Cherry Poppin’ Daddies – White Teeth, Black Thoughts

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You will excuse any misplaced words and deviation of thought as you read this review as it is all down to the fact that these hips are still swerving as feet are stomping with a dervish passion whilst emotions flying high from listening to the delicious romp of White Teeth, Black Thoughts. You can blame its creators Cherry Poppin’ Daddies for this over enthusiastic and lingering unprofessional relish as they spread the irresistible swing and jazz passion of their new and sixth full-length release via People Like You Records. Bringing eleven richly flavoured and distinctly shaped temptresses to flirt, seduce, and enslave the imagination, the album sees the US band diving back into their swing and jazz inspired natures, leaving the more eclectic worldly sounds of previous offerings to the side, for one terrific and unforgettable party.

From the release of their 1990 debut album Ferociously Stoned a year after forming, Cherry Poppin’ Daddies has ignited bodies and passions with their constantly tempting sounds; the band fusing weaves of potent spices and styles along the way. They brewed or certainly accelerated a loyal and swiftly growing fanbase around the world with their compilation Zoot Suit Riot: The Swingin’ Hits of the Cherry Poppin’ Daddies in 1997, it the catalyst to a new concentrated attention and hunger for their sound. Since its invitation albums like Soul Caddy and Susquehanna in 2000 and 2008 respectively, with their wider striking mixes of flavours such as ska, rock, and at times pop, have only increased the band’s acclaim and presence whilst shows and tours with bands such as Reel Big Fish, The Mighty Mighty Bosstones, Rancid and Bad Religion have unreservedly enhanced their reputation and stature.

The early more concentrated swing and jazz fuelled time of their first releases though for many is the core and instinctive sound of the Press_CoverOregon band and returning to it White Teeth, Black Thoughts proves the octet has lost none of their flare and fervour not to mention skill for the styles. The album is not a throwback to those times though but a fresh and contemporary slice of revelry immersed in the world of today and its issues. Vocalist/guitarist Steve Perry, who founded the band alongside bassist Dan Schmid, described the album and the intent of the band with it as “We’re a modern band talking about modern problems,” going on to say “This is not a nostalgic record. If anything, it’s a record about nostalgia. I’m not interested in old things; I’m interested in how old things function now.

As soon as the brass flames soar over the ears escorted by crisp beats and a riveting dark bass tone, opener The Babooch has attention in the palm of its hands; trumpet, sax, and trombone similarly igniting the imagination with their fiery temptation. Settling into a steady stroll, keys and rhythms entangle an already awoken appetite further whilst the smooth tones of Perry croon with an eager smile as group vocal additives and cheeky twists within the song skirt and accentuate the lure of the track. Well into its stride the track subsequently lifts its urgently driven feet to run with the melodic devilry grinning within all members and their instrumentations; the encounter a glorious and irresistible start to the album swiftly backed and increased by I Love American Music. Like its predecessor, the song needs no time to warm up its intent and desire to have the listener instantly engaged and dancing with its swinging gait and boldly stomping hips. So with more contagion to its narrative and melodic toxicity than at a sultry burlesque show and just as much aural sex, the song magnetically storms and seductively smoulders across its piece of defiant devilry, alternating the bait whilst providing an unrelenting temptation of insatiable imagination.

The following Whiskey Jack ensures that there is not lifting of the persuasion and energy, its blustery brass caresses potent incitements to thoughts and feet. Their masterful seizing of the senses is persistently coaxed and driven by the as now expected excellent vocals of Perry and the colourful dance of keys, though once again it is a song which skilfully throws strands of unexpected textures and unpredictable sounds with equally intriguing ideation into the mix. Hunger for the album at this point is intense; greed just as wholesomely fed by Doug the Jitterbug, a glorious cover of the Louis Jordan track, and the sultrily fired title track. The first of the two is a jazz bred quickstep of mischievous urgency and vivacious enterprise whilst the second whilst also being seeded in a rich soak of jazz tempting, finds just as riveting strains of blues and R&B within its simmering and evocative melodic blaze.

The dark boisterous and pulsating entrance of next up Brown Flight Jacket immediately has lips licked, the resonance of hollow yet vocal drums, similarly intensive bass, and the ever descriptive keys merging for a mouthwatering welcome. In many ways the emergence of the undeniably mesmeric and enthralling keys and vocal harmonies thereafter is an anti-climax such the impressive build-up, but the song soon has mind and heart locked and loaded within its mellow enticement. The song whips up yet another lustful response towards the album, taking longer than most may be to get there but over time seducing with the guile and poise of a siren.

The variety within the release continues with another masterful cover, this time of the Hank Penny track Bloodshot Eyes, which riles up another surge of eagerness in the appetite, and then the inventive and unexpected proposition of Jakes Frilly Panties. The song sees the band dig right back in time with its blues piano swagger but it is the static in the production recalling forties and fifties recordings which steals the imagination most. The success of the pair is matched by the darker toned almost salacious Huffin Muggles, a weave of heavily throated and resourceful temptation walked through by equally mysterious and darkly alluring vocals. Its outstanding sound and invention reminds of the sounds bands like Molotov Jukebox and The BeauBowBelles have been spreading around the passions.

As good as the trio of songs are they have to play second fiddle in a way to the final cover on the album. Recorded back in the day by Bull Moose Jackson, Cherry Poppin’ Daddies give Bowlegged Woman an accomplished devilry musically and vocally which cannot fail to raise constant chuckles and pleasure. Its boisterous revelry is followed by the closing masterful call of Concrete Man Blues, arguably the biggest swing number on the album with its orchestrated fire. The song completes a captivating and dramatically thrilling release, White Teeth, Black Thoughts an addiction casting treat which shows that Cherry Poppin’ Daddies are still the masters of swing induced jazz sculpted revelry. If the likes of King Salami and the Cumberland 3, The Stargazers, and Brian Setzer tinkle your fancy then Cherry Poppin’ Daddies and their new album is a must.

White Teeth, Black Thoughts is available now via People Like You Records.

http://www.daddies.com/

https://www.facebook.com/CherryPoppinDaddies

9/10

RingMaster 05/05/2014

Copyright RingMaster: MyFreeCopyright

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Molotov Jukebox – Carnival Flower

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It has already been firmly established that if you want your feet and body exhausted but blissfully contented then colourful UK revellers Molotov Jukebox are your puppeteers, their previous pair of EPs already the launch pad for riotous hips and gaping grins. Now the band parade their debut album, Carnival Flower, an eleven track festival of lyrical adventure and lustful melodies framed in a rhythmic escapade which frees inhibitions and ignites the raw dancer inside. It is a release which tempts and smoulders, caresses and incites as it takes the imagination on boldly hued and energetically fuelled romps. Unlike their previous releases there may be no real killer tracks at large, songs which virulently ignite the passions, but instead the release has a perpetual seduction which just as potently brews an enraptured submission.

Molotov Jukebox is a six-piece celebration of passionate aural festivities merging styles such as Latin soul, calypso, gypsy, swing, and dubstep into a unique revelry which has been tagged as gyp-step. Led by the distinctive sultry tones of Natalia Tena (an actress renowned for her roles in Harry Potter and Game of Thrones), and comprising of guitarist Adam Burke, bassist Tom Wilson, drummer Max Burnett-Wain, trumpeter Angus Moncrieff, and violinist/vocalist Sam Apley alongside her, the band has constantly garnered acclaim whilst inspiring an ever growing and feverish fanbase with their vibrant sound and equally vivacious live shows. Both their debut EPs, Double Dare and especially its successor Bang thrust the band into a concentrated spotlight feistily backed by unrelenting festival appearances, certainly in the past eighteen months or so. Now with the release of Carnival Flower there will be no surprise to see the London based band taking country and bodies further afield by the scruff of the neck and leading them to filling streets and dance halls with swerves and sexual dance moves, all to the sound track of Molotov Jukebox.

As soon as rhythms hit to mark the entrance of opener Tread Softly, an itch begins in the toes. The punchy beats of Burnett-Wain hold a Mol juksmile to their swing which is as infectious as the soon to join warn embrace of strings and the vocal persuasion of accordion caressed into life by Tena. It combines with whiffs of sonically crafted guitar and a percussive coaxing into an even tempered but inciting romp brought further to life by the seducing vocals of Tena within sober blazes of trumpet. It is not a riotous start but an eager persuasion which twists and flirts with sound and ideas to waken attention, appetite, and imagination with ease.

From the slightly annoying fade-out of the song, just a personal gripe in a liking for proper finales to songs, temperature and bait is increased thr0ugh Don’t Wanna Know. A vocal croon by Tena courted by excellent group harmonies beside her, kiss the ears initially providing a sexy flirtation which evolves into an agitated stomp with melodic skirts swishing over the senses as pulsating bass riffs use salacious tempting under the climactic flames of trumpet. As its predecessor, the song is not a full-on stampede of aural diablerie but holds an irresistible anthemic lure which enlists body and passions without resistance. The song simmers and at times almost taunts with rhythmic enterprise and string plucking, everything combining to design an evocative and humid template for addiction.

The band’s new single, Neon Lights steps up next, again gentle sexually inviting suasion starting things off before trumpet and vocals soar gloriously across the ceiling of the song. Veining the flight the bass strolls with inviting shadows whilst keys and accordion add their intrigue and mystique to the noir shaded scenery. It is a sumptuous blaze of colour and sound, a track which just grows and grows in the psyche and memory the more it infests the ears. That is true of the album to be fair, first impressions impressed and keen but a new breed of appreciation and ardour emerges given time; previous releases were an instant lust but the album takes a different longer route but with the same result.

The following Can’t Find You is another slow starter on emotions though a swift temptress of ears and thoughts. Almost like a formula for the album, the song also opens up with reserve and a melodic flutter of its lashes before throwing off its hood for a fleet footed waltz of provocative melodies and wanton hues. A mix of pop and swing, it moves around imagination’s dancefloor arm in arm with flailing hooks and elegant harmonies casting a robust yet sensual toxicity over the senses.

The jazz lounge like bred Punchlines weaves and glances across ears with a rich and soulful fondle lighting up thoughts. It is a graceful flame of emotional melodies and sixties harmonies which leaves satisfaction bulging if passions simmering, though they are soon aflame with the brilliant House Fire Smile. The first surprise emerging from the heralding blaze of trumpet and electro additives is that the lead vocals are taken by Apley, an inspired move as his vocals are impressive and make a brave and successful twist to the album. There is a feel of Lazy Habits and Dizraeli and the Small Gods to the song, a whisper of hip hop toying with the heart of the song as a reverse of the norm vocally throws a deliciously unpredictable and magnetic new coal in the fire of the album. The song has a bounce and swagger to its relatively considered stroll though there is always the feeling it wants to explode. Tena’s voice and a niggling guitar toxin only add to the riveting call of the song, an encounter which steals top honours on the album.

Both the frisky Sexfoot and the smouldering Nina keep hunger lively though both are openly pale against certainly the previous triumph. The first of the pair is like a tempered foxtrot with moments where it unleashes its inner devil whilst its successor with the smokey voice of Tena stroking every syllable and the senses in a steamy seduction courted by a classically bred Latin hearted acoustic guitar sends the imagination into a romantic encounter.

From the exotic gala of Tropical Badboy where even the dead could not resist its carnivalesque voracity, the album comes to a close with firstly the dynamic and atmospheric jubilee of No Lady, a track which finds an eighties whisper of bands like Pigbag to its determined sway of melodic curves and rhythmic hips, and lastly a reworking of Trying, a song previously on the Bang EP. The song is a masterful tempting which just has that instinctive lure to inspire full allegiance and union with its potent musical poetry but it has to be said that the new treatment does not quite work as well as the original. Despite that the track is outstanding and the perfect end to a quite impressive and incendiary release for body and heart.

Though Carnival Flower does not quite live up to definitely Bang, it is an open and thrilling doorway into Molotov Jukebox, both a proposition you need to explore at least once in your life, though be warned as one bite is all it takes to be lost to the temptation of the band.

The self-released Carnival Flower is available now!

http://www.molotov-jukebox.co.uk/

8.5/10

RingMaster 28/04/2014

Copyright RingMaster: MyFreeCopyright

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The BeauBowBelles – To The Moon

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London quartet The BeauBowBelles is a refreshing treat that is hard to pin down sound wise on the evidence of their debut To The Moon EP, but with rich essences of gypsy punk, folk, country rock, swing, classical elegance, and much more conjured by the quartet of multi-instrumentalist singer songwriters into one melodic blaze of virulent fun, a description of riotous beauty is all that is needed to tempt your intrigue.

Consisting of Bertie Anderson (vocals, violin), Emma Price (vocals, flutes, accordion, bells), Ros Wilks (vocals, violin, keytar), and Marcus Daborn (guitar, kickdrum), The BeauBowBelles has earned a fine reputation for their live shows whilst breeding a strong anticipation in a great many for the release of their debut. Recorded at Soup Studios (The Kills, The Maccabees, Roots Manuva), To The Moon does not let any expectations and hopes down, in fact you suspect it leaves them breathless with its insatiable enterprise and thrilling devilry, musically and lyrically.

Finely plucked strings tease the ear as opener These Days steps into view to start things off. Soon joined by the purely tempting vocals amidst a slowly brewing romp of folk and country bred festivity, the track slips into an energetic and invigorating jig of eager enterprise which switches back and forth with a restrained narrative until stealing the floor for a raucously contagious climax where feet and emotions are enlisted in the feisty dance.

The title track takes over next emerging from a celestial beauty with a melancholic kiss to the opening string sculpted classically honed ambience. From the expressive entrance thoughts are led by wonderful provocative vocals and harmonies alongside an acoustic guitar narrative into a compelling and mesmeric evocative tale and aural caress. With a beacon of light and beauty bursting out of every direction within the song, it is a gloriously bewitching flight of imagination and scintillating craft.

The best track on the EP comes in the shapely drama and sultry mischief of Alien Tango, a song declaring an investigation all boyfriends have probably been under. The potent tango stomps over the senses with relish and incendiary invention, the vocals soaring magnificently across the passions whilst musically the song ebbs and flows through creative brilliance pulling an intensive rapture from the heart in its wake. Like a mix of Molotov Jukebox, Holly Walker, and Cate Ferris, the track is a riveting and inspiring playful frolic, a devilish ‘showtune’ which has thoughts and emotions lusting after its startling charms from the first note through it its last lingering breath.

The release is finished up by the country gaited Need Someone To Talk To and the outstanding Banger. The first of the two stomps along with big beats coring a heated canter through acidic melodies and as ever transfixing vocals, its Western Country lament an easy lie on the ear. It does not quite match up to previous songs though that is down to personal tastes in regard to anything country tainted, but the skilled composition and accomplished presentation is beyond dismissal. Its successor is another impossibly infectious stroll through a gypstep/swing bred celebration, inciting strings painting a richly hued canvas for rhythms and vocals to dance out their call upon the passions whilst the sway of the guitars and energy coats extra layers of seductive mastery upon the senses.

To The Moon is a real treat of thoughtful craft and rampant imagination wrapped in an expansive and varied energy fuelled melodic boogie. The BeauBowBelles just might be like for us your new musical best friend; certainly their EP makes the loudest invitation to that lingering link up.

http://www.thebeaubowbelles.com/

https://www.facebook.com/thebeaubowbelles

9/10

RingMaster 13/09/2013

Copyright RingMaster: MyFreeCopyright

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

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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.

http://www.gabbyyoungandotheranimals.com/

10/10

RingMaster 27/08/2013

Copyright RingMaster: MyFreeCopyright

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Electric Swing Circus – Self Titled

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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?

http://www.electricswingcircus.com/

10/10

RingMaster 23/05/2013

 

Copyright RingMaster: MyFreeCopyright

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Molotov Jukebox – Bang EP

To incite the gypsy in us all and to make each day a summer blaze of enjoyment, the Bang EP from London sextet Molotov Jukebox is a stunning riot of infectious melodies, feisty hooks, and insatiable energy. Combining the heated elements of swing, jazz, ska, punk, Latin fires, and sultry rock n roll, or as they call it gypstep, the band ignites hungry fires within and a lustful urgency to share their irresistible melodic dance. Like a mischievous blend of Gogol Bordello, Sonic Boom 6, Mano Negra, and Bang Data, Molotov Jukebox set new unique adventures for the senses and weave delicious wicked teases to tempt and seduce the heart.

Bang is a revelation, a wholly refreshing and exciting release which continues the impressive creativity given and acclaim received by the band. From their singles Laid To Rest and Get Ready to their previous EP Double Dare, the six piece has lit up the passions with their sensational sounds. It is impossible not to be excited and exuberant when describing the band, and especially so with Bang, the four songs which make up the EP grabbing hold of limbs and emotions from first note to last whisking them in to a breathless and fulfilling contagiously melodic tempest.

First song Tick Tock instantly throws the senses into an enthralled and agitated frenzy, its bubbling tones eager and successful in inciting an immediate and energised reaction. The song steps back slightly in its energy as the alluring tones of vocalist Natalia Tena spread their warm and soothing flavour across the expanse of the song to provoke and a deep grin inside and out. Also known from her acting including important roles in the Harry Potter movies and TV show Game Of Thrones, Tena is simply mesmeric, a stunning singer who spices and elevates the songs as impressively as the startling imagination which conjures the sounds. With her accordion skills accompanying her vocals and the keen swagger of the song wonderfully, the track is a tender stomp which has one hypnotised and in mutual union physically and emotionally. At times the flaming trumpet cries of Angus Moncrieff shoot across the skies impressively whilst the sonic whispers which swoon within the song just invite further evocative thoughts and feelings to accompany the partying.

Trumpet flames spark the air again as Tena caresses the ear with sultry vocal fumes to bring Don’t Panic into view, the song simply bewitching from its slow entrancing initial introduction. It soon erupts into a full body of magnetic grandeur to burn the heart, with expectations of an orchestral epic, weight wise, rife. This band though do not deliver the expected and the song is within seconds a ravenous swagger of pulsating prods and wicked melodic taunts, the song winking its eye throughout and chuckling with sonic devilment. The song lifts and enlivens the senses with its swinging elegance and passion, the bass of Tom Wilson and beats of Max Burnett the instigators of mischief whilst the guitar of Adam Burke fire the rockabilly like romp with endeavour and skill. The song is stunning, a melodic furnace to devour and be consumed by brought through inventive imagination and inspired invention.

Give It A Go takes one deep into the Caribbean sunshine with Latin textures to thrill further. Impossibly catchy with the vocal additives of violinist Sam Apley running perfectly by the side of the ever captivating voice of Tena, the song has bits on board its listeners swaying which have no rights to be and the heart smouldering with adoration. There is a slight mariachi feel to the song to add to the diverse flavouring which leaves the soul breathlessly submerged in its contagious presence. By now subservience to the immense ideas, musicianship, and most of all glorious sounds is a sealed deal but the band still ensures the pleasure is a full event with the closing song.

Trying weaves in with a subtle gypsy punk coaxing which fires up into a fully vibrant festival of thoughtful melodics and enticing grooves. Yet another fiesta to swing hips and voice to, the song is a charismatic sunset with full glowing skies and emotive peaceful rays of light from its rosy setting sun. It is the perfect finish to a perfect release, the band and EP defying criticism or anything less than ardour.

Molotov Jukebox is a band all should have and need in their lives, the purveyors of warmth and instinctive pleasures to bring the deep rooted fun in all to the surface, and the Bang EP the vehicle leading to bliss.

http://www.molotov-jukebox.co.uk/

RingMaster 03/10/2012

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