Their latest track The Morning Paper, which was made available yesterday and due for official release on the 23rd of November, is a piece that finds Jimmy & The Revolvers in full reflective glory.
The Morning Paper additionally draws reference from even further back in time, Kenny Ball And His Jazzmen comes to mind. Rather than sounding like a retrograde throw-back they furnish the approaching three and a quarter minutes with flourishes of ornamentation which they place to deliver sounds of currency as trumpet soars and guitar blazes a trail, to accompaniment of clear as a bell percussion and the listener can’t help but find themselves nodding their head in approval as their feet tap away happily.
The Jimmy & The Revolvers reference points hold a timeless quality, which they are able to translate with an enthusiastic and lemon zing freshness that captivates the audience and it is of little surprise they can be found travelling up and down the UK to enthusiastic venue attenders.
With a sound that is ubiquitous of geo-political borders, if justice is served the quartet will find frequent need for passports.
Das Flüff is the electro-dream-rock quintet of Dawn Lintern, Steve May, Christian Ruland, Chris Limb and The Elusive Stranger from London in England.
When originally introduced in 2013, Das Flüff, were a trio and the additional of members has enabled the band to add considerable depth and range to the sound. The band deliver a gothic feel that captures the audience in the swooping electronics as the guitar strikes a buzzy edginess as the bass and percussion create the bouncing nature of the tracks. The distinctive vocal blends superbly with the music rounding out the sound with a beguiling expressiveness.
This is a band that works particularly well in company and perhaps explains why they are rarely to be found in the recording studio. Spending their time on live performance, with their last full release dating back to 2013. Das Flüff have resultingly established a strong audience in Germany and England and deserving of a far wider audience.
Occasionally tracks are set to video for wider consumption and it was their most recent – I Love You (When You’re On The Dancefloor) that prompted this review.
It is always a pleasure to come back to Das Flüff and I am looking forward to their next full release, whenever that may surface.
The English alt-rock quartet Japanese Fighting Fish to release the single U Ain’t Gonna Win This on the 13th of November.
Japanese Fighting Fish – U Ain’t Gonna Win This – artwork
Retaining their signature register of lower chords and punchy stanzas, in U Ain’t Gonna Win This, Japanese Fighting Fish introduce influences of funk-rock which finds the audience dipping hips alongside the waving tempo changes.
U Ain’t Gonna Win This discovers the quartet in top form and delivering a single that, despite the more demanding technique, seems to find Japanese Fighting Fish at ease and enjoying themselves. This more relaxed style enables the listener to fully engage both with the music and the musicians.
The London, England, alt-rock quartet of Marc Burford, Daniel Morriss, Dan Bowman and Mike Burford who form Echotape have regularly featured over the past year, so it seemed appropriate to get back with a full overview.
The music bounces out of the speakers, wrapping the listener in the springing steps as Echotape combine grumbling rock with rock ‘n’ roll giving the material a powerful presence, whilst infecting the mind with positivity and the legs with footsteps. The quartet don’t leave their audience out of the delivery process of the sounds as many of their tracks feature anthemic chanting opportunities to join in and regardless of location, you will find yourself becoming involved.
With a string of releases behind them and regular live performances both in the UK and internationally Echotape have an established and growing fan-base drawn from a wide spectre of music fans. It is their ability to make the listener feel good about life, whilst creating music with gumption that marks the creations of the quartet a pleasure to always keep coming back to hear more of what they have to offer.
The English alt-indie quartet Lucie Barât & The Au Revoirs release their début two track single Fallen on the 13th of November.
Lucie Barât & The Au Revoirs – Fallen – artwork
A tentative voice accompanied by quiet guitar sets the opening scene for Fallen, before all the elements drop in together and pulsating chorus pump into the ear, prior to dropping away again and this technique deployed by Lucie Barât & The Au Revoirs throughout the track, gives it an impressively powerful and haunting presence.
Fallen bears an immediate repeat to capture the fullest flavour of the piece. The highly charged voice captures the attention, but for me the highlights are the percussion that veers from gentle snare to flighty utilisation of all the kit with no loss of timing, together with the precision of mood changes by all the players that could not be of sharper cut if delivered by a guillotine.
The B Side – Apology, shows a different element to Lucie Barât & The Au Revoirs in a more driven number, that give greater space for the guitars to express the context. As with Fallen, the quartet do introduce significant mood switches, keeping the listener ever attentive.
Of the two, inevitably it is this more gutsy activity that ensures Apology is my pick of the release. A track that finds itself on the release more to do with creating a vinyl version of the single than anything else .