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

Kosoti – Gone Too Far

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Having had our attention awoken and ears pleased by previous single Bark and Sticks it was hard not to take an intrigued and keen smile into the next offering from UK folk/rock pop band Kosoti. Gone Too Far is the band’s new release, a song which builds on the qualities of its accomplished predecessor and discovers some of the ingredients which it was also slightly lacking. Those elements are a potent addition to Gone Too Far, the song alive with a creative drama absent on its magnetic predecessor. The song starts as another inviting simmering engagement on the ear but evolves into an anthemic and emotionally rousing incitement to light the passions.

Kosoti - Gone Too Far - Cover Art   The beginnings and seeds of the Newcastle hailing Kosoti spring from a near death experience in 2013 experienced by lead singer and songwriter Allan Hyslop. Realising he needed to treasure every moment of his life by doing what he loved most, writing and performing music, Hyslop began linking up with musicians and friends to “write songs and enjoy each other’s company.” Around eighteen months ago new personnel brought a fresh spark to the band’s impetus and an emerging sound different to what they were crafting previously. The band released the War/Pirouettes single early 2014 following it with the acclaimed Cradle EP and the even more successful Bark and Stick, a song drawing in new fans and greater media attention with its release. In hindsight it too in was in many ways just a flavoursome taster for bigger bolder things, songs like Gone Too Far.

With Christos Worsley, George Hutton, Paul Holdsworth, Rebecca Gregson, and Seth Tinsley alongside Hyslop, the Adrian Hall produced Gone Too Far opens with an inviting caress of guitar wrapping the warm tones of Hyslop’s voice, an entrance added to by the supporting melodic tones of Gregson. There is an immediate harmony between the voices which provide a thrilling constant within Kosoti songs. The gentle smoulder of the track is subsequently infused with a burst of heat, bolder rhythms and evocative textures erupting for a few seconds to provide a hint of things to come before the song relaxes into another mellow but slightly more agitated emotive enticing. The climactic moments posing as a chorus return again and again with increasing effect, a creative and impassioned roar punctuating the sensitive moments of song and narrative whilst igniting richer hues of drama and emotional anguish.

It is a gripping element but so is the song as a whole with its intimate shadow kissed peace as compelling a presence as the dynamic eruptions. As enjoyable and impressive as Bark and Sticks and songs before were, they are outshone by Gone Too Far, a slice of aural theatre revealing new and exciting potential within the sound and imagination of the band.

Gone Too Far is available now @ https://www.musicglue.com/kosoti/products/gone-too-far-mp3-320kbps/

https://www.facebook.com/kosotimusic   http://www.kosoti.com/

Upcoming Kosoti Gigs:

Friday 15.05.15 – The Great Escape Festival, Brighton (venue TBC)

Tuesday 19.05.15 – The Cluny 2, Newcastle Upon Tyne (with special guests Lake Malawi)

Saturday 27.06.15 – Northumberland Live Festival, The Links, Blyth.

Sunday 12.07.15 – Mouth of the Tyne Festival, Tynemouth, UK

RingMaster 28/04/2015

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://www.reputationradio.net

The Strangler Figs – Attack Of The Strangler Figs

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Having been seduced by the decidedly warped drama and infectiousness of their recent single Attack Of The Strangler Figs, there was no option than to next look at the EP of the same name . The result of talent and imagination in collision with creative mischief, the offering is the thrilling work of UK art rockers The Strangler Figs. It contains three songs which seduce ears and thoughts alike, a trio of carnivalesque adventures creating the kind of warm devilry which would suit a Tim Burton soundtrack.

The folkish theatre, almost circus like character to the band’s music has its seeds in the psychedelic rock and visual feast of Circus Maure, which band founders, vocalist/guitarist Joe Pickering and double bassist Joel Hanson were previously a part of, touring the likes of Europe, Israel, and Canada, where it headlined the Just For Laughs Festival in Montreal for seven nights in a row. Their time there also saw the pair writing together, before leaving and uniting to form Leicester based The Strangler Figs. Weaving in inspirations from the likes of The Doors, Radiohead, Muse, and David Bowie into their evolving invention, the band swiftly lit up the local live scene, their first year together marked by headlining Oxjam and playing the biggest festivals in Leicester. EP and single has helped begin the spread of their presence and reputation much further afield, awakening media and fan attention on a broader scale and as the EP opener alone plays with ears and thoughts, it is easy to see why.

10419942_1592620724306431_4813869709891100291_n   The title track opens up the festivities, a lone reflective guitar around the individual voice of Pickering the first intriguing act of the song. They are immediately joined by a warm caress of keys cast by Freddie Pickering and slow evocative beats from James Lyons. With most of its elements in place and the narrative bringing theatrical colour, the song lifts up its knees and starts a lively stroll through ears and across the imagination. A little jazzy, a little funky, and a lot seductive, especially with the backing vocal lures of Rosie May Price adding to the inviting hues, the song unveils an agitated adventure of sound and ideation. Thoughts of The Jazz Butcher whisper loudly from this point on, and indeed The Strangler Figs sound definitely has a potent elements of the eighties artist to its playful resourcefulness. The song is in full contagious mode in no time, inciting feet and voice to join its devilish merriment.

The great start continues with Help me Please, the song also starting with a gentle kiss on the senses but reaching a more vivacious gait within a few more seconds. The tempting of organ and guitar, both provided by both Pickering brothers, unite in a simmering aural tale of drama and shadow wrapped emotions, this matched by his voice and the dark feel of the narrative. With mini crescendos which just grip the body, the song ebbs and flows in energy whilst stirring up the passions with its unpredictable darkly hued majesty; though do not mistake the song for anything other than a vibrant stroll of folk pop revelry. Think Tankus The Henge meets Mojo Fury and you get an idea of its excellence in sound and enterprise.

The EP closes with Hugga Wugga, an immediate seduction of noir lit textures and theatre led by the excellent throaty lures of Hanson’s double bass. Keys and beats soon align for an exotic shuffle whilst guitar and voice bring a snarl to the party, tempered by the siren-esque backing vocal smooches of Rosie May Price. Once more as the song flirts and swerves around within its jazzy landscape, an eighties essence licks ears. Whereas The Jazz Butcher raised its hints before, and does a little here also, Zanti Misfitz springs up in thoughts as the track ignites the imagination. Just light whispers but enough to give a nudge of the lesser known band.

The song is glorious, as is the EP. There is no wondering why the band has caught the attention and eagerness around their home city, just of how far the band can spread their charm and how soon. A long way and swiftly is our suggestion sparked by Attack Of The Strangler Figs alone.

The Attack Of The Strangler Figs EP and single is available now at most online stores.

http://www.stranglerfigs.com   https://www.facebook.com/thestranglerfigs

Upcoming live shows…

Orange Tree, Leicester – April 30th

O2 Academy, Birmingham – May 1st

Riverside Festival – Leicester – June 6th

RingMaster 25/04/2015

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://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/