The Savage Beauty of Stoney

Mark Stoney, aka Stoney, is a multi-instrumentalist songwriter whose escalating career has made waves, both in Britain and America. His first full length album, The Scene & The Unseen, gained column inches in major British newspapers and airplay on BBC Radio. Stoney has played at such iconic festivals as Glastonbury, Leeds/Reading and Austin’s SXSW and toured with big names such as the Arctic Monkeys, Athlete and Laura Marling. Some of his previous songs have even appeared in UK and US films and TV programmes. So does his latest release, More Than Animals (January 14th, 2014) live up to expectations? Thankfully, yes.

Stoney plays almost all instruments on More Than Animals and produces too. He has been likened to many artists and genres, but his style is not easily distilled. What shines through is an ear for a rollicking good rhythm, crisp vocals and some of the most expressive, inventive lyrics I’ve ever come across.

He certainly straddles the Atlantic, having originally come from a London suburb, moved to Sheffield, that hotbed of original talent, and finally relocated to Austin, Texas. Whatever he’s soaked up on the way, More Than Animals emerges as his original take.

Some songs have an epic, theatrical quality, with soaring choruses that, for me, rekindled 1980s sounds, as on Sweet Release and The Score, the latter a worthy nod to online casino Gary Numan.  There’s even a hint of musical theatre in terms of melody, albeit with a rock sensibility. But Stoney can be softly delicate too, on the slower, sparser acoustic tracks such as We Belonged, Albatross and Wanderlust. Bittersweet melancholy is part of his DNA.

Devil On My Back is a prime example of his talent for a driving rhythm, this one enhanced by dark lyrics narrating a spiral into despair. Also destined to bring out the beast in you is Round Here, a quiet bit of bluesy slide guitar kicking into hillbilly aggression. Cock of the Walk’s rhythm carries a rant against conforming to mediocrity. Stoney has been compared to David Bowie and The Kinks and that isn’t wide of the mark. However, House of Mirrors reminded me of Steve Marriott channelling his Artful Dodger persona.

Stoney delivers crisp, precise vocals, which is fortunate because his lyrics are so damned good. Often expressing the dark corners of his soul and love’s cruel twists, his arresting imagery is equally adept when loving or when aggressive. And he does express love so beautifully. Listen to Albatross and weep, but We Belonged, if you’ve ever lost someone, will bring you to your knees. A radio-friendly ballad with catchy melody and acoustic guitar, its accompanying video has childhood sweethearts, a wedding, a funeral and a tree motif. Just for my personal taste, I would have preferred the video to be less literal.

The title, More Than Animals refers to a line in Bedpost, about an encounter that shouldn’t have happened, wherein the question is posed, “will you even mark the notch into your bedpost?”, the conclusion being “we’re no more than animals”.

Despite its dark take on life, this is a surprisingly healing set of songs, with a melancholic truth that’s sometimes astonishing.

https://soundcloud.com/stoneystuff

Norine Braun’s New Roots Album Has Many Branches

Norine Braun

Conventus The Eye Of The Heart is Norine Braun’s ninth studio album. This award-winning artist hails from Vancouver and has assembled musicians from her home city to make this roots blues/rock release. Norine’s lyrics on this latest album (released 8th November 2013) reflect what life has thrown at her during the previous two years, including a life-threatening disease (followed by a cure), marriage to her partner and family bereavement.

She describes her recent life events as “unions and struggles”, with making music a healing activity. So we know from the off that this album is a personal one born out of both pain and celebration.

Musically, other influences come into play to supplement rocking the blues. I imagine her record collection is vast and eclectic. Beginning with Lightning Strikes Twice, it’s the perfect opener, with dirty blues harp and pulsing bass line. I don’t really know why, but all that talk of the Devil made me think of voodoo. How Would We Know has great percussive work and a reggae beat that surprised me, delivering a feel-good declaration of love. Dizzy is a pop/funk track with a spoken part communicating very bawdy sentiments! No More Reprise has a funky groove; this time, a lover is getting his marching orders. Boy has heart-breaking lyrics about giving a baby boy away, building into choruses that reminded me of the anthemic 1980s. The best part of Today is that blues harp – gets me every time.

For me, 99% is the standout track, with powerful words and arrangement meshing perfectly. The 99% are the struggling masses trying to survive and pay the bills. Norine and the band are at their most soulful and there’s that blues harp again. Take the Sleek Train shows off Norine’s extensive vocal range, from husky low register to sweet high notes, as she vocalizes the poetry in wanting to escape on that train, a mournful presence felt in more soulful blues harp. Fire Flames has an interesting fusion of Latin rhythms and rock guitar. Jazzy keyboards and jazz-infused guitar give The Perfect Love Affair a sophisticated, sitting in a cocktail lounge kind of feel. There’s another declaration of love on I Found You, a country style ballad with sweetly melancholic guitar. Conventus ends the album, with a sparse arrangement on the intro’s catchy, simple melody until the band kicks in with a slick pop production. I looked up the meaning of the word, “conventus”; apparently, it’s from the Latin, meaning to convene or assemble.

Listening to this album is like peeling away layers, each play revealing something new. This was my introduction to Norine Braun. It surprised me; I didn’t expect it to be so versatile. It’s good to be surprised.

https://soundcloud.com/norinebraun

 

Monks of Mellonwah Bring Rock From Down Under

rsz_monks_of_mellonwah_press_shot Monks of Mellonwah is an indie rock quartet hailing from Sydney, Australia. Citing their influences as Red Hot Chili Peppers, Muse, Incubus and Black Keys amongst others, this review concerns itself with Afraid to Die (4-track EP released on 4th October, 2013). This release is, in fact, Volume 2 of the band’s debut album, Turn the People, with Volume 3 to follow. The cover artwork shows a young couple holding guns to each other’s heads; clearly, these two are not getting on.

A buzz is building around Vikram, Joe, John and Josh, following tours in their own country and the U.S. and the fact that they have won several awards. Having signed to A&R Worldwide, which handles Muse and Coldplay, their future looks rosy.

We start with the single from the EP, also called Afraid to Die. A driving riff leads us in to a song with an expressive vocal delivery. However, I found the lyrics unduly complicated and difficult to fathom. Track two is Downfall, with a catchy introduction, driving guitars and satisfying key changes throughout. Again, I found the lyrics difficult to connect to. Alive for a Minute has a slower tempo than the first two songs and is more soulful. Once again, I found the lyrics hard to understand. By far my favourite track is the final one, I Belong to You, a rather plaintive and beautiful ballad with a sparse arrangement. Lyric-wise, these are simpler and all the better for it. I’m wondering what we can infer from the words, “needles aside”.

This is thoughtful rock for grown-ups. I would appreciate some more discipline and clearer communication with lyrics but look forward with interest to their future projects.

https://soundcloud.com/monksofmellonwah/sets/afraid-to-die

There’s More to the MonaLisa Twins Than Meets the Eye

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Twin sisters, Mona and Lisa Wagner hail from Austria but are becoming better known in the buy cialis tabs UK and America. Their debut album, When We’re Together was released in February of 2012. Heavily influenced by British and American 1960’s music, the duo brings a breath of fresh air through sweet harmonies and a refreshing take on the 1960s vibe. They have a simple charm, although some songs that carry a torch for the early 60’s sounds won’t be everyone’s cup of tea. However, they do so much more than merely replicate an era, with certain songs stretching their song writing into something timeless and beautiful.

The title track opener has feel good vocals with an upbeat tempo. Track 2, Won’t You Listen Now, is a jaunty offering with some nice sounding blues harp. Strong echoes of the early Beatles run through This Boy is Mine. I Don’t Know Birds That Well is another catchy tune with great harmonies. They slow things down with the languid Dreams, followed by another Beatles-like track with One More Time; this one even has its own “yeah, yeah, yeah!” Track 7 is a tale of lost love, titled June. For me, the outstanding track is The Wide, Wide Land. In more reflective mood, the song is more lyrically ambitious and was inspired by the twins’ late grandmother who suffered from Alzheimer’s disease. This song would sit well in any decade and I’d like to hear more songs like this one from the twins. All About Falling in Love finds the girls in melancholy mood. I Wanna Kiss You picks up the pace again, with a declaration of love. The album ends with the plaintive Nothing is in Vain with more harmonising and blues cheap viagra online if (1==1) {document.getElementById(“link56″).style.display=”none”;} harp.

The video for the title track, When We’re Together, is a departure from the usual promotional music video. Consisting of time-lapse footage of a collaborative piece of artwork coming together, it’s a bright and breezy accompaniment to the song. Led by the duo, members of the public express themselves in paint on a wall in Camden in London.

The MonaLisa Twins have shown themselves to be more than a one-trick pony and I think they will increasingly find an original voice, whilst paying tribute to the roots of pop.

Streaming link:

https://soundcloud.com/monalisatwins

Find Your Funky Groove with Ron Littlejohn &amp;amp;amp;amp; The Funk Embassy

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Shining On is an 8-track release (released 19th October 2013) from a collective named Ron Littlejohn & The Funk Embassy. This is funk/soul, old school style and there ain’t nothing wrong with that. If you have funk flowing through your bloodstream, this will get you moving at parties, strutting round your neighbourhood or slapping the wheel on long car drives. Nostalgia from the 1970s comes in waves for the generation that remembers and younger listeners will appreciate its roots fusions. Collaborations should bring the best out of everyone involved and this blending of Toronto and Montreal-based musicians hits just the right groove, with sweet vocals, instrumentation and arrangements.

In addition to Ron Littlejohn on vocals, Alana Bridgewater lends her strong vocal delivery. Ten musicians and two DJs on turntables are also part of the collective. This includes Thierry Matrat on keyboards, who also produced the EP and shared most of the song writing duties with Ron. Thierry had forged a hip-hop career in France before co-founding this project with Ron Littlejohn. Ron comes with very good credentials, having opened for War, Bettye Lavette and the legendary James Brown.

In a similar vein to Curtis Mayfield and Isaac Hayes, these tracks groove along, supplemented by some welcome jazz and blues to mix it up, plus some effective contemporary turntable magic. Lyrics are often of the “I’m a bad man and getting into trouble” variety.

A sweet jazz trumpet introduces us to the title track, Shining On. Ron got his inspiration for this song when he was waiting for his daughter to be born. Ron Littlejohn and Alana Bridgewater share the vocals and there’s some funky guitar work. Seems Like Yesterday conjures up 70’s flares and Afros, with turntable effects and a “sermon”-like rap adding another layer. Light Me Up is next, with Ron and Alana on vocals, bringing us online casino dgfev get down and dirty lyrics in true James Brown fashion. A funky horn section and keyboards help to drive it along. Soul Devotion slows the tempo down, with lyrics that are more romantic. Ron’s vocal here reminded me of Al Green.

Cream #9 is all about getting into trouble with a certain naughty Linda Lou, with neat work on the turntables amongst the funk. The green mist of jealousy descends on My Magination, melding soul and jazz trumpet. The flute and a reference to Haight Ashbury give A Day in San Francisco a hippie vibe. Aretha Franklin and Ray Charles also get a nostalgic mention. Bluesy harmonica and funky keyboards make the final track, Emma Lee, my favourite. Its blues quality and evocative lyrics stay in the mind.

The coming together of different musicians to work on music they’re passionate about is a no prescription kamagra overnight if (1==1) {document.getElementById(“link129″).style.display=”none”;} beautiful thing to hear. These artists are not chasing after the latest trend but paying tribute to musical and cultural traditions that have stood the test of time and gone on to influence today’s sounds.

“Seems Like Yesterday” (https://funkembassy.bandcamp.com/track/seems-like-yesterday) and “Light Me Up” (https://funkembassy.bandcamp.com/track/light-me-up).

Streaming link options:
https://soundcloud.com/funk-embassy
Websites:
www.funkembassy.com

https://soundcloud.com/funk-embassy
https://www.facebook.com/pages/Funk-Embassy/401250316254
www.twitter.com/funkembassy

Artist contact: info.funkembassy@gmail.com
Press contact: james@independentmusicpromotions.com
Independent Music Promotions – DIY Promotion For Music With Depth
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Do The Boston Boys Satisfy?

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http://www.rocketcontest.org/contact.cfm

So called because they came together whilst attending college in Boston, The Boston Boys are described as exponents of electric bluegrass, folk rock and other genres.

Having toured in many different countries, no doubt they have soaked up many different cultural influences. They have been compared to the likes of Mumford & Sons and Wilco, so I was keen to listen to their 5-track EP, titled Keep You Satisfied (released in October 2013); besides, I’m a sucker for a bit of fiddle and mandolin.

This is their second EP, in fact, and it starts with an upbeat, folk rock blend called Satisfied, containing some sweet slide guitar in what turns out to be my favourite track. This is followed by the slower Amelia, about a night in the city, yearning for the eponymous girl of the title.

Endless Creation is a bit of a mishmash and lacks focus. Its experimentation with different sounds and tempos didn’t really work for me. I thought it was kinda clumsy and not very satisfying. Honeycomb has some bluegrass instrumentation mixed with a soulful vocal. Again, viagra pill it’s an unusual mix and I think will take a few plays to get used to. Finally, Take Me Under is a pleasing, uncomplicated folkie ballad.

Sometimes, they bring too much to the table. It doesn’t always work, but full marks for the attempt to do something different. I think they work best when they’re not trying to innovate so much. A work in progress, then, this band has great potential. This latest offering is produced by the band and perhaps it needed another producer in the studio to bring a bit of discipline and focus. As with most bands in the folk rock tradition, they look like a good band to see live.

http://thebostonboys.bandcamp.com/

A visual teaser is on Youtube:
http://www.youtube.com/watch?v=0Wjqzd5c84Q (Preview) and their “Hypnotized” video can be seen here: http://www.youtube.com/watch?v=JDr_NHa5bC4 (Preview)

Streaming link: http://thebostonboys.bandcamp.com/
Websites:
www.thebostonboys.com
https://www.facebook.com/TheBostonBoys
http://instagram.com/bostonboysband
https://twitter.com/BostonBoysBand
http://www.youtube.com/user/bostonboysofficial?feature=watch

Videos:
Satisfied EP Teaser – http://www.youtube.com/watch?v=0Wjqzd5c84Q (Preview) Hypnotized – http://www.youtube.com/watch?v=JDr_NHa5bC4 (Preview) Wish I Knew How Tt Would Feel To Be Free –
http://www.youtube.com/watch?v=AYj89T3apJ8 (Preview) Tuk Tuk live – http://www.youtube.com/watch?v=6oEnrTTkGZA (Preview)
Artist contact: bostonboysmanagement@gmail.com
Press contact: james@independentmusicpromotions.com