320 kbps | 104 MB | LINKS
Medusa’s Wake is a six piece band from Sydney, NSW, Australia.Medusa’s Wake have been recording their debut album “Rascals & Rogues” in 2017 and 2018 and the 11 track CD will be released next June 1st. Between both recordings, the EP and the album, an accordion player joined the ranks and former bass player Brett Fish left the band. So, the current incarnation of the band is Eddie Lawlor (vocals, mandolin, tin whistle), Frank Sallie (vocals, acoustic guitar, harmonica), John Coote (electric guitar, banjo), Ron Clark (drums), Ben Pattinson (accordion) and Zane McRae (bass).
Two songs from their EP have been re-recorded and 3 out of 5 songs from the Ringtail Sessions from May 2017 can be found on their debut album too. All of the songs have been written by Ed Lawlor. Neither “Seldom Sober” is a cover of “I’m a Rover”, nor “Gates of Hell” is a cover of The Currency’s song with the same title. “Botany Bay” from the EP is now called “Convict’s Tale” and “Lawlor’s Lament” is the final title for the song “Come Away with Me” from the Ringtail Sessions.
“Rascals & Rogues” kicks off with “Seldom Sober”: mandolin, some yee-has and the amazing accordion open for the rest of the band. Brilliant song with the Aussie-Irish DNA. It’s followed by “Hobart Sailor”. Tin whistle and mandolin are the main instruments on a song that has a The Rumjacks twist and whose chorus reminds me of “Hot Asphalt”.
“Tilly Devine” is the longest track on “Rascals & Rogues”. The rhythm section give a tribal atmosphere while the vocals make me think of SIR REG.
Track no. 4 (“Convict’s Tale”) is one of my faves. Medusa’s Wake moves to the early The Rumjacks territory and Ben proofs that right now he’s the most interesting accordionist in the scene. “Banshee’s Wail” gets an electric treatment with a great work by John. “Lawlor’s Lament” is another highlight and Medusa’s Wake delivers a song that wouldn’t be out of place on any The Tossers album. Once again, Ben’s accordion shines.
Mandolin and accordion are the first instruments that are heard on “Irish Sky”. Then the full band joins and after a go! shout the song burst into a lively number. There is an electric guitar part and some accordion and mandolin towards the end. Another track that can rival with the best work by SIR REG.
“Branxton” is a true gem! This instrumental number features mainly mandolin, percussion and shouts. I guess that it’s a live take in the studio. To finish up, Eddie says “All Right, thank you very much!” and then there are a lot of claps.
Harmonica can be heard on “Barney Dalton”, a Wedding, Parties, Anything meets Midnight Oil song.
The last two tracks on “Rascals and Rogues” are a couple of songs from the “EP”: the anthemic “No Nay Never” and the excellent “Gates of Hell”.
If you enjoyed Medusa’s Wake “EP”, then you’ll love “Rascals & Rogues”. Only self-penned songs that have been perfectly arranged. And Ben has been the right addition to improve Eddie’s songs. Hats-off lads!
320 kbps | 105 MB | LINKS
Tracks:
01. Grand Ennui
02. Propinquity (I’ve Just Begun to Care)
03. Here I Am
04. Only Bound
05. Nevada Fighter
06. Texas Morning
07. Tumbling Tumbleweeds
08. I Looked Away
09. Rainmaker
10. Rene
11. Texas Morning (Alternate Take)
12. Rene (Uncut Version)
13. Tapioca Tundra (Instrumental)
14. Roses Are Blooming – Come Back to Me Darling? (Instrumental)
15. Nevada Fighter / Trilogy (Radio Spots)
320 kbps | 88 MB | LINKS
Battle of the Grumbles is the debut album from Thomas Nation, the new solo project from Blue House front-man and prolific song writer James Howard. Battle of the Grumbles was mostly written and entirely recorded to tape over four days in January 2018, in the home studio of label-mate John Johanna in Norfolk woodland.
Ancient Lights is the debut album from Uniting of Opposites, the new musical venture from Tim Liken, Clem Alford and Ben Hazleton, bringing to life a melting pot of cultures and inspiration; using new technology as an opportunity to explore and merge aspects of jazz, electronica and traditional Indian musical styles.
The band was established when, within the myriad forms of jazz, Hazleton met Alford and begun studying the classical Indian tradition in order to “open [his] ears to new melodic and rhythmic possibilities”. As a lover of all types and styles of music, Liken’s involvement fused together their collective musical journeys, creating Uniting of Opposites.
Named after the ‘Ancient Lights’ English…
…property law, that gives home owners the right to receive natural light, the LP brings together creative musical forces, colliding to continuously redefine the music itself and express a fluidity that’s found at the heart of Uniting of Opposites’ ethos.
…Coming from a DJ/producer background, Tim Liken started making music in 1995, setting up one of the UK’s original garage labels, Ice Cream Records, later spawning the monikers Double 99 and Tim Deluxe. Clem Alford’s musical journey began when he purchased a sitar and a Jayasri Banerjee record before hitch-hiking to India in 1968 to be taught sitar by Pandit Sachindra Nath Saha (Banerjee’s father). Over the past five decades Alford has recorded for EMI and collaborated with western musicians and pop groups to film composers, including Amancio D’Silva, John Williams, John Mayer, John Dankworth and Hemmant Kunar.
Having been named ‘Young Jazz Musician of the Year’ in 2003, Ben Hazleton is predominantly a jazz double bass player and has played with many of the British Jazz greats, performing regularly with The Tony Kofi Quartet and The Jonathan Gee Quartet.
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