The BeauBowBelles – A Thing of Reality


I will be honest, for the first time, other than rooting for Finland’s Lordi a few years back, there was a flicker of interest in this year’s Eurovision song contest once learning that the UK entry had a sound seeded in the ever infectious realm of swing. Any hopes and attention were defused of course once having heard the song and finding it had turned an instinctively contagious sound into something yawningly bland. It was poor old school with no adventure and modern imagination fuelling its proposal; once again the contest living up to its uninspiring reputation.

What does this have to do with the new proposition from The BeauBowBelles you are probably asking right now? Well the failure of seeing what is in and the choosing of what represents our voraciously inventive British music scene just leaves thoughts bewildered when, if we go down the swing road, the likes of the Electric Swing Circus, Molotov Jukebox, and especially The BeauBowBelles are creating irresistible and inventively magnificent propositions. Whether any of them would want to be involved in such an event is another question but each spins a web of virulently inventive escapades bred from diverse and colourful sounds, and this is where the seriously impressive A Thing of Reality, the debut album from The BeauBowBelles comes in.

The London quartet’s new melodic jaunt is a mouth-watering adventure of folk swing cast in unique sceneries of personal intimacy and expansive revelry with every track. It can stomp like a dance hall, seduce like a temptress, and reflect with emotive elegance, but whichever avenue a song escorts the imagination to it has body and attention enthralled. In many ways the delicious exploits of A Thing of Reality is no surprise having been spellbound by their first EP To The Moon in 2013 and a year later the single All Over That. They were sparkling appetisers for this first full-length dance but only a hint of its majesty too.

An album version of that last single opens up A Thing of Reality, and again as the first time around, All Over That easily captures the imagination with its opening embrace of melancholic yet smiling strings within seconds. No matter the number of times heard, the entrance of the song casts a spell, which the quartet of Bertie Anderson (vocals, violin), Emma Price (vocals, flutes, accordion, bells), Ros Wilks (vocals, violin, keytar), and Marcus Daborn (guitar, kickdrum), proceed to turn into a blaze of swirling devilry. That is a little down the line though, as guitar and a sultry kiss of brass light ears next, their coaxing the perfect company to the tantalising vocals. It is like an emotive waltz, a rising dance which is soon quick stepping with flirty riffs and mesmeric coverharmonies. Then the romp truly begins as thick basslines and vivacious energies descend on the senses, awakening an even more wanton appetite for its offerings. A gentle relaxation breaks the surge momentarily before the devilment swiftly returns for another whirl of rhythmic hips aligned to tenacious gypsy punk curves, all aligning for one infectious melodic shuffle.

The brilliant start is matched straight away by the following Lo Ho Down. Again a slow temptation brings the track into view, a reflective shanty of sound the initial invitation. It is also just an introduction to livelier things, a folk emprise with Celtic breath showing its light feet and keen moves soon after before drawing on even broader spices as a country and jazz persuasion adds their hues to the continually evolving canvas and gait of the contagion.

The summery charm of Blue Tree floats in next; it’s almost whimsical spots of melodic colour a smile on the ear within which voice and strings paint an increasingly colourful and vivid picture. There is a sixties pop air to the heart of the song and a classical elegance to the narrative of the violins and horns, both sparking up the imagination for the emerging anthemic stroll of the excellent encounter. Three tracks in and the album is as varied and creatively expansive as anyone could wish for and continuing to move into new pastures as the warm deceptive balladry of Sleep and the delicate flirtation of Fly Away seduce and serenade the senses. The first gentle strokes ears with its calm melodies and evocative textures yet has a mischief in its heart as it brews up a stirring chorus with invigorating rhythms and similarly gripping theatre. From a calm start the track turns into a chest beating, rattling romp of a croon and again has emotions and body lustfully involved. Its successor remains the serene host of bright melodies and magnetic adventure it initial portrays, though it too breeds a drama which adds an anthemic edge to it all.

A fifties rock ‘n’ roll revelry aligns to the insatiable energy of swing for Lotions, its rousing body and temptation a feisty waltz for feet and energies. The track makes for another mighty pinnacle on the album, from voices to percussion, strings to keys, and the rest, inescapable bait in a creative emprise stealing the passions. It is exhausting fun after which a breath can be taken with The Boy with a Boater on his Head, though it too is a transfixing sway. There is that particular English uniqueness to its music which no one else outside our shores can emulate but equally a country-esque whine and pop swagger makes rich spices in the fascinating mixture.

The graceful Sophie is a celestial kiss of harmonies and emotional intimacy, a resourceful ballad which as previous songs climbs from mere riveting hugs into almost riotously melodic dramas, keys especially poignant here. Its alluring smooch is subsequently followed by the vaudeville delights of Fools & Fairytales. The track ebbs and flows with cinematic essences and stage like performance from the sounds. It is like a soundtrack to a play wrapped in folk lore and personal exploration, and again aural theatre is the best way to describe the song and its spellbinding fantasy, that and ingenious majesty.

The smouldering seduction of Make Up brings the album to a close; its seventies psychedelic pop and classical grace an absorbing end to one irresistible and thrilling release. Certain songs overwhelm body and soul whilst the rest like an epidemic relentlessly seduce every pore; the result an irrepressible gest to light any and every day.

A Thing of Reality is available now digitally and on CD via Woodster Records @

RingMaster 10/03/2015

Copyright RingMaster: MyFreeCopyright

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

Gabby Young & Other Animals: The Band Called Out For More


The only word to describe The Band Called Out for More, the latest album from Gabby Young & Other Animals is glorious. Actually there are plenty of other words just as apt, bewitching and scintillating two examples, all emotive descriptions which are deserved by the release and its creators. From the beautiful sleeve, which I am still failing to put back together the right way after numerous hours of trying…damn you Ms Young, the album tantalises and seduces from start to finish. Consisting of thirteen songs which merge the instinctive essentials of gypsy folk, pop, rock, jazz, and cabaret, The Band Called Out For More is a mesmeric melodic burlesque, a carnival of imagination  which burns brightly and incessantly like a heaven bred temptress.

Gabby Young’s musical journey to this place in time saw her as the youngest ever recruit to the National Youth Choir at the age of 12. The Wiltshire girl then with her intent of becoming an opera singer in tow was sent off course by the discovery of Jeff Buckley and the jazz greats who began to inspire her thoughts, passions, and ultimately a change of direction. Making strong impressions at open mic nights and playing with an array of bands next filled her journey which had seen her relocate to London whose music scene she soon embraced. At the age of 22, thyroid cancer threatened to take her classically trained voice and it was at this point that she ‘took her songwriting seriously’ and started pulling her experiences into her songs and their creation. In 2008 the lady with drummer/guitarist Stephen Ellis formed her eight piece band and using crowd-funding recorded her debut album two years later, an acclaimed and excitedly received release. Followed by numerous gigs and festival appearances including Glastonbury her stature was cemented in the passions of a growing legion of fans. Playing around the world since has only elevated her strengths and presence which The Band Called Out for More with its compelling dance of Circus Swing and Burlesque Folk, has and will accelerate to even greater levels.

If one song on an album alone can make you immediately decide about a release it is In Your Head which instantly has the passions in a a4126194190_2waltz with its vibrant and sensational sound. Opening with a tease of drums and rich vocal harmonies skirted by a blaze of brass, the song takes a mere second to lead senses by the hand into a sultry stomp of swing and folk pop to which full involvement is the only outcome for feet, hips, and heart. With essences of the Electric Swing Circus and Molotov Jukebox to its stroll and warm kisses and pecks of Parisian elegance and soul borne melodies, the treat of an encounter is insatiable in its energy and generous in its rewards.

After such a potent start expectations suggest maybe a sight dip was in store though hopes argued in the albums defence and were soon backed up by the excellent Goldfish Bowl. Acoustic guitar and the ever strong and entrancing vocals of Young lures the appetite back into the album with charm and lyrical tempting, beckoning them into the folk washed riot of indie pop called the chorus. Into its infectious stride with rhythms and vocal harmonies enslaving the emotions further, the ever fine guitar play and song imagination grins as they tease and coax their eager victim with relish.

Both Walk Away and Male Version Of Me offer a sirenesque bait to devour with greed, the first bringing a sixties enchantment through the guitars and brass as well as the keys led sway of the song. With the fabulous lush and powerful operatically trained voice of Young soaring the heart of the song whilst notes gleefully ride her delivery, the evocative ray of warmth leaves a thirst for more brewing whilst its successor from a riveting ballad like persuasion expands into a sunset of melodic colour and welcoming harmonies which simply wrap tender arms around what is by now simply ardour.

The album continues to impress and stoke the fires with the fiery Open, a track which walks through the ear with crystalline keys and emotive strings around the vocals before spreading its arms for a near on big band wind of passion soaked melodic enterprise wrapped in the continually bewitching intricacies and swerving delights of the band’s imagination. This is swiftly followed by the smouldering breath and beauty of Clay Heart and the graceful poetry of Neither The Beginning Nor The End, two more pieces of songwriting and musical adventure which impact and bring vibrant hues to thoughts and emotions.

Horatio steps forward next to stand as another major pinnacle in nothing but plateaus. Its initial slow emotive call is pure allurement and the doorway into an even greater heated glamour as the track explodes into a western carved atmosphere of Latin tempered love and deliciously contagious fire. Musically and vocally the track brings the desert sun on the senses whilst lyrically the bar room narrative is coloured by a full portrait of keys. Like a mix of Helldorado and Saint Agnes, the song is sheer majesty.

From the equally hot ballad Honey with searing brass rapture into the heart bred Segment the album takes the breathless body on another monumental inciting journey. The second track like many on the album lays down a weave of polite inducement before bursting into almost rapacious greed to control the body. As stunning and anthemic as love, the track builds and expels crescendos of ever intensifying melodic might and beauty, the emotional potency of the song burning the hairs on the back of the neck. Reminding of Scottish band Letters, it is simply one more sensational moment on the album.

Completed by the regal The Answer’s In The Question, the gypsy lit folk tones of Curtain Call, and the dramatically thrilling carnivalesque title track, Young assisted by Ellis, Niall Woods, Ollie Hopkins, Rich Watts, Paul Whalley, and Milly McGregor has created a sublime album which simply makes every adventure and day one drenched in sun and warmth. Released on her own Gift Of The Gab Records, The Band Called Out For More is one of the reasons we get up in the morning and life feels so good. A must not be missed release.


RingMaster 27/08/2013

Copyright RingMaster: MyFreeCopyright

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

Electric Swing Circus – Self Titled


Electric swing is not a genre or sound to have made a previous invitation to our ears but if the rest of the scene is as impressive as the debut album from UK sextet The Electric Swing Circus, these hips are poised for a future of swerving passion. The self-titled release from the Birmingham swing troupe is sensational, a mischievous seduction which takes feet, senses, and heart by the hand and leads them on a non-stop dance of melodic rascality. Fusing 20′s swing with fiery electro beats with extra teases of dubstep, breakbeat and jungle, the band has conjured an album which has the cure for all ills, shadows, and musical frigidity, a thirteen track release that entices thoughts and body into a quick step of bone swaggering, hotfooting devilment.

Formed in 2011, The Electric Swing Circus took no time in taking up residency of the Hot Club De Swing and Electro Swing Club UK wide. Within three months their live performances and sound earned the band the coveted title of Best Live Act in the ElectroSwing Peoples Favourite Awards 2011, this recognition enhancing the almost instantaneous seduction the band has brought to the scene and continued to reap growing recognition and acclaim within as they continually light up venues and festivals. Add the fact that the video for their track Penniless Optimist since its release late 2011 has been swamped with over 100,000 views this is a band on a potent ascent.

Fronted by the ‘sassy Sisters of Swing’, Eleanor Rose and Laura Louise, the band combine the skills and temptation of Tom Hyland (guitar), Patrick Wreford (bass guitar/double bass), Chandra Walker (drums/keys), and Rashad Gregory (synth, samples and programming), with a delicious vocal temptation to spark the warmest spirited tease possible. The enterprise and frisky adventure of band and songs riding the senses and emotions with class and ravenous hunger igniting the listener and their bodies into a whirl of movement and pleasure, each and every song in their individual stances and devilry succeeding with fascination and imagination.

The album opens with a twenties tease, a vintage breath driving the initial sound before big arching electro beats and pulses a0145031471_2resonate from within the distant coaxing. The vocals of the girls court and glance the ear with shafts of beauty, their whispers soaring through the mystique and lush lure of the brief intro ESC. It is a gentle beckoning soon exploding into a riotous shuffle of melodic invention in the form of Bella Belle. Romping with crisp beats, a sizzling electro rub, and brass flames around the sirenesque tones of the leading ladies, the track is a mesmeric stomp which leaps around the senses like a mix of Molotov Jukebox, Art Of Noise, and the Andrews Sisters.  It is a song where if not even a toe is moving its flesh in time to the rhythmic suasion, paramedics are needed to check for signs of life.

From the excellent introduction the album continues to take the listener on a vibrant and invigorating stroll through melodic and passionate aural sport, both Swingamajig with its kaleidoscope of sonic colour and creative tempting and Big Ol’ Bite complete with roaming rhythmic fingers and provocative bass licks not forgetting sultry vocal wantonness, opening up varied halls of smouldering elegance and blazing glamour whilst the outstanding Valentine brings another level to twist and let loose rapid shoe enterprise upon. Opening with French vocal enchantment over an eager Parisian melodic sway both Eleanor Rose and Laura Louise lay down their strongest emotive beckoning before combining for an intense union coated by a dark synth lined electro caress. It is an impressive switch leading into a thrilling infection baited chorus which climbs up and down the passions like a lustful puppeteer, the alchemy bringing them out in full bloom to continue romping in the sweltering sun of the track. The stunning and unexpected electro mastery and ingenuity is another irresistible contributor to one of the best tracks not only on the album but heard this year and take a potent place alongside the equally enthralling and incendiary melodic twenties inspired revelation.

The album is a continuous treat of gentle kisses such as the emotive Harvey and energetic exploits of varying gaits such as from the atmospheric heat offered by Mellifluous and the rampant Minnie with its busy and rich tapestry of electronica and swing, the song a reimagining of Cab Calloway’s classic Minnie the Moocher brought in a jazz/dub like persuasion. Every twist and venture of the release is intriguing and deeply compelling with more tracks like The Penniless Optimist leaving no room for indecision about their glory. The song with wonderful throaty bass badgering and fizzing keys brews up its appetite and that of the listener to lurch into a heavy treading irrepressible waltz around the ear, its call and hook impossible to resist as feet and assorted limbs let alone emotions, jump on board with unbridled energy. As with most of the songs it is an irrepressible invitation and offers full clarity as to why it helped propel the band forward back on its first appearance.

Both the tender Put Your Smile On and the dubstep fuelled Ruby unveil further diversity and individual beauty, the latter an exciting unpredictable expanse of invention before the fire that is Little Phatty takes hold for one last course around the dancefloor. Its excellent blend of swing, jazz, and electro is a striking strut for passions and body which makes the perfect ball of energetic climaxing for the release before allowing the closing cover rendition of Everyone Wants to Be a Cat to bring a gentle relaxing sunset to the album. Well that is until midway the drums rustle up the energies for another contagious fling of grinning swing and electro taunting to leave the appetite lost in hunger for much more.

If you have yet to make acquaintance with one of the best bands around and a genre which just might hold the key to your passions, then to go to Electric Swing Circus and their the self-titled debut, this is not a recommendation but a command….what still here?


RingMaster 23/05/2013


Copyright RingMaster: MyFreeCopyright

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