Band Of Holy Joy – The Land Of Holy Joy

BOHJ_A_RingMaster Review

This past year, two singles from Band Of Holy Joy have sparked expectations of something special from their new album The Land Of Holy Joy, simply because of their own enthralling quality. Fair to say the UK band’s new release not only lives up to hopes and assumptions but leaves them looking rather inadequate. The nine track adventure of urban folk and indie rock is a blaze of ear thrilling and imagination igniting tracks ripe with unpredictable invention and the social commentary and honesty we have come to expect from the London band. Admittedly over their three decades of undeniably helping shape the British indie scene, we have not had the pleasure of devouring all of their eighteen previous albums here but of the fair few we have, Band Of Holy Joy have definitely eclipsed all with their finest moment in The Land Of Holy Joy.

The album gets off to a stunning flyer with its title track, the opener an instantly bewitching enticing of off-kilter guitar melodies from James Stephen Finn. Their discord lined twang has ears alert, whilst a swift healthy appetite licks its lips almost as quickly after as an exotic seducing from Peter Smith’s keys, matched by the flirtation cast by the bass of Howard Jacques, dances with the imagination. Like Eastern sent cosmopolitan sunshine over harsh realities hinted at by the plainer, distinctive tone of vocalist Johny Brown, the track is sensational; a provocative soundtrack perfect for the crisis felt right now by thousands upon thousands of people and Europe.

The outstanding beginning continues with the band’s last single Isn’t That Just The Life. The song enthrals like a sixties kitchen sink drama with, still for these ears, a female centred alternative to The Smith’s This Charming Man. With wistful keys, flames of sax from Smith, and great dourly resourceful harmonies, the song is an expressive croon with a swinging canter to its shadowed wrapped but surprisingly warm body, and also irresistible.

Street bred melancholy lines the following All The Girls Are Wearing Desert Boots Of Pale And Subtle Shade. It is a track which from its initial potent and gentle embrace of sombre air and emotion lifts in energy through emotive brass textures and an increasingly rousing incitement thrown by the craft of drummer William Lewington. Maybe a slow burner compared to its predecessors, the track easily has ears and thoughts hooked before making way for the funky carnival-esque theatre of Men Who Display A Different Kind Of Pain. Keys drizzle temptation and festival like drama over the senses in league with a similarly thick and colourful enticing from the guitar, whilst Brown adds rich vocal and lyrical openness in his ever pleasing mix of raw crooning and spoken narrative. More inventive and compelling with every passing minute and certainly each listen, the song is revelry of sound and honest drama coated with eighties warmth.

Another album pinnacle arrives with the brilliant Violent Drunken Strangers. Its entrance sees skipping beats aligning with a moodily captivating bassline and sultry tendrils of guitar which just seep into the psyche as Brown again varies his delivery to fine and impacting effect. The post punk like stroll and tone of the track is delicious, as too the emerging eighties funk kissed guitar and a vocal union which just ignites the passions. There are essences of bands like Bauhaus in atmosphere, Josef K in guitar jangle, and Original Mirrors to its lively revelry, and along with the title track, the song steals the show though great times simply continue as first the reflective melodic caress of Discredited Art Form cups ears and thoughts and straight after, A Good Close Friend offers its own elegant seduction and tenacious sixties fired enterprise up for eager attention. Both songs provide thoroughly enjoyable proposals whilst stirring thoughts, the second eclipsing the first but only by a spicy whiff of keys and one lively step.

A Place Called Home is another track which smoulders in ears and thoughts rather than quickly stirs them but with superb harmonies between Brown and a female vocalist, and a brass breeze which as the song has a shade of The Walker Brothers to it, lingering persuasion is the ultimate and successful result.

Closing with I’m Crass Harry, a bluesy look at a character which never gives up the fight despite enduring a constant tide of adversity, the album ends with a mighty finale. Merging spices found in the likes of reggae, punk, jazz, and other absorbing flavours into its musical tapestry around that tale of defiance, the song is Band Of Holy Joy at their best, what creatively they are and have always been about and another slice of proof as to why we say The Land Of Holy Joy is their greatest moment yet.

The Land Of Holy Joy is out now digitally and on CD via Stereogram Recordings and the Band Of Holy Joy Bandcamp.

Pete RingMaster 22/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Band of Holy Joy – Isn’t That Just the Life

Isn't that just the Life - Download Artwork_RingMaster Review

Ahead of their new album The Land Of Holy Joy, which is released in September, Band of Holy Joy unveils new single Isn’t That Just the Life to seriously whet the appetite for their impending full-length. The song is a fascinating weave of familiar and fresh textures soaked in vocal and lyrical drama, an infectious adventure of sound and energy which needs little time to stir up ears and imagination.

2014 saw the release of the band’s acclaimed Easy Listening album and it’s highly successful single When a Gift is a Curse, both even after three decades of creating persistently enthralling musical and lyrical explorations, saw Band of Holy Joy blossoming new depths of invention and, for want of a better term, creative theatre in their sound. Subsequent single A Place Called Home, also upon The Land Of Holy Joy exposed another fresh and magnetic lining to the band’s resourcefulness, but it has to be said that Isn’t That Just the Life simply outshines them all.

From its first breath, the song bounds in on a lively stroll, bass tempting and guitar lures instantly engaging with hard to escape individual hooks. The ever distinctive tones of Johny Brown soon bring their unpolished but gripping croon and lyrical drama into the mix, rhythms gently shaping the increasingly riveting growth of the song. Once and quickly into its shadowed draped warm and almost swaggering canter, a hue of The Smiths oozes through the song’s veins to only add thrilling colour to a song which in some ways plays like the alternative to This Charming Man from the female perspective.

With keys wonderfully shimmering like light on the sea of sound and festive bursts of brass within the constantly alluring portrait of sound and vocal incitement irresistible, Isn’t That Just the Life simply owns ear, thoughts, and emotions with sublime ease and craft. As suggested earlier, for personal tastes the single eclipses everything from the band over the past year or so, even longer to be honest as great as anything was, ensuring The Land Of Holy Joy will be an eagerly approached proposition along the way.

Isn’t That Just the Life is available from Stereogram Recordings on August 10th.

The Ringmaster Review

12/08/2015

Copyright RingMaster: MyFreeCopyright

Julie Hawk: Self Titled EP

   Julie Hawk

    Enchanting, haunting, and dynamic the voice of Irish singer-songwriter and multi-instrumentalist Julie Hawk is quite sensational, a deliciously unique and compelling persuasion. Perpetually expressive and bewitching Hawk has a vocal style which lights up the air with imagination and inventive enterprise to leave one magnetised and often sighing with enjoyment. Hawk is also an accomplished musician which as shown by her self-titled EP, makes for a combination as fresh as any summer sunrise and as golden as the most potent seductive sunset.

Consisting of six songs, the release is a sensational breath of smouldering elegance and riveting songwriting from an artist who is sparking ardour driven acclaim across the London unsigned scene. At five years old the West of Ireland singer took up the piano moving onto the fiddle and later the guitar whilst developing her own special style by singing in as many styles as she could mimic. She is also an artist who is obviously unafraid to investigate, draw upon, and use the ripest essences of a vast array of influences sought and come across, such as 21st century choral composer Eric Whitacre who is known for his ‘mystifying chords’. This diversity gained and evolved soaks her innovative sounds vocally and musically at every turn and is openly apparent on her new release.

Since emerging after ‘one cloistered winter’ in 2011 where she honed her distinct ability and style, Hawk has captured the imagination of a growing passionate fan base, her tremendous innovative sound like a pied piper for a great and growing many. Recent months has seen her supporting singer-songwriter, Benjamin Francis Leftwich and Michele Stodart of The Magic Numbers as well as making her festival debut at Hop Farm. It will one suspects, be her EP which will send her into the hearts of the widest acclaim and recognition and with its thrilling contents a result  wholly deserved.

The release opens with the sultry folk pop caress of The Value Of Gold the lead track from the EP. Accompanied on the song and across the release by Matthew Harris (bass, guitar, piano, and percussion), the track is an immediate kiss upon the ear from within an elevated heart borne energy. The guitar teases of Hawk gentle coax the emotions as they tenderly wrap around the ear whilst the more shadowed bass and emotive breath completes a fully rounded companionship for the senses. Lyrically as throughout the EP, Hawk finds seeds in contrasts/contradictions like life/decay and light/ dark bringing them impressively to bear on the listener but it is her irresistible vocals which ensure they leave the deepest touch.

It is a richly engaging start equalled by the magnificent Maps, a song which dances on the ear with grace and warmth whilst offering a riveting emotive puissance. There is a slight familiarity to the song, though for no apparent reason, which adds to the enthrallment whilst again the soaring voice of Hawk leaves one basking in glorious originality and aural temptation. Comparisons to artists such as Kate Bush and Joanna Newsom are often laid upon the singer and both are valid as are many others which spring to mind whilst the treats keep coming on the EP, yet they are all whispers in the uniqueness which is all Hawk.

Age In Years dances with the heart next to open up further avenues of infatuation for its infectious swagger and pop grooved heart. It is a wonderful piece of writing and realisation which becomes the deepest love affair between passion and release. The lush amour for the ear enhanced by its teasing guitar lures is continued as the release moves into the slower enveloping fascinations of The West and Cinders. Both are delightful instigators of heated tingles through their showers of aural raindrops and tantalising gaits, the first an entrancing weave of melodic mastery, wistful harmonies, and vocal wonder and the second a slowly winding emotive inducement for thought and heart.

Closing with an engaging cover of This Charming Man, the EP is a stunning pleasure which it is almost impossible to tear away from. The Smiths song is a well done extra sweet to devour though it does not quite live up to the triumphs elsewhere on the release. Julie Hawk maybe the big breeze inside London right now but with this EP one confidently predicts the country will soon also be under her spell.

http://juliehawkmusic.com

8/10

RingMaster 11/02/2013

Copyright RingMaster: MyFreeCopyright