Each composition featured has been of different texturing and the song Bad Faith / Good Faith, which is being released as a stand alone single on the 8th of December (available on bandcamp), with its indie-dance vibe, is no exception to the pattern.
Whilst simultaneously inviting the listener to the dance-floor in a good mood Bad Faith / Good Faith equally implores the audience to stop being herded in to ‘acceptable’ silos of behaviour as the lyric laments of a world in which living a life which is true to ones own beliefs is de facto the wrong thing to do unless they fit the proscribed uniformity of thought process.
Whether you listen to the song ignoring the dance invitation and preferring to ingest the lyric in contemplative mood I merely posit spending time in company will not be time you will regret spending.
The Circus Villains is the british-blues quartet of Luke Taylor (Vocals / Guitar), Matthew Fisher (Vocals / Guitar), Daniel Skilbeck (Bass) and Bob Mackenzie (Drums) originally from Darlington in England, now spread in Manchester and Liverpool.
The Circus Villains
Having had the opportunity to listen to the back-catalogue I am able to attest the best way to approach their music is with bass speakers boosted a little, though not to the extent that treble disappears, to fully appreciate the luxurious effect of the four stringer which bulges the speakers with the two guitars weaving magical mysteries, sometimes acting as lead and rhythm other moments both flowing betwixt each other in harmonics in which the mind becomes transfixed as the shape changing percussion conducts the combinations while the duo of voices enable compositions to take completely different dynamics, one moment merseybeat tipped, the next indie-rock flecked.
Their most recent release- the single Tell Me – which has a heavier sound than previous material, can’t do anything other than secure them greater traction and a band I would anticipate will be securing greater visibility in the coming months with their knack of being able to turn classic rock, which has endured for decades, in to a fresh canvass and likely to draw in fans of the sounds of the ’60s and ’70s as much as those of the ’10s.
The combinations of synth, percussion and a distinctive vocal encase the listener in a beguiling flow of music that ensnares the mind in its luscious textures.
Having initially taken the music to stage, only just over a month ago and rapidly gaining more performance opportunities locally – though it can only be a matter of a short period of time prior to those shows spreading more widely geographically, Hannah Harper recently released the début single Appetite which showcases a talented creator with much to offer the world of music and I look forward to hearing more material.
The English alt-rock creator Daniel Clark released the LP Corridors on the 12th.
A ten track album (available on bandcamp) that has a brooding presence, much akin to walking through a mountain valley at dusk, with the listener sensing the natural beauty of the shadowy surroundings looming overhead whilst the unseen has the mind creating its own imagined dangers lurking therein.
The English synth-wave quartet Bear Muda revealed their début Looking (Eyes Shut) – single a few days ago.
Electro-drum pad and creamy synth are merged with natural percussion, bass, guitar and vocals to deliver finding the listener drifting back in time to the early ’80s with the listener pondering what ever happened to that flamboyant, romance-period outfit last seen being packed in to a box to put in the attic; much like Dorian Grey, Bear Muda are able to hold back the years whilst living in the present in Looking (Eyes Shut).
Whilst retrospective of countenance Bear Muda are able to invest the music with a ‘nu’ to the foundations of new-romanticism and thereby providing a fresh set of linen.