. The track’s laid back start is a coaxing soon draped in sultry grooves with a fiery touch to their seductive tempting. The slow swing of the bass is just as welcoming, it providing great company to the instantly attractive and similarly delivered vocals of Jimmy. With the craft of Marques leaving trails of sonic flame behind his solo for extra spice, the track is a rich start to the release.

The EP’s title track saunters in next with the guitar spinning a web of enflamed grooves and smouldering melodies straight away as rhythms again share an inviting slow swing. Like a controlled fire, the song gently burns with emotive suggestiveness and sizzling flames of individual invention, it never quite finding the spark to match the energy of its predecessor but still captivating to the same degree before the southern rock spicing of Way Down meanders in on another seductive melody. There is a touch of My Baby to the song though Bluesness stays away from the more delta inspired textures of the Dutch/New Zealand bred band whilst serenading the ears.

Closing with the feistier canter of Dis-Connections, a piece of evocative rock ‘n’ roll as much a romance on the ear as it is a tenacious incitement on hips, The Last Valley Of Jupiter is a quickly and increasingly pleasing introduction to Bluesness. We cannot say that the blues is our forte here, but we know what we like and The Last Valley Of Jupiter easily fits the bill.

The Last Valley Of Jupiter EP is out now @ https://bluesness.bandcamp.com/

https://www.facebook.com/BluesnessBand/

Pete Ringmaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

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