The Locker Room Cowboys 'The Future Came and Stole Our Dreams'

The Locker Room Cowboys début album 'The Future Came and Stole Our Dreams' is released today, and it's a truly marvellous creation. I wrote a preview review back in December and everything I wrote then still stands as strong if not stronger after even more listens. If I have one thing to add, it's that time and additional listens have given me a greater respect for the albums lyrical qualities, masterful, man. Buy yourself a copy, it really stands as one of, if not the, best releases you'll hear this year.

The Locker Room Cowboys 'The Future Came and Stole Our Dreams'

The Locker Room Cowboys (TLRC#1 Budge, Curvey, Crystal Jacqueline, Peel & Reyes) appeared on Fruits de Mer's epic 'The Three Seasons' contributing a wonderful re-imagining of The Stones 'We Love You', then swiftly vanished. After that début appearance there were obviously calls for more, an album maybe? A couple of tantalizing short demo pieces followed, then earlier this year the release of their superb début single 'Always Love You' (TLRC#2 Bateson, Budge, Budge, Peel & Reyes). Now this band of musical troubadours, brainchild of West county's bassist supreme Andy Budge, returns with their début album 'The Future Came and Stole Our Dreams' and, man, it's really something rather special. The Band's line up has been augmented for this outing, Budge is quick to emphasize a collective effort drives the band, and what a collective it is: Charlie Bateson (Steepways); Andy Budge (Cary Grace Band, Icarus Peels Acid Reign, Steepways); Evie Budge; John Garden (Scissor Sisters, Alison Moyet, Cary Grace Band); Crystal Jacqueline (Crystal Jacqueline, Honey Pot); Icarus Peel (Honey Pot, Acid Reign) and Victoria Reyes (Honey Pot, Steepways, Cary Grace Band), a stellar line up I'm sure you'd agree. I've had the privilege to give the album a listen(s), and straight off I've got to say, kudos y'all. The 'Future Came and Stole Our Dreams' (inspired title) is a fancy box of aural chocolates made up of some of our favourite centers, of course, if they were chocolate we'd swiftly become Mr Creosote, moreish doesn't do these tracks justice. An interesting mix of influences and styles has created twelve innovative, beautifully crafted, lyrically fluent and sumptuously rendered tracks, every one written and performed faultlessly, with elegant arrangement and production throughout.

The album opens with 'Procession' a short and sober new-wave electronic flavoured track, a stripped down drum and guitar introduction that gets your attention. The mood quickly changes with Oklahoma '33, a slice of the soft 80's tasting electronica/pop that characterized soundtracks of the period, many of the tracks on this album have cinematic qualities to them, it's masterfully crafted with wonderful guitar and appealing backing vocals. That 80's electronica vibe's also present though morphed in the doleful 'Most of you', a moody synth and keys driven number, where the earnestness to Bateson's voice works brilliantly in conjuring the quintessential atmosphere of melancholic indie/electronica. Though I feel the strongest influence running through the core of 'The Future Came and Stole Our Dreams' is a sweet blend of soulful rock, blues rock, and Americana. 'Deep Water' craftily straddles genres, sci-fi electronica bookends a solidly laid back blues rock number with splendid guitar from a Garden and Peel combo, and again lovely backing vocals from Crystal Jacqueline, who appears on several tracks; always a joy to hear.  Then you've got the jaunty upbeat soulful rock flavours of 'Laurel Canyon Comedown', so catchy you're guaranteed to snag your jumper on it, a proper handsome number. Many tracks benefit from Peels capital vocals, which in my opinion have a somewhat Roger Waters-esqueness quality at times. You'll be loving the guitar flavours throughout, each appropriate to the individual track, all impressively delivered and gloriously rich. The whole album has a tremendous richness to it's sound. Half way through the album the unmistakable golden age Floyd-ness of 'Big Yellow Circle' showcases the manifest guitar talents of Icarus Peel, which with perfect slow motion rhythm by Budge and some truly gorgeous keys from Garden create a particularly arresting piece; John Garden's contributions shine across the album (doffing cap). Both single tracks 'Always Love You' and 'Revolutions' are included on the album, slipping in effortlessly with their siblings.  'Always Love You', is a winsome stripped back 60's folk rock-esque number, soothing jangly guitar accompanies Peel's soulful vocals and some lovely backing vocals provided by Bateson and Evie Budge, it's a divine lazy sunny afternoon of a song. 'Revolutions' is a beautifully paced number, Bateson's vocals again compliment the composition and arrangement marvellously, and Victoria Reyes piano is especially delightful. The judicious use of the vocalists is inspired. Awareness of my spiralling word count cows me from enthusing more about every track on the album, so;  be it 'Bordertown's blissful funky bourbon sipping soul, or the emotion loaded 'I'm sure I will', or  the perky strutting of 'Let Me Tell You' drifting into ambiance, all are incredible! In the artisanship of 'The Future Came and Stole Our Dreams' no detail has been overlooked, there's no dead wood or filler, no tracks to skip, every track plays it's part in the album's journey. Until it's 'Goodnight and Goodbye', the perfect final track, a mournful slow rhythm fades the album out with outstanding lead vocals from Peel complimented by outstanding backing vocals from Bateson, pure magic.

What a truly phenomenal début album, that's not hyperbole either, there's definitely something special here. There's nothing not like and so much to love about this multifaceted album, most of all though, you'll love it's originality, Budge et al. have taken contrasting strands and woven something with timeless appeal, it's fantastic. You're immediately invested, drawn in by it's beautiful pace, it's genuinely satisfying listening, packed with catchy tunes, it's got depth enough to immerse yourself, or if circumstances dictate, enjoy in the background, and it's really great listening when driving. The Locker Room Cowboys 'The Future Came and Stole Our Dreams' is ideal for any listening situation, the mark of good music with broad appeal, and it just gets better listening each time. Enough, my clumsy writing doesn't do the magnificence of this album justice, you'll have to hear it for yourself. Budge emphasizes the album's collective nature, and that's clearly evident throughout, though I think he deserves a mention, his prints are on every track, in the writing as well as the music, he also plays an astounding array of instruments across the 12 tracks, obviously proficient on all, and this is his first time arranging, mixing and producing; remember, all this from a bass player! Big up maestro, and again, kudos y'all...honestly impressive. My privilege extended to hearing 4 tracks not on the album, yeah that's right, all sensational. 'The Future Came and Stole Our Dreams' will be released shortly, so keep an eye on The Locker Room Cowboys Bandcamp page, there's also hints of future live performances, which would be most excellent. Be assured, no fear of buyers remorse with this release, guaranteed! 

Cary Grace 'Lady of Turquoise'

Cary Grace (and band) continues to soar, excelling herself (themselves) with the band's latest release, Cary Grace 'Lady of Turquoise', which was released at the end of January in Delux Edition 2x Glass mastered CD's in a mini LP replica  gatefold sleeve or digital download formats. Cary dropped a track a day through the beginning of December to wet our appetites and, man, what an absolutely phenomenal album, thoroughly engaging throughout. Over recent years I've been lucky enough to discover a few artists whose work I love, Cary's one of them; original, innovative and imaginative, she consistently delivers beautifully crafted music, and what she creates is always of the highest standard and quality... be that on single, album or if you really want to experience the full magic, then live, where her performances, and those of the incredible Cary Grace Band, are always mesmerizing. Lady of Turquoise continues in an already well established mould of excellence, although Cary doesn’t rest on her laurels, always looking for opportunities to evolve her sound and raise the bar, and she's certainly achieved that on this release.

Lady of Turquoise is an astonishing album, there's nothing not to like about it, nothing! It's engaging from beginning to end, never dull, no filler, all the tracks show real care and attention paid to their detail, all individual, though all flowing wonderfully to create a cogent whole. Cary's stunning image as Egyptian Goddess Hathor sets the tone, and opening track 'Khepera at the Dawn' perfectly sets atmosphere, together transporting you to the dusty world of a hundred temples rising through the morning haze. That theme is enhanced by Cary's vocal delivery on tracks like 'Letterbox' which conjures ritual invocation, nice acoustic guitar on that one too. A striking feature of Cary's work is her wonderful voice, distinctive and quite quite captivating, and Cary uses her voice to full effect on this album, sometimes sensual, sometimes sombre, sometimes palpably magical, and always powerful and perfectly suited to the narrative and the tracks aesthetic. Like a sirens song Cary's voice draws you into her lyrically eloquent numbers. On 'Afterglow', a gorgeous spoken word number which builds magnificently, at times there's a sort of Patti Smith quality to Cary's delivery, which is cool. When joined by Victoria Reyes on backing vocals on the fantastic 'Without a Trace' it's pure aural bliss, their voices are a perfect combination, creating lovely harmonies, great track. The aesthetic of each track is different, though all 13 remain thematic in feel, many have a sumptuous progressive rock aesthetic woven into their distinctly psychedelic fabric, others elements of folk, rock or pop. Another musical alchemist, Cary has gathered all manner of disparate elements and subtle influences to create something of her own, something emphatically Cary Grace. Cary's not just a talented singer/writer though, no, her talents extend way beyond that, a wizard on synthesizer (her resplendent synth on Lady of Turquoise is testament to that), a multi-instrumentalist who plays all sorts on this album, and on top of that she's an analogue synthesizer builder, artist and crafter of quality.

Cary's gathered a stellar ensemble of musicians together for Lady of Turquoise, there are of course the Cary Grace Band regulars: John Garden, a most excellent guitar player who shows his manifest skills on guitar across the album. I really couldn't single out one particular track on which John shines, because he's refulgent throughout, as well as providing some tidy synth on a couple tracks and even drums on 'Letterbox'. Although, drums are really the domain of David Payne, whether slow tempo or belting it out, David's drumming is the dogs, clean, powerful, consistent, and always right on the money...the engine of the band. Who together with rhythm supremo Andy Budge, one of the psychedelic scenes premier, and much in demand, bass practitioners on bass, provide the solidest of rhythmic foundations for the duration, and they do it in style and verve... a dream team. And, of course, the superb multi-instrumentalist Victoria Reyes on keyboard, organ, and not forgetting wonderful backing vocals on 'Without a Trace'. As if that wasn't enough, the band are joined by a host of prodigious guest artists. You've legendary guitarist Steffe Sharpstrings (Here and Now, Sentient, Gong) who's unmistakable sound shines on 'Khepera at the Dawn', 'Film Noir' and 'Castle of Dreams', there's something blissful to Steffe's peerless ethereal guitar sound, and his distinct talents are employed to glorious affect here. A real treat is 'Castle of Dreams' where you've got Steffe and John together, magnificent, man. Then on 'Without a Trace' and 'Sacrifice' musician, composer and producer Steve Everitt (Eat Static) is enlisted for guitar duty, and is none too shabby, with some particularly nice rock guitar on 'Sacrifice', a track with a nice heavier yet laid back groove to it. Whilst Gong's saxophonist Ian East lays down some wonderfully mournful sax on 'Film Noir', a favourite track of mine, with a brooding theatrical atmosphere to it, which I thought evocative of the 1980 movie Breaking Glass soundtrack. Then you've got Andy Bole (another renowned multi-instrumentalist) who brings a flavour of eastern Mediterranean exotic to 'Costume Jewellery' on the laouto and bouzouki, a track with something of a Doors/Floyd flavour to it, a wonderfully expansive sounding number with 60's/70's sensibilities, an epic track full of drama which builds impressively before a long spacey synth fade out...nice! Also on 'Costume Jewellery' another legend, Graham Clark, brings his extraordinary violin skills to mix and does an absolutely exceptional job, lending a sort of urgency through them, as well as playing guitar on a number of tracks, including the instrumental 'The Land of Two Fields', a short number with a solidly 70's progtastic synth flavour which acts as an tasty entrée, feeding seamlessly into the final and titular track. Lady of Turquoise completes the album on an up beat euphoric note, an energetic synth driven pop psyche joy, with a faint echo of vintage era Hawkwind. Outstanding eh, man! Cary's raised the bar high with this one, what an absolutely sensational album, stunning in every aspect, thoroughly listenable... again and again. An epic album through which Cary's flexed her impressive progressive muscles, and so much more, Lady of Turquoise is a triumph.  There's depth and drama in every one of the 13 faultless tracks, all beautifully crafted and perfectly executed by a decet of accomplished musicians, who’ve ensured every facet of this album is flawless, a glistening gem. The result is an hour and a half of aural rapture, a sublime release. Bravo y'all, and big up Cary, and big up the Cary Grace massive. I'm certain Hathor, being a Goddess of music and dance, would approve. I'd recommend you do yourself a favour and check it out here (whilst your there check out her back catalogue, it's a gold mine)... satisfaction guaranteed. Guaranteed I say!