Teminite - Elevate EP
Dubstep isn't cool any more, right? Well - apparently a young producer in Devon by the name of Teminite begs to differ. Having been played by some big names (like Krewella, in Las Vegas), this Elevate EP is only three tracks long but packs a punch big enough to fell a cow from a mile away. It's an intriguing take on the genre that has been fading as of recent months, and a great little three-track opus that will open the door to bigger and better things.
Track-title Elevate is a reggae-infused, melody driven thing that will guarantee to get you 'pon de floor. Whilst it isn't the most original track you'll hear all year, the fluctuating bassline is hip-moving and an absolute banger by all accounts. Again, whilst I'm not exactly a fan of those sampled vocals (they remind me of the countless other dubstep/drumstep artists that operate within the same parameters), the majority of the track will at the very least provoke a well-meaning skank.
Not to the detriment of Elevate, but I think that Hot Fizz is a lot more exciting in terms of what it brings to the table. It swaggers and meanders with beautiful cascading melody that is captivating and exciting. The synth is beautifully worked and the bass isn't your standard "drop-bass-death" affair, it is surprisingly subtle and this works to the benefit of the track as a whole. It even has Gran Turismo 3-esque showroom piano. It is masterfully intelligent glitch-hop, and the standout track on this EP (which is saying something - the other two are pretty good).
Last track Don't Stop is unashamedly dubstep. it shouts and scream oscillating bass music. Again, whilst one could argue that dubstep was dead, Teminite rips it from the grave with jaw-dropping ease. Whilst I prefer Hot Fizz, one has to applaud this final track.
This EP is damned exciting. it cements Teminite's reputation as an artist who can, despite his years produce accomplished and at times inspired electronic music. Keep your ears open - this could be huge.
8/10
CW
Track-title Elevate is a reggae-infused, melody driven thing that will guarantee to get you 'pon de floor. Whilst it isn't the most original track you'll hear all year, the fluctuating bassline is hip-moving and an absolute banger by all accounts. Again, whilst I'm not exactly a fan of those sampled vocals (they remind me of the countless other dubstep/drumstep artists that operate within the same parameters), the majority of the track will at the very least provoke a well-meaning skank.
Not to the detriment of Elevate, but I think that Hot Fizz is a lot more exciting in terms of what it brings to the table. It swaggers and meanders with beautiful cascading melody that is captivating and exciting. The synth is beautifully worked and the bass isn't your standard "drop-bass-death" affair, it is surprisingly subtle and this works to the benefit of the track as a whole. It even has Gran Turismo 3-esque showroom piano. It is masterfully intelligent glitch-hop, and the standout track on this EP (which is saying something - the other two are pretty good).
Last track Don't Stop is unashamedly dubstep. it shouts and scream oscillating bass music. Again, whilst one could argue that dubstep was dead, Teminite rips it from the grave with jaw-dropping ease. Whilst I prefer Hot Fizz, one has to applaud this final track.
This EP is damned exciting. it cements Teminite's reputation as an artist who can, despite his years produce accomplished and at times inspired electronic music. Keep your ears open - this could be huge.
8/10
CW
Jonah Hitchens - Sugercoated Sugercane EP
Local musician Jonah Hitchens has recently come off of several successful sets at the Sidmouth Folk Festival. The problem is, with rock and pop fast becoming a landfill and a wasteland of failed careers and mediocre chords, is Jonah Hitchens and his band of sweet sounding musicians any different?
Well, thankfully yes. Although Sugercoated Sugercane occasionally meanders into the re-hashed levels of so many others, the majority of this album is a foot-stomping call to arms that summons even the most experienced rock listener. There's a bit of The Hives here, a bit of Chili Peppers there. it comes together in a weird way to form a pastiche of gutsy rock-and-roll and funk music that shows real promise.
Survival of The Fittest gets off to an absolutely barnstorming start, awash with guitar solos and rough yet well-tuned vocals that even Pelle Almqvist would be proud of. It doesn't make excuses, and it doesn't pretend to be any more complicated than it is. It is a balls-to-the-wall onslaught of rock and I appreciate that. Whilst it isn't, admittedly, the most complex of songs - it doesn't need to be. It fulfils the quota required for an opening track. And exceeds it.
Easy Guy is different. We see a softer side to the Sugercane, despite the track carrying on in the vain of the first, considering its enviable and sassy swagger. This song probably typifies the Extended Play. As Hitchens himself sings, it is incredibly "easy to love" and undoubtedly catchy. The mellow guitar at the end of the track leading into Wondering is a nice touch and shows Hitchens and company to be a talented bunch. However, one would argue that going into Wondering I was met with some unfortunate realisations about (albeit minor and petty) aspects of the EP.
At that point, I would have liked to see a tad more variety in the song. I know that's perhaps hypocritical for someone who earlier praised the no-frills attitude of Sugercoated Sugercane, but I couldn't help feeling a little bit disconnected at times during Wondering. It was as if there was an awesome rock concert happening next door, but I could only listen to it through a thick layer of perspex. Hitchens is certainly a talented songwriter and vocalist, but to survive in this game you need a record that people won't get tired of quickly. It could perhaps have done with a little more variation at that point in order to maximise the potential for the group.
Luckily, I got what I asked for and more in the form of the last track. Title track Sugercoated Sugercane is a funk-filled, jazzy and utterly dominant finish to the EP. It answered most of my qualms that I had whilst listening to Wondering. The song is so marvellously filled with bass and wah-ing guitar that makes you want to get up and slow-jam. This song doesn't march like opener Survival. It sways and parades itself like a cocky A-Level student after receiving their results. Or a peacock exhibiting some tail feathers. I know that sounds nonsensical, but the track is genuinely that good. It leaves you wanting more of the tangy brand of funk that Hitchens performs so well on this track.
There's real promise for Hitchens' band of fluffy-haired band of funk folk (excusing my alliteration). That is, if he can manage to hold his own with tracks like Survival, Easy Guy and the majestic Sugercoated Sugercane. I'm glad to say this CD won't be heading to the landfill any time soon. Let's hope the next record enjoys a similar fate.
Rating: 7/10
CW
Available on iTunes! https://itunes.apple.com/gb/album/sugarcoated-sugarcane-ep/id897276258
Well, thankfully yes. Although Sugercoated Sugercane occasionally meanders into the re-hashed levels of so many others, the majority of this album is a foot-stomping call to arms that summons even the most experienced rock listener. There's a bit of The Hives here, a bit of Chili Peppers there. it comes together in a weird way to form a pastiche of gutsy rock-and-roll and funk music that shows real promise.
Survival of The Fittest gets off to an absolutely barnstorming start, awash with guitar solos and rough yet well-tuned vocals that even Pelle Almqvist would be proud of. It doesn't make excuses, and it doesn't pretend to be any more complicated than it is. It is a balls-to-the-wall onslaught of rock and I appreciate that. Whilst it isn't, admittedly, the most complex of songs - it doesn't need to be. It fulfils the quota required for an opening track. And exceeds it.
Easy Guy is different. We see a softer side to the Sugercane, despite the track carrying on in the vain of the first, considering its enviable and sassy swagger. This song probably typifies the Extended Play. As Hitchens himself sings, it is incredibly "easy to love" and undoubtedly catchy. The mellow guitar at the end of the track leading into Wondering is a nice touch and shows Hitchens and company to be a talented bunch. However, one would argue that going into Wondering I was met with some unfortunate realisations about (albeit minor and petty) aspects of the EP.
At that point, I would have liked to see a tad more variety in the song. I know that's perhaps hypocritical for someone who earlier praised the no-frills attitude of Sugercoated Sugercane, but I couldn't help feeling a little bit disconnected at times during Wondering. It was as if there was an awesome rock concert happening next door, but I could only listen to it through a thick layer of perspex. Hitchens is certainly a talented songwriter and vocalist, but to survive in this game you need a record that people won't get tired of quickly. It could perhaps have done with a little more variation at that point in order to maximise the potential for the group.
Luckily, I got what I asked for and more in the form of the last track. Title track Sugercoated Sugercane is a funk-filled, jazzy and utterly dominant finish to the EP. It answered most of my qualms that I had whilst listening to Wondering. The song is so marvellously filled with bass and wah-ing guitar that makes you want to get up and slow-jam. This song doesn't march like opener Survival. It sways and parades itself like a cocky A-Level student after receiving their results. Or a peacock exhibiting some tail feathers. I know that sounds nonsensical, but the track is genuinely that good. It leaves you wanting more of the tangy brand of funk that Hitchens performs so well on this track.
There's real promise for Hitchens' band of fluffy-haired band of funk folk (excusing my alliteration). That is, if he can manage to hold his own with tracks like Survival, Easy Guy and the majestic Sugercoated Sugercane. I'm glad to say this CD won't be heading to the landfill any time soon. Let's hope the next record enjoys a similar fate.
Rating: 7/10
CW
Available on iTunes! https://itunes.apple.com/gb/album/sugarcoated-sugarcane-ep/id897276258
TYBR - SYZYGY
Rap is a mass-market industry nowadays. I've written about the problem I have with the way rap works already. It's all money, misogyny and rubbish backbeats. Luckily, there's a beating heart in the form of the underground scene. That's where rappers like TYBR come in. His manner is quaint, almost under-assuming, but at the same time deeply intelligent and thought-provoking. His debut work, SYZYGY, isn't the perfect album. At times, it struggles to hold attention as much as its counterparts. But in others, it excels against them. Backing tracks completely aside (they were not made by TYBR and the album should be examined with this in mind), TYBR's lyrical work in places is among the best rap has heard in years and years. I mean every word of that - whilst I will be first to point out that there are issues with this album, they are drowned out in moments of groovy moments of genius, often engineered by the soft, soulful vocal talent of this Devon teenager.
This is first and foremost a rap album. The lyrics in this record feel sewn into the backing - as if they've been masterfully stitched into some kind of avant-garde Bayeux tapestry. Lead track Virus is a perfect example of this. There's not a great deal of command here - the voice we hear on the record isn't in the style of most modern rap - it does not choose to grab the attention, instead attracting your curiosity in the hope of reaching a deeper level. There's regular use of syncopation but you wouldn't notice it listening to how well it's interwoven into the overall picture. I Love Rain is also a wonderful example of this. It is my favourite track on the album and it is an absolute masterclass in rap. As I've said, it doesn't command but instead invites you in. Rather than grabbing you by the bollocks and barking orders, it merely opens doors into a harp-filled world of supremely executed rap music.
That said, there are tracks I dislike. I can't pretend cared too much for A Raven Appears (I Disappear). This was for the simple reason that my brain can only cope with so much musical distraction. The mixture of synths and frequent use of crow noises gave me too much to think about it. Perhaps it's just me who can't follow music with too much in it - but in terms of fitting in with the overall album, it struggles to convey the sophisticated yet simplistic method of delivery that defines SYZYGY.
Interestingly, it isn't the spoken word that really earned my respect for this record. For me, it's the sung parts that really captivate my mind. Because whether or not it is fully utilised, TYBR has an absolutely superb singing voice for this kind of music. It can be bass dominated, but at times delicate and soulful. It just works. If I had the absolute power I would in fact make the singing predominant and louder than it is heard on SYZYGY, but with the recording being done without the use of a recording studio, one can understand why it has perhaps lost out. Nevertheless, TYBR's vocal work is supreme on tracks like Alignment, and its use throughout the record is one of the reasons this album has the power to captivate on first listen (albeit to fully appreciate the vocal work you'll need two or three playthroughs).
SYZYGY is not perfect. At times, I'm afraid to say it doesn't really come off for me at least. But TYBR makes you forget these minor hiccups with some peerless tracks that glow with a hue of ingenuity. This albums throbs and oozes creativity and intelligence - and the vocal work that TYBR laces on the album really sets it apart from most things that I've listened to. Whilst occasionally this album is hit by misfire, with continued work TYBR could be heading for the cosmos. I advise you to look up at the stars.
CW
Rating: 8/10
TYBR's SYZYGY is available for download, for free. Pick it up here. His Facebook is here.
Recorded by Henry Simmons. Post-production by TYBR.
This is first and foremost a rap album. The lyrics in this record feel sewn into the backing - as if they've been masterfully stitched into some kind of avant-garde Bayeux tapestry. Lead track Virus is a perfect example of this. There's not a great deal of command here - the voice we hear on the record isn't in the style of most modern rap - it does not choose to grab the attention, instead attracting your curiosity in the hope of reaching a deeper level. There's regular use of syncopation but you wouldn't notice it listening to how well it's interwoven into the overall picture. I Love Rain is also a wonderful example of this. It is my favourite track on the album and it is an absolute masterclass in rap. As I've said, it doesn't command but instead invites you in. Rather than grabbing you by the bollocks and barking orders, it merely opens doors into a harp-filled world of supremely executed rap music.
That said, there are tracks I dislike. I can't pretend cared too much for A Raven Appears (I Disappear). This was for the simple reason that my brain can only cope with so much musical distraction. The mixture of synths and frequent use of crow noises gave me too much to think about it. Perhaps it's just me who can't follow music with too much in it - but in terms of fitting in with the overall album, it struggles to convey the sophisticated yet simplistic method of delivery that defines SYZYGY.
Interestingly, it isn't the spoken word that really earned my respect for this record. For me, it's the sung parts that really captivate my mind. Because whether or not it is fully utilised, TYBR has an absolutely superb singing voice for this kind of music. It can be bass dominated, but at times delicate and soulful. It just works. If I had the absolute power I would in fact make the singing predominant and louder than it is heard on SYZYGY, but with the recording being done without the use of a recording studio, one can understand why it has perhaps lost out. Nevertheless, TYBR's vocal work is supreme on tracks like Alignment, and its use throughout the record is one of the reasons this album has the power to captivate on first listen (albeit to fully appreciate the vocal work you'll need two or three playthroughs).
SYZYGY is not perfect. At times, I'm afraid to say it doesn't really come off for me at least. But TYBR makes you forget these minor hiccups with some peerless tracks that glow with a hue of ingenuity. This albums throbs and oozes creativity and intelligence - and the vocal work that TYBR laces on the album really sets it apart from most things that I've listened to. Whilst occasionally this album is hit by misfire, with continued work TYBR could be heading for the cosmos. I advise you to look up at the stars.
CW
Rating: 8/10
TYBR's SYZYGY is available for download, for free. Pick it up here. His Facebook is here.
Recorded by Henry Simmons. Post-production by TYBR.
Reign Of Perdition - Fractured Reflection EP
The local metal scene is doing quite well at the moment, it has to be said. Having found out that Kill All The Gentlemen have been selected to play at this year's Bloodstock alongside Cambion and Born Of The Jackal, the South West is moving up in the world when it comes to metal standing. But until now, I hadn't heard of Chard-based Reign of Perdition, a death-prog three piece outfit. Suddenly, a copy of their new Fractured Reflection EP was dropped into my inbox, and I couldn't help but treat myself to a new band.
Let's put it this way. For a band with three members, the layered, complex and progressive sound they come out with is outstanding. Perpetual Winter begins with crushing riffs that free-flow into heavily progressive, Mastodon-esque fingerpicked guitars that work well in contrast. One was taken completely by surprise by the softer sequences, having heard lots and lots of average metal, I expected the song to meander on with the same old chugging riffs, but Perpetual Winter continued to be an interesting musical experience. The under-assuming lead guitar melodies were interwoven well into this track of bass heavy prog, and for that I give RoP great credit. That said, it felt a little as if the song didn't know where it was going. All the parts were well written, but it was a bit like a jigsaw that didn't quite fit together.
That's the major criticism one could have with this album. There is no doubt about it - this album takes effort to listen to. It is at times incredibly progressive, as it makes a habit of switching between genres before you've even realised what has just happened. And whilst all the bits are really, really exciting and damned well written, I feel as if with a bit more direction, the different aspects of the EP could have had even more impetus. That said, it still works really well. The breakdown towards the end of An Apparition In Entropy is skull-shatteringly brutal, despite the fact it gives way to a prog-driven, almost jazzy bassline, before proceeding to blow your ears off again with more neck-breaking metal. It's a weird combination. It mostly works, but occasionally falls over. I'd expect nothing less from something as mind-bendingly progressive as this, so I applaud the ambition that almost completely materialised, just not quite. Until the last track, at least.
The last, album-title track is an opus of death metal. It works really, really well. The drums are as heavy as a tonne of bricks and the guitars sound absolutely demonic. The vocals are the best that you'll hear for a while, and the track makes up for the occasionally misguided ambition that hindered the rest of the EP. Whilst other tracks sometimes strayed and meandered, Fractured Reflections stays on course like the world's most death-metal pirate ship. It gives me real pride to say that these guys are from the South West. In fact, I'd say it's one of the best metal tracks I've heard this year, besides Kill All The Gentlemen's "Deepest Depth", Mastodon's "The Motherload" and the new Cambion material. It manifests the ambition that the other tracks have, and it's joyous to listen to.
This album is not perfect, but it is incredibly well-written, well thought out and well performed. It is hugely progressive as well as crushingly death metal. The two don't always work together well on the album, but when the two elements are allowed to come to the fore, this album is absolutely superb. Perhaps it needs to reign in the progressive influence slightly in order to make tracks that allow for an easier listen that doesn't have to confuse to make a point. But all in all, this is exciting stuff. If they can come up with more like this, they'll be moving on to bigger and better things in the future.
CW
Rating: 7.5/10
Recorded at Freefall recordings in St Just, Cornwall UK. Produced, mixed and mastered by Adam Chinner. The EP is scheduled to be released today (or very soon, at least) and will cost £2 off Soundcloud - highly reasonable. Grab a copy! Facebook page here.
Let's put it this way. For a band with three members, the layered, complex and progressive sound they come out with is outstanding. Perpetual Winter begins with crushing riffs that free-flow into heavily progressive, Mastodon-esque fingerpicked guitars that work well in contrast. One was taken completely by surprise by the softer sequences, having heard lots and lots of average metal, I expected the song to meander on with the same old chugging riffs, but Perpetual Winter continued to be an interesting musical experience. The under-assuming lead guitar melodies were interwoven well into this track of bass heavy prog, and for that I give RoP great credit. That said, it felt a little as if the song didn't know where it was going. All the parts were well written, but it was a bit like a jigsaw that didn't quite fit together.
That's the major criticism one could have with this album. There is no doubt about it - this album takes effort to listen to. It is at times incredibly progressive, as it makes a habit of switching between genres before you've even realised what has just happened. And whilst all the bits are really, really exciting and damned well written, I feel as if with a bit more direction, the different aspects of the EP could have had even more impetus. That said, it still works really well. The breakdown towards the end of An Apparition In Entropy is skull-shatteringly brutal, despite the fact it gives way to a prog-driven, almost jazzy bassline, before proceeding to blow your ears off again with more neck-breaking metal. It's a weird combination. It mostly works, but occasionally falls over. I'd expect nothing less from something as mind-bendingly progressive as this, so I applaud the ambition that almost completely materialised, just not quite. Until the last track, at least.
The last, album-title track is an opus of death metal. It works really, really well. The drums are as heavy as a tonne of bricks and the guitars sound absolutely demonic. The vocals are the best that you'll hear for a while, and the track makes up for the occasionally misguided ambition that hindered the rest of the EP. Whilst other tracks sometimes strayed and meandered, Fractured Reflections stays on course like the world's most death-metal pirate ship. It gives me real pride to say that these guys are from the South West. In fact, I'd say it's one of the best metal tracks I've heard this year, besides Kill All The Gentlemen's "Deepest Depth", Mastodon's "The Motherload" and the new Cambion material. It manifests the ambition that the other tracks have, and it's joyous to listen to.
This album is not perfect, but it is incredibly well-written, well thought out and well performed. It is hugely progressive as well as crushingly death metal. The two don't always work together well on the album, but when the two elements are allowed to come to the fore, this album is absolutely superb. Perhaps it needs to reign in the progressive influence slightly in order to make tracks that allow for an easier listen that doesn't have to confuse to make a point. But all in all, this is exciting stuff. If they can come up with more like this, they'll be moving on to bigger and better things in the future.
CW
Rating: 7.5/10
Recorded at Freefall recordings in St Just, Cornwall UK. Produced, mixed and mastered by Adam Chinner. The EP is scheduled to be released today (or very soon, at least) and will cost £2 off Soundcloud - highly reasonable. Grab a copy! Facebook page here.
The Undercover Hippy - Monkey Suit
Bristol is a hotbed of culture and music right now, and with so much noise coming out of the city right now, it is understandably difficult to stand out with your sound. I'm pleased to say that The Undercover Hippy (brainchild of former drum and bass MC and DJ Billy Rowan) not only stands out, but also excels in creating a fresh, tropical sound that's a joy to listen to. Not only is it socially conscious, it also serves the purpose of getting you out of your seat and onto the dancefloor with an almost effortless swagger that runs through the album. Its mixture of ska, artisan reggae and folk music fuels ten tracks of excellence - and whether you want to listen to a story, consider the world's natural injustice or simply fill a dance floor, there's something on this album for you.
One would argue that Monkey Suit is first and foremost a conscious social piece. Borders is a comparatively pedestrian start to the album, but it exemplifies the social conscience that runs through this album. Like an Amnesty International campaigner interrupting everyone on the dancefloor, serious themes run through through this album of ska/reggae bangers. And whilst you'd expect that not to work, it does. Tracks like Can't Stop The Tide also preach at a slower pace, but it provokes a deeper thought that's refreshing in the 21st century. The musicianship runs deep as well. This isn't just a bloke with a guitar here (no offence to blokes with guitars there, Gaz Brookfield and Beans On Toast specifically). There are complex melodies and countermelodies, especially within the more breezeless tracks on the album. One particularly enjoyed the almost cinematic backing of the strings on Can't Stop The Tide. That said, there's also thoughtful rap harking back to Rowan's roots in Human Race, and the stripped down, almost unplugged nature of the tune brings you closer to Rowan's aims and ideas. This aspect of the album is to be commended.
But this is also a party album. Last Chance To Dance is a call to arms, a funk-filled, synth-rich extravaganza of ska that advocates, quite simply, getting up and having a good time. The various solo virtuoso performances within the track are glorious, and the message (dancing as if no-one is around like an entity possessed) is done justice with an unbearably catchy hook. Whether or not the "girls love that shit" as Rowan suggests is a matter of opinion, but it got me moving, both on the dancefloor and in my living room, which is a testament to the sheer catchiness of the song. Boyfriend is arguably Rowan's most popular track, and tells of a well-known gentleman's curse, specifically having a girl come on to you - only to find that she's otherwise committed to another man later on. I feel his pain, but regardless of sex this is another infectious song with deep-running bass grooves that can't fail to move shoulders, hips and knees. It is mercilessly catchy, tropical and instantly sing-a-long. I've never been attacked with a chair though, as Rowan suggests. Ah, Bristol*.
*Replace alternatively with city that you think might produce dancefloor violence. Plymouth seems to be the general consensus vote.
This album was four years in the making according to the album notes. It's been worth the wait. The album is nothing short of a triumph, and whilst I would have personally reordered the tracks slightly, the musical quality of this album is unquestionable. Whether you want to lament, to question, to dance or to pull, this album is for you. I implore you to try and it and see what I mean. It might not be your last chance to dance, but it's almost certainly going to be your best chance this year.
Rating: 9/10
You can find Billy Rowan's website here. Bandcamp here. Album released on September 1st.
Signed CD a reasonable £10 or £7 for download format of your choice. Playing at festivals and gigs throughout Summer.
Photo: Mingle Music
One would argue that Monkey Suit is first and foremost a conscious social piece. Borders is a comparatively pedestrian start to the album, but it exemplifies the social conscience that runs through this album. Like an Amnesty International campaigner interrupting everyone on the dancefloor, serious themes run through through this album of ska/reggae bangers. And whilst you'd expect that not to work, it does. Tracks like Can't Stop The Tide also preach at a slower pace, but it provokes a deeper thought that's refreshing in the 21st century. The musicianship runs deep as well. This isn't just a bloke with a guitar here (no offence to blokes with guitars there, Gaz Brookfield and Beans On Toast specifically). There are complex melodies and countermelodies, especially within the more breezeless tracks on the album. One particularly enjoyed the almost cinematic backing of the strings on Can't Stop The Tide. That said, there's also thoughtful rap harking back to Rowan's roots in Human Race, and the stripped down, almost unplugged nature of the tune brings you closer to Rowan's aims and ideas. This aspect of the album is to be commended.
But this is also a party album. Last Chance To Dance is a call to arms, a funk-filled, synth-rich extravaganza of ska that advocates, quite simply, getting up and having a good time. The various solo virtuoso performances within the track are glorious, and the message (dancing as if no-one is around like an entity possessed) is done justice with an unbearably catchy hook. Whether or not the "girls love that shit" as Rowan suggests is a matter of opinion, but it got me moving, both on the dancefloor and in my living room, which is a testament to the sheer catchiness of the song. Boyfriend is arguably Rowan's most popular track, and tells of a well-known gentleman's curse, specifically having a girl come on to you - only to find that she's otherwise committed to another man later on. I feel his pain, but regardless of sex this is another infectious song with deep-running bass grooves that can't fail to move shoulders, hips and knees. It is mercilessly catchy, tropical and instantly sing-a-long. I've never been attacked with a chair though, as Rowan suggests. Ah, Bristol*.
*Replace alternatively with city that you think might produce dancefloor violence. Plymouth seems to be the general consensus vote.
This album was four years in the making according to the album notes. It's been worth the wait. The album is nothing short of a triumph, and whilst I would have personally reordered the tracks slightly, the musical quality of this album is unquestionable. Whether you want to lament, to question, to dance or to pull, this album is for you. I implore you to try and it and see what I mean. It might not be your last chance to dance, but it's almost certainly going to be your best chance this year.
Rating: 9/10
You can find Billy Rowan's website here. Bandcamp here. Album released on September 1st.
Signed CD a reasonable £10 or £7 for download format of your choice. Playing at festivals and gigs throughout Summer.
Photo: Mingle Music