We Ghosts – Decade

WE Ghosts_Reputation Radio/RingMaster Review

A release of multiple charms and flavours, Decade the new album from Anglo-Swedish alternative acoustic duo We Ghosts gets its UK release this month and a tantalising treat it is. Such its distinct yet united variety, the album ebbs and flows in its strongest persuasions but from start to finish the band’s new encounter takes ears on a captivating adventure in celebration of the band’s ten years of creative life.

We Ghosts consists of the song writing team of Swedish vocalist/guitarist J.J.Woodall and English instrumentalist John Christopher, the band emerging in 2004. The years since has seen the band on a constant adventure of live shows and releases. On stage the band is expanded by the likes of Johan Persson and Richard “Rat” Westlake, both making contributions to the album too with the latter also co-producing it with the band. Record wise, We Ghosts’ blend of pop, jazz, blues, and folk has fuelled a clutch of EPs and acclaimed albums such as Things That Go Bump In The Night in 2009 and Almost Alone three years later. Now fourth studio album Decade, released as its predecessor through Deep River Records, provides the imaginative epilogue to the band’s first decade and increasingly seductive opening to the next.

A rhythmic acoustic coaxing opens up album and its first track Broken Sky; its initial lure alone pure magnetism which only increases as melodic intrigue and the instantly enticing vocals of Woodall link their tantalising lures. A spatial breeze soon immerses ears too as siren-esque harmonies float, but that early bait still provides the most direct and gripping pull for the imagination and appetite. With darker hues of bass adding to the elegance and temptation offered, the song is nothing less than a busy and warmly welcoming seducing.

cover_Reputation Radio/RingMaster Review    The masterful opening continues with the summery saunter of Out Tonight, a song with a Caribbean bred canvas and flirtatious melodic scenery matched by the vocals and the more wistful but equally colourful keys. The song’s dance is an irresistible contagion, a nudge to feet and emotions to eagerly join its warm revelry before the bluesy funk pop of Death or Glory casts its emotive persuasion next. Without quite matching its predecessors, the track sways and croons with a fiery attitude aligned to similarly intense enterprise from the guitar and easily leave ears smiling.

The folkish shimmer of Too Late to Learn merges a country twang with a sultry atmosphere next, its vocal offering led by Christopher this time. Though his delivery is potent and expressive, personal tastes hanker for the lures of Woodall whilst the song itself lacks the undefined but rich spark which lit the other tracks before it. Nevertheless enjoyment is still a given before the album hits another high spot with its next two tracks. Home Is Where the Heart Is comes first and from the glorious jazzy/blues vocal roar of Woodall to start things off, the song proceeds to stroll with a southern blues spicing across a melodic and rhythmic evocation. It is pure captivation, an inescapable anthemic and spiritual tempting to bask in, though quickly outshone by the even more exceptional Final Curtain. The track is virulent pop infused folk rock with a delta blues hue to its harmonies and invention. Like a mix of My Baby and Jingo, the song is a flame to the senses and rock alchemy for the ears, and quite outstanding with its voracious contagion and imaginative enterprise.

The lively acoustic balladry of Trying to Be Faithful makes a fine and bewitching effort of matching its predecessor, its Kirsty MacColl charm and tenacity compelling from start to finish. It is a success next up Suzie cannot quite emulate, though again there is little to pull it up for outside personal tastes and our always less than eager appetite for any countrified essence. Superbly crafted and intricately woven though, and with a host of creative hues, the song as the following album title track, is a keen persuasion, the latter’s enticing of melodies and poetic vocal expression leaving a glow in the air.

We Ghosts, the song, completes the album, its sixties psyche pop toning a final infectious serenade on the senses. It makes an engrossing end to a fine album, a release which just grows in strength and seduction with every listen. Like many, we have suggested a few releases to soundtrack your upcoming summers, and there is no way we cannot add Decade to those recommendations, especially for those provocative sultry nights.

Decade is out now via Deep River Records @ https://itunes.apple.com/gb/album/decade/id825383537

https://www.facebook.com/pages/We-Ghosts/170602999638293 http://www.weghosts.co.uk/

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

 

Serpentyne – Myths And Muses

Serpentyne band photo Reputation Radio/RingMaster Review

Listening to Myths And Muses, the new album from British Neo-Folksters Serpentyne, you initially come up with the idea that such its unique sound and individual character it is destined just to appeal to a certain segment of the music world. Yet as each bewitching piece of music spreads its irresistible seduction, there is nothing but a wealth of temptation for varied rock and folk fans through to dance and pop enthusiasts. The release is a spellbinding treat building on an already potent reputation earned by the band but taking everything from creativity to temptation to a whole new level.

Hailing from London and formed in 2010 by Maggie-Beth Sand (vocals, cittole, bouzouki, harmonium, nickelharpa) and Mark Powell (hurdy-gurdy, cittern, electric guitar, vocals), Serpentyne take inspirations from traditional music as well as folk, Celtic, world, and rock onto their own tapestry of adventure. Debut album Stella Splendens in their first year awoke keen attention and acclaim, their fusion of traditional tunes with modern atmospheric and ambient enterprise alongside dance bred vivacity drawing comparisons to the likes of Faun, Blowzabella, Steeleye Span, Gryphon, and Blackmore’s Night. As suggested Myths & Muses is another plateau in imagination and invention for the band with the creative differences between their two albums best offered by Sand, “On our first album, Stella Splendens we took traditional songs and texts in old languages such as Latin, Occitain and Old English, and arranged them in our own way. On our second album Myths and Muses apart from including some new-found traditional songs and tunes, we added original lyrics and music which are sometimes combined with the old tunes. I was particularly interested in writing about women warriors, and other muses that have inspired men and women through history.

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Fair to say our knowledge and experience of mediaeval and traditional folk/ethnic sounds is as limited as honesty in government but there is no escaping what we like and it is a done deal between ears, pleasure, and Myths And Muses from the moment opener Boudicca pulsates into view. Its techno seeded start is swiftly a festive saunter of melodic gaiety and more shadowy rhythms. A rest drops in as Sand unveils the first tempting of her magnetic tones and the narrative but soon the song is swinging infectious hips, physically and melodically as an array of instrumentation and vibrant vocal enterprise breeds a riveting dance nicely tempered by the darker tone of keys. A celebration with tribal fuelling rather than maybe the war chant offering you might expect from the title, the track is simply incendiary to body and imagination, and a stunning start to the album.

There is no diminishing of quality and success either as Alexandria takes over, the song again spawned from a tribalistic seed but sauntering down a Middle Eastern landscape within the swish of a camel’s tail. Sultry and elegant, oozing mystique and warm temptation with every spicy melody, the song is as captivating as its predecessor and indeed the following Valkyries. As you would expect from its title, the track has a more urgent and robust nature which drives certainly its techno revelry and as its swings along with virulence, there is a feel of Landscape meets Arkona to the infection, veering more towards one or the other as it continues to entice ears and passions like the Pied Piper.

The medieval song of praise Gaudete is given the Serpentyne embrace next and initially is slightly reminiscent of the famous Steeleye Span version. It is a kiss on the senses eventually evolving into a bolder and busier chant again ripe with the band’s irresistible shamanic enterprise. Its beauty makes way for Hymn To Cynthia, an enslaving and hypnotic interpretation of the Ben Jonson poem of the same name. There is thick drama to the song, the music and vocals pure theatre alone and reinforced by the force of the words; thick forests and boisterous nature the scenery flooding the imagination. The track is sensational, surely destined to be used in a cinematic affair somewhere and when.

The Parisian chanter that is Je Vivroie Liement has senses and emotions basking in tradition and smouldering festivity next whilst the flirtation of Douce Dame Jolie is a romance on the senses with again a more cosmopolitan essence to the music. Both are enthralling interpretations of 14th century songs by French composer Guillaume de Machaut and sheer mesmerism for ears and passions.

Freya’s Firedance is as warm and sultry as its title suggests, a hymn of mystical suggestiveness and beauty crooning the senses before the poem/song A Rosebud In June is hugged and lit by the band. There is another definite Steeleye Span feel to the encounter, Serpentyne being possibly inspired by the formers’ own recording, yet as with all tracks there is little passing time before things develop their own personality and originality.

Myths And Muses is brought to a close by firstly Pastyme With Good Company, an English folk song written by King Henry VIII in the beginning of the 16th century, and finally the medieval sounding Les Garcons De Montagne. Both proposals separate reality from attention with a mystique of the sounds as the joyful and resourceful imagination of Serpentyne soaks every melody, rhythm, and inescapable incitement.

Myths And Muses is pure delight, a proposition everyone should disregard any inbred reticence over, ignoring any assumptions of sound and their seeding. It is basically a rock album from across the ages and without doubt one of the most enjoyable and thrilling encounters we have come across this year.

Myths And Muses is out now digitally and on CD through http://www.serpentyne.com/#!buy-cds/c2267

http://www.serpentyne.com/   https://www.facebook.com/Serpentynemusic

RingMaster 08/06/2015

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

Nekrogoblikon – Heavy Meta

 

Nekrogoblikon

For all those acquainted with and new to Nekrogoblikon and their self-tagged “goblin metal” sound, time to embrace one of the most enjoyable and impressive metal albums of the year so far. You might initially snigger at the band’s goblin themed presence and invention, and you will giggle with the band’s lyrical rascality and self-referential mischief, but ultimately you will come away from one exhaustingly inventive and exhilarating new album basking in metal at its stirring best; you might also just want to be a goblin yourself.

Hailing from Los Angeles, Nekrogoblikon formed in 2006 releasing debut album Goblin Island the following year. At this point the band was just the founding duo of Nicholas Von Doom and Tim Lyakhovetskiy. The line-up subsequently expanded as their sound began evolving as shown by second full-length Stench in 2011; becoming even more openly diverse and exploratory in third album Power two years later. The raw black and death seeded sounds which primarily fuelled their first release, were soon part of a maelstrom of rabid flavours and styles from electronic to folk, symphonic to experimental metal, all colluding to seduce ears and imaginations. The evolution has continued and is now in full blaze with Heavy Meta, the band’s new savaging of the senses. It is a fascinating and irresistible tempest; simply a devouring proposition of flirtatious menace and bewitching voracity.

From opener The End of Infinity, band and album has attention gripped and appetite licking its greedy lips. The song’s initial stride through ears has an electro air to its contagious swing and as it expels further ingenuity and imagination, thoughts of bands like 6:33 and Destrage give a nudge. Keys and hooks only add to the virulent web being cast, the great weaselly vocals of Scorpion almost dancing on the strands of their tempting. A brilliant start only explodes into a greater escapade as guitars cast a melodic weave with tangy hooks and grooves whilst rhythms stalk that enticing with lustful intent. The devilish nature of melodies and enterprise has an additional feel of French band Pryapisme to it, and quite simply everything combined creates aural addiction, an intimidating and fanatically unpredictable shuffle impossible for feet, neck muscles, and the imagination to resist.

Nekrogoblikon-HeavyMeta-AlbumArt_Reputation Radio/RingMaster ReviewThe passions are ignited just as potently too, finding further lust as the following We’ve Had Enough with its opening saunter of evocative keys swings in with drama and rampant devilment. Riffs and grooves are soon driving infectiously through ears, vocals spilling the narrative with salacious intent as clean harmonies court ears in the background. The diversity of emerging sound is matched by the great variety of vocals, every second and twist of the song as unpredictable as they are a fluid persuasion. Like a temptress ruffling the love sacks whilst stealing the gold, the track is a salacious temptation leaving ears and emotions on a high ready for the quick step and tenacious revelry of Bring Us More. Jazzy keys, pop bred harmonies, and funk kissed energy are all sucked into the fiery climate of the song’s rabid creativity, once more the likes of 6:33 coming to mind alongside hints of Trepalium and Mr Bungle whilst devouring the unique goblin sound.

Snax & Violence is a more predatory proposal, its blackened heart and melodic death metal voracity a ravishing of the senses. The song though is unafraid to infuse guitar and keys bred beauty into its climatic tempest, adding folkish hues to its grooving simultaneously. It is an enthralling stalking of ears soon outshone by the outstanding Atlantis. The band’s latest single exposes its rhythmic muscle and tenacity straight away, lacing it with scythes of sonic bait as vocal squalls and synth spawned teasing bring their individual persuasions to the rebellious landscape of the song. Like a death infused version of Hardcore Anal Hydrogen, the track is a puppeteer to body and soul, pulling the strings of pleasure before making way for the equally thrilling We Need A Gimmick. Think of a style of music and it is most likely infused into the bedlamic but flowing emprise of a song with something for everyone within and outside metal.

Full Body Xplosion is as grouchy as a ravenous bear and as rhythmically skittish as a dog in heat. Riffs and vocals are similarly fuelled across the volatile storm of invention whilst hooks and grooves offer magnetic toxicity and the keys intrusive seduction. The growl of the bass we will leave for your discovery and nightmares as another pinnacle in the lofty plateau of the album moves over for the raucous anthem that is Let’s Get Fucked. Featuring Andrew WK, it is as riotous as you might suspect and more merciful than you might imagine, with its guest the welcome and Scorpion the venom. Without rivalling its predecessors, the track still has the real world a distant memory in its company and energies ready to take on the caustic and sultry saunter of Mood Swings. Musically the track lives up to its title, each twist bringing a fierce fondling or flirty soliciting of the imagination, everything fully agitated and hungrily unpredictable.

The song Nekrogoblikon brings Heavy Meta to a glorious end; its cantankerous stomp an alchemy of relentlessly catchy rock pop exploits aligned to ferocious hostility. It is a torrent of vivacious turmoil and creative diablerie, just as the album itself. Heavy Meta is easily one of our favourite offerings this year so far and a major incitement for the metal scene, demanding and deserving the fullest attention in return. Now where do you get goblin masks…

Heavy Meta is available via Mystery Box now on CD and vinyl @ http://www.districtlines.com/nekrogoblikon and digitally @ http://bit.ly/1JycbMS

http://www.facebook.com/nekrogoblikon

RingMaster 03/06/2013

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

Ella Squirrell – Loop EP

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English singer songwriter Ella Squirrell has a voice to eclipse reality, a presence to lift the listener away from a grey day into a melodic and emotionally coloured oasis. As proven by her new EP Loop, the lady also has a lyrical gift and musically creative craft to back up her transfixing tones. She is beginning to stir up a healthy buzz within the British music scene and it is easy to see why with the unveiling of her four-track release.

With a her father a professional musician in a folk band trio and her mother a poet, maybe it is no surprise she has emerged with similar gifts and combined them in her own creative adventures. Hailing from Bridport in Dorset, Ella explored instruments and music from an early age, starting with the Irish penny whistle and folk songs at the age of 10 and moving on to the guitar a year later. Her own songwriting began when she was around 15 with a fusion of folk and pop emerging. Ella cannot read or write music but conjures them in her head and as her bio says, “teases them out into reality.” However it works, the songs making up Loop simply captivate from start to finish with a purely organic seduction.

Picture 38   The release opens with new single Quiet Fire, a romance on the ear which from its first kiss of keys just enchants. A slow reflective start is barely seconds in before eager beats and the voice of Ella open up a lively shuffle within ears and imagination. There is smokiness to her voice as it wraps flirtatiously around the song’s rhythmic stroll and tender melodic caresses, a Sade meets Skye Edwards (Morcheeba) feel to her mesmeric tones which simply smoulders against the lively swing of the song. It is one of those encounters which follow you around after just the first hearing, persistently nagging away in thoughts with its magnetic lures and an infectious tenacity loaded with sound of the summer potential.

The bewitching start to Loop continues with its title track, keys straight away enticing the senses with reserved but funk kissed alluring whilst melodies cast a folk pop proposal supported by the jazzy flicker of brass. As in its predecessor, backing harmonies add to the temptation as they slip in and out of the surrounding atmosphere. It is sheer captivation, another slice of virulent pop drama matched swiftly by the emotive balladry of Trust Is A White Dove. Piano and voice transfix again, hugging ears and thoughts alone for the opening croon before the song expands its elegance and persuasion with melancholic strings and a shadow delving bass tone to be lustful over.

In three bright slithers of beauty, the songwriting of Ella reveals its adeptness at variety, an equally feisty trait in the closing Trouble. Arguably the most folk lined song on the release, it is also a bold flight of electro pop and jazz sparked imagination. It sways and coaxes with physical and emotional temptation, like a flame licking ears with melodic vivacity as it takes thoughts on a fascinating amble of varied textures and boisterous creative dexterity.

The song is a gorgeous end to a simply spellbinding proposition and an introduction to an artist you can only anticipate major recognition and hopefully in turn big success for. Right now though, Ella Squirrell has provided one delicious aural kiss.

The Loop EP is out now via Gospel Oak Records at https://itunes.apple.com/gb/album/loop-ep/id981163074

https://www.facebook.com/ellasquirrellmusic   http://www.ellasquirrell.com/

Upcoming Gigs:

27th May2015 The Jam House, Birmingham (The Launch Pad – a regular showcase of some of artists that the Jam House considers “ones to watch”.)

4th July 2015 Big Mix Music Festival, Lyme Regis (The Big Mix is Lyme’s own youth music festival by the sea)

RingMaster 20/05/2015

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.n

 

Little Lapin – Remember The Highs

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It was only a couple of months ago when Little Lapin seduced and enthralled with the single Remember The Highs, its masterful coaxing of ears and imagination the wake-up call to the mesmeric sound and voice of the UK singer-songwriter for a great many. The acclaimed track also revealed inventive and bold songwriting, something her fans were already vocal about and now impressively confirmed by the artist’s debut album also called Remember The Highs. It is a fascinating and captivating collection of songs which with diversity and melodic resourcefulness simply leave thoughts and emotions spellbound.

Little Lapin is Lucy Hill, a Devon bred songstress now based in Bristol who has been entrancing audiences from the UK to New Zealand and New York since emerging round 2012. Musically her inspirations include the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, many providing creative whispers in what is a sound and songs which are openly distinctive to Hill. The swift proof comes with the last single, though before that she had bred a strong and loyal fan base through a tantalising live presence and releases such as earlier tracks Sound of Summer and Winning Is Losing, and more so a self-titled EP last year which sparked attention from the likes of Tom Robinson on BBC Radio 6 and regular online radio play. It is easy to assume though this was just the appetiser to more fevered responses and acclaim destined to be earned by Remember The Highs, the album a beacon of melodies and harmonies set to draw greedy appetites like moths to a flame.

a1696187169_16   The album opens with Magnet Eyes and an immediate inescapable tempting of warm guitar and keys taken to another enslaving level by the unique tones of Hill. Her voice has a quality of sounding familiar as well as freshly bewitching, but from person to person it seems we hear someone different as a reference, the likes of Laura Marling, Regina Spektor, Sinead O’Connor, and Chrissie Hynde just some references used, with the latter the closest for us as a descriptive hint. As the song stretches its melodic nature and evocative air, a shadow of darker resonance comes into play to catch the imagination all over again, whilst voice and keys especially almost flirt with rich expression and emotive radiance.

It is a captivating start, but also a potent teaser to the glories of the following Over The Draft and the album’s title track. The first of the two songs creases ears with an initial persuasion of guitar again quickly enhanced by the sultry tones of Hill. Eager rhythms then gently and enticingly march into the exotic landscape now being cast by keys, everything settling into a scenic lure of melodic mystique and catchy hooks with the voice of Hill one giant romance of a snare. Its successor remains as potent as the first time heard, and if there is an air of Chrisse Hynde in the second track, Remember The Highs wonderfully reeks of The Pretenders in its sonic groove and provocative melodic hooks. Vocally too Hill brings her spiciest tang to syllables and a slightly nasal croon reminiscent of the Ohio musician. The darker bred bass groove alongside the irresistible winy flames of guitar is equally as compelling, the song providing one delicious embrace of tenacious enterprise and beauty.

The acoustic opening to Go!Stop!Go! has ears lit and body swaying instantly but it is the brooding air of drama cast through keys and an orchestral breath which ebbs and flows across the track, that turns a potent encounter into a spellbinding one. It is a serenade with haunting shadows and dark aural reflections which offer a melancholic temper to the invigorating partnership and narrative of voice and melody. The song just blossoms with every listen, its slower initial smoulder, compared to the previous songs, soon as engrossing and seductive as anything upon the album.

Sound Of Summer rolls in next on a rumble of rhythms which quickly evolves into an embrace of seventies seeded Beatle-esque keys and the ever inviting vocals. Occasional crescendos of drums add to the expanding and again sultry canvas of the song, guitars and keys colouring its scenery with alluring and imagination inciting enterprise to which bass adds swarthy lines of juicy shadows. Once more there is no option but to sink into the depths of a song before being left face to face with the rockier acoustic persuasion of In My Mind. The song is barely a stroll across the senses but even in its low key gait reveals a tenacious and sturdier character in its absorbing balladry compared to its predecessor.

Both songs though get over shadowed by the outstanding Colour Blind, a track emerging as a definite favourite. It starts on a thoughtful and evocative persuasion of guitar, Hill in moments adding her reflective vocal spice for an engaging start. Soon though, everything erupts into a gently concussive belt of emotional and creative turmoil, agitated rhythms and clanging riffs consorting with fiery keys in a bedlamic expulsion. It is a striking and thrilling twist to an already highly persuasive proposition providing yet another major highlight in Remember The Highs.

The album finishes with firstly the melancholic but again vibrantly arresting Panic, a song which has an essence of the drama found within The Smiths songwriting to it, and finally the closing warm smile of A Nice Coincidence. Contrasting textures flirt from within the encounter, sombre strings find themselves courted by skittish rhythms and another seduction of voice and melodies. The lyrical side of songs, as once more shown here, is just as intriguing and enticing, Hill able to cast hope in dark experiences and show the shadows within the brightest adventures.

Remember The Highs is a musical love affair for the senses from an artist in Little Lapin, who has the potential to become one of Britain’s most exciting and innovative singer songwriters. Thinking about it as her album seduces once again, she already is.

Remember The Highs is released on May 15th @ http://littlelapin.bandcamp.com/album/remember-the-highs-2

http://www.littlelapinmusic.com/   https://www.facebook.com/littlelapin

RingMaster 14/05/2015

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

 

Heg & The Wolf Chorus – Rain EP

Photos by Karen Dickinson

A rare beauty has blossomed in the Bristol area of the UK, and it comes as the sound of folk/dramatic pop band Heg & The Wolf Chorus and their new EP Rain. The three track release is a mesmeric and fascinating embrace of seductive vocals, similarly enchanting melodies, and a lyrical theatre which revels in inspirations from “traditional fairy tales and the twisted roots of her own family tree”, the ’her’ in question being songwriter Heg Brignall. It is a bewitching encounter reinforcing a belief already cultured here by the likes of Lizzyspit, Little Lapin, and the UK based Roxanne De Bastion to name three, that the British music scene is blessed with the finest folk inspired revelry in a long time.

Heg & The Wolf Chorus has been exciting ears and imaginations for a while now to be fair, their acclaimed two-song release Boat and I in 2013 the first spark to keen attention. Last year was another potent time for the band too; the release of the Giant single and the following A Tale of Sailors EP reinforcing their emergence whilst igniting even hungrier appetites for their music. It also saw the band nominated for the Isambard Folk Award, have Giant nominated for Song of the Year in the Fatea Magazine Awards, and Three Sailors declared Single of the Year by the Folkscene show BBC Merseyside. Rain is sure to emulate that success for the quintet of Brignall, Stephanie Taylor, Richie Dobson, Vince Martin, and Joe Kelly, or at the very least awaken another healthy parade of eager fans.

Rain EP out april     Song For Home is the first kiss on the imagination, an instantly atmospheric enticing as a cold wind blows in the distance behind the dark seducing of cello strings and the warm caress of Brignall’s vocals. Smouldering harmonies swiftly add to the persuasion as the song’s lyrical narrative casts an entrancing romance for thoughts to equally embrace and explore. It is a union which never expands further in sound but casts with its slim line collection of textures, a full and mesmeric temptation.

The exceptional start is potently backed by the following EP title track, piano and violin offering the first melodic hug before being joined by the siren-esque tones of Brignall and accompanying band harmonies. Flirting with fresh twists and invention along the way, the song creates a web of creative infectiousness and emotional reflection captured perfectly in the tantalising warmth and poetic lure of the melodies which grace every sun lit and shadow kissed texture.

The release is completed by Sail On, a captivating stroll of emotive keys and feistily alluring strings coloured further by the richly hued vocals, bracing harmonies, and an intimate stroking of half melancholic/ half wistful violin endeavour. As the other pair, the track is a spellbinding caress of ears and thoughts, one full of adventure and mystery but encased in a folk serenade luring the listener into compelling landscapes well away from their physical reality.

From presence to songwriting, sound to storytelling, Heg & The Wolf Chorus is a delightful and mesmeric escape from the grey of day into at times just as shadowed but much more exciting and irresistible exploits as found upon Rain.

The Rain EP is available now @ https://hegandthewolfchorus.bandcamp.com/

https://www.facebook.com/HegandTheWolfChorus   http://www.hegandthewolfchorus.com/

RingMaster 1/05/2015

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

 

Glenn Hodge Banned – Family Man

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Awoken to the punk folk, to give it a name, prowess of Glenn Hodge Banned through the outstanding Iconoclast EP last year, it is fair to say we had a tingle of excitement going into the London based musician’s new single Family Man. Carrying on the infectious adventure crafted by the previous release, the new song is an equally irresistible stroll of lyrical and creative revelry taking another honest and striking look at a slither of life.

Originally from Ashford in Kent, Hodge was brought up in East Anglia but it was once moving to the capital that his musical adventure really began. Surrounded by inspirations to breed his catchy and often mischievous folk seeded songs, the singer songwriter soon built a potent reputation on the city’s live scene before releasing the well-received single Faces on Tables in February of last year. Its success led to keen anticipation of the acclaimed Iconoclast EP, a collection of magnetic songs from Hodge looking at city life and personal relationships with honest social commentary, an exploration as mentioned continuing in Family Man.

cover     The single opens with a strum of guitar which quickly becomes a constant coaxing as Hodge begins his magnetic narrative. It is a lively acoustic start with voice and lyrics easily the focal point but wrapped perfectly in the lean sounds around them. Things expand and reveal greater colour when harmonies caress a moment of calm with their enticing presence whilst after another inviting passage like at the start, the rigorous chorus adds a moment of boisterous energy to the already gripping persuasion. Things continue to ebb and flow in energy but not in magnetism, the song musically and lyrically taking an increasingly tighter hold on ears and imagination as it explores the protagonist of its title and dark secrets.

Family Man just lights up the senses, reinforcing the impact of the last EP and confirming Hodge as one of UK’s brightest and resourceful songwriters/musicians. If the likes of Billy Bragg, Ste McCabe, and Frank Turner catch your ears then Glenn Hodge Banned is an exciting must.

Family Man is available now @ https://itunes.apple.com/gb/album/id990246719

http://www.glennhodge.com/   https://www.facebook.com/GlennHodgeBanned

Upcoming live shows:

11th June      Upstairs at the Ritzy, Brixton, London
4th July        The Spice of Life, Soho, London
17th July      Brentwood Festival, Brentwood, Essex
23rd July     Ambition Festival, Matthews Yard, Croydon, supporting Beans on Toast
23rd August Beautiful Days Festival, Devon

RingMaster 06/05/2015

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