2017 seems to be the year of artists going solo, independent, or otherwise walking away from major record deals. Ruarri Joseph has established himself a member of this trend, leaving his solo folk career behind for more grungy shores, hoping that a new direction would allow him to loosen the restraints on his creativity which was otherwise being restricted by record label demands.
Joseph’s new band William the Conqueror (featuring drummer Harry Harding and bassist Naomi Holmes) is another reminder that separating oneself from a major industry label can be artistically freeing, and their debut album Proud Disturber of the Peace is a sign that William the Conqueror know how to work that new found freedom into a consistent and enjoyable album.
After one listen to the band’s debut release it is clear that trying to label Joseph’s newest project with a specific genre presents a challenge. There are hints of country in the guitar hooks and bluesy rhythms are peppered throughout the album, while the overall feel and the band’s laid back approach to performance says good old fashioned rock ‘n’ roll.
Thankfully, the range of genres produced by Joseph and co. are tightly held together by a consistent style that flows throughout the album and which leaves the listener in a dreamy state somewhere between the UK and middle America.
The single Tend to the Thorns, a wistful love song carried by an infectious hook and a longing lyrical delivery, shows the best of what the three piece group can do, while newest single ‘Pedestals’ is a heartfelt confessional with an ethereal rhythm. Other highlights include ‘In My Dreams’, which is both a catchy blues inspired track and works as a mood setter for the record.
Joseph draws more on some rock ‘n’ roll inspiration when ‘Did You Wrong’ is played live, the sometimes snarling vocals adding some bite to the post break-up ballad. The record is wrapped up in escapism with the ending ‘Manawatu’, about escaping New Zealand, sonically the most relaxed track on the album.
Jerusalem based indie rock band NURIEL is pleased to announce the release of their debut single and music video “Beautiful Day”!
In the summer 2015, brothers Yonatan (singer-songwriter) and Michael Attias (cello) joined up with long time friend and drummer Tzvi Solomons to make music. They were joined soon afterwards by brother David Attias (lead guitar) and childhood friend Benny Firszt (bass). Lively and thoughtful debate, playing out of over a period of time, inspired them to name the band NURIEL.
NURIEL’s music rapidly caught the attention of the diverse music scene in their hometown of Jerusalem. The band has filled many prestigious venues with enthusiastic crowds, resulting in a loyal and growing fan base. They have also performed and collaborated with numerous acts, sharing the stage with the likes of Feter Hendel and the New-York-based trio Zusha.
NURIEL’s musical style infuses folk with intricate harmonies, driving rock, and world music. Their sound is said to be meditative and uplifting; a combination of evocative music and thought-provoking lyrics that slide easily into the psyche to resonate with the soul.
Following a string of sold out shows, the band released their eagerly awaited single, “Beautiful Day,” on April 2nd 2017. The release has received warm feedback and favorable reviews.
NURIEL’s debut EP is scheduled for release during summer 2017.
If there is ever a Dexter Romweber coloring book, Crayola would have to invent a new crayon for it: “noir.”
Between his deep, baritone croon and predilection for dimly-lit rockabilly, spaghetti-western surf and back-alley, rain-drenched tones, it’s only a matter of time until some enterprising film director latches on to Romweber’s stylized music for a soundtrack. And they can start with any of the 13 tracks on this album, named after his hometown.
As a multi-instrumentalist adept with guitar, organ, piano and bass (six tracks here are performed solo with overdubs), Romweber is practically a one-man band. His early work in the stripped down guitar/drums Flat Duo Jets (and more recently the Dex Romweber Duo) predated and influenced Jack White and practically every act that emerged with that instrumentation afterwards. Here he mixes the lone-wolf approach of the 1957 country/blues obscurity “Lonesome Train” accompanied by only his ragged strumming acoustic guitar and overdubbed electric solo with the heavy reverb of his own ominous “Where Do You Roam?”, where he plays four instruments on a tune that explores the isolation and somewhat psychotic visions of a loner.
He gets down and dirty on the Johnny Cash-in-hell approach of “Knock Knock (Who’s That Knockin’ on My Coffin Lid Door?)” and follows that with “Midnight at Vic’s” — one of the disc’s five instrumentals — with its stuttering echoed surf guitar custom made to accompany a chase scene in a Coen Brothers movie.
Someone needs to get this disc in the hands of Quentin Tarantino, who could surely put the swaggering “Nightride,” which sounds exactly as its title implies complete with ghostly backing female vocals and grinding sax, into one of his films. And certainly the brooding, ruminating cover of Findley Brown’s “I Had a Dream” or even the dark, austere piano and vocal version of Charlie Chaplin’s American Songbook standard “Smile” could be used as the credits roll by in some hip, arty indie flick.
Through it all, Romweber’s intense rumble of a voice and unapologetically retro vision tie the slightly dissimilar threads together for a musky tapestry of an album whose subtitle could be “Color Me Noir.”