Throw The Goat – Blood, Sweat & Beers

Throw The Goat

If like us you are a sucker for dirt encrusted, alcohol fuelled rock ‘n’ roll then Blood, Sweat & Beers from US rockers Throw The Goat is a must. It is a brawl in the ears and party in the heart, rock music at its most instinctively aggressive and virulent. Whether the second album from the Californian trio offers anything more is debatable; certainly it is not trying to explore or expose anything particularly new but equally there is a freshness and tenacity to its sonic fight and incitement which ensures this is no run of the mill proposition. The truth is it does not matter if Throw The Goat is crafting riots from existing vats of ideation, with a sound which plays like the bastard son of a merger of bands like The Clash, Agnostic Front, and Motorhead to just pluck three from the past decades of rock ‘n’ roll, they and their new album is one irresistible rampage.

Blood, Sweat & Beers is the follow-up to the band’s acclaimed debut album Black Mountain of 2012. Recorded with, as its predecessor, Finch drummer Alex Pappas who also mixed and mastered it, the new encounter is a continuation of the power and addictiveness found in its predecessor but with an openly new breath and energy to its stomp. Released on the band’s own label Regurgitation Records in the US in March, it has been kicking up a storm of praise and attention, with the UK now in its sights this month.

Opener Buffalo takes a handful of seconds to make a gentle coaxing of ears before unleashing a tirade of rowdy riffs and antagonistic rhythms. Those beats are met head on in energy and aggression by the vocals of bassist Michael Schnalzer, and in no time aligned to a blaze of great varied vocals from across the band and sonic enterprise courtesy of Brian Parnell’s guitar. It is an instinctively anthemic punk ‘n’ roll provocation setting the party off to a mighty start, though the song is swiftly surpassed by the album’s outstanding title track. Blood, Sweat & Beers flies from the traps with a feisty roll of stick prowess from drummer Scott Snyder. Within the time it takes the listener to get to their feet he is driving forcibly on with fiercely swung beats with the track now a raging tempest of rabid riffs, squirming grooves, and vocal addictiveness. Again the whole band offers plenty to make an aggressive provocation a ridiculously magnetic one, in voice and sound, an offering rife with unbridled energy and ripe with virulent contagion. Quite simply the track is a roar of rock ‘n’ roll which will rarely be rivalled this year.

cover     The band brews up its dirtiest punk side for Drown next, a simple raw rage of riffs and rhythms bound in spicy melodic hooks and vocal antagonism which goes down like a beer in the hands of a thirsty man. Its unsurprising but richly satisfying incitement is followed by the slower predatory flirtation of Swamp. Its air is thick with toxic attitude and body a brooding mesh of rhythmic intimidation and wiry sonic colour, and yet another appealing twist in the variety by the album. Building up intensity and energy within its tempestuous dark climate, the song proceeds to shift from sludgy scenery to raucous explosiveness, entwining both within its imposing walls.

The filth clad bassline opening up All We Have is an instant addictive lure, bait increasingly infectious as a feverish rumble of beats from Snyder adds fresh dramatic with their temptation. The best opening to any song on the album, a riotous anthemic seduction all on its own, it leads to another ridiculously gripping and intrusive persuasion of punk and heavy rock. Parnell spins a melodic web as the song continues to twist and shift into new inventive and bewitching scenery, whilst noise rock and hardcore elements are flirted with for another major highlight of the album.

     Idyllwild Eyes crowds in on the acclaim given with its own bellow of bristling vocals, spiteful beats, and abrasing riffs. It also brings a highly flavoursome melodic lure from Parnell, a regular occurrence on all songs, alongside the unpredictable tendency in their invention which the band showed on the last song. These are times where you almost feel that the band missed a trick on the album by not using this increasingly successful adventure more in their songwriting, though it offers a potential which will hopefully be realised by the band and to be excited by ahead.

Ears and passions are lit again by Uprooted, a riveting prowl of a punk rock song, and straight after through the eighty eight second bawl of aggression and attitude that is 8 More Minutes. Soaked in a hardcore heart, the track simply rages around deeply grabbing hooks and addictive rhythms for a brief and seriously potent anthem. The album from its broader rock opening, delves into heavier and more hostile punk belligerence towards its latter stages, this song a prime example backed by the similarly bred Waste straight after. Despite the increasing animosity permeating the songs in sound and vocals though, hooks and grooves lose none of their enticement and potency within the tracks whilst the swinging sticks of Snyder are a constant source of pure incitement.

Road Home brings the album to a close, the song a rowdy and lusty slab of devilry which maybe is more straight forward and unsurprising compared to other songs before it, but still provides an exciting end to one of the most enjoyable encounters to stir up the year so far. Throw The Goat is rock ‘n’ roll through and through with a sound and indeed album to match. This is one bruising all rock fans need.

Blood, Sweat & Beers is available now via Regurgitation Records @ https://throwthegoat.bandcamp.com/album/blood-sweat-beers

http://www.throwthegoat.net/   https://www.facebook.com/throwthegoat

RingMaster 22/04/2015

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

Hellbound Hearts – The Proximity Effect

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It was 2013 when UK rockers Hellbound Hearts caught our ears and imagination with their potential ridden and thoroughly thrilling Outside EP. It was one of those encounters which simply brought energetic and eager life to feet and emotions whilst impressively building on their already well-received self-titled EP of 2011, the year the band emerged. Now they have returned with their thumping new persuasion, The Proximity Effect, an EP which not only realises much of the promise of its predecessors but sets out a new recipe of inspiring adventure to be explored ahead.

The time between the last and new EP seems to have been a testing time for the York band; personnel changes, health issues, and recording issues thorns in building on their already potent presence and reputation. Now the trio of vocalist/guitarist Danny Lambert (ex-Terrorvision), bassist Craig McLaren, and drummer Billy James Mitchell (ex-Glitterati) have overcome all obstacles and unleashed their finest irresistible slab of rock ‘n’ roll yet. Already the band has unleashed their renowned live performances on the year, sure to continue in the vein which earned them success and high praise through performances with the likes of Black Spiders, JettBlack, The Treatment, Terrorvision, Sons of Icarus and Warrior Soul in the past. It is The Proximity Effect which will be the prime weapon in whipping up the broadest national attention though, something it has already begun sparking since its release.

Posters In The Sun descends on ears first, opening with a caress of raw but inviting guitar accompanied by a just as dirty riff, and soon finding heavy beats adding to the tempting. Once the dark tones of McLaren’s bass infuse their increasingly alluring enterprise, the track is stomping with punk attitude and rock ‘n’ roll voracity. Vocals bring their melodic roar to the web of hooks and captivating riffs soon after whilst Mitchell’s swinging sticks just seem to get more compelling and tenacious, much as the song. It is all coloured by a rock pop infectiousness which early on begins to blossom inside the encounter and ripen especially in its chorus. The song is the spice of addiction and makes one highly enjoyable and gripping start to the EP.

The following Ones And Zeros makes a just as imaginative entrance, a weave of melodic chords being accosted and complimented by a great resonance of throaty bass. Swiftly more aggressive than its predecessor but no less virulent, the song prowls and strolls across verse and chorus as a torrent of addictive hooks, musically and vocally, colour the first stage and a mellower catchiness lighting up the latter. Again there is a punk tenacity to the mix of metal and hard rock, resulting in a gripping blaze of sound around a host of creative and vocal temptations.

There is a grungier air to Bones next, a mellower essence which wraps around the alternative metal canvas. Equally though there is a raw aggressive edge to it all which lines the more voracious passages of the song. Riffs and hooks especially ignite thoughts and appetite whilst the punchy beats just keep it all caged in a slightly intimidating frame. Not as immediately infectious as the first two, the track is a growing and mighty persuasion revealing another new twist and flavouring to the band’s songwriting and sound.

Overall there feels a harsher nature, more volatile character to the EP than its predecessor. It never actually erupts in hostility but the danger is there and the songs all benefit from it, as shown by the closing Silence Falls. The last track has an open familiarity to it, bred from its pop punk and alternative rock collusion as much as anything, and is soon seducing with thick melodies and bracing riffs matched by addiction forging rhythms. Stirring up imagination and the pleasures alike with potent and magnetic enterprise, the song is a formidable and mouth-watering end to a similarly impacting release.

It may have been a turbulent 2014 for Hellbound Hearts but they are back, and on even more impressive form with a sound and creative adventure to match. If you are looking for feisty rock ‘n’ roll to invigorate your daily soundtrack then The Proximity Effect is a wise and thrilling choice.

The Proximity Effect EP is available now @ http://hellboundhearts.bandcamp.com/album/the-proximity-effect

http://www.hellboundhearts.com/   https://www.facebook.com/wearehellboundhearts

RingMaster 19/04/2015

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

Dead Shed Jokers – Self Titled

Dead Shed jokers new cover

Released two years ago, the Peculiar Pastimes EP unleashed one of our persistently favourite songs of the past few years in the frenetic and inventive shape of its title track. Now its creators, Welsh rockers Dead Shed Jokers return with their new album, a self-titled affair which is fiery and explosive rock ‘n’ roll at its multi-coloured imaginative best. Across eight tracks, band and sound brew a tempestuous and riveting riot of captivating enterprise and incendiary adventure drawing on every form of rock music you can imagine for one individual and exciting devilment.

Hailing from Aberdare/Merthyr, Dead Shed Jokers impressed with debut album Peyote Smile in 2011. It awoke the UK scene to a new almost mischievously inventive band which the Peculiar Pastimes EP reinforced with its title track alone. The rest of its tracks were live cuts which confirmed that on stage the band was just as furiously explosive and compelling too. All the attributes and qualities of both releases have been pushed on again with the Pity My Brain Records released new album, but equally an even greater impacting, attention grabbing diversity and maturity has festered inside the band’s songwriting and sound. The result a release which is as unpredictable as it is stormy and as fascinating as it is immediately contagious.

The album opens with Dafydd’s Song and instantly throws a wall of fiery grooves and imposing rhythms against ears. Its melodic toxicity and scorching guitar endeavour has the imagination whipped up just as quickly too, especially as classic rock tones align to the drama of the vocals now riding the ferocious wave of sound and adventure. There is a theatre to song and sound, something evolving to matching success across the remainder of the album, and coloured by the increasingly impressive vocals and spicy grooving.

From a sensational start things mellow with Delay the Morning. Well for its start anyway as gentle melodies court a scuzzier atmosphere. Once the vocal roar erupts though so the intensity of the encounter grows, every element uniting in a bracing storm of sonic hooks, tangy grooves, and driving rhythms wrapped in raw energy. There is a touch of bands like The Dropper’s Neck and Damn Vandals to the song especially in its punkish psyche lit elements which equally only adds to the intriguing and addictive character of the outstanding creative brawl.

A Cautionary Tale as its predecessor begins its tempting with a gentler coaxing before flexing its rhythmic muscles and sonic sinews for a theatre of explosive rock ‘n’ roll. There is a carnival-esque quality to its underlying swing whilst the busy sounds around it weave a tapestry of everything from alternative and progressive rock to dark and psychedelic rock ‘n’ roll. Intimidating and transfixing, the excellent offering makes way for Memoirs of Mr Bryant, the band’s recent single. Rich in blues hues and face melting energy, the track bellows and stomps with aggression and tempestuous intent, at times seeming to flirt with the senses but for the main treating them to a furnace of invention and power.

The volcanic and ferocity of the album seems to kick up another gear with Made in Vietnam, as does the infectiousness and warped ideation. A rugged assault in some moments, a sultry seducing in others, the track is a maze of sonic endeavour and melodic flaming employing a volatile fusion of stoner, hard, and blues rock. Once again ears and appetite are inspired to offer lustful reactions, as they are also with the enthralling Love is Diseased which follows. Swimming through a psychedelic haze, the song ebbs and flows in intensity, increasingly tightening its grip on thoughts and psyche with vocal harmonies, furious riffs, and sweltering grooving, not forgetting the submerged but open catchiness at its core.

The release is brought to a fine end by firstly the irresistible raucous stroll of Rapture Riddles, a blistering stomp of searing creative intrigue and vocal drama, and lastly Exit Stage Left (Applause). The final song is a voice and piano led calm after the tempest of creative fury igniting the rest of the album, and another enjoyable twist in the adventure of the release. It too has a fierce edge which emerges towards the song’s closing touch showing that even in more peaceful waters there is never a moment where you can make assumptions about the songwriting and invention of Dead Shed Jokers.

Rock ‘n’ roll can come in many forms, and most infused into this album, but often there is that final spark of creative danger and bravery missing. Dead Shed Jokers are fuelled by it and it is at its most accomplished and exciting on their new release. Now it is time for the world to show the same boldness, grab a listen, and reap the rewards.

Dead Shed Jokers is out now via Pity My Brain Records digitally @ https://itunes.apple.com/us/album/dead-shed-jokers/id983757315 and on CD where the first 100 will receive some extra goodies via https://deadshedjokers.bigcartel.com

https://www.facebook.com/DeadShedJokers

RingMaster 14/04/2015

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

Bite The Shark -Tantrum EP

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It is fair to say that the first Bite The Shark release, the three track First Blood, suggested that British rock ‘n’ roll had a new protagonist to breed some real excitement over. Now the Manchester trio return with the explosive Tantrum EP, a roaring, stomping encounter not only making that previous loud hint a reality but thrusting the band to the forefront of incendiary revelry. Consisting of five ferocious and mischievous punk ‘n’ roll anthems, Tantrum simply leaves bodies breathless and emotions blazing. Every exploit within its raucous walls is the host of volatile sounds, feisty imagination, and adrenaline soaked devilment; all providing a virulent contagion conducive to naughty habits and unbridled enjoyment.

Formed a couple of months past a year ago, Bite The Shark swiftly lit an eager and vocal local following which spread as potently and easily with the release of First Blood last year. Luring in acclaim and keen online radio attention with the Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) recorded release, the threesome of brothers Adam and Edd Langmead alongside Rory O’Grady have been kicking up a storm on the live scene too, the weeks leading up to the release of Tantrum alone finding the band rampaging round the UK on tour with Drop Down Smiling and Fake The Attack. Again recorded with Dodangoda, Tantrum is the band’s next mighty temptation on the nation, one with the qualities and tunes to ignite the UK rock scene.

Rock & Roll in the Soul hits ears first and lives up to its title instantly. An opening guitar hook makes the first rich connection, matched within seconds by an equally tempting heavy bassline. The song soon hits its stride with raw riffs and punchy rhythms led by similarly feisty vocals, a mix alone enough to have feet and emotions bounding along with its persuasion. Add a ridiculously compelling chorus and the first anthem of the EP is stirring up imagination and thrills. Imagination and diversity are never far from the forefront of Bite The Shark songs, as well as lyrical provocation, and both are as rampant as the thick sounds within the tremendous opener.

10897961_327152687479870_8976137320647029148_n   Good rowdy times continue with Little Fishy which follows, guitars brewing up a voracious and abrasing blaze within which vocals romp and mischievous ideation plays. With its mid-point merely a glimpse in its future, the song suddenly twists around from its initial stampede and begins prowling, indeed stalking the senses with predatory invention before returning to a frantic onslaught which in turn slips into a catchy TV show theme tune finale. The track is just irresistible just like Shiny Shoes straight after. Soon showing a heavier ferocious nature of its own to its riffs and rhythms, the song reveals an essence of classic rock entwined with power pop in its punk romp. Once more grooves and hooks breed addictiveness whilst vocals and fierce melodies offer searing magnetic hues.

There is no chance of a breather at any point within Tantrum either, each song a full on tempest of infection fuelled incitement as evidenced again by the outstanding Killzone. From the opening twang of riffs, ears and body are ready to accept the suggestive rampage in waiting The track’s entrance is almost a limbering up before chest beating rhythms and fury lined riffs explode in a steamy onrush. It is not a hell for leather charge though, hooks and band harmonies a tasty tempering to the aggressive foot to the floor energy offered, but it is certainly a seriously rousing slab of rock ‘n’ roll.

The release closes with Sleep when You’re Dead, though the CD also includes Burn em to the ground and Burn and Gas & Air which made up the bulk of the previous release. Drawing on blues rock spicing for its melodic essences, the track as its predecessor, is a balls to the wall rocker leaving no room for abstinence from joining in with body, voice, and energies. It is a glorious end to a spectacular riot of punk ‘n’ roll tenacity, a song unafraid to explore new depths and areas of songwriting and sound whilst the release simply bellows that Bite The Shark is one of the bands with the potential to take British rock ‘n’ roll into a new heyday.

The Tantrum EP is available now digitally @ https://itunes.apple.com/gb/album/tantrum-ep/id962681213 and on CD via http://bitethesharkmerch.bigcartel.com

http://www.facebook.com/bitetheshark   http://originaljunkie.wix.com/bitetheshark

RingMaster 09/04/2015

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/

Broken Chords – Rock & Stone EP

 copyright Broken Chords/Niall Lea Photography

copyright Broken Chords/Niall Lea Photography

Bursting with fiery rock ‘n’ roll to throw your inhibitions out the window to, the eagerly anticipated Rock & Stone EP from UK rockers Broken Chords is finally here to set the rock scene roaring with raucous revelry and insatiable temptation. Bulging with four tracks which have been seeded in the instinctive bed of classic rock, bred with the ferocious devilry found in the likes of Rival Sons and Turbonegro, and honed in the ways of modern rock ‘n’ roll, the releases is a welcomingly familiar and invigoratingly fresh incitement under the banner of real and bawdy rock ‘n’ roll.

Formed in 2013, the Essex/Herts hailing Broken Chords swiftly became an attention grabbing encounter on the local live scene, soon spreading their lure nationally. Their hunger to play live and share their sounds saw them play over sixty shows a year initially expanding to a full UK tour whilst 2014 found the band sharing stages at major venues with artists such as Bernie Torme and Australian rockers Electric Mary, as well as sealing a headline slot on the second stage at Hard Rock Hell Helloween. Last year also saw debut single Get Some embraced by radio, media, and new fans alike. It has all led to the licking of lips of a great many for the release of the Rock & Stone EP. Recorded with producer Paul Tipler (Idlewild, The Horrors, Placebo) and coming after a successful tour of Poland and Ukraine by the band, the release provides one of those rock riots which lights up ears and days.

The title track opens things up and instantly has the senses bound in a spicy groove to devour greedily and a vocal persuasion from guitarist Joe Finnigan and bassist Aiden Eggenton impossible to escape joining in on. Riffs and rhythms only add to the immediate infectious and rowdy proposal offered, a blaze unafraid to twist itself into alternating slimmer and broader strains of ferocious temptation. Its title sums up the song perfectly, its body a swinging explosion of rock ‘n’ roll built on an immoveable rhythmic imposing and intensive energy.

04769447-15ed-4c44-990c-2d60d46e7797The following Your Moves springs next with a great blues rock flavouring from its first breath, one thickening in spice and enterprise as the track develops its magnetic character and adventure. The jabbing rhythms of drummer Jamie Wilsdon provide potent bait whilst vocals and basslines bring their own expressive lures to play with the imagination, but it is the spicy hooks and fiery grooves which seal the colourful deal and inflame further the impressive start to the release.

Tell Them Of Us, described as the band’s “tribute to the fallen of 1914-18”, entangles ears with a resourceful web of invention vocally and musically, one embraced by melodic flames soaked in creative drama. It is a skilfully controlled and restrained encounter compared to the more volatile air of its predecessors but equally has that element of incendiary energy and imagination which erupts at certain times and in expressive ideation.

The EP is closed by the outstanding Wild Child, a song you can easily see being a fan favourite, and swiftly one of ours truth be told. Once again ears and attention are gripped by an irresistible opening groove, its irrepressible temptation swiftly backed by thumping beats and voracious riffs bound in glam/classic rock devilry addictiveness. Teasing with moments of discord, throaty basslines, and anthemic instinct, the track is a thrilling stomp, taking best song honours along the way.

Everything about the Rock & Stone EP has familiarity and originality ingrained, a fine line skilfully walked with invention whilst casting rock ‘n’ roll so easy to create a real kinship with

The Rock & Stone EP is available from April 6th @ http://brokenchordsmerch.com/album/235634/rock-stone-ep

Upcoming live dates

Wed 15th April     Cardiff, The Globe, (Supporting Kyshera)

Thu 16th April     Brighton, The Albert, (Supporting Kyshera)

Fri 17th April     Harlow, The Square, (Supporting Kyshera)

Sat 18th April     London, Underworld, (Supporting Kyshera)

Tue 21st April     Wolverhampton, Robin 2, (Supporting Kyshera)

Thu 23rd April     Nottingham, Rock City, (Supporting Kyshera)

Fri 24th April     Selby, The Riverside, (Supporting Kyshera)

Sat 25th April     Sheerness, The Ivy, (Supporting Kyshera)

Wed 13th May London, Surya

Thu 14th May Brighton, The Great Escape Festival

Sat 16th May Sheffield, Mulberry Tavern (supporting Kyshera)

http://www.thebrokenchords.com   https://www.facebook.com/brokenchordsofficial

RingMaster 06/04/2015

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/

jointpop – Simply Beautiful

jointpop

Hailing from Trinidad & Tobago, rock ‘n’ roll band jointpop first grabbed our attention and that of the home of our radio shows Reputation Radio a few years back with their lively and magnetic festival of pop and rock. Their history goes back much further though, covering twenty years or so in fact and delivering seven albums drawing acclaim and an ever increasing number of fans along the way. Their latest full-length Quicksand unveiled its dynamic persuasion just a matter of days ago and now spawns its first single, the enjoyable Simply Beautiful.

jointpop began in 1996, formed by vocalist/songwriter Gary Hector from the ashes of previous band Oddfellows Local, the seminal Caribbean rock ‘n’ roll band in the nineties. With the new project came a fresh experimentation of sound and direction from Hector, and a union of some of the best creative and skilled musicians of the Trinidad and Tobago underground scene. It did not take long for the band to reap potent local support either whilst their emerging songs subsequently lured close attention from terrains further afield including the UK and US. Their septet of albums and various singles have consistently pushed the band into a greedier awareness and recognition of the band’s presence, enabling jointpop to tour the countries just mentioned and play some of their most legendary venues such as CBGB’S, 100 Club, The Dublin Castle, and the Hope and Anchor. Produced by Paul Kimble of Grant Lee Buffalo, Quicksand is now starting to lure in another keen wave of interest in the five-piece of Hector, guitarist Damon Homer, bassist Jerome Girdharrie, drummer Dion Camacho, and keyboardist Phil Hill, a persuasion to which Simply Beautiful provides a tantalising invitation.

A lively piano temptation opens up the song, its smiling manner soon aided by the vibrant colour of guitar and a punchy bait of rhythms. A blues air wraps song and vocals as they join the affair next whilst equally a melodic rock substance expands the weight and increasingly fiery character of the proposition. It is not an encounter which leaps out yet is immediately catchy, merging an older schooled rock ‘n’ roll croon with a modern tenacious attitude and enterprise.

Simply Beautiful also offers, if not the diversity which generally comes with the Port Of Spain quintet’s releases and to be found upon Quicksand, certainly a strong hint of the heart of the jointpop sound and the fun.

Simply Beautiful and Quicksand are available now on all online stores.

http://www.jointpop.com/ https://www.facebook.com/jointpop

RingMaster 06/04/2015

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/

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/