The Rattlin’ Doors are a three-piece from my home town (I know it’s a city!!) of Worcester and yet up until a couple of weeks back I’d yet to have encountered the three-piece noise-mongers, but I’m definitely going to make amends as soon as the trio hit our local hovels, because if the band’s debut single is anything to go on, the band play raw, rustic high energy aggressive folk with a nasty side order of rocket fuelled punk attitude.

Imagine if you will, the angular riffs of The Fall combined with the stripped folk blues of Son House or Leadbelly, then add a molotov cocktail of adrenaline and cheap cider and there you have the sound of The Rattlin’ Doors, it’s loud, dangerous, contagious and ever so slightly tongue in cheek (or at least you’d hope to think so!!).

In A Tree House is a short spiky tale of country life that’ll either have you stomping along or running for cover, either way it’s available as a free download from July 1st.

Rhythm & Booze Rating 8

www.rattlindoors.com

Roxanne De Bastion is a Berlin born, London based young singer-songwriter, who to date has already seduced the likes of Tom Robinson (6 Music), John Kennedy (XFM), Q Music and MTV with her stunning blend of acoustic folk and raw bluesy charms.

The Real Thing is Roxanne’s debut album, all recorded live in her native Berlin with the help of acclaimed producer Gordon Raphael (Strokes, Regina Spektor, etc) and it’s a stunning showcase people are beginning to fall at her alter and pay homage to one of the best up and coming singer-songwriters treading the boards.

The album opens with 1964, a beautiful acoustic folky number that frames Roxanne’s evocative and emotive voice in such a sparse yet welcoming setting, whilst lyrically her couplets are interesting and fresh as opposed to the more typical woe is me or tales of unrequainted love. From there Roxanne moves the album on with the bewitching blues of Some Kind Of Creature again accompanied with just the acoustic, the track is an infectious little romp with a delightful vocal hook that’ll instantly have your toe-tapping. The former single Red And White Blood Cells brings to mind the aforementioned Regina Spektor, it’s kooky and has an explosive finale of over driven electric guitar, shout out loud vocals and a torrent of drums. Whilst, The Life I Lead has something of an Americana feel with it’s shuffling drums and comtagious guitar licks. The album concludes with the jaw-dropping, spine tingling, emotion fuelled title track completing the proceedings with a lovely slice of finger-picking guitar and a beautiful restrained vocal that yanks at the heart strings and leaves the listener in a state of awe.

Throughout the duration of this album, Roxanne showcases a maturity and sincerity, in both her stripped down arrangements and her passionate delivery that far exceeds any expectations and indeed her fellow singer-songwriter peers. The Real Thing is somewhat aptly name because put in laymons this is the real deal, a stunning album from start to finish.

Rhythm & Booze Rating 10

www.roxannedebastion.com

This one was sent to me back a few months back, a bleak for music and time for me, a time of upheaveal and change, a new address and too much time to self reflect, a time when writing reviews seemed more of a chore than the usual pleasure I once encountered. Months down the line and touch wood my passion for words and music has returned and it’s time to catch up on a few bits and bobs.

Talking of upheaval as we were (though mine pale in comparison), let me give you a quick bit of background on London based, Edinburgh born Blue Rose Code (or Ross Wilson as he’s mostly known). Ross as a child was raised by his grandmother in a council high rise, he began to skip school finding his only solace in music (the likes of Van Morrison, John Martyn, Tom Waits, Chet Baker and Motown, soon drugs and drink took hold in an effort to erase his tough upbringing, music seemed to be his only companion during dark times. Following the death of his grandmother Ross decided to escape to the bright lights of London and began to perform and write songs receiving early praise for his live performances. Soon he found himself sharing the stage with the likes of Bert Jansch, King Creosote, James Yorkston and Kris Driver to name but a few, but sill his addictions held firm and eventually he decided to give up his music altogether. Redemption stangely took place over in the US and thanks to the persuasion of friends he once again took up his guitar and eventually returning to hte UK to snowballing acclaim and a deal with the ever excellent Reveal Records (Simone Felice, Kris Driver, Lau, Boo Heawardine, Joan As Police Woman, etc).

Julie is a limited edition four track EP (still available and well worth tracking down!!!) that showcases the stunning combination of stripped down acoustic folk and Caledonian soul, that nods and winks to those early influences of John Martyn and Van Morrison but has a rich passion that’s very much that of Ross Wilson alone.

The EP opens with the sensational title track (also featured on the album, North Ten), an upbeat infectious number that opens with a solo acoustic guitar, before shuffling drums and violin joins in the heady mix to create a country/folk tinged number complete with a brilliant combined group vocal finale that could and should appeal to the fans of Mumford & Sons and the alike . Having already eclipsed the mere tag of singer-songwriter Ross continues to captivate with the gorgeous radio edit of Love a  passionate song that opens with a solo acoustic guitar, before swelling with sweeping strings and female backing vocals to create  a  soulful, seductive lovers lament that brims with heartfelt passion and desire. From there Ross delivers the wondrous and atmospheric Acquainted With The Night (bringing to mind the aforementioned late great John Martyn, before rounding of the EP with a sumptuous rendition of the Gillian Welch number Everything Is Free blending together the originals folky Americana roots with his own take on harmonica fuelled Gaelic soul.

As introductions go or as a side order to the Blue Rose Code album, North Ten, this is a stunning and essential four-track affair that left me speechless, spellbound and filled with emotion.

Rhythm & Booze Rating 10

www.bluerosecode.com

www.revealrecords.com

Steve Folk (aka Blabbermouth or Steve Thompson) is something of the a typical singer-songwriter travelling troubadour, he regularly performs as a busker, played for a number of different charities and last summer took his boat along the canals of Kennet and Avon to play at a number of venues from London to Bristol in a bid to promote his then current album Ramble (ok to be fair most traveling troubadours don’t have a boat, but perhaps the romantic notion of the nomadic performer is not quite so rare).

As well as all that he’s found time to perform alongside the likes of Seth lakeman, Show Of Hands and the Magic Numbers to name but a few, whilst also taking in numerous festivals along the way.

Steve’s obvious passion for songwriting and performance resonates on the releases of his delightful new single Urban Fox, a lovely folky lament that not only showcases Steve’s dexterous finger picking guitar work and calming vocals but also his obvious ability as an arranger and producer to boot. Both Urban Fox and the B-side (and follow up) Home come complete with an infectious melody, whilst his upbeat deliver is somewhat invigorating in a time of dour faced, down on their luck performers, whilst the short sing along non verbal scat of the title track is a real treat.

If you fancy some upbeat, pleasant summery folk to lighten the mood you could do a lot worse than tracking down this delightful little ditty.

Rhythm & Booze Rating 7

www.stevefolk.com

On very rare occasions the very first note of a previously unheard track, will instantly grab the attention and captivate the imagination, leaving you spellbound for the duration. Few releases manage to really take hold in a such a bewitching manner, however the first synth prod of So High, by Swedish five-piece Here Is Your Temple grabbed me by my lapels, yanked at my heart strings and left me panting in desire.

Ok so you may have read that and thought that I’m a little over the top, but their are sounds, bands even that just have an ability to truly move me and on Here Is Your Temple’s debut EP they have me lusting with devotion. You see the band merge folky melodies, infectious synths, deft shoe-gaze indie (and even cinematic soundscapes) to create a dazzling intoxicating sound that brings to mind everyone from Beach House to a female fronted M83 or Memory Tapes via the majestic crescendos of The National.

The aforementioned So High opens proceedings with the swirling stabs of synth complimented by a deep pulsating bass hat and chiming guitars all topped with the glacial vocals of Emily McWilliam, a glorious heart melting delivery that possesses from the very first utterance. The contagious pop infused melody brings to mind fellow Scandanavians The Sounds whilst the dreamy instrumentation has me thinking of Teen Dream era Beach House.

From here on in the band can do no wrong, from the dreamlike One Rich with it’s acoustic guitars, moody keyboards and dreamy/weary vocal croon opening that swells and morphs into a glorious synth-pop epic to the majestic rich folk lament Say Hey to the brooding, atmospheric closing number, Daniel, complete with mesmeric male/female call and response vocals that left me aching for more. The self titled debut is simply a work of jaw dropping beauty that I can barely summon the words to describe.

Rhythm & Booze Rating 10

www.hereisyourtemple.com