Little Lapin – Wake Up With The Sun

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice.  A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside.  An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop.  As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14th across most online stores.

http://www.littlelapinmusic.com/    https://www.facebook.com/littlelapin/    https://twitter.com/1littlelapin   https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Copyright RingMaster: MyFreeCopyright

Holly Holden y Su Banda – Tropical Soul

Putting on notice body curves and swerves, we suggest no summer will be complete without the exotically sexy and melancholically captivating Tropical Soul. Just as suitable for smouldering cold hugging nights before a flaming fire, the new EP from Holly Holden y Su Banda is a musical travelogue and emotional reflection to seduce ears and spirit. It is also one of the year’s biggest delights so far and potentially the moment an already acclaimed and eagerly followed singer songwriter comes under the biggest spotlights.

From London and with many years of her life also embracing the relative beauty and life of Cornwall, Bristol, and Berlin as well as just as inspiring travels, study, and musical collaboration within Latin America and the Caribbean, Holly Holden brings it all to her wonderfully eclectic and adventurous sound, perfectly tagged as tropical soul. Like music as a whole, it is a borderless proposition offering a worldly exploration for artist and listener.  Flavours from Cuba, Ecuador, Colombia, and Dominican Republic collude with Caribbean and European enterprise, a mix dancing and flirting round intimate and love nurtured reflections as irrepressibly evidenced by her new EP.

Already with plaudits for her 2012 formed collaborative project and album Xistence with Cuban rapper Alayo Style as X Planet, Holden linked up with guitarist Frank Clarke and drummer David Beauchamp in 2014, Holly Holden y Su Banda emerging from their combined venture. Seemingly persistently busy with her own shows and as part of female vocal group Deep Throat Choir who have just released debut album Be OK and Johnny Flynn and the Sussex Wit, things will surely become even more hectic and crazy as Tropical Soul infests bodies and imaginations.

The EP opens with the irresistible El Impulso, its inescapable temptation instantly teasing through Holden’s smiling bass throb, it courted by small but spicy sparks of guitar. Her voice is soon an energetic smile in ears too, slipping effortlessly between English and Spanish as melodies from Clarke’s guitar weave their warm coaxing. It is hard to truly give a proper reference to Holden’s music such its diverse and unique character and presence but a mix of Holly Walker, Regina Spektor, and Molotov Jukebox gives a pretty good idea of the pleasure waiting within Tropical Soul. With percussive scrapes and Beauchamp’s frisky beats, the song is manna for feet, hips, and enjoyment and still just about eclipsed by its successor.

The ska lined Run immediately has its swing emulated by flesh, its relaxed but tenacious stroll a lure of wonderful ska inspired riffs and rising flames of brass as Holden’s melodic croon contemplates aided by just as tasty harmonies. Across the release, contributions from percussionist Satin Singh, keyboardist Daniel Correa, trumpeter Will Roper, Marcos Caballero on tuba and alto saxophonist Sarah Parkes add their prowess to the trio, Clarke also a blast on sax. Who plays where I cannot say but as on the second track, it all makes for a captivating rhumba some might say addiction was invented for.

Dead Coral swings in next, its Caribbean spices and Cuban spotted grooves sharing infection as Holden effortlessly grips in voice and word. Again you know it is a proposal doing good as feet instinctively shuffle and bums bounce before bodies rise to full height and spring their lustful involvement, the proof in The RR office. To be honest such the power and potency of the sounds, the EP need a few listens before attention can delve deeper in the lyrical explorations of Holden, a just as rewarding discovery as personal and intimate thoughts are shared.

There is a definite feel of The Specials to Mellow Drama, its ska seeded keys and air carrying the lonely almost noir lit shadows of Ghost Town  yet tempered by the sultry sway and waltz of brass and guitars. The epitome of melancholic seduction and elegance, the song is a haunting bewitchment lingering long after its departure though within the release quickly replaced by the blues and reggae hued soul of the imposingly catchy Benji Muji Mau; another inescapable tempting for physical and vocal participation.

The EP is concluded by Born At The Right Time, a more low key incitement, though it is all relative, but still equipped with juicy hooks and rhythmic bait around the ever fetching tones of the lady. It also has its own blues seeded breath as guitar and trumpet align in rueful endeavour, a final imagination stroking smoulder to fly away with.

Like for so many others we suspect, Tropical Soul is our first global tour with Holly Holden y Su Banda; a thrilling escape for which no passport was needed; as her bio suggests Holly Holden’s music provides that.

Tropical Soul is released April 9th.

http://www.hollyholdenmusic.com   https://www.facebook.com/hollyholdenmusik   https://twitter.com/HHoldenmusic

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Little Lapin – Californian Sun

ARt LL_RingMasterReview

It was almost a year ago that Devon bred songstress Little Lapin seduced ears and attention with her seriously well-received album Remember the Highs and its lead self-titled single. To build on their success, this July sees the release of the already eagerly awaited Holding Out For The Kicks and before it the captivating single Californian Sun. The lead track from the upcoming release, the single is a bewitching and melodically sultry teaser which easily ignites all the warm emotions and eager appetite experienced with Little Lapin’s music before as well as a very keen anticipation for what is on the near horizon.

Know to her parents as Lucy Hill, the Devon hailing Little Lapin is no stranger to luring eager ears and praise. Emerging in 2012, she has enticed and transfixed UK audiences and equally those over in New Zealand and across in the US on stage and through her previous singles and a self-titled EP, before stirring greater success up last year with Remember the Highs. Inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, the Falmouth residing singer songwriter creates songs and sounds which certainly embraces those spices but, as proven yet again with Californian Sun, she weaves all flavours into a vocal and melodic adventure which is uniquely Little Lapin.

Little Lapin invites ears to Californian Sun with a gentle acoustic caress before slipping into the pool of sultry melodic suggestiveness and rhythmic vivacity woven around her voice and strings by lead guitarist Alex Hill and drummer Harry Harding. In no time the song has the imagination involved, its emotive smoulder and dark rock ‘n’ roll merging with a sixties psych rock twang as Little Lapin’s distinctive tones provide their own evocative texture and expression to the almost cinematic poetry of the song.

Bordering on bewitchment, the warmly glowing Californian Sun has ears basking and the imagination conjuring in its arms, with anticipation for Holding Out For The Kicks quickly following the last smouldering note.

Californian Sun is released April 14th with Holding Out For The Kicks following on July 16th @ https://littlelapin.bandcamp.com

http://www.littlelapinmusic.com/   https://www.facebook.com/littlelapin/   https://twitter.com/1littlelapin

Upcoming live dates:

Apr 16 The Stable, Newquay, UK

Apr 17 Ben Tunnicliffe, Penzance, UK

Apr 22 Bar 35, Bude, UK

Apr 23 Ben Tunnicliffe, Penzance, UK

Apr 29 The Stable Plymouth, Plymouth, UK

Apr 30 The Drewe Arms, Exeter, UK

May 05 Ben Tunnicliffe, Penzance, UK

May 06 Rick Steins Fistral, Newquay, UK

May 07 Bystro at the Bank, St. Austell, UK

May 08 The Rock Inn, Devon, UK

May 11 George Inn Brailes, Banbury, UK

May 14 Rough Trade Nottingham, Nottingham, UK

May 15 Lamplighter, Northampton, UK

May 20 Pakhuis De Zwijger, Amsterdam, Netherlands

May 27, Mobile Blues Club, Hamburg, Germany

Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

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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

 

Roxanne De Bastion – The Real Thing

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In an interview between us and singer songwriter Roxanne De Bastion held after the release of her riveting debut single Red And White Blood Cells, the artist when asked about her first album said it was a collection of songs with numerous characters and styles involved within their breath. The release of The Real Thing more than lives up to her words its wealth of evocative and emotive tracks taking their own individual journeys towards providing a constant richness of quality and pleasure. The single only hinted at the range of expressive depths and musical voices upon the album, the song itself a wonderful ‘cuckoo’ within a varied and captivating clutch of mesmeric ideas and songs.

Born and raised in Berlin, Roxanne moved to the UK after finishing school on a one-way ticket in 2007. The following years saw her continue to develop her craft and creativity whilst travelling all over the country to play shows , her nomadic approach to music giving her many musical bases and a strongly brewing following. As mentioned her first single drew great and potent responses from fans and media with its striking presence and made the anticipation for her first album eager and excitable. Released on her own Nomad Songs label, The Real Thing was recorded with producer Gordon Raphael (The Strokes / Regina Spektor) in Berlin and brings ten inspiring and graciously caressing songs to the passions. It is a release which also holds shadows within its vocal and emotional touch whilst the likes of Bob Dylan, John Lennon, Regina Spektor, and Judee Sill, just some of her potent  musical inspirations, are at times open whispers within her already unique stance.

The album catches the ear with 1964 first of all, its simple acoustic guitar and vocal union an upbeat smile upon the senses with a the_real_thing_coverknowing understanding of how to invite and seduce interest alongside the emotions without making an overstated entrance. The vocal harmonies bring extra warmth to the already wonderfully persuasive tones of Roxanne and though the whistling for personal preferences throws a slight unbalance to the flowing charm of the song, it is a brief aside before the track reasserts its compelling hold.

The following Here’s Tom With The Weather brings a slower walk across the ear, the guitar of Roxanne adding to the narrative painting of lyrics and vocals whilst the touch of the keys add light kisses upon the brow of the song. It is a delightful melodic embrace which sets up the appearance of new single Some Kind of Creature perfectly. The song has an even stronger folk pop lilt to its warm tones than with the earlier songs as well as an open sinew to the vocals and its energy. The Hammond sounds paint an emotive atmosphere behind and around the striking vocals whilst like the first and despite the strong shadows which makes suggestions within words and shaded corners of the track, it has a vibrant and lively stroll to its heart.

The raw Empty Space with its slightly smothered but effective sheltered sound makes way for the excellent Red And White Blood Cells. With a core presence which can be described as The Pixies meets Patti Smith with Belly and the Young Marble Giants adding their unique flavours, the song has a magnetic electric guitar tease stroke niggle which across the song builds and excites itself into a sonic crescendo of energy and eagerness whilst vocally Roxanne is like the angel and devil on the shoulder of the track stroking mischief and beauty with equal clarity. It stands wide apart from the other songs in its individuality and shows even stronger width to the variety at play from the artist.

Both The Life I Lead and Handwriting, in again individual ways, engage the ear and thoughts with accomplished craft and ease, as does the slightly plaintive Somewhere upon Avon before the pinnacle of the album steps forward for the greatest seduction of the release. My Shield begins with a subdued caress of vocals and guitar, the spine and impressive stance of all songs on the album, but then allows hearty beats to add their intriguing touch. At this point the piece certainly has senses and attention riveted but it is when the strings unveil their emotive beauty that a new rapture is ignited. The melancholic yet radiant voices of the cello and violin expand into even more potent wraps and aural beauty bringing every emotive essence from the lyrical narrative and vocal deliverance to irresistible witness.

Closing with the gentle cradle of the title track, The Real Thing is an enchanting and passion capturing treat. The songs recorded as a live capture reaping every ounce of emotive value and musical imagination from their hearts for a mix of styles which leave the purest satisfaction. A must listen from one impressive emerging talent.

http://www.roxannedebastion.com/

8/10

RingMaster 18/04/2013

Copyright RingMaster: MyFreeCopyright

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A melodic transfusion: an interview with Roxanne de Bastion

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From playing and writing songs at a tender age, relocating to a new country, and immersing in a full experience of playing varied venues and cities across the country to share her music, singer songwriter Roxanne de Bastion is at the point where wide awareness is just an inviting one big step away. Following on from her successful single Red & White Blood Cells, Roxanne is counting the eager days to the release of her debut album The Real Thing. Wanting to find out more about the artists and release before its unveiling we had the pleasure of talking to Roxanne about her early life, music, and forthcoming album.

Hi Roxanne and welcome to The Ringmaster Review

For those yet to meet you musically tell us about yourself and your history to date.

Hi everybody! My name’s Roxanne de Bastion and I write songs and perform them, usually on my guitar. I was born in Berlin to a German mother and an English father – we moved back and forth a bit when was a child. When I finished school I was finally able to pursue music (which is something I’ve wanted to do for as long as I can remember) and moved to England with my guitar a bunch of songs and a suitcase. Last year I got the chance to record my first album, which I’m releasing on Nomad Songs on April 18th.

Was music a constant in your informative years whether from personal or family interest?

Yeah – it’s still my only constant. I’ve never wanted to do anything else. Some people have a very distinct concept of ‘home’, their family house, the town they grew up in… I just feel at home in music.

When did the passion for music take over leading you to make it your career?

Hmm… that’s quite tricky. It was kind of a seamless transition. I’ve been gigging and writing songs since my early teenage years, so when school was over it was more a matter of “how am I going to do this?” as opposed to “what am I going to do now?”
This is super nerdy, but I just looked up the definition of “career” and the free dictionary calls it “a chosen pursuit”, which I can totally live with and, in that case, I guess it was always a career.

What were the predominant sounds and bands which caught the imagination of a young girl in Berlin?

The predominant sound was that of the Beatles! I fell in love with their music when I was about four years old and I am still just as enamoured with it as I was then. It was John Lennon’s songwriting in particular that got me hooked. Bob Dylan, the Kinks and The Who were all close seconds. Years later the next thing that really grabbed me was Alanis Morissette and No Doubt…spent hours singing their songs in my room as a teenager.

You came to the UK in2007 I believe, was this an investigation or with intentions to stay and perform as long as you have to date?Roxanne de Bastion

It’s still an investigation! I guess the thought of moving away from Berlin was so scary that I just made myself believe that I’d just be “checking it out”… and here I am! It’s a lot less scary now.

How did you find things on arrival and how have things musically progressed for you since arriving here?

It was weird, man! It really was… I was culture shocked…which sounds strange, but everything was so different overnight, especially as my very first months were spent in the West Midlands and not in London: So I moved from laid back city life in Berlin, living with my parents and going to school, to working in a pub in, what seemed to me to be the middle of a field (which at least did remind of Pepperland, so that was cool), serving drinks I’d never heard of, having rent to pay and a whole new life to come to terms with. It was one big adventure. I got to meet a lot of great people that inspired me. Musically things have come a long way – the best way I can describe it is starting off in a completely dark room, feeling your way around and bumping into furniture, now my eyes have gotten a little more used to the dark or maybe someone’s opened the door a little.

It must have been daunting at first, how did you cope with or stand strong against the things which naturally would have sprung up, loneliness, lack of contacts etc.?

Music’s great for that. You find out where all the open mics are in your area and automatically you stumble upon a group of friendly musicians. It was daunting, but it always will be – as it is for everybody! That’s just part of going out and living your life.

You have and do perform across the UK not just in London where you are based. How easy was it to find venues welcoming a complete newcomer to play around the country?

Well that’s the good thing about being a bit of a Nomad. There are some places like Liverpool and Coventry outside of London where I gigged often enough for it to become a kind of a base. Judging by its suggestions, Twitter still thinks I live in Liverpool… not that I would mind!

Although it’s not always easy, I am infinitely thankful to be able to practice what fulfils me most, to make and perform music, and for all of you who have found enjoyment in my songs and journey. Thank you so much for coming to my shows, listening to my words and for your support!

1010354224-11You have just released your single Red and White Blood Cells, which people can grab as a free download. How would you describe its unique sounds for those new to you?

Oh, how about “Riot Grrl Folk”? I got to play electric guitar for this one, which was super fun! The song itself is a little silly, inspired by listening to a lot of Regina Spektor and constantly catching colds in London.

Is the single a good representation for what your forthcoming self-released debut album The Real Thing will offer?

Only in the sense that all songs were recorded live – just a couple of full takes with no major post-production. Style wise I think the songs are all very different.

How do you write songs generally and what seeds them more often than not?

Very undisciplined…I find I can’t force it…either songs come or they don’t. I’ll pick up the guitar and coast around chords or melodies I find interesting, sometimes I start by playing somebody else’s song that I’m currently listening to, but usually, when a song comes, it comes pretty much complete, as if it were there all along – tis a strange thing!

What are your major influences and how have they impacted on your unique sound and style?

The move to England and newly found shoebox-life in London influenced me a lot…people I meet and new music I hear. I think growing up with two different languages and cultures, where you only really feel at home in a combination of both of them probably plays a big part.

In our review of your single we said your voice was ‘angelic and devilish at the same time’, a fair description? …and which singers if any have inspired the standout delivery you have?

Why thank you! Regina Spektor has been a huge musical influence over the last couple of years. I’ve also been listening to a lot of Judee Sill, so completely different style again…

The single and album was produced by Gordon Raphael (The Strokes / Regina Spektor) I believe. How did the link up with him come about and what impact has he made on how you looked at and recorded your songs in the studio?

Well, I looked at the back of my “Soviet Kitsch” CD and saw his name, typed it into Google and emailed him with a couple of my demos. The bizarre thing was that, although he’s from Seattle, Gordon is actually living in Berlin at the moment. So we met up over Christmas last year and decided to record the album pretty much then and there.

I loved working with Gordon – lots of fun and just what I wanted for my songs. He does everything very organically and always has time for whacky suggestions. Plus, he has a really cool collection of instruments like the Hammond organ and the Gibson guitar we got to use on the record.

Can you give us some hints and background to what will be on the album?28343_10150168457630707_2459924_n

Not much more than I’ve already given you!

When will it be released and what is planned around it for yourself and the rest of 2013 in general?

I’m going on tour again in the UK and in Germany towards the end of April and throughout May. Hopefully I’ll get to play some fun Festivals in the summer and I think there’s another Germany tour in the autumn. Other than that, not sure yet and really can’t wait to see what’s going to happen!

A big thank you for taking time to talk with us… Any last thoughts you would like to share?

Thank you! I hope you keep in touch and perhaps see you at a show soon!

And finally as you travel the country by train etc. what is your personal musical soundtrack to while away the hours between venues?

I neeeed to invest in an MP3 player…! During the last two tours I’ve been using my laptop as an overly large jukebox, which has oddly consisted of the soundtrack to Fear and Loathing in Las Vegas, The Sky Captains of Industry (my friends’ amazingly fun band in NYC), Anais Mitchell’s “Hadestown” as well as a few stray Regina and Bob Dylan Songs.

Read the Red and White Blood Cells @ 

https://ringmasterreviewintroduces.wordpress.com/2012/10/16/roxanne-de-bastion-red-white-blood-cells/

The RingMaster Review 06/03/2013

Copyright RingMaster: MyFreeCopyright

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

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Roxanne de Bastion: Red & White Blood Cells

With an album on the horizon it is never a bad thing to tease the world with a track which is startling and unique from it before its arrival. This is just what singer songwriter Roxanne de Bastion has done with the song Red & White Blood Cells. Not only is it the first flavour from her upcoming debut, it is a track which you just cannot ignore or resist, an unpredictable barbed hook to lure one to her quirky sounds and an album which one can only assume will be the same.

Playing her first gigs at ten and writing her own songs at the age of 15, Roxanne set out on her own with guitar in hand from Berlin to London. Though not knowing anyone she was soon playing as many open mic nights, venues, and bars as she could and travelling the country via bus and trains to reach and perform  in as many places as possible. With a growing reputation she was soon being asked back to venues across the UK, Germany, and the United States. Her bio states heroes include John Lennon, Ray Davies, Bob Dylan, and Judee Sill, but as the song shows musically she reaps and blooms a sound which is distilled from varied distinctive sources twisted into her own simple and inciteful sound.

The track opens with a persistent guitar tease which threatens to niggle but instead offers an magnetic aural finger like beckoning which in its simplistic intent is irresistible. It is the perfect companion to the voice of Roxanne, her tones angelic and devilish at the same time. She croons whilst grabbing at words to deliver them with a bite yet soothing directness to have ear and attention only focused on her and the song. Whether representative of what her album will bring time will tell, but Red & White Blood Cells taunts the ear with a touch of The Pixies, Belly, and Young Marble Giants wrapped in the punk breath of Patti Smith and easily ensures the forthcoming album will be paid plenty of attention here.

Barely two minutes long the track ends on a crescendo of fiery guitar sonics and abrasive energy to complete the capture of imagination and enthused intrigue. Produced by Gordon Raphael (The Strokes / Regina Spektor), the track more than hints as to why Roxanne has found a firmly growing success and with the release of her album early next year you can only see her finding even greater ardour wrapping around her music.

Red & White Blood Cells is available for free download from http://roxannedebastion.bandcamp.com/track/red-and-white-blood-cells

http://www.roxannedebastion.com/

RingMaster 16/10/2012

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