#recorded_review

If you've yet to have stumbled across the evocative sounds of The Imagined Village, you're in for something of a treat, take a number of massive names from the folk world such as Eliza Carthy, Martin Carthy and Chris Wood, add traditional middle eastern instruments sitar, dhol and tabla, add a massive electronic (or dubstep if you prefer) influence and then heat up until boiling point, to create one of the most inventive, original and contagious sounds known to man. The concept of The Imagined Village was originally was conceived in 2004 as an experiment to see if traditional and traditional performers could unite over the songbook of the aforementioned Martin Carthy and a bring a new twist to his material. The results were a stunning success, with the group's debut album receiving both critical and commercial success. The second album, Bending The Dark see's the band branching out and collaborating further on a batch of all new material whilst adding to their ranks with the addition of relative newcomer Jackie Oates on fiddle and vocals. The new full length realease once again showcases the band's impressive, bewitching array of sounds and influences. Right from the opening number, The Guvna, the band weave an intoxicating spell, welding together intriguing loops, ghostly wordless vocals, a pinch of ska, dubstep like beats and a touch of theremin thus creating a delicious groove, setting the mood for the diverse musical adventures ahead. Captains Apprentice follows, showcasing the group's more traditional roots as Jackie Oates delivers a short yet sensational ghostly acappella folk tale of murder at sea, that equally intrigues and chills the listener to the core. The Eliza Carthy fronted New York Trader begins as another folky lament before the acoustic guitars and fiddles are joined by subtle chilled out electronic beats forming a unique if not rootsy take on the folktronica tag (Tuung, etc), whilst the use of a horn section (Kick Horns, who have performed with Fema Kuti and Baaba Maal) offers up yet another string to the band's already impressive bow. The title track see's Sheema Mukherjee (sitar, vocals) front the band over a combination of acoustic guitar, vocal harmonies, violin and traditional Indian influence that, united with the epic drum battle that closes the track, wouldn't sound out of place on (the incredible yet underrated) One Giant Leap album of a few years back. The album continues in much the same rich and varied vein with highlights coming thick and fast from the brass and harmony assisted, jazzy dramatics of Fisherman to the incredible percussion frenzy, Get Kalsi that see's the band weave a majestic spell of tabla, dhol, breakbeats and plucked fiddle to create a stunning slice of Anglo/Asian fusion that has to be heard to be fully appreciated. Throughout the album's duration, The Imagined Village deny convention by blending and straddling musical genres to create an album that's not only unique but demands continuous repeat spins to reveal the many layers and subtleties that the band have joined to create such a rich and rewarding tapestry. Bending The Dark is a stunning, mesmeric album that defies categorization and should appeal to a wide ranging spectrum of music fan, from the long term admirer of the likes of the Carthy's to the open-minded modern day electro-folk fanatic via the world music affectinado, The Imangined Village offer something for everyone. Rhythm & Booze Rating 10 www.imaginedvillage.com  

I've really got to try to get a better balance in life, I work too many hours in the day job and can't keep up with all those delicious silver discs that keep being thrust upon me. In fact every time I look through the ever over flowing pile of CD's that demand my attention I discover another gem that I really should have covered a little earlier. Animals by The Cast Of Cheers is one such disc, the track came out the end of last month as a follow up to the barnstorming Family single (reviewed elsewhere on this site) and it's another slice of bang on the moment modern day indie/post funk punk. The track welds an infectious groove, intricate looped guitars, contagious pulsating synths and a massive hook-laden vocal creating a delirious dance-floor friendly, pop fused electro indie classic that fizzes and crackles delightfully. If you're yet to hear The Cast Of Cheers, I highly recommend you track this down and then grab the forthcoming album, hold onto the seat of your pants and let your feet do the rest. Rhythm & Booze Rating 9 http://www.thecastofcheers.com/

Tom Forbes is a 15 year old singer-songwriter from here in Worcestershire, he first started writing and recording his own material since the tender age of 8, in recent times Tom has been performing live at the likes of The Great Malvern Hotel and The Marrs Bar honing his stage craft with just an acoustic guitar and a loop pedal for company. Last week (27/4/12) I managed to catch Tom perform a stunning set of originals and covers (you have to see his version of Hey Joe to believe it!!!) in support of firm Rhythm & Booze favourites Inca Hoots and Tom gave me a copy of his latest EP/demo/four track CD entitled Sleeping With Stars and since then it's barely been off the CD player. The CD opens with the title track and right from the first few seconds Tom draws the listener in with a beat-box vocal that he then loops to provide the percussion, he then adds a delightful acoustic melody before topping off the affair with a stunning vocal (one minute Jason Mraz style croon, the next a near falsetto) that showcases a maturity well beyond his tender years. If the clever use of technology, his voice and infectious hooks weren't enough he then delivers a chorus so contagious you''ll be humming it for days. Track two, Ambience proves that Tom is no one trick pony as he once again delivers a wonderful slab of acoustic pop,featuring half spoken/half sung verses, a catchy chorus (which he harmonises with himself rather nicely) and a combination of frantically strummed and deftly plucked guitar. An Evening After Fishing was one of  the highlights of Tom's live set and the recorded version here, is every bit as impressive, his use of vocal harmonies, inventive use of loops and intricate sublime guitar work wouldn't sound out of place in the current top forty (think Ed Sheeran, Newton Faulkner, etc), whilst the laidback groove is catchier than the common cold and a whole load more fun too. Sleeping With The Stars serves as fabulous introduction to Tom Forbes, a four track affair filled with hooks, loops and big sing-a-longs, if he's this good now just imagine how Tom's going to sound in the future, I highly recommend you check him out sooner rather than later. Rhythm & Booze Rating 9 Soundcloud - http://soundcloud.com/tom-forbes-1 Facebook - http://www.facebook.com/pages/Tom-Forbes/233055040120188 YouTube - http://www.youtube.com/user/acdcforbesy Reverberation - http://www.reverbnation.com/tomforbes Twitter - https://twitter.com/#!/TomForbes4 Myspace - http://www.myspace.com/576423575  

There seems to be an abundance of electro-rock/pop duo's around at the moment from Crystal Castles through to Severin and now the dark brooding Age of Consent a London based two-piece (Joe Reeves and Darren Cullen) who blend contemporary influences such as Fever Ray with the darker electro bands of the 80's such as Depeche Mode and Soft Cell to create a catchy, yet slightly sinister sound. Heartbreak is the band's second single to date following on from their acclaimed debut, The Beach, the track (once again produced by Luke Smith-Foals, Depeche Mode) is a stunning combination of retro eighties beats and modern day electronics, whilst the vocals have something of a Dave Gahan (Violater Era) feel, the bubbling hook-laden track would sound equally at home in a club or your shadowy tinged lair of choice. The single is backed by the usual plethora of remixes, with the LFHZ mix being particularly worthy of note, however the B-Sides all pale into insignificance to the band's glorious cover of the Suicide classic Ghost Rider, a track that Age Of Consent manage to add their own unique twist whilst retaining the original's stark, serrated edge. If you like your music to creep, lurch and lurk in the corners whilst still making you want to dance and pulsate, I highly recommend you checkout London's latest purveyors of edgy electro-pop. Rhythm & Booze Rating 8 http://www.ageofconsent.co.uk

London based electronic noise pop duo Severin follow up the recently released Everything Breaks EP  (reviewed on this very site) with a brand new single in the shape of Macabea as a download release. Now if you're yet to have discovered the sounds of Danny Sanchez (guitars/noise) and Elizabeth Anne Martin (beats/guitars/electronics/vocals), Macabea serves as a stunning introduction to what the band are all about, fuzzy distorted riffs collide magnificently with bubbling electronica to create a dense wall of sound, whilst Elizabeth delivers a beautiful, hook-laden, poppy vocal that manages to pierce through the heady mix. In truth the term noise-pop does the dynamics of Macabea and Severin themselves something of a disservice, I sense that there's something of a indie shoegaze influence buried within the grooves of the duo's set up, whilst the band's pop sensibilities and shimmering vocals leave you baying for more. Rhythm & Booze Rating 9 www.facebook.com/severin666

Regular readers of Rhythm & Booze will no doubt have seen my continuing love for all things art rock or post punk shaped, one of my most recent musical crushes is that of the brilliant South London based experimental spiky electro clatter rockers Breton. I've waxed lyrical (on this very site) on how I'm rather partial to the four-piece's unique combination of electro pop and serrated post punk, a throbbing sound that makes you want to simultaneously holler and leap in the air without a care in the world, well the band's brand new double A-side single is more of the same. Jostle is lifted from the band's recent debut album, Other People's Problems, opens with a delicate tapped out rhythm before a club friendly synth and driving bass line join the mix followed by jerky lead vocals creating a wonderfully infectious slab of bubbling art rock complete with a delicate, hushed middle section and rousing, holler along post-punk finale that'll leave you punching the air as you scramble for the repeat button. Foam is a brand new track inspired by the Solidarity uprising in Gdansk that ultimately led to to the downfall of Communism in Poland, a lofty subject matter perhaps, but in the hands of Breton, the basis for an addictive track of contagious electro indie, with the intriguing nature of the lyrics effortlessly complimented by a combination of stabbing synths, half spoken lyrics and contagious beats. As with everything Breton have released to date, the new single is an essential must have for anyone who like's their music to invigorate the body and the soul or move the mind and the feet, brilliant stuff as ever. Rhythm & Booze Rating 10 www.bretonlabs.com  

The Black Seeds are a New Zealand based reggae seven-piece who combine elements of funk, rock, disco and dub to create a unique and infectious take on the reggae genre. To date the band have sold over 125,000 records world wide as well as performing at some of Europes leading music festivals (Roskilde, Lowlands, Big Chill, Lovebox, etc) on the back of the band's previous acclaimed albums, The Dojo (2007) and Solid Ground (2008). Dust And Dirt is the group's first album to be released on their own record label, Proville Records as well being self-produced in the band's own studio (situated in a condemned building in their native Wellington). The Black Seeds consider Dust And Dirt to be the best representation of true sound, having spent longer in the studio honing the songs and trial new techniques. From the opening track, Out Of Light the band lay down a tight psychedelic tinged groove complimenting the swirling keys, pulsating bass and trippy vocals, showcasing a far more widescreen sound than the genre classification of reggae may suggest. It's a mellow yet addictive opening salvo that eases you into the album nicely before they add delicate twinkling piano, funky rubber rhythms, harmonised vocals and sun-kissed horns on the stunning title track, Dust And Dirt, bringing to mind the likes of the Easy Star All Stars among others whilst retaining a sound all of their own. The band offered up Pippy Pip as the album's first single and it's easy to see why, patted percussion collides with an effortless melody and soulful combination of the heartfelt lead vocals and the aforementioned funk ridden horns to create an easy on the ear, memorable bouncy reggae number that's just perfect for those hazy, languid summer day festivals. Elsewhere the band weave a shimmering disco dub groove into proceedings on Wide Open, whilst The Bend showcases the band at their loosest as they lay down a delightfully infectious horn assisted funk drenched number. The band really cut loose, showcasing that aforementioned rock influence on the sprawling, riff friendly instrumental, Loose Cartilage, that comes complete with molten guitar licks, delicious Hammond organ and the obligatory horns, whilst Frostbite reminds me of baggy era indie with it's drawled out vocals and rolling groove. Clash Magazine once called The Black Seeds "one of the best reggae acts on the planet" on the evidence of Dust And Dirt, I'd say they got it half right, I think you can remove the word "reggae" from that statement, the band have a great deal more going on than a simple genre classification. Dust And Dirt could well be the first essential summer album of the year, it's hot, it's contagious and it's so goddamn funky. Rhythm & Booze Rating 10 www.theblackseeds.com  

So I have a little admission, a fascination that I can't quite explain, a guilty pleasure if you will. I really enjoy "cough" the Eurovision Song Contest, so much so I find myself glued to the telly watching the entire competitions coverage, the semi's and finals. This years Eurovision Song contest was hosted in the city of Baku, in Azerbaijan after last year's victory by Ell And Nikki, the setting looked incredible a combination of the old historical city and the ultra modern venue, The Crystal Hall, whilst every performance featured mesmeric visual backing and intoxicating choreography, whilst the music itself ranged from the sub-standard Euro cheese to the downright bizarre, with the occasional half decent tune thrown in for good measure. In truth half the fun of the competition is seeing who each country deem worthy to represent, you can tell that a number of countries just see the event as a bit of fun, whereas a few are over the top to the point of being deadly serious, which of course is plain bonkers as we generally know that the results are somewhat political. This album features every single track entered into this years competition whether they made it past the semi's or not and I suppose is worth the punt if there was a particular song you really liked, for me personally there are a few numbers I genuinely love, beginning with the dazzling opening number Suus by Albania's Rona Nishliu, imagine Bjork with a better vocal range performing over a stunning piano and orchestral backing, the notes she hits are simply staggering and like her weekend performance I was left completely spell bound. The host's Azerbaijan offer up a nice ballad in the shape of When The Music Dies by Sabina Babayeva, a powerful and emotive vocal that should hit anyone with a passion for a mature, passionate performance. Sinplus (Switzerland) and Compact Disco (Hungary) both offer up pretty infectious slabs of electro-indie pop in the shape of Unbreakable and Sound Of Our Hearts respectively, whilst Denmark's Soluna Samay and Holland's Joan Franka both deliver passable upbeat pop numbers with Should Have Known Better and You And Me. Then there's the obligatory rock numbers from the brilliant Crno E Belo by Kaliopi (F.Y.R Macedonia) and the absurdly o.t.t yet contagious Don't Close Your Eyes by Max Jason Mai (Slovakia). There's a couple of novelities worth some attention, the Russian grannies dance fuelled Party For Everyone is so ridiculous you can't help but like it (though it is a great deal more fun with the visuals), whilst Euro Neuro by Rambo Amadeus (Montenegro) is the closest to punk (in attitude) you'll ever hear (or see) on Eurovision. And for me perhaps the best song of this year's competition was the Italian entry, L'Amore E Femmina (Out Of Love) by Nina Zilli, a fantastic swinging pop number that in a just world should be a hit the world over, Nina has a wonderful, catchy delivery whilst the musicality is equally as addictive. After those highlights I should mention some of the lesser entries, our very own effort Love Will Set You Free, is in truth, tired, surely we can muster something a little more modern, when it comes to music the UK are innovators so why not pick a modern day indie band or perhaps some dubstep, anything but this dated croon crap. La La Love by the Cyrpriot entry is horrible Euro-dance fare, as is Aphrodisiac from Greece, god knows what Anri Jokhadze with Joker is on about, whilst the less said about bloody Jedward or indeed the David Guetta influenced and eventual winner Eurphoria by Loreen (though you won 't be able to avoid this one) the better. So there you have it an album full of highs, lows and out-there oddities, if you caught the competition and like a track or two or like me, have a weird affinity for Eurovision pick-up a copy of this, if however you baulk at the very mention of Eurovision avoid like the plague, tight I'm off to rehab to try to cure this addiction. Rhythm & Booze Rating 6