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Joocypeach: Press

What the press is saying

(Regarding MOE)
Since only the local resonates universally, this is true World Music. It succeeds splendidly in evoking that demilitarized zone between south-east London and Kent, an area whose heart – if it can be said to possess an organ so suggestive of vitality – may as well be Erith as Bexleyheath or Slade Green or any of the other jewels in the local topographic crown. But if these guys make very English music, they are both open to un-English influences – I hear echoes of Bill Frisell , Jan Garbarek and Steely Dan – and possessed of at least one very un-English characteristic: they're not so awed by their own ability to set up infectious grooves that they allow said grooves to overstay their welcome, so they find ways of keeping things interesting while ensuring that any changes sound organic and unforced.
Stephen Smithson - CDBaby posting
Good album and great value for money. Its groovy funky its great. Not to sure about the cd sleeve though. But hey its the music that counts and that was great.
John - CDBaby posting
(Regarding MOE)
I bought this track because I was curious. Where is Erith any how? Worth every penny. Every track was just rocking. I mean its so good to hear orginal music again and not the usual tripe. O yeah on the subject of tripe what's the deal with track 12. I thought Moldova was somewhere in Neverland. I just hope I never hear track 12 again in a hurry - this is the only disappointment. If you skip track 12 its a great buy. A classic for the future.
Paul - CDBaby posting
(Regarding EE)
A collection of exhilarating instrumentals and fascinating songs

The guitar-driven instrumentals that make up the bulk of this collection are as exhilarating as anything you’ll hear this year. The songs suffer at times from lyrical predictability – hard to avoid when you rely as much on rhyme as the librettists employed here – but the subject-matter is at least always interesting, and the material is always transfigured in some way by the performance. The best example of this is ‘His Eyes’. From a read-through of the lyric sheet, one might summarize this crudely as a complaint by a parent without custody about the inadequacy of his access rights; cynically as an attempt to write an anthem for Fathers For Justice; and generously as John Martyn’s No Little Boy rewritten by somebody who has at least read What Maisie Knew (though the decision to keep the child a boy is, of course, problematic). But all the above considerations are cast aside when you hear these words sung in a female voice; and all suspicions that the whole might become an exercise in self-pity are dispelled as soon as that infectious, upbeat piano motif makes its entrance. Tried & Tested, meanwhile, is more ambiguous still. At the hands of David Byrne, say, this kind of deadpan, Jimmy Swaggart-style sermon against lust would receive a reassuringly (and irritatingly) ‘knowing’ satirical treatment. But I challenge anybody to work out an implied authorial position here. It’s all stimulating stuff, then, and it’s recommended unreservedly.
Stephen Smithson - CDBaby posting