Rhythm & Booze An online music webzine created by music lovers for music lovers.

10 March, 2015

Dan Walsh-Incidents And Accidents

Filed under: americana,bluegrass,blues,folk,Recorded Reviews,roots,singer-songwriter,world music — Tags: dan walsh, incidents & accidents, new album — willmunn @ 10:40

Dan Walsh is often touted as one of the UK’s finest banjo platers, described by Uncut as “the read deal, a demon picker”, with both his solo output and work with the award winning Urban Folk Quartet receiving critical acclaim, whilst appearances with the likes of The Levellers and Seth Lakeman have further enhanced his stock.

Incidents & Accidents is Dan’s third solo album to date, following on from the well received Same But Different opus. The new album sees Dan strip his sound back a little relying less on guest appearances (although the likes of Patsy Reid and Meaghan Blanchard do guest) but instead concentrating on delivering bare bone laments and heartfelt instrumentals highlighting the human condition in a touching and poignant manner.

The album opens with Time To Stay, a glorious slice of upbeat banjo fueled blues,paying homage (and battling mixed emotions) to his return to Stafford after six years away, Dan instantly grabs the attention with a deft display of blues picking, hard strumming and a suitably gravelly weathered vocal that instantly had me sat to attention.

Last Rambler follows and showcases Dan’s dexterous finger picking on the first of four compelling and inventive instrumentals highlighting his love of all things bluegrass, gaelic, folk and beyond. Talking of folk, Hermit Of Gully Lake, is a lovely laid-back lament featuring an infectious melody, the aforementioned Patsy Reid’s dancing fiddle  and warm, breezy vocal harmonies.

With A Memory Like Mine (originally by Darrell Scott) is a stunning slice of Americana, with Dan delivering a wonderfully passionate, gritty vocal, whilst his banjo burns a blazing trail. Whiplash Reel is perhaps the pick of the instrumentals, as Dan showcases a new found love for Indian Classical Music with a stunning and compelling tribute picking and bending strings to create a mesmeric groove. Whilst Only Way To Go unites Meaghan Blanchard’s gorgeous vocal harmonies with Dan’s striking croon creating yet another rootsy highlight.

Incidents And Accidents is a varied, inspiring collection covering the entire roots spectrum from folk to country via world music and blues. Both lyrically and instrumentally, Dan and his mesmeric banjo cook up a storm, bringing stories the songs to life without the need for overcooked instrumentation. This is stripped down, stirring roots at its absolute best, a must have addition to any self discerning music fan’s collection.

Rhythm & Booze rating 10

www.danwalshbanjo.co.uk 

Dan Walsh is often touted as one of the UK’s finest banjo platers, described by Uncut as “the read deal, a demon picker”, with both his solo output and work with the award winning Urban Folk Quartet receiving critical acclaim, whilst appearances with the likes of The Levellers and Seth Lakeman have further enhanced his stock.

Incidents & Accidents is Dan’s third solo album to date, following on from the well received Same But Different opus. The new album sees Dan strip his sound back a little relying less on guest appearances (although the likes of Patsy Reid and Meaghan Blanchard do guest) but instead concentrating on delivering bare bone laments and heartfelt instrumentals highlighting the human condition in a touching and poignant manner.

The album opens with Time To Stay, a glorious slice of upbeat banjo fueled blues,paying homage (and battling mixed emotions) to his return to Stafford after six years away, Dan instantly grabs the attention with a deft display of blues picking, hard strumming and a suitably gravelly weathered vocal that instantly had me sat to attention.

Last Rambler follows and showcases Dan’s dexterous finger picking on the first of four compelling and inventive instrumentals highlighting his love of all things bluegrass, gaelic, folk and beyond. Talking of folk, Hermit Of Gully Lake, is a lovely laid-back lament featuring an infectious melody, the aforementioned Patsy Reid’s dancing fiddle and warm, breezy vocal harmonies.

With A Memory Like Mine (originally by Darrell Scott) is a stunning slice of Americana, with Dan delivering a wonderfully passionate, gritty vocal, whilst his banjo burns a blazing trail. Whiplash Reel is perhaps the pick of the instrumentals, as Dan showcases a new found love for Indian Classical Music with a stunning and compelling tribute picking and bending strings to create a mesmeric groove. Whilst Only Way To Go unites Meaghan Blanchard’s gorgeous vocal harmonies with Dan’s striking croon creating yet another rootsy highlight.

Incidents And Accidents is a varied, inspiring collection covering the entire roots spectrum from folk to country via world music and blues. Both lyrically and instrumentally, Dan and his mesmeric banjo cook up a storm, bringing stories the songs to life without the need for overcooked instrumentation. This is stripped down, stirring roots at its absolute best, a must have addition to any self discerning music fan’s collection.

Rhythm & Booze rating 10

www.danwalshbanjo.co.uk

 

6 March, 2015

Dalton-Dalton

Filed under: alternative,indie,lo-fi,pop,Recorded Reviews — Tags: dalton, debut album — willmunn @ 13:33

Dalton is the work of American singer-songwriter Nate Haar, a LA native who first picked up a guitar at the tender age of 13, since those tender formative years Nate has been busy honing and crafting his sound and writing cumulating in his self titled, bridging lo-fi indie scuzz and shimmering textures creating a unique and somewhat infectious sound that compels from the album’s first fragile notes.

The album opens with Bedford And Grand, starting on a sedate piano melody and Nate’s delicate croon, before sudden bursts of guitar shatter the fragile landscape whilst the subtle piano melody remains throughout underpinning the glorious fuzzy, bombastic riffs, revealing new textures, finishing on an irresistible vocal hook that has you clambering for more.

After such an impressive opening salvo, Breaker continues the impressive form, beginning with a handclap and a simplistic, repetitive guitar melody before Nate’s languid vocals join the mix to create a chilled out slice of indie pop. The collision of pretty pop melodies and clanging lo-fi guitars continues on the dazzling, near anthemic, What Should Never End, with its gradual rise and eventual hollered vocal refrain.

The album continues in the same rich and varied vein from the shimmering, understated New Time and the mesmeric closer, So Long, So Well to the brilliant rolling piano led, near gospel of For The Last via the fuzzy heroic indie rock of Control and the strummed and harmony enriched acoustic beauty of the aptly named Autumnal.

Dalton has created a sensational, stirring debut full of pretty, fragile melodies, contagious hooks and noisy, slacker guitar anthems, that should see fans of lo-fi indie lap up in their droves.

Rhythm & Booze Rating 9

www.daltontheband.com

5 March, 2015

Rachael Sage-Blue Roses

Filed under: alternative,folk,pop,Recorded Reviews — Tags: blue roses, new album, Rachael sage — willmunn @ 14:18

Rachael sage is a New York singer-songwriter/poet/actor/visual artist and record label owner who has been bubbling under the radar since her debut album, Morbid Romantic, despite performing with the likes of Marc Cohn, The Animals, Sarah McLachlan, Jamie Cullum and Judy Collins among others, whilst attracting the attention and plaudits from legendary producers Tony Viscounti and Phil Ramone among others and winning numerous awards and accolades along the way.

Blue Roses is Rachael’s tenth studio album to date again self released and produced (along with John Shyoski), the album is perhaps her most intriguing to date, mixing her bewitching vocals, intoxicating piano,stirring riffs and sweeping strings, as she dissects the human condition, longing and love over a delicious combination of pop and rock.

The album opens with English Tea, which instantly sets the mood with striking keyboards, rumbling drums, driving guitar, an infectious melody and a passionate, rousing vocal that compels the listener on.

From there Rachael unites hushed vocals, strings and a beautiful piano melody for the glorious, reflective, folky pop tones of the albums title track and the equally hook-laden Happiness (Maddies Song). War sees Rachael change direction slightly, as mournful cello collides with perky piano and part spoken word vocals, before spiraling towards to a huge, powerful chorus, creating a unique take on modern day off-kilter adult pop.

Used To Be My Girl is the shortest track on here, but also an obvious highlight, as Rachael plays with gender roles over a simplistic combination of acoustic guitar and brushed percussion, it’s a short, snappy and ultimately addictive track that sees Rachael at her quirky best, whilst in direct contrast, yet no less impressive is the mesmeric, expansive Skywriting, a five minute plus-track adding pedal steel to an already compelling mix of piano and Rachael’s intoxicating, breathy vocals.

Whilst no write-up of this album would be complete without mention of the stunning closing cover of Neil Young’s Helpless which has Rachael teaming up with the aforementioned folk legend Judy Collins, with the two complimenting voices producing a gloriously understated, unique and spellbinding rendition of the Young classic, that’s almost worth the admission alone.

Rachael is something of a rare breed, she straddling the great divide between rock pop and folk with an effortless beauty and elegance that few singer-songwriters seem to possess and in Blue Roses, Rachael has crafted a stunning, majestic album that enchants from start to finish.

Rhythm & Booze Rating 10

www.rachaelsage.com

4 March, 2015

Following Foxes-Following Foxes

Filed under: folk,indie,Recorded Reviews,rock — Tags: following foxes, New EP — willmunn @ 11:41

Guildford based four-piece Following Foxes are something of a new name to me, but apparently the indie rock band have been picking up plaudits from the likes of The Musical Melting Pot and BBC Introducing, whilst making a name for themselves for supporting the likes of Winter Island and Yearbook among others.

A couple of previous singles have picked up radio play on the likes of Eagle FM, Radio Warwick and the alike, with the band’s debut, self titled EP likely to see the band further enhance their reputation.

The band mix and match a combination of infectious vibrant indie, with a touch of folk and the harder hitting sounds of Biffy Cylro to create a sound that’s both unique and instant.

The opening track, Almost Like It, serves as a tasty introduction with frontman Gid Smedgwick emoting over a combination of laid back acoustic and electric guitars aside a barrage of meaty drums before winding up to a glorious harmony-enriched vocal hook and a passionate holler.

I Saw, You Saw Me Back is even better, opening as a somewhat folky number before a choppy guitar joins the mix, creating a jerky indie sound, reminding me of a harder hitting, Mystery Jets, whilst the brief middle section has a Floyd like quality. Waiting For Someone comes complete with the aforementioned vocal harmonies, a towering sing-a-long chorus, a number of interesting time changes and a lovely acoustic outro, whilst Mother Brother is an equally impressive genre straddling combination of folk, infectious indie and driving acoustics all topped with those aforementioned winning harmonies.

The self titled EP is an intriguing and infectious introduction to an inventive take on the indie genre, if Following Foxes can continue in the same vein you can expect the band to move onto to bigger and better things in the near future.

Rhythm & Booze Rating 9

www.followingfoxes.com

Krissy Matthews-Scenes From A Moving Window

Filed under: blues,Recorded Reviews — Tags: krissy matthews, new album, scenes from a moving window — willmunn @ 10:19

The Blues is one of those genres that seems to fall in and out of fashion or at the very least in and out of the mainstream public eye, currently it seems to be riding a crest of a wave with the likes of Joe Bonamassa leading the way and young guitar slingers such as Laurence Jones, Danny Bryant, Jo Harman and the alike all snapping at his heals.

Krissy Matthews is another up and coming blues guitarist who to date has shared the stage with everyone from john Mayall and Greg Allman to Beth Hart and Derek Trucks among many others. The 22 year old has already picked up plaudits from the likes of Maverick and R2 magazine, whilst legendary songwriter/producer Peter Brown (Jack Bruce, Peter Green, Jeff Beck, etc) fell for Krissy’s talent and promised to collaborate, having seen him perform live, with the eventual unison resulting in Krissy’s new album, Scenes From A Moving Window. The album bridges not only the generation gap between Pete Brown and Krissy but also blues sub-genres from the full on blues rocker to delicate finger-picking via a bit of boogie-woogie piano as the duo explore the possibilities of their union.

The album opens with a weathered voice and an incredible piece of classic finger picked acoustic guitar before If I Had A Time Machine transforms into a brilliant infectious homage to Krissy’s forefathers name checking the likes of Cream, Hooker, Hendrix and the alike over a collision of blues and powerpop complete with 70’s styled backing harmonies, Hammond like keyboard and a barrage of drums and riffs. The chorus and aforementioned backing vocals instantly hook the listener, whilst Krissy and his backing band kick up a proverbial storm before returning to the acoustic finger picking bringing the track full circle.

I’ve Been Searching proves that the opening track was no one of fluke, as Krissy lays down a Zeppelin/early Purple like groove with hard hitting drums and riffs collide and compliment funky keyboard, whilst Krissy proves he’s no slouch with a short and sharp solo that has both flair and substance.

It Ain’t Worth It promotes Paul Jobson’s keyboard to the foreground as Krissy lays down a blistering slice of boogie-woogie, complete with an instantly infectious sing-a-long chorus and enough swagger to get any bar room swaying, whilst Pete Brown himself joins in towards to the end on backing vocals, with his aged vocals complimenting Krissy’s smooth delivery wonderfully.

Highlights come thick and fast, funky guitar licks and pumping organ signal the glorious groove-laden Out Of Control, Bubbles And The Seven Phones is an otherworldly psychedelic number complete with hovering harmonies, pattered percussion and a flooring, mesmeric instrumental wig-out, Roadsick Blues sees Krissy hit the dirt track with an irresistible, rollicking tongue in cheek country number complete with holler along vocals and parping harmonica, whilst the near ten minute Heading South is a beautiful slice of sun-kissed soulful blues with dazzling instrumentation and bewitching vocals.

Krissy Matthews has delivered a varied and truly intoxicating take on the blues, welding influences old and new to create an album that should be an essential purchase for anyone with a passing interest in rock or blues and see Krissy spoken in the same tones of the modern day giants of the genre.

 

www.krissymatthews.com

 

 

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