The Devil in Music

Fox Jaw Bounty Hunters

The Devil in Music

Angela Macari O’Looney

I’ve had the pleasure of reviewing Fox Jaw Bounty Hunters playing live, but also had fun reviewing their EP Congress of Oddities, plus some of the singles released in the run up to this brilliant album. These were samples from the thoroughly captivating repertoire here on this CD. It somehow totally defines this band and you really get into their mood.

FJBH are unique, and their music encapsulates seductive riffs, sleazy melody lines, inspiring thoughts of smoke filled bar rooms, upright pianos, liquor soaked confessions and confidences under sepia lighting. Bluesy Rock beats and heady lead solos, added to Ronan Mitchell’s depth and flair as a vocalist, are evident throughout this fascinating collection of songs.

FJBH members are Ronan Mitchell (Vocals/Guitar/Piano/Melodica/Glockenspiel/Bass),
Morgan Nolan (Guitar/Vocals/Bass), Shane Serrano (Drums/Vocals/Clarinet/Sax/Percussion/Wooden Flute).

Little Black Marble opens up with haunting flute sounds, building up to a blasted out intro on bass, with guitars joining in and a powerful drumbeat creating the backdrop. Ronan sings the descriptive verse with his Limerick lilt, while Shane and Morgan add backing vocals. Complex guitar throughout, with superb in-sync riffs using bending notes and also wonderful trickling bits here and there, all lend atmosphere. I particularly like the high pitched ooh for the chorus in this song. There’s a huge crescendo of sound towards the end, eventually winding down.

Choppy chords take you into Strip the City, that tempo remaining throughout. It has a mysterious melody line, fab intricate guitar and a great chorus. Ronan entices with his deep vocals as he sings Come on over, come with me. Harmony is filtered in and is close. Chord combinations are delicious and the lead solo is twang laden and oozes exciting twists. My favourite feature is the elaborate riff for the chorus.

A wonderful piano intro for Wasteland Overture makes a refreshing change of pace. Moody minor notes and a bleak melody line are features of this number. The La da da refrain in the chorus has sing-along charm, and that acoustic piano is downright irresistible.

That Old Chestnut involves plucked guitar for the verse which is a particularly enjoyable feature. The use of minor chords and the greyish nature that’s the main style of FJBH is here. However, in the chorus they give way to some major chords and things lighten up a little. Harmony is effective and dynamic builds up as this song develops.

Throwing Shapes is a fast moving, choppy number where Ronan goes from a bassy lower octave right up and lets loose. Chorus is harmonic and chords are superb throughout. Drums are particularly energetic for this, with some amazing trickling lead guitar notes that have a strange disjointed quality. Added to this is the ever present busy bass line. Delicious!

Finger clicking and with lively bass throughout, Fight the Grey is a cool number with a strut style beat. Catchy harmonic oohs lend atmosphere, with a crazy solo on lead guitar featuring. Sax comes in later on, lifting things up to a cheerful crescendo.

With a laid back beat and some truly lovely guitar, Interlude is exactly what is says on the tin. A delicious melody is whistled and it’s a feel good, short piece, that wouldn’t be out of place in an advert. I’d like to hear more instrumentals like this from the lads.

Rock beat, distortion packed guitars, weird chords and a memorable chorus are the highlights of Hatch Sixteen. The bending notes done on lead are also excellent. It’s among the band’s best songs for certain and defines their sound.

Harmony is brilliant in Milkanoid and lead guitar superb. Energy packed rhythm throughout, an eerie slowdown that breaks it up, and more delectable lead guitar are the key features of this quirky number.

Keychain has a funky beat and creepy chord combinations that remind me of the theme from an Adams Family movie. Ronan’s slightly cynical style of telling the story in each song is captivating. He describes how he feels he’s being taken for granted by his girl; Lately, I’m a doll you drag through the ground, a plaything on your key chain weighing you down.. Chords and general mood are gloomy and make the hairs stand up on the back of my neck!
Guitars are outstanding throughout, with imaginative riffs that match the lyrics to perfection. There’s a complete stop, a kind of mock finish before the final blasting chorus.

Thread the Needle
You hear some wonderful guitar at the beginning of this number and it becomes yet another blues song, involving sliding guitar notes and awe inspiring lead. It’s tempo is laid back but rhythmic, with the harmonica adding to the scene which inspires grabbing your brandy bottle and taking a swig!

The in-sync chord intro to Running on fumes is full of life and lifts you up after the previous number. The tempo has a three four quality, with interesting alternations here and there. It’s a pleasant change melody wise. Ronan mentions bleary eyes, which we might have after the flagon of liquor and the few pints in the last song. Lead solo, along with the bass line are first class and those sliding chord combos are sweet!

The finale of this album is the soulful and hypnotic Darker Shade of Blue. Haunting, with trickling guitar notes throughout, this number showcases Ronan’s voice brilliantly. The melody line is complex, dreary, spine tingling and seems to wrap itself around you like a cool, slippery snake.
It suddenly explodes into life for the last chorus, to drop back and finish with plucked acoustic guitar notes.

All three members in FJBH participate in vocals and this lends to the overall sound greatly. And although they tend to stick to a certain lazy style of blues/rock, they are really creative. It’s not at all surprising that they have won the hearts of most critics and have attracted a large fan base across the land.

The album art for The Devil in Music is similar to the previous CDs. The cover depicts naked dancing ladies on a background floral brown and gold. I’m guessing it could be from the inlay of an upright piano. Inside the cover, you see the three lads, in an ancient bar room, enjoying a well earned pint!