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

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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

 

Jane Allison – Just Another Girl

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The album may describe its creator as Just Another Girl but its contents give compelling proof that KarmaDeva’s Jane Allison Stanness is anything but as an artist and songwriter. Under simply Jane Allison, she has cast a blend of intimate acoustic and folk elegance with potent Americana flavouring into a collection of songs which seduce whilst embracing emotive shadows and personal angst. Equally there is an infectiousness to the tracks which adds an inescapable weave of colourful persuasion lyrically and musically, it all suggesting as mentioned that Allison is anything but just another singer songwriter.

The songs for her debut solo album Just Another Girl were written whilst Welsh born Allison was in Berlin, having moved there to finish the second KarmaDeva album. Taking inspirations from childhood heroes such as Neil Young, Bob Dylan, Leonard Cohen, and Joan Baez, the songs were bred from her soul and inspired by the experiences and struggles of previous years. Recorded at The Tea Rooms studio in the heart of the Ardennes and produced by Alonza Bevan, Just Another Girl also sees additional guest guitarists on some tracks in the skilled shape of Country Dave Caven as well as Mark Legassick of Howlin Lord. The now Bristol based Allison, who also has notable acting roles and appearances under her belt, including the Julia Davis penned shows Hunderby and Nighty Night, as well as Human Remains and the Simon Pegg movie A Fantastic Fear Of Everything, takes little time to embrace ears and stroke emotions upon her first album.

The title track starts things off, warm vocals and acoustic guitar instantly smiling at ears alongside evocative melodies. It is a gentle start bringing the folk and country hues which vein the whole album swiftly into view before a subsequent 10351077_671996669557637_1070732306411286045_nbolder Americana suasion adds further texture and substance to the emotive encounter. It is an alluring introduction to artist and release, a soft and catchy coaxing awakening a quick appetite for the proposition which is soon reinforced by the first single from the album, Hymn To Hope. Similarly the track offers an elegant hug to the senses with its melodies and a great skittish rhythmic enticing which courts the thoroughly appealing and impressive vocals of Allison, her additional harmonies just as mesmeric as the track expands its provocative dance. As its predecessor, the folk seeded song complete with a healthy country twang, does not leap from the record but certainly raises further enthralling temptation for ears and imagination to immerse in.

Seizing a tighter grip on thoughts and passions is the following Fading Moon. From its first seconds there is a rhythmic tenacity to the track which even in its simple pace provides potent bait as vocals and melodies emerge and bloom around it. A folk charm soaks every note and syllable with essences of Fleetwood Mac making hints as the song wraps radiantly around ears and emotions. With a contagious swing to its respectful gait only adding to its captivating presence, the track is one of the biggest pinnacles of the album, though it inadvertently places a shadow over the next up Country Lovin’. To be fair the song also strolls along with a infectiousness which is impossible to dismiss and a fascination which actually slips pass our inherent disinterest in country music, whilst with each listen it just grows on increasingly open ears as Ms Allison lays an unexpected hex on the appetite.

Both Catch Me and All Over Now ignite imagination and ears with ease. The first explores western scenery beneath a sultry melodic sky, seducing from its first acidic twang and the open embrace of its Morricone kissed climate. It is a gloriously cinematic narrative with similarly captivating vocals whilst its successor is a slow croon with provocative key sculpted drama, and another track which simply blooms and increases its riveting seduction over time through its sixties enchantment. Each leaves a greedier taste in emotions and appetite before the brilliant Joan Of Arc offers its own impassioned balladry. Allison is scintillating, her voice as melancholic as it is beautiful, whilst the melodic lure of the track combines with her emotional majesty to send tingles down the spine.

From one impressive peak the album brings another straight away with Real Life. Again a sixties adventure cloaks the song, aligned this time to a seventies rock heart with psychedelic whispers. It is a transfixing encounter which shows the inspiration the like of Joan Baez has made on Allison. With guitars bringing electrified invention to the song, it leaves ears wanting more and duly served right away by the just as thrilling Wait For Me. It is a song bred from the same vat of invention and flavouring yet sculpting its own unique proposition within the album. In many ways the second half of the album is its strongest and most adventurous, pushing the creativity and presence of the artist to even greater heights.

Completed by the piano driven ballad Farewell My Boy, with Allison again vocally radiant, the melodically glowing Just Another Girl is a thrilling treat to lose thoughts and senses in with the richest rewards in return. Jane Allison is a bright spark in folk inspired invention with the potential to make a potent mark with her solo endeavours in the future.

Just Another Girl is available now @ http://janeallison.bandcamp.com/album/just-another-girl

http://www.jane-allison.com/

8.5/10

RingMaster 11/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/