Cat Dail – Fight for Love

Sparking a spring in the step as it dances with the imagination, Fight for Love is the new release from US singer songwriter Cat Dail. It is a seven track offering which creates a web of styles and flavours woven into one irresistible party for ears with the Chesterfield, NH bred Cat. She has been a potent participant in her national Indie rock scene since the nineties and surely is now about to tempt far broader attention with this contagion fuelled new album.

Not only as a whole but individually the songs within Fight for Love are joyful conspiracies of sound. Whether you call its instincts as pop, rock, funk, blues or whatever, and all apply song by song, the fusion of flavours is a perpetually imaginative and magnet combination. Each track has a unique personality and invention united in the welcoming enterprise of Cat’s voice and lyrical temptation.

The EP begins with Can’t Buy Love, the song slipping in on a rhythmic impulse to spread a tantalising climate of woozy intimation and sound around the immediately engaging tones of Cat. Seductively haunting and suggestive in its melodic air, the song similarly captivates with its hip sparking sway and slow but lithe gait; the craft of guitarist/bassist Teddy Kumpel and drummer Shawn Pelton, as across the whole release, matching the prowess of Cat. Surf, blues, and country spices all add to the smoky temptation getting the EP off to an ear grabbing start.

Similar hues collude in the following Player, a slice of rock funkiness and melodic rock with a whiff of Fleetwood Mac to its lively stroll. Once more the vocals just dance on the ears as they lyrically tease, the song’s imagination just as rich and pleasurable as the song fluidly ebbs and flows in its constantly inspiring energy before Catch Fire grips feet and hips with its mellower but just as manipulative shuffle. Reggae nurtured flavours unite with surf rock currents as the song flirtatiously entices, a country twang teasing in its swarthy air.

Both tracks just hit the spot though are still eclipsed by the following Wonder Love, a heavier slice of pop ‘n’ rock which almost prowls the senses before uncaging one inescapably catchy chorus. Everything about the track is pure temptation amidst creative manoeuvres which just got under the skin in swift time, again an array of flavours combining to charm and bewitch.

Featuring trombonist Clark Gayton and Steven Bernstein on slide trumpet, Flow Zone is equally as compelling and joyous with its Talking Heads meets Molotov Jukebox conjured canter. Unsurprisingly another individual collage of flavours is honed into an ear gripping adventure around rhythms which alone incite body and spirit to indulge. It all adds up to the best track on the release, one which lingers and teases long past its departure.

The EP concludes with the pair of She Can Fly and Molly & Matchbox. The first offers an alluring sunshine of pop lined sound, a radiant embrace of melodic romance added to by the keys of Andy Erin and led by the perpetually tempting voice of Cat. Its successor is a country rock bred encounter with sultry climes and melodies around instinctively open vocals and words. There is also a fire in its belly which bubbles up from the song’s natural simmer and though, simply down to personal tastes, the song did not thrill as its predecessors it still ensured the album closed on an unmistakable high.

However you wish to describe Cat Dail’s sound, which as its press release asks “Is it Blues? Funk? Rock? Soul? Folk?” it is sheer magnetism and pleasure within Fight for Love, a record which puts a smile on the face and in the spirit.

Fight for Love is available now @ https://store.cdbaby.com/cd/kyalb01283297 and https://catdail.bandcamp.com/album/fight-for-love

https://catdailmusic.com/   https://www.facebook.com/catdailmusic/   https://twitter.com/catdailmusic

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright

The Elixirs – Sin Alley

When a band provides one of your all-time fav tracks there is always going to be an instinctive excitement at news of a fresh offering. And so it is with us and The Elixirs. Back in the aeons of time, well actually six years ago, the Gas City, Indiana hailing trio unleashed debut album Long Gone. It was a brawl of a riot bred in the band’s fusion of punk, psychobilly, and country.  Amongst its rich crowd rousing escapades was one song which has especially instilled itself on our daily playlists of pleasure and featured heavily on the site’s previous podcasts; Park It On The Lawn being that lingering beast. Now the band has returned with a brand new album in the devilish shape of Sin Alley, a release carrying a ravenous horde of similarly addictive proposals.

The Elixirs formed mid-2007 as The Stumblers with its original line-up of vocalist/bassist Dan Tedder, drummer Joe King, and guitarist Dan Savage. With things not quite igniting for the band, it evolved into The Boneyard Elixirs; Dan, now on guitar, and Joe recruiting bassist R.S. Lowe. Bassist changes led to the addition to now named The Elixirs of Dewayne Hughes, a time seeing the release of first EP Gut Cuts. 2011 saw Hughes leave and subsequently replaced by upright bassist Whitt. His talent and energy as well as the new dynamic of that stand-up bass was seemingly the spark to attention, that and the outstanding Long Gone which was released in 2012. Increasingly established and eagerly supported in the Indy scene, the band was thrust into ears far further afield by the album, including the likes of us in the UK. Since then the band has continued to uncage their inimitable rock ‘n’ roll whilst seeing a couple of line-up changes. The first album saw Dave “The Dudeist” replace Joe on the sticks and skins, he subsequently leaving after two years to be eventually succeeded by the initially reluctant Nate “Big Stick” Striedinger. From simply helping out his close friends at the ‘eleventh hour’ on live shows, he has become the perfect fit for band and a rousing sound now roaring with rigour across Sin Alley, their new rapaciously rocking, stomping, middle finger raising thirteen track DIY devil.

Fair to say as soon as the opening hook and subsequent rapping on wood of Knockin infested ears we were hooked, the track swiftly showing all the virulent slightly dirty traits of our first lusty affair with The Elixirs. Dan teases and flirts with the senses through his guitar as Whitt and Nate simply incite attention with their tenacious rhythms. The track is a fiery blend of psychobilly and punk ‘n’ roll; a mischievous almost salacious incitement about the struggle of being chased by temptation and sin. In the words of their press release; “when the lord makes it rain the devil makes it pour.”

The outstanding start is quickly matched by the cowpunk fuelled Hard To Bite Your Tongue, a track line dancing on the senses whilst fingering the imagination with its sonic liquor. The metronomic prowess of Nate colludes fiendishly with the delicious dulled resonance of Whitt’s strings, Dan’s vocals backed by his band mates just as persuasive as our bodies and vocal chords quickly climbed on board.

The following Kentucky Whores reveals the dirtier edge to the band’s sound; its earthy air and uncompromising breath full of licentious temptation while Killer Custodian is punk ‘n’ roll at its most lustfully menacing with hooks to die for and rhythms to swing from. As impressive and unreservedly enjoyable as Long Gone was already at this point Sin Alley has it beat and cowering in the corner.

Its Cold Outside corrupts along next with a fevered stroll through broken romance, the threesome a senses harrying force of tenacity before Busted Flat swings its sights and punches at politics and its perpetrators. Whitt’s slaps are just sinful, Nate’s beats bordering on the lecherous whilst Dan springs hooks and riffs like a sonic libertine; the result another hellacious thrill of an encounter.

As the likes of the horror punk spiced In A Bottle and Know Remorse with its punk-a-billy meets Misfits antagonism come and go, attention and addiction to the album only escalated indeed boiled over again as the groove swinging, growl spewing Sauced had body and imagination dancing like a puppet after them. Its grumble alone was manna to the ears, its soiled groove lust brewing and rhythmic prowl irresistible; all leading to a final bedlamic outpouring before Wake Up gives every reason to holler at the top of one’s voice with limbs flung around in tandem.

The final trio of songs sees Hot Days romping and sweating with sonic boisterousness, The Bottom snarling with noise festering attitude, and Good Aint Good crooning in bold raucous style as punk, rockabilly, and simply rock ‘n’ roll unite in one anthemic roar.

Sin Alley is exactly as it suggests; every song a gateway into promiscuous sounds and inhibition free antics and each track eagerly uniting to make up one of the year’s most thrilling propositions so far. The Elixirs are ‘back’, bigger, bolder, and badder than ever; bliss!!

Sin Alley is out now via Boneyard Elixir Music; available @ https://elixirs.bandcamp.com/

http://www.theelixirs.com/   https://www.facebook.com/the.elixirs.music/    https://twitter.com/theelixirs/

Pete RingMaster 04/05/2018

Copyright RingMaster: MyFreeCopyright

Jane Allison – Methylene Blue

As 2017 went through its final handful of rewarding weeks, it is fair to say it produced some of its biggest musical treats, one of which was the new album from singer songwriter Jane Allison. The follow-up to her hypnotic debut album Just Another Girl three years earlier, Methylene Blue is a tantalisingly magnetic affair in its own right deserving of all the praise carrying attention it can muster.

The former vocalist of indie outfit KarmaDeva, Jane Allison Stanness to give her full name is one of those talents and voices which almost haunt the imagination. Her songwriting is an embrace of observation and intimacy, her fusion of folk and Americana a warm melancholic hug on the senses which carries you away in thought and creative seduction. Proof came with Just Another Girl and its bewitchment of emotive shadows and personal angst, attributes all the richer within the breath-taking thought courting adventure of Methylene Blue which confirms Jane Allison as one of Britain’s finest modern day troubadours, or should that be trobairitz.

Unveiling tales of “dereliction, salvation, obsession and allure, with its title track inspired in parts by the breath-taking love letters of Violet Trefusis to Vita Sackville-West”, all providing an “homage to triumph, defiance, the heroine, the daughter, and the muse”, Methylene Blue was recorded in fits and starts during Kula Shaker’s 2016 20th anniversary and K2.0 world tour. Blessed with the backing vocals of Audrey Evans from Mediæval Bæbes, the album arose at a time of great personal loss and during the devastating attack on Brussels. There is sadness at its heart but equally defiance and hope thick warmth which brews a melancholy so easy to immerse within.

The album opens up with Ain’t Wreckin’ Me, a country fuelled canter with the rich familiar twang the style often brews; its lure wrapping Allison’s enticing tones soon backed by equally beguiling harmonies. Rising from the ashes of a lost relationship, the track is a bouncy self-affirming affair getting the album off to a very potent start.

The outstanding Another Prayer follows, its mellow sighs riding a captivating swing as Allison again lures total attention with her bewitching voice and keys bred melodies. The darker pulse of bass is as compelling; its lurking presence engaging as the song with a certain Kirsty MacColl hue to it sublimely seduces ears and appetite before Hollow Rock slips in on a vibrant shuffle, growing second by second into a similarly absorbing proposal. Harmonica and guitar weave their own Americana spawned temptation but there is no denying that it is Allison’s voice and craft which takes the tightest grip.

Oh Girl is next, caressing ears with its gentle but determinedly infectious and lively serenade while its successor, For What It’s Worth shares a heart spilling ballad. From its initial breath, the first of the two is working away building towards a galvanic crescendo, Allison the fascination at its core while in contrast the second strolls along with reflection and brewing affirmation for company. Both songs simply charm in their individual ways as too the album’s title track, another skilfully catchy and soulful croon upon the ears hard to get too much of.

That is something which applies to all tracks within Methylene Blue, as the charismatic saunter of Forgotten Son and the brooding drama of Outlaw Valentine prove. The pair seizes ears and imagination with unstoppable ease, the first arresting ears with its expression and emotion, the body with its bounce while its companion takes the listener into a spellbinding landscape of long shadows and dark romance with a delicious carnival-esque hued undercurrent. The track, the best or not on the album, is undoubtedly the most enthralling.

The smiling invitation of Texas Baby blends the country joy of its named state with Nashvillian flavours before Unknown Soldier bring things to an alluring and haunting close. It is a fascinating and highly enjoyable end to an album which commands regular attention. It is fair to say that the genres at the heart of Allison’s music do not generally induce our passions but in her hands they combine to truly pleasure our ears and enrich our days.

An accomplished actress in her own right and soon to be seen in the film Slaughter House Rulez, a Simon Pegg / Nick Frost comedy horror movie directed by Crispian Mills and surely basking in plaudits for Methylene Blue, Jane Allison could find 2018 a very big year.

Methylene Blue is available now @ https://janeallison.bandcamp.com/

https://janeallison.net/     https://www.facebook.com/janeallisonmusic/    https://twitter.com/JAStanness

Pete RingMaster 10/01/2017

Copyright RingMaster: MyFreeCopyright

John Stamp – Blowing Me Kisses

Giving a potent lure to the just released Franklin54, the new album from singer songwriter John Stamp, Blowing Me Kisses is the kind of lead single which only charms further investigation. Featuring the captivating tones of Leigh Nash from Sixpence None The Richer, the song is a relatively short but golden kiss on ears and imagination sure to draw attention to its larger companion.

Returning to music after eighteen years developing his business and career as a residential childcare specialist including training as a Music and Arts Therapist in 2012, Stamp quickly found his creative side flowing again. The evidence is upon Franklin54 and very openly in Blowing Me Kisses.

Its country/Americana bred stroll instantly and easily slips through ears, a sultry twang courting the vocals of Stamp and the strum of guitar. As rhythms dance, Nash steps forward with her distinctive and ever magnetic voice, the flirtation of harmonic backing vocals an extra seduction within the increasingly infectious canter.

As the duet forms and unites, the song increases its magnetism; a lure over too soon but making a memorable and lingering impression impossible not to embrace and suggest many others grab a slice of.

Blowing Me Kisses is out now on iTunes as too the album Franklin54.

https://www.facebook.com/johnstampmusic/

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Scott Swain – Like Nothing Else

From the dark country drama and sultry intrigue of last year’s single Oil!, Scott Swain casts his imagination into even more deceptive corners with its successor Like Nothing Else. The song is a gentle yet brooding encounter; warm and seductive yet with darkness in its lining which as much blossoms into a provocatively mesmeric enticement as the melodic warmth within, .

Making use of the downtime from his bands How to Dress a Monster and Fire at Night to explore his personal writing and songs, Swain unveiled his solo project last year and released the irresistible single Oil!, a song showing hints of inspirations ranging from Elliot Smith and Mark Lanagan to cult cinema. As its predecessor, which was inspired by There Will be Blood, his new track was written about a movie, Event Horizon the spark for Like Nothing Else.

The opening caress of acoustic guitar is an earthy yet celestial lure, Swain’s warm vocals adding to the song’s elevating flight of melody and temptation. With rhythms laying shadows in close quarter to the radiance embracing vocal and lyrical reflection, the song swiftly becomes an easy transfixing of ears and imagination. Simmering with creative and suggestive theatre, the track slowly but openly builds in emotion and intensity from there, its journey into an understated but rousing crescendo a gripping realisation before a final kiss of melodic and harmonic sighing lies poetically on the senses as the song drifts away.

Throughout its evolution, Like Nothing Else is pure captivation and confirmation that Swain’s solo side is heading towards major attention.

Like Nothing Else is released 28th April.

Upcoming Live Dates:

23/04/2017 Craft Beer Company, Brixton, London.

26/04/2017 The Cellar, The Finborough, Earls Court, London.

08/05/2017 Spice of Life, Soho, London.

18/05/2017 The Bricklayers Arms, Hitchin.

28/05/2017 Opium Bar, Edinburgh.

http://scottswainmusic.com/    https://www.facebook.com/scottswainmusic   https://twitter.com/scottswainmusic

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Little Lapin – Wake Up With The Sun

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice.  A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside.  An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop.  As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14th across most online stores.

http://www.littlelapinmusic.com/    https://www.facebook.com/littlelapin/    https://twitter.com/1littlelapin   https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Copyright RingMaster: MyFreeCopyright

Bad Luck Gamblers – Casino Maldito

bad_luck_gamblers_RingMasterReview

We are not sure how big the Brazilian psychobilly scene is but if Bad Luck Gamblers are anything to go by, it is a bold and raucously creative pasture. The trio from Sao Paulo make a riotously enjoyable taster for it with their new album, Casino Maldito, a stomping proposal sure to be a constant involvement in our playlists hereon in and inciting a greedy appetite to know and hear more of the scene it is bred from.

Formed in 2004, Bad Luck Gamblers infuse their psychobilly exploits with just as potent strains of rockabilly, country, and punk rock; it all entangling into virulent slices of rock ‘n’ roll in thrilling evidence on their second album. Its predecessor Don’t Bet on Us appeared in 2008; a well-received debut chosen by their homeland’s music magazine Rockpress as one of the top 25 Brazilian underground albums of that year. Equally live the band has increasingly impressed and whipped up a fevered fan base, sharing stages with the likes of Slim Jim Phantom, Frantic Flintstones, Mad Sin, AstroZombies, and Gorilla among a great many. 2010 saw Bad Luck Gamblers make their first European tour with shows in France, Holland, Germany, and Belgium playing the Sjock festival as part of their successful venture. Casino Maldito will ensure the band is keenly welcomed back over this side of the globe and that a great many more eager ears are aware of the threesome of vocalist/guitarist Joe Marshall, who we thank for bringing his band to our attention, slap bassist/backing vocalist Maniac Biffs and drummer Renan Pigmew.

The album’s title track kicks things off, Casino Maldito an addictive liquor of spicy grooves and flirtatious rhythms prone to fiery outbursts of tempestuous mischief. Vocally and with his invasive hooks, Marshall snares ears, the rhythmic dance of his companions equally as compelling as twists and turns come with salacious enterprise. Biff’s slaps are like a puppeteer for feet, Pigmew’s tenacious beats boisterous bait whilst combined the trio seize body and spirit with their devilish stomping.

artwork_casino_RingMasterReviewFrom the contagious mayhem of the opener, the album intensifies its temptation through Like a Bat. It uncages an even more intensive nagging of body and senses, its rousing persuasion and infernal swing cored by a delicious hook swiftly infesting the imagination and passions with vampiric hunger before 8% uncages its own attitude loaded roar. Like a mix of Demented Are Go and Zombie Ghost Train, the song has the body leaping eagerly in union with its own physical prowess. A cowpunk spicing just adds to the fiercely agreeable romp, the album getting better and bolder with every passing minute.

The darker threat of Terror Train is next; its carnally visceral character equipped with toxic grooves and predatory rhythms as well as a mix of melodically nurtured ingredients carrying a Batmobile lining to their seduction. The track is a snarling beast welcomingly preying on the imagination and setting it up for the tangy gasoline fuelled Rusty T-Bucket. The band discover yet another hook to drool over, bass slaps and swinging beats courting it’s tempting as Marshall vocally romps in the midst of it all.

Thylacinus Attack provides the instrumental suggestiveness all good psychobilly releases conjure, the guitar painting a picture as rhythms bounce before the country infused Somebody Stole my Pet Possum mischievously dances in ears with a grin on its creative face and straight after Drinking with the Devil strikes it’s sinister deal with the dark one in a melodic waltz of bedlam bred rhythms and an evolving landscape of fevered melody driven revelry and sultry seduction.

The variety in the Bad Luck Gamblers sound ensures the album is a bag of pleasing diversity continued in the wiry web of enterprise that is Shoulder Mount, a punk bred encounter with imposing rockabilly seeded riffs and raw surf hued melodies. As with all tracks, there is no escaping the freely given involvement of feet and hips with the track, a submission just as eagerly shred with closing track No Chips No Chicks, another cowpunk lined romp to get breathless over. The fact that its richly enjoyable presence is the weakest moment of Casino Maldito shows the quality and might of the album, the song bringing the release to a fine, greed sparking conclusion.

Casino Maldito is a must for all psychobilly/rock ‘n’ roll fans and Bad Luck Gamblers a band deserving the luck to bring them to global attention within the genre. Meanwhile we are off to explore what other treats lay within the Brazilian scene, come join us.

Casino Maldito is available now via Hot Jail Records @ https://badluckgamblers.bandcamp.com/releases

https://www.facebook.com/badluckgamblers/

Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

SJ and the Flying Pigs – Fireball

sj-pic_RingMasterReview

Few can escape the lure of a feel good proposal and that is exactly what is on offer from UK band SJ and the Flying Pigs and new single Fireball. With an engaging spring in its step and an infectious swing in its heart, the song simply gets under the skin and shows plenty of reasons why the band is igniting the music scene in their home city of Cambridge.

SJ is a country singer songwriter who has already lured attention and acclaim with her debut solo album, Nashville Sessions, which was recorded in Tennessee and released 2014. Since then she has frequently gigged across the UK and the Cambridge live music scene where she brought together her own backing band, it coming together within the walls of and taking its name from the City’s prestigious pub The Flying Pig.

sj-firebal-artwork_RingMasterReviewWith Kieran Morgan on banjo, Nicky Terry on fiddle, Ian Griffith on drums, Oli Steggles on slide guitar, and Joe Taylor on bass alongside the vocal and guitar craft of SJ, the band quickly show why they have gone down so well at festivals such as Secret Garden Party and Strawberry Fair with Fireball. From its opening melodic sigh, the track strolls with zeal and purpose, rhythms marking their territory as SJ’s voice calls upon ears and appetite with ease. Like flowing wine, that familiar country twang infests guitar and melody as warm harmonies tease, it all adding up for a rousing good time raising a smile in the listener as broad as the song’s own.

Written with her American songwriter friend Meghan Saletta and inspired by the popular Nashville whiskey Fireball, the song romps like a liquor fuelled shanty; a spirited proposition sure to spark fun in ears and hearts even within those not normally captivated by its source genre.

Fireball and the same-named EP it is from are out now through iTunes and Spotify.

Upcoming Live Dates:

29th March – Hard Rock Café, London (‘Hard Rock Country’)

8th April – Kings Head, Orford Suffolk

16th April – The Burston Crown, Diss

19th May – Faerie Fest, Sussex

3rd June – Strawberry Fair Festival, Cambridge

http://www.sjmortimer.net/   https://www.facebook.com/sjandtheflyingpigs   https://twitter.com/sj_mortimer

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

Billy Momo – Drunktalk (album)

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With the first two breath-taking singles taken from their new album providing spicy and diversely flavoursome appetisers, Swedish urban-folk collective Billy Momo faced not only eager anticipation but greedily demanding expectations here, and most likely everywhere, in regard to Drunktalk. Of course it and the seven-piece from Stockholm swiftly fed all those wants, unsurprisingly but thrillingly casting fifteen songs which croon, seduce, and romance ears and imagination. Admittedly still those early tracks, I’ve Got You and the album’s title track, remain as the pinnacles of the release and enjoyment but every caress and twist of Drunktalk leaves the richest transfixing experience and pleasure.

Originally a duo brought to life by Tomas Juto and Oskar Hovell, and now a riveting septet with Tony Lind, Mårten Forssman, Oscar Harryson, Christopher Anderzon, and Andreas Prybil alongside the founders, Billy Momo has persistently sparked attention and potent support since the self-release of debut album Ordinary Men in the closing shadows of 2011. It is fair to say though that the past few months, especially around those previously mentioned singles has seen the band become a keenly sought presence further afield, the UK and US especially. it Is easy to expect that Drunktalk will only accentuate and accelerate that spotlight and hunger, such its emotional and inventive charm alongside mouth-watering variety and adventure.

The album opens with the first single taken from its fascinating body, I’ve Got You providing an irresistible introduction and scene setter for the album. Gentle and endearing melodies from guitar and keys embrace ears and thoughts first, their romance soon coloured and reinforced by an emotive caress of strings as the musical narrative slowly broadens. The start alone is inescapably bewitching but once the strings reveal a thicker drama with the deep throated croon of the cello adding its voice, the song is sheer majesty. Their scything strokes of orchestral incitement provide exhilarating bait to which gripping harmonic vocals and the melodic theatre of the song unveil new virulent temptation. The baroque aired song is quite glorious, as on its first unveiling last year still one of the most striking and compelling songs heard anywhere.

Wishing Ain’t No Sin leaps on ears with the same attention grabbing quality straight after, its banjo twang and devilish enterprise a unique mix of seemingly dark country and Nordic folk. The song strolls with a creative and melodic swagger, a strong lure which, with again impressive vocal combination and colour, becomes an instant addictive lure for the feet and voice of the listener. It is a potency virtually all songs upon Drunktalk possess, especially the album’s following title track. Once more the opening of the song ensures body and mind are gripped before it fully reveals itself, here resonating ticking and clunky chain swipes startling before a wonderfully dark melodic and the ever outstanding vocal union emerge around them. The song is pure intoxication, voice and keys as infectiously seductive as strings and harmonica, and like the opener but in its own deceptively contagious way, infests and enthrals the psyche and heart. Think Nick Cave and Helldorado with a splash of Dennis Hopper Choppers, and you have an inkling of the alchemy at work.

The high bar set by the album continues with the catchy It’s Mine, a song starting with mischief in its melodic tempting and an increasing vaudevillian nature to its gypsy folk revelry. Once more it is impossible for body, voice, and emotions not to be enlisted in the enticement of the irrepressibly magnetic adventure, its enticement the appetiser for further unpredictable variety with firstly the soulful Keep It Unreal and straight after the fascinating proposition of Shine Like The Devil. The first of the pair also offers a blues and pop colouring to its warmly swaying and again contagious proposal whilst the second weaves in emotive shadows and haunting ambiences into its tapestry of golden harmonies and radiant melodic twists.

The sultry seventies psych kissed climate of Keep Dreaming comes next. It bursts from an almost melancholic bordering on portentous intro into a feisty stride of beats and guitar invention within delicious harmonies and emotional reflection, musically and lyrically. Maybe more of a slow burner than previous tracks it still has ears and thoughts bound before letting the country spiced Oh Lord and the following La La Land to have their moment. The first of the pair is an easy listen with plenty to intrigue and provoke the imagination but fails to find that final spark to inflame the passions, though again it is a constantly welcome companion for time and ears. Its successor as you might suspect has plenty of la-las to its romp but also a web of fleet footed beats and heated melodies which with the equally ripe vocals, provides an anthemic lure.

Setting things up with the western bar room quaintness of Drifting Away, the album hits party time with The Weekend, its blues rock/ jazz folk dance just as eagerly spiced by a country rock liveliness, a mix soon having feet tapping heartily and without inhibition. The two tracks continue the striking landscape of new flavours and ideation within Drunktalk, a quality continued through the two ballad bred encounters of the cinematically aired and emotionally provocative Headlights, and the haunted elegance of Waiting for Walls. The latter of the two ventures back into that earlier vaudeville like spicing, this time though staying in more emotionally shadowed and darkly mellow corners. They are two more tracks which may not manage to live up to the early heights of the album, but each offers something engrossing and spellbinding in their own distinct ways.

New Grounds provides the meatiest moment of the album, keys and energy having a muscular edge to their commanding lures whilst another country seeded spicing colludes with tangy melodic drama and a different vocal offering, in a pulsating stomp. The track never slips its reins but is the perfect tease because of it, relishing its moments of lively quickstepping to raise the temptation to even greater potency.

The acoustic croon of Let’s Make The Night Last Long brings the magnificent Drunktalk to a close, the album everything hoped for after the band’s previous singles but so much more too. Every song has its own identity and character in sound and intent but all sit seamlessly in the whole romance of the must investigate album. Just be warned though that once a song like I’ve Got You has its seeds fermenting inside, there is no escape.

Drunktalk is available on Hype Music from February 2nd

https://www.facebook.com/billymomomusic

RingMaster 02/02/2105

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Billy Momo – Drunktalk

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Following the acclaimed success of the single I’ve Got You, Swedish urban-folk collective Billy Momo unveil the title track of their upcoming second album Drunktalk. The band’s new song is a riveting and dramatically seductive embrace of folk intimacy and country ambience with a rhythmic and invention which is almost De Staat like in its imagination and Helldorado in its atmospheric ingenuity. Also seemingly drawing on the melodic richness of Broken Bells, the single is an engrossing treat to start off 2015 and simply ignites even greater anticipation for the band’s impending album.

Billy Momo is the brainchild of Tomas Juto and Oskar Hovell. Initially just the duo, the band swiftly drew potent attention and praise with the release of debut album Ordinary Men on Christmas Eve 2011 through their own Mobetter Music label, the record eventually getting a re-release via Hype Music in 2013 to greater success. The pair soon realised they needed to bring in 10881589_10152485803824071_4577033260872051476_nlike-minded musicians to take their music into the live arena with the addition of Tony Lind, Mårten Forssman, Oscar Harryson, Christopher Anderzon, and Andreas Prybil eventually completing the creative line-up which has already seduced their homeland and is working quietly but potently away on the UK scene thanks to the last single and live shows. Drunktalk is another inescapable temptation destined to light ears and appetites ready for the February release of its full-length namesake.

Drunktalk opens on a clunky ticking and heavy swipe of chains, a portentous almost industrial incitement which immediately teases the imagination before a winy twang of guitar and sultry vocal union cast their embrace on ears and attention. The startling and imposing presence of that opening ‘clang’ continues its baiting from within the brooding and provocatively melodic and expanding landscape draping the equally enthralling narrative. With strings adding broader and deeper shadows to the texture of the song and radiant harmonies aligned to evocative keys thickening its emotional drama and colour, Drunktalk provides an intoxication of senses and thoughts whilst creating a rich tapestry of vocal and musical expression.

The single is a temptation which lingers and worms into the psyche with increasing potency, building on the impressive presence of its predecessor but exploring a greater inventive aural theatre. Quite simply it is a glorious taster for an album which cannot come soon enough.

Drunktalk is available digitally via Hype Music from January 5th.

https://www.facebook.com/billymomomusic

RingMaster 03/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today/#!radiolistings/c1xzi