cover170x170Here’s the Australian “reggae-infused” rock band with a new album. Starting out in 2009, the five-piece band have recently been touring in the UK and are now about to release their ‘Creatures of Leisure’ album, extending their fan base well beyond their native Queensland and building on the success of their debut album, ‘Chasing Sunsets’, released in 2012.

Floating Bridges enjoys a formidable live reputation and it seems that the new album was created via the band’s own jam sessions. The first single, ‘Dreamcatcher’, features reggae rhythms and a pounding rock guitar intro and breaks which the publicity material describes as akin to Jimi Hendrix, but in truth is more reminiscent of Jorma Kaukonen, no less, at his peak. Other songs, such as earlier single ‘Eloquence’, are straightforward heavy rock. It’s a mix. ‘Creatures of Leisure’ brings together reggae and rock in a way that is not always easy to accomplish and this difference alone makes it worthy of your attention.

The Floating Bridges: ‘Creatures of Leisure’ released on August 28th 2015


Jimmy Cliff’s appearance at the Riverside on 6th August was another chapter in his undiminished record as a great purveyor of classic ska and reggae. His voice remains strong, his movements across the stage rapid and seemingly accomplished with ease. The venue helped: bigger than a backroom club, smaller than an arena-scale theatre, it was the perfect setting, yards from the river and with views of three of the Tyne bridges close by.

Beginning with drum-based African-mode Bongo Man and Rivers of Babylon, the set went on to include all the songs you might expect, from the very early Miss Jamaica and King of Kings, through the UK hits You Can Get it if You Really Want, Wild World, the Harder They Come and Vietnam, and taking in Hard Road to Travel, Let Your Yeah be Yeah, and of course Many Rivers to Cross, the location adding poignancy to this last song. Musically the band was excellent, moving from song to song seamlessly, often without a break, and holding down the rhythm perfectly. The pitch and volume of the bass gave your internal organs something to think about while the backing singers complemented Jimmy perfectly. As the set moved on for not much less than two hours, the strongest moments were in the upbeat ska numbers where it is difficult to imagine anything much better.

It was a show where Jimmy Cliff knew how to interact with the (diverse and madly enthusiastic) audience and where he knew what they wanted. But, crucially, this wasn’t Elvis in Las Vegas. It wasn’t just a reprise of well-known tunes; it was real, and authentic. Playing in London tonight, and then in mainland Europe, see this if you can, as it really doesn’t get any better than this.

Here come the Meow Meows with a new EP, ‘Friends on Benefits’. With their characteristic brass and guitar it’s a fast upbeat ska sound on these three short-ish songs, starting with the title track, followed through by ‘London Road’ and finally ‘Tits and Hatred’. The first of these is Two –Tone inspired punky ska, a strong tune and effective vocals. The second is in a similar rhythmic mould to begin with, slowing a little as it progresses, while the third track addresses the sure-fire success recipe of tabloid papers, more rock than reggae in its rhythm and getting more musically interesting as it goes along.

Like their previous album, this EP was produced by fellow Brighton luminary Prince Fatty and, as usual with his skills at the controls, the sound is crisp and clear. It’s not surprising that the band have performed live with Hollie Cook and with the Skints, those purveyors of fine crossover contemporary reggae. This is good dance-oriented modern ska, politically informed as well as fun, from a band that has built up a firm reputation during their ten years or so of live performance together.

According to the press release, this EP “emerged as part of a commission by Fuel Theatre for their ‘Music to Move to’ project – which saw ten musical acts team up with choreographers to create works which would inspire the general public to dance. The title track was the band’s emphatic response.”

The Meow Meows: Friends on Benefits: released by Jump Up! records on 7ʺ vinyl (limited edition) and digital download, July 2015.

a4212052171_5The excellent debut album from Dublin band After the Ibis was reviewed on these pages a year ago ( 1st June 2014). Now comes the belated release of the first single from the album. Entitled ‘Dig Up’, it’s a strong and slow-burning song, melancholy in feel, and musically powerful.

The song was written and produced by the band, with mixing and mastering from Jim Fox of Lion & Fox recording studio in Washington, DC. About the writing process, trumpet player Cillian Kenny says: “we write in a very organic way…all eight of us have very different musical backgrounds and we never know how a song is going to end up from when we have the first demo. We love to obsess over composition and there’s nothing like playing the tracks live for the first time to know what the crowd gets behind and what we still need to refine.”

Especially distinctive on this single is its Irish vocal sound – nothing faux-Jamaican or mid-Atlantic here – with Clare O Kennedy in fine voice, along with its sympathetic production. The instrumentation of the song is thoughtful and subtle – illustrating perhaps more effectively than any other band how the inspiration of the reggae tradition can inform new original work like this.

After the Ibis, ‘Dig Up’, released July 2015

a0869349583_10Capital Letters, producing new music after a gap of several decades, have met with acclaim for their resolute adherence to the authentic sound of Midlands roots reggae. Their comeback release ‘Wolverhampton’ has been positively reviewed on these pages and now we have the complete dub version of the album on separate release. Mixing engineer Dave Sandford was given licence to play dub with the original album, commenting that “on these dubs I just went with what I wanted to hear. Of course there are the norms for dub albums, but I wanted to take it further, trying to do things that haven’t been done”. The results speak for themselves as the album sounds neither like a classic-era dub collection nor a latter-day digital experiment. Along with the dub elements that might be expected – echo, reverb, bass, drums – there are unpredictable additions of partial vocals, sounds and effects that give it all an adventurous feel rather than just offering instrumental versions of the vocal tracks. This approach is demonstrated on a track like ‘Opportunity’ which powers along happily, and also on both versions included here of ‘Wolverhampton’, one of which is a ‘stripped down’ vocal version of the original track. ‘Tell Me What’s Wrong’ has a strange staccato style that works well, while ‘Jamaica’ stands out as a strong rhythm track in its own right with snatches of vocal thrown in to accentuate the overall impact. With 14 dubs here, plus 3 further alternate versions, the overall musical feel is curiously light, fresh – and happy. Listen alongside the original vocal album and the dubs here can be appreciated further. The 14 core tracks conclude with ‘A Place on Earth’, a fine conclusion indeed.

Capital Letters: Wolverhampton in Dub, released on Sugar Shack Records, CD and digital, 16th October 2015