Animal Noise – Sink or Swim

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The description on Facebook for Animal Noise describes the band as “a three from SE England as an experimental indie outfit, creating moody swamp songs.” The last three words especially sum up the tone of the seriously captivating songs making up their latest EP Sink or Swim. It offers four tracks of dark rock ‘n’ roll as ripe with folkish charm as they are vibrant with indie rock tenacity and blues infused drama. Like a rousing mix of Common Tongues, Billy Momo, and Milton Star; sound and EP leap on ears and ignite the spirit and imagination with consummate ease; the result a fun and rousing time for all.

Since releasing their debut album Run Loose in 2012, it is fair to say that the Colchester hailing trio of Josh, Birdy, and Jack have been the keen recipients of regular attention and praise. The release of their well-received album soon led to Animal Noise performing at the likes of Bestival and T in The Park whilst their songs have found a potent place in the playlists of radio shows  hosts like Greg James, Huw Stephens, Sara Cox, Scott Mills, and Tom Robinson through the extensive support of BBC Suffolk Introducing. Working with producer Tom Donovan on new songs in recent times has led to the arrival of the four-track Sink Or Swim EP which will be released on limited edition vinyl as part of Record Store Day on 15th April.

cover_RingMasterReviewRecently unveiled single and EP title track, Sink Or Swim is the first lure of the release and instantly it tantalises ears and imagination with its flirtatious and slightly agitated web of melodic enterprise. There is funkiness to guitar and bass as they align with skittish beats around the swiftly impressing vocals. The seriously engaging start is soon a heftier stroll of boisterous endeavour and energy, beats a beefy incitement within the feisty blaze of guitar and bass stringed revelry. Though it relaxes at times throughout, that first expulsion of creative zeal fires up the rest of a song thereon in; a contagion which simply gets under the skin with the great expressive character of the vocals leading the way.

The acoustic and rhythmic rumble of How Can You Love Me is next; its dark and sultry country air a lively shuffle of nagging riffs and tenacious beats again graced by potent vocal drama and similarly enthralling harmonies. As the first, even with it’s slightly darker and imposing character, the song has feet and emotions bouncing and fully engaged in its shadowed tale in no time, before the galvanic adventure of Alright provides a darkly hued croon over rhythms which still will not settle down. For whatever reason, the track reminds, as indeed other moments within the EP, of Eighteen Nightmares At the Lux. Admittedly the reason as to why is vague but there is a kinship in off-kilter dark rock ‘n’ roll ingenuity both bands share in their openly individual sound and writing.

The band saves it finest moment for closing track Bag Of Bones. Guitar and vocals offer the first persuasive proposal within the song, percussive enticing soon making an additional invitation to the already anthemic air of the track. With each passing second, there is a sense of energy and devilment brewing, thrilling dynamics which explode in a seriously rousing chorus driven by the tenacious urgency and roar of vocals backed again by bold harmonies. Ending on a finale which whips up feet and vocal chords, the outstanding song has a highly enjoyable feel of The Woodentops to it whilst bringing a thoroughly enjoyable EP to an epic end.

Sink Or Swim is an encounter which just leaves ears and appetite greedily wanting more; a hunger easy to assume Animal Noise will continue to happily and impressively feed ahead.

The Sink Or Swim EP is released April 15th.

Upcoming Live Dates:

April 28th, Paper Dress London

April 29th,  Colchester Arts Centre

April 30th, The Swan, Ipswich

May 1st, Cosmic Puffin Festival

http://www.animalnoise.co.uk/    https://www.facebook.com/animalnoise   https://twitter.com/animalnoise   https://www.instagram.com/animalnoise/

Pete RingMaster 15/04/2016

Copyright RingMaster: MyFreeCopyright

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The Filthy Tongues – Jacob’s Ladder

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Seriously beguiling and theatrically suggestive, Jacob’s Ladder is the highly anticipated debut album from Scottish trio The Filthy Tongues, and a glorious adventure into the dark and magnetic underbelly of the band’s home and imagination. Consisting of eight slices of dark rock ‘n’ roll woven from an evocative tapestry of caliginous flavours and textures, tracks further infused with poetic lyrical drama, the album is an immersion into gothic cloaked and intimately alluring portraits of, in the words of the band, “a dark neo-feudal Edinburgh.”

The Filthy Tongues consists of vocalist/guitarist Martin Metcalfe, bassist Fin Wilson, and drummer Derek Kelly, a threesome who were the core-members of eighties/nineties band Goodbye Mr Mackenzie. The band, which also featured Shirley Manson as keyboardist and backing singer, evolved into Angelfish and recorded a well-received album with Chris Frantz and Tina Weymouth of Talking Heads, whose manager Gary Kurfirst gave a helping hand to the Scottish band. Subsequently Manson was lured to front a new project called Garbage whilst Metcalfe, Wilson, and Kelly became Isa & the Filthy Tongues and released a pair of albums with American-born Stacey Chavis as vocalist. Now the trio have stepped forward as The Filthy Tongues and uncaged a creative incitement which must rank up there with the finest offering to come from their creative minds and talent.

The album opens with its title track and a melancholic caress of strings which soon part for a vibrant stroll of dark bass and nagging riffs around distinctive vocals. A ripple of keys adds to the instant expressive character of the track, backing vocal lures just as potent as the track strolls along with a sinister yet mesmeric swagger. Like a mix of The Monochrome Set and Milton Star with a healthy scent of Nick Cave to it, the opener alone gives Jacob’s Ladder all the bait needed to tempt ears and appetite, whilst setting up an already eager imagination with the lust to delve into what is to come and enslave.

album_RingMasterReviewThe brilliant start continues with the rhythmically tenacious High. As the bass aligns it’s ominous yet invitingly throaty suggestiveness to the anthemic pull of beats, Metcalfe’s tones bring the narrative to pungent life like a lyrical Pied Piper within the post punk seeded and dramatic ambience of the sounds around him. It is gripping, irresistible stuff that demands increasing attention with consummate ease, much as the album and songs surrounding it, including the following Holy Brothers. Rhythms again create a bold canvas for keys and strings to share their provocative and melodic suggestiveness which in turn creates an aural sketch for vocals and words to captivate within. There is a slight feel of Fatima Mansions to that lyrical and indeed emotional prowess cast, a sharing of the descriptive and virulently compelling art of offering the imagination a fully equipped landscape to play with.

Long Time Dead brings a steely edge and attitude to its guitar crafted opening and subsequent body next, providing a dark country spiced proposal bred in the dirty back streets of life whilst Bowhead Saint swings and seduces with a delta blues kissed romancing of the imagination. Both tracks enthral and tantalise from within their individual creative skins and darkly lit hearts before Violent Sorrow shares its intimate and, as throughout the album, lyrically raw croon. Each of the trio leaves a lingering mark in their varied ways, all offering a long term flirtation with the psyche and passions.

A more physically agitated piece of rock ‘n’ roll, Children Of The Filthy keeps enjoyment and excitement as high as ever. Once more rhythms provide the irritable yet anthemic side of the song, vocals the dark scenic persuasion, and melodic and sonic imagination a bewitching poetic majesty which here is surf rock infused. The track is glorious, with Metcalfe vocally continuing to be like a Vaudevillian Poe sharing a dark tale to embrace and be inspired by. Its success is swiftly matched by the sultry exploration of Kingdom Of Ice, a song as enchanting as it is emotionally intimidating. Carrying a sound brewed with volatility, the closer is a firmly arresting proposal with as much suggestive depth and persuasion as the words it merges with, and a superb end to a similarly impressive release.

Jacob’s Ladder is destined to be one of the most acclaimed debuts of 2016, if it can truly be called a first release or simply another proposal in a long term evolution of three artists. More than that though, the record is a blend of fantasy and reality which ignites ears and emotions like a sonic poet; so being destined to emerge as one of the most acclaimed albums of the year might be the better suggestion.

Jacob’s Ladder is out now via Blokshok and available in varied formats and packages @ http://www.filthytongues.com

https://www.facebook.com/Isa-the-Filthy-Tongues-144934250476   https://twitter.com/filthytongues

Pete RingMaster 15/03/2016

Copyright RingMaster: MyFreeCopyright

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Old House Playground – The Great Escape EP

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Listening to The Great Escape EP, thoughts wondered whether if Edgar Allan Poe was around today creating dark literary masterpieces, would he be listening to and most likely involving the music of UK based Old House Playground somewhere. Four tracks of dark rock ‘n’ roll bred with provocative blues climates and gothic imagination, all “with roots in the songwriting culture of traditional Greek folk music”; the band’s new seriously compelling EP suggests quite possibly yes as it thrills with its ripe bewitching drama and imposing atmospheres.

It was in 2009 that Old House Playground moved from Athens to Manchester to, in the words of their bio, “experiment with new musical paths and forms of expression.” Vocalist/guitarist Tryfon Lazos, drummer Andreas Venetantes, and bassist Conor Loughran were soon weaving inspirations from the likes of Tom Waits, Django Reinhardt, Nick Cave and Greek artists Psarantonis, and Marcos Vamvakaris into their own unique vision of an alternative rock/blues sound. The departure of Loughran before its recording saw debut album God Damn That Gold the creation of the remaining duo overseen by producer/musician Chris Evans. Its 2013 release via Evening Economies/Fat Bob Records was keenly received and praised, as too a UK tour in support of its unveiling. The band also ignited the attention of Vini Reilly through the band linking up with Sugar House production, leading to a subsequent collaboration seeing Old House Playground and Durutti Column together for the latter’s first Manchester performance for five years and Lazos singing onstage alongside Reilly that night. With bassist Jago Furnas enlisted last September, Old House Playground now release the magnificent tempting of The Great Escape, an encounter to inspire the imagination and feed a greedy appetite for dark treats.

Picture 47_Reputation Radio/RingMaster Review   Opener Polite Fiction immediately has ears and attention sparked with its initial psychobilly coated groove, and gripped with the quickly joining blend of vocals and spicy guitar enterprise. The tones of Lazos are a rich enticing and attention grabber, even as the song becomes a perpetual awakening of new sounds and textures sparking ears with embraces of fiery sax and brooding basslines amongst many things. An unbridled captivation with a predatory stride, the song blossoms into a sultry, jazz kissed seduction of Bernaccia and Tom Waits like essences courting the warped swagger of Eighties B-Line Train Disaster and the raw croon of Nick Cave. It is a delicious web of temptation, ears and thoughts embroiled in the swinging lures and smouldering drama cast by the openly inventive and descriptive craft of the band.

The exhilarating start is followed by Stardance, a similarly potent slavery of blues intoxication and rhythmic devilry bound in tangy grooves and vocal enterprise. Like its predecessor, the song has a flirtatious devilry to its sauntering gait and swinging energy, and like the first track provides an irresistible tapestry of darkly cultured hues entangled in delta bred blues persuasion. It is the devil’s music for sure and even more ridiculously addictive when exploring off kilter twists of sonic and melodic ingenuity aligned to the perpetual noir lit jazziness fuelling its inventive breath.

A western twang creeps in with the inviting caress of guitar bringing All Day Today into view next, the song’s country-esque acoustic folk charm enhanced further by the ever potent and alluring vocals of Lazos. Reminding in some ways of Swedish band Billy Momo and in others of Milton Star, the song is three minutes of dark seduction sparking ears and thoughts further before making way for the EP’s closing title track. Sweltering with sultry melodies and heated sonic mystique, the song is pure aural alchemy conjuring a majestic tapestry of wiry chords and acidic grooves within a suggestive landscape as intimate as it is evocatively expansive.

The track is a brilliant end to a seriously thrilling release. Old House Playground may have been in the shadows for many before the release of The Great Escape EP but it is easy to suggest the only dark hues around them will be those they seed, blossom, and embrace their music with from hereon in.

The Great Escape EP is available via Horus Music from 22th June @ http://oldhouseplayground.bandcamp.com/album/the-great-escape, digitally and as Limited Edition 10″ vinyl with 2 bonus tracks!

http://www.oldhouseplayground.net/   https://www.facebook.com/oldhouseplayground

RingMaster 22/06//2015

Copyright RingMaster: MyFreeCopyright

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

 

Vienna Ditto – Circle

Vienna Ditto _Reputation Radio/RingMaster Review

With every song and single released, UK duo Vienna Ditto has enhanced the seductive hex they have laid on certainly our ears since being infected by the band’s Ugly EP in 2013. Now the pairing of Hatty Taylor and Nigel Firth has set free their long awaited and highly anticipated debut album, and fair to say that their melodic voodoo has just got seriously enslaving. Bringing some old fan favourites together with re-workings of older releases and brand new slices of sonic devilment, Circle is a bewitching romance of sultry atmospheres, bordering on sinister melodic beauty, and psychedelic sunspots of harmonic alchemy.

Originally meeting when Firth taught Taylor the guitar when she was 11 years old, the duo began writing and creating together in 2009 after meeting by chance again in the street. Within a week of that moment, they recorded an electronic version of the Johnny Cash classic Ring of Fire and in a matter of another seven of so days created and unveiled their own first song Long Way Down. This quickly managed to find itself played on Huw Stephens’ Radio One show, leading to Vienna Ditto playing the BBC Introducing stage at Glastonbury. 2011 saw the band’s self-titled debut EP get a well-received release, its temptation the beginning to greater attention and responses earned by a couple of singles and more so the Liar Liar and Ugly EPs two years later. With further singles only enhancing and confirming the duo’s potent emergence and increasing evolution of sound, there has been a greedy appetite brewing amongst a great many for this first album. Now here it is easy to say that no-one will be disappointed and for newcomers, well simply welcome to a new musical lust.

The encounter opens with This Is Normal, a song instantly luring ears through a minimal but potent bassy riff and the siren-esque tones and expression of Taylor’s voice. As crispy beats and additional guitar enticing joins the mix so the song’s energy also elevates, though it is quickly back into the low key gait so things continue to be potently intriguing and unpredictable. As electronic invention springs its bait next, the track eventually slips into a magnetic stroll with Morningwood like revelry but yet again things only get twisted and turned around to relentlessly excite ears and imagination.

Owly circle_Reputation Radio/RingMaster Review    The irresistible start is emulated and surpassed by the following Feeling Good. With garage rock hooks colluding with surf and sci-fi shimmers, the song is quickly teasing and flirting like a sixties Venusian temptress. Also though there is simultaneously a climatic and sultry air enveloping the senses whilst beneath it a smouldering Tarantino cultured landscape becomes the home for an irresistible dance of vocals and grooves. The song is pure musical and emotional drama, an infection getting under the skin and into the psyche whilst providing the first major pinnacle of the album.

A melodic calm caresses ears next through the mellow charm of Wintertime. Comparisons to Portishead have been a regular offering since Vienna Ditto began and easy to see why with the golden kiss of charm offered by the tantalising third song on the album. It has its own intimacy and individual, almost raw innocence and beauty though as it casts a lingering peace which eventually makes way for the off kilter cosmopolitan enticement of A Happy Car is a Stolen Car. With a ska shaped bassline and exotic melodic hues within a spatial atmosphere, the song is a fascinating waltz of warped imagination and enterprise. The effect hugged vocals of Taylor court the bedlamic shuffle of the song and again a sixties pop hued psyche rock twisted soundscape. It takes a couple of listens or so to fully explore and understand the wonderful turbulence of ideas and bold adventure at work but rewards patience with another major highlight within Circle.

The band takes ears back into the dusty climes of a Morricone like terrain next through Pale Horse Rider, voice and strained guitar strings a compelling lead into a continually evolving and absorbing immersion of sound and emotion. Beauty again is the keenest description to lie at its door before the first of the band’s two current singles step forward side by side. Oh Josephine which we are led to believe is a tribute to dancer and civil rights icon Josephine Baker, has a haunting and pulsating shine to its air, a glow which resonates across every aspect as rhythms and the simply catchiness of the song steal body swerves and lustful thoughts from the listener. The following Long Way Down is an epidemic of addictiveness and brilliance. Primarily garage punk and rock across its numerous strands of temptation, the song also weaves a funk and synth pop lure encased in psychedelic salaciousness. Think Chick Quest meets MGMT with a touch of Jingo for good measure and you have a closer clue to the brilliance of the song.

     Both the hypnotic almost oppressive psychedelic wash of A Wheel Within a Wheel and the bulging devilry of Hold On enthral and thrill; the first a song bordering on psychotic with its kaleidoscope of sonic colour and melodic seducing aligned to off the wall ingenuity. The second of the two is jazz/funk pop twisted out of shape and stretched on muscular rhythmic sinews, then infused with guitar jangles and electronic mania before being given to Taylor to bind in her ever alluring vocals. The result is one virulent dance of unbridled infection and enjoyment though it is soon overshadowed by the sensational Hammer and a Nail. Opening with a caress of southern guitar and the endearing tones of Taylor, the song soon spreads into again Morricone seeded scenery within a dusty hot ambience. It is a transfixing maelstrom of mystique kissed sounds and emotional drama which toys with ears and imagination. The more revealed the darker the track becomes, its rapacious throat and intensity an encroaching clouding over the open beauty and sultry resonance of voice and melodies. As a single this incitement was glorious but reshaped and re-coloured for the album it is simply majestic.

The gentle croon of Liar Liar Quietly is almost an anti-climax initially after the previous glory but soon has ears and thoughts firmly in its soft and persuasive melody soaked hands. It is a spellbinding kiss with a need to spill eighties post punk like invention from within its serenade, again the band reaping seeds from earlier decades to enrich their own scintillating invention.

The album closes with a smouldering slice of gospel bred psyche balladry; I Know His Blood Will Make Me Whole another cast in the dark country of psychedelic rock ‘n’ roll. As expected the track spins a mesh of perpetual unpredictability and off beat exploration which just gets darker, bolder, and more addictive with time and age.

There is also a bonus track on certainly the digital version of Circle called Squeaking Wheel and it too is a sensational romp, one built on a blues sound and craft wound in creative mischief and ingenuity. Whether this or I Know His Blood Will Make Me Whole completes the album, Circle is easily one of the most scintillating and invigorating thrills of the year so far. Full of surprises and originality, album and Vienna Ditto deserve all your attention with the only losers being those not taking a listen.

Circle is available now @ https://viennaditto.bandcamp.com/album/circle

http://www.viennaditto.com/ https://www.facebook.com/viennaditto

RingMaster 16/05/2015

Copyright RingMaster: MyFreeCopyright

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

 

Milton Star – Things Fall Apart

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Like for most a sound to riot too is a treat, music to change or ignite the day essential, but just as potent and thrilling are compositions which invite you immerse deeply into their depths so you can conjure your own emotional and visual experiences. Music to get truly lost in is the forte of UK duo Milton Star as evidenced by their previous two-song offering Salvation/ Storyville. Now the Scottish band returns with new single Things Fall Apart and arguably their most immersive and provocative embrace of sound yet. It is enveloping, it is sultry, and it is powerfully mesmeric; simply the track is a sinister fever of dark country romance to chill the bones and ignite the passions.

Things-Fall-Apart-cover  Milton Star consists of Alan Wyllie and Graeme Currie, two songwriters/musicians whose history together encompasses numerous projects and collaborations going back to the early days of post punk and most notably The Thursdays and Fast Records. The pair also understands the potency of fusing cinematic suggestiveness with atmospheric aural imagination, and indeed as evidenced by their singles how to achieve such fusions. Creating their music in a converted church in Fife which is also Wyllie’s home, Milton Star is the riveting equivalent of Nick Cave, Helldorado, and Mark Lanegan awash with the craft and vision of an Ennio Morricone and David Lynch, but with their own identity.

Straight away their new single has ears and thoughts engrossed, as a deep throaty tone resonates from within guitar, bass, and just the whole ambience of the piece. Things Fall Apart is an immediate seduction, its sombre gait and melancholic air a mesmeric croon on the senses reinforced by the grainy but vibrantly toned vocals. Whereas the band’s previous single had a slight mischievous essence, certainly to one of the songs, which reminded of Tombstone Three, this new proposition has an intimacy and drama which imposes itself on ears and appetite with more solemn intent. Its melodic prowess though brings smouldering warmth too, guitars and keys a haunting, at times almost regal caress inflamed with exotic hues that further enthral and spark the imagination.

The song is pure cinema, and pure aural temptation. Every listen increases its potency too, and from being a powerful successor to its stronger predecessor, Things Fall Apart has grown and evolved into the bands finest most pungent and thrilling incitement yet. Here is hoping an album is on the cards or at least a fuller adventure of an EP next.

Things Fall Apart is available from June 15th via Stereogram Recordings @ https://itunes.apple.com/gb/album/things-fall-apart-single/id991360030

https://www.facebook.com/miltonstar   http://www.miltonstarmusic.net/

RingMaster 15/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

The Bivouac Detectives – Shooting The Breeze

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

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

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

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

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

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

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

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

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

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

https://www.facebook.com/Bivouacdetectives

RingMaster 02/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

Milton Star – Salvation/Storyville

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Always partial to music which is as cinematic as it is sonically expressive, and especially keen on dark and sultry aural adventures which embrace emotive shadows as eagerly as they do melodic intrigue, the debut single from Scottish band Milton Star has come as a bit of a treat. Consisting of the songs Salvation and Storyville, the double A-sided encounter is a gothic romance for the ears and imagination. The two tracks cast evocative landscapes of smouldering emotion and heavy atmospheric colour uniting indie and dark country in one enjoyable and darkly feverish encounter.

Milton Star is the duo of Alan Wyllie and Graeme Currie, two songwriters/musicians whose history together goes back to the early days of post punk and across numerous projects, most notably the Thursdays who were signed to Fast Records. Getting back together in 2010 after both had been absent from the music scene for a few years, Wyllie and Currie now in a converted church in Fife, create and record their songs with a sound which have drawn the description, “think Velvet Underground meets vintage Glen Campbell via Rick Rubin collaborating on the next David Lynch movie or sound-tracking the latest HBO crime drama…” It is a hint in the right direction but as Salvation alone shows, there is plenty more within the band’s broad soundscapes and intimate canvases.

The track is a dark croon seemingly bred on a dark folk mix of Nick Cave and Mark Lanegan aligned to the visual drama of Helldorado and a whisper of the raw danger in a Tombstone Three. It Picture 3opens on an instantly gripping stroll of heavy beats which is swiftly joined by the sultry flames of guitar and great dark throated yet melancholically elegant vocals. There is an immediate theatre to the song, especially when voice and guitar add their provocative textures to the portentous heavy bassline and the crisp swings of the drums. The track is glorious and increasingly spicy as the two musicians weave in tangy grooves and emotive melodies which often come in a great ‘yawn’ of sound. With additional fifties rock ‘n’ roll stroking its gothic poetry, the song leaves thoughts lost in a soulful landscape of adventure and ears basking in syrupy sonic goodness.

Its companion Storyville similarly offers an intensive climate of shadows, this time the first breath coming around a grizzled bassline which instantly enslaves attention as the atmospheric lure of the track expands its coaxing. Slightly lighter than its predecessor but no less imposing with its bordering on caliginous emotions and aural colour, the song shimmers and smoulders with raw radiance and evocative expression, it all across that unrelenting bass spine. Not quite matching Salvation but certainly as enthralling and exciting, the song completes an impressive first excursion into the dark climactic majesty of Milton Star’s sound.

The single is sure to spark strong anticipation in a great many for more; future Milton Star adventures which if they are as dramatic and thrilling as this will be devoured greedily and noisily.

Salvation/Storyville is available from 12th January via Stereogram Recordings @ https://stereogramrecordings.bandcamp.com

http://www.miltonstarmusic.net/

RingMaster 12/01/2015

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