Bridport Dagger – Wolves/Trembling Sky

Sometimes you just do not know the goodness which is on your doorstep. Recently we had the pleasure of being introduced by one of their numbers to Bridport Dagger, a band which it turned out rehearsed and recorded in their singer’s home studio merely ten minutes away from The RR. Even more enjoyably, the meeting left us with the UK outfit’s new single in our eager hands and the urge to tell you about its rather tasty contents as well as the important message to constantly check out and support your local scene as you never know what treats you may find.

There is not a great deal of info we can tell you about the band except that it consists of vocalist/guitarist Jason Idnani-Powdrill, guitarist Lawrence Rice, bassist/guitarist Chaz Foster, and drummer/keyboardist Arran Goodchild. The quartet draws on the inspirations of artists and flavours such as Suicide, Nadine Shah, Roy Orbison, Guadalupe Plata, Clinic, The Gun Club, Flamenco, Get Your Gun, Fado, Ennio Morricone, and film noir especially the work of Wim Wenders and recently performed in an echo chamber under the river Thames and supplied sound design for a seven day immersive play in Berlin. But their sound you ask…well the most important thing here is a dark and seductive collusion of numerous flavours and textures but is maybe best described as Nick Cave and The Walker Brothers meeting Echo and The Bunnymen on a Tarantino set as Japanese Fighting Fish share their creative devilment. What emerges is something individual and magnetic to Bridport Dagger as epitomised by the double A sided lead of new single Wolves/Trembling Sky.

The single is actually a real meaty chunk as it also includes the band’s previous EP Knife through Water including a re-mastered version of its lead track and a couple of songs from that earlier mentioned soundtrack . The single opens with Wolves and an immediate clash of sound as rhythms and guitars collide. From within the inviting clamour a rumble brews; its tone rockabilly like as the guitars between them wrap a jungle of riffs in a sultry melody as Idnani-Powdrill’s vocals begin the shadowed croon of the song. Already the magnetism is addiction level, the subsequent scythes of guitar compelling across the captivation of bass and beats as the band’s rock ‘n’ roll shares dark flirtation. Every passing second brings a new twist of drama and sound, unpredictability as thick as the imagination flowing through the outstanding encounter.

Its partner, Trembling Sky is instantly a less intense proposition, a psych rock melody dancing over the darker hues of bass and again grumbling riffs. There is a Doors-esque air to the song, a shadowed lining to its lively spirit and bounce, and a sixties instrumental tone to the guitars which only adds to its instinctive attraction. As its predecessor, the song just hits personal wants and tastes full on though at two and a half minutes or so it frustrates when it ends just as lust rises.

The rest of the release starts with tracks found on that previously mentioned EP released last year with a re-worked mix of acclaimed track Harry Dean Stanton first up. As this piece is being composed news has just come through that the actor has died; a sad timing which instantly brings a poignant edge to song and its embrace of ears and focus. The song is a dusty shimmer on the senses, a poetic sigh spiked by shards of glassy guitar and soaked with the serenade of keys; a proposition which is masterfully enthralling from start to finish.

Next up is Cowboy Drone, a track which nags and teases like a menacing mix of The Birthday Party and The Doors that sizes up the listener with every note and breath before taking them through a tombstone littered climate soaked in post punk/psych rock discord and theatre. The track is glorious, a noir drenched drama of sound and voice which thrusts the imagination into the heat of dark trespasses.

Taken from the soundtrack of the Twin Peaks inspired theatre performance Bridport Dagger created the music for, The Dangling Man is one of two original songs it was bookended by, the following Lyra the other. The first is a sombre, almost caliginous play for ears and imagination with vocals and music a shadowy lure and the melodramatic caresses of sax courtesy of George Cleghorn sublimely suggestive while the second is a fifties hued dark ballad with more than a touch of Roy Orbison to its emotional humidity. Both tracks transport the listen to a dark and intoxicating place impossible to resist lingering within.

The livelier rock ‘n’ roll of The Butcher of Rome has hips swaying and appetite dancing, bass and beats alone a rousing shuffle to be enslaved by, a trap tightened by the teasing jangle of guitars, the seductive strokes of keys, and the storytelling prowess of the vocals.

The release is completed by the sweltering emotional drenched spectacle of Wilderness, a song which gets bolder and more psychotic and discordant with every passing minute for a mouth-watering finale of provocative noise and melodic toxicity.

Wolves and Trembling Sky as a single is one of the year’s most riveting experiences on the year so far; add the rest of its treats and you have one of the most essential come its release in October.

Wolves/Trembling Sky is released October 13th.

Upcoming live dates:

21st September: Bethnal Green Working Mens Club, London

29th September: Insomnia, Berlin

8th October: Twin Peaks UK Festival, London

10th October: Half Moon Putney, London

13th October: The Lexington (with the Flaming Stars and Get Your Gun), London

4th November: Paper Dress vintage 4th Birthday Party, London

https://www.facebook.com/bridportdagger    https://bridportdagger.bandcamp.com/

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

The New Southern Electrikk – Brown Eyes

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Listening to the trio of songs making up The New Southern Electrikk debut single, is like being immersed in a kaleidoscope of sound, each song offering a different light and colourful adventure to another. The release is an unpredictable proposition and a bewitching one, revealing why a vibrant buzz around the UK band from fans and media alike but equally suggesting we have barely scratched the surface of their depths and creative imagination. It would be wrong to say the single blew our fuses but once romanced and seduced by Brown Eyes and company, it is impossible not to have a healthy intrigue and appetite towards The New Southern Electrikk sound.

With the likes of Goldblade’s John Robb, the single released on his Louder Than War Records, The Lemonhead’s Evan Dando, and Suede’s Bernard Butler amongst fans caught by the band’s melodic spell, The New Southern Electrikk have ears and imagination engaged almost from the first melody stroking ears from within Brown Eyes. It is single guitar bred flirtation with just a percussive whisper alongside but a coaxing soon broadening into a sixties melodic melodrama of emotion and smouldering elegance. The song was inspired by a dark moment in the life of keyboardist Rikki Turner fourteen years ago when a woman he loved left his life as The Shirelles’ Baby It’s You was playing in the background. The former Paris Angel musician wrote the song’sPicture 110 lyric and melody soon after and there is no escaping a sixties girl group like charm in the music of the track or the soulful angst of that moment in time in the captivating delivery of vocalist Monica Ward. The melancholic basslines of Steven Tajti only add to the shadows, their melancholy courting the lean but potent melodic colours cast by guitarist Zack Davies. Evocative within a sultry climate, the gentle but imposing croon of the song with its Shangri-las like finale gets right under the skin, not necessarily setting a fire but working away over time as hooks and vocal moments persistently return in thought and memory.

The following landscape of The Theme to the New Southern Electrikk immediately ventures into new realms, keys weaving a psychedelic ambience around Krautrock scenery. It is only part of the soundscape though as a post punk seeded bassline swings its morose invention around crisp and uncluttered rhythms from drummer Jim Correy. Similarly a Morricone-esque tang simmers within the melodic wine of the again slightly sixties pop coloured instrumental too, it all aligning for a tantalising and compelling flight for ears and imagination to bask in and explore time and time again.

Completed by a mesmeric version of The Gun Club’s Mother of Earth, The New Southern Electrikk’s first single is rich magnetism. There is something for everyone within its spicy creativity and the minimalistic textures which offer new shapes and persuasions with each song on offer. Expect to hear a lot more of this fascinating band in future.

Brown Eyes is available now via Louder Than War Records @ https://itunes.apple.com/gb/album/brown-eyes-single/id960367750

https://www.facebook.com/pages/The-New-Southern-Electrikk/1566182530283214

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

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