TRACK REVIEW: Robyn Cage - Slow the Devil

TRACK REVIEW:

Robyn Cage

PHOTO CREDIT: Bryce Johnson (for the Slow the Devil video)

Slow the Devil

9.5/10

Slow the Devil is available at:

https://www.youtube.com/watch?v=W4Oe2PGKCqE

GENRES:

Alternative-Rock; Alternative-Pop

ORIGIN:

Utah, U.S.A.

RELEASE DATE:

18th July, 2017

SONG:
Written by Robyn Cage and STOLAR
Music Produced by COAV
Mixed by Brenden Bytheway and COAV
Lead Vocals and Keys: Robyn Cage
Vocal Harmonies: Callie Crofts
Drums: Zac Bryant
Viola: Ammon Chung
Synths: Caleb Loveless
VIDEO TEAM
Directed, Filmed & Edited by Bryce Johnson www.GoBigFilms.com
Set Photographer: Darryl Dobson
Hair & Makeup: Amy DeVore
Wardrobe & Styling: Mask Costume
Production Assistant: Laura Johnson
Craft Services: Nan Kemp
Featured extras: Melody Gonzalez, Katie Marie Pollard, Natalie Jones, Nan Kemp, Tabitha Dunn, Kathryn Dunn, Liam Dunn
Read the story behind the video on Robyn's blog: http://www.robyncage.com/blog

The album, Slow the Devil, will be released shortly

_______

THIS review seems very timely and apt as…

PHOTO CREDIT: Bryce Johnson

Robyn Cage has passed a milestone in regards the crowdfunding for her album, Slow the Devil. I will come to that later but, running up to that, I want to talk about American artists and the diversity of the landscape; the political climate how that inspires artists; flame-haired artists and those that stand in the mind; evoking certain singer-songwriters and fantastic imagery/videos; unity and strength at a time of dislocation and, as promised, a bit about Cage’s Kickstarter campaign. I am excited to talk about Robyn Cage’s new track – from the album of the same name – but it is interesting looking at America, tying in topics of geographical diversity, and how compelling its landscape can be. Robyn Cage is based in Utah and has the mountains and views at her door. It might seem, for an ambitious and stunning songwriter, there would be a lure and attraction of the city. In her career, she has played Boston’s Symphony Hall – thousands at outdoor festivals – and toured the prestigious singer-songwriter circuit in N.Y.C. One would feel those areas would be a natural base for Cage but, when one hears her music, it seems to take from all of America. It is important she has that experience and C.V. but these times have moulded who she is now. I do not feel we have the same range and wonder in the U.K. – when it comes to the cities and contracts. A nation like America promises panoramic cities and the history of various cities; the deserts and hot climates and the beauty and stillness of the mountains. Robyn Cage has that background touring cities and has been inspired by the people and places she has visited. To me, it is where she is now that is most instrumental.

PHOTO CREDIT: Carla Boecklin Photography

I am not sure whether there was a single moment - or series of realisations – that led the red-headed singer-songwriter to Utah. Talking about the state and, easily defined, one can distil it to this (taken from Wikipedia):

“Utah is a western U.S. state defined by its vast expanses of desert and the Wasatch Range mountains. Salt Lake City, the capital, is centered around Temple Square, headquarters of the Mormon Church and site of its majestic temple and tabernacle, with its massive dome and renowned choir. The Great Salt Lake’s buoyant waters attract swimmers and sunbathers, especially at Antelope Island State Park”.

One can see the sites and splendours of the state: no wonder Robyn Cage would have been seduced and pulled to Utah. She is based in the Park City area and has National Parks like Zion, Arches and Bryce Canyon not too far away. One need only look at her promotional shots and videos to know she has a real affinity and connection to natural and beauty. That is why America fascinates me: there are so many contradictions and polemic sides that give one songwriting influence. What interests me about America’s artists, as opposed to ours in the U.K., is how they connect with their surroundings and produce the best music in the world. I have changed my mind slightly regarding the nation that produces the best music. We, here, have some extraordinary history but, when it comes to the contemporary artists defining 2017; that seems to be reserved to the U.S. Maybe it is the political climate – I will expand on that soon – or an innate affiliation with their history, climate and people. Robyn Cage has an almost-spiritual bond to the earth and the mystique, beauty and stun. One detects these components and themes on her previous material but, when listening to Slow the Devil; there is a direct nod to political figures and the need for people to come together. American artists are rawer and more striking, when it comes to addressing politics and the need for unity, than we are here.

PHOTO CREDIT: Carla Boecklin Photography

Perhaps the stakes are higher there – and the suppression and repression more severe – but the musicians in America are articulating a frustration and malaise that is, one hopes, leading to a revolution. Returning to Utah, for a bit, and the Western state is the thirteenth most-populous of the U.S. and has three-quarters of its population living along the Wasatch Front – centering on the state capital, Salt Lake City. It has Colorado, Wyoming and Idaho around it; Arizona and Nevada close at hand. There is a big Mormon population but, away from that, Utah is a modern and growing state that has high-earning businesses and a great economy – one burgeoning and growing by the year. Utah, interestingly grated women the vote not long after Wyoming – the first states to make that important decision. Despite the fact the state is largely a Republican battleground; they have an open-minded approach to same-sex marriages and women’s rights. There is a definite sense of contrast when it comes to political and social rights – a state that wants equality and is very modern; still holding to a political party that longs for the past. Maybe its religious population yearns for a more together and unified population: it seems to be attracted to an ideal of Trump’s America, too. I shall return to that point but Utah, to me, seems like a state that is a lot more forward-thinking and together than other parts of the U.S. I feel a lot of those wise decisions stem from the landscape and physical beauty of the place. Those mountain views and deserts create a sense of reflection and calm. The likes of Jon Bon Jovi, The Killers and Demi Lovato have exploited the serenity and atmosphere of Utah. It is a part of America that, to the outsider, seems old-world and simplistic. When one researches and investigates more; there is a tangible and evident modernity and evolution. It is a state as synonymous with technology and youth than it is the vintage and rustic – the state has reputable universities and a vibrant young populous.

PHOTO CREDIT: Darryl Dobson Photography

Robyn Cage, one knows, will vibe and take from the state and all the colours it offers. Fellow Utah musicians like Parlor Hawk, The Moth & the Flame and The Blue Aces are showing what variation and quality there is in the state. The latter, in fact, are natives of Provo have the directness and evocativeness of Alabama Shakes but are an original and highly effective. Desert Noises, coming out of Provo, have Southern-fried magic and create music that, not only speaks to Utah residents, but has resonate across the U.S.A. Jay William Henderson is a local hero and has a set of sophisticated arrangements that perfectly accompany his heartfelt and striking voice. Koala Temple, in contradistinction, see themselves as ‘Gloom-fi’ but, has a sense of nostalgia and vivacious that belies that rather moody and off-putting tag.

L’anarchiste recalls the likes of Grizzly Bear and Foals and provide progressive Folk of the highest order. Lush and fulsome production gets the songs into the brain and seeps into the imagination. That is merely a nod to the variety of artists performing and succeeding in Utah. The state is, like many in America, a productive and eclectic market that stretches beyond the confines of the inhabitants. Robyn Cage, even in a state that has a range and musical treasure chest as vivid as the surrounding landscape, seems to stand out – but she takes from her contemporaries in a lot of ways. I will come back to that in my conclusion but it seems like Utah has a very hospitable and supportive music network. I want to return to Utah but, looking at Robyn Cage, I want to discuss her musical motives and inspiration points. On her bio (on the official website), she starts my offering this insight:

“Last Spring, I spent a week alone camping in the remote red rock desert of Southern Utah. No internet, no cell phone service, and not a soul for miles,” she shares. “It was magical. Songs poured out of me, starting with this optimistic ukulele tune called “Flying Machine.””

Then…

PHOTO CREDIT: @carlaboecklin

“…one morning, she woke up with a song in her head. “Slow The Devil” was “a gift from the songwriting gods, and the closest thing I’ve ever written to a protest song,” she says. “I realized that music was helping me through these dark times.”
While Born in the Desert is an ode to self-expression and loving what makes you different, Slow The Devil is a call for Unity and loving what makes others different. “I don’t believe that ‘Unity’ means we should all be the same. For me, unity is about celebrating diversity,” Robyn shares.

Cage retreated to an idyllic and detached are where modern appliances and the distraction of social media held no appeal – keen for people to connect with the land and not be obsessed with the Internet. A perfect chance for reflection and inspiration: returning home and a more modern surrounding; she noticed how her country had changed. One spring, when looking around her, she noticed the climate and feeling in the country had changed. Whether it was a pre-Obama thing – or started when Trump came to The White House – something had altered for the worst. The people had become colder and more distant. One can look at this separation as a gift from the Trump administration but, looking at the racial tensions and gun violence that was percolating in the U.S. – perhaps a sign of growing fears and a need for something different in the country. I would not suggest Trump’s victory is a result of confusion and a need for a radical change in America – feeling the country was being taken over by outside forces and ‘spoiled’ by foreign people – but, against that time of balkanisation and trouble; the people made a rather worrying decision. Few could ignore what was happening around them and not address it. Robyn Cage is an artist who has always taken from events happening around her so, seeing a nation become cold and cracked compelled her to put her pen to paper. Slow the Devil, in a way, is broader than a judgement against people like Trump. It is that feeling (the nation) is beholden to dark forces and an evil that has no place in a country that promulgates unity, liberty and freedom. I mentioned how America is leading the way when it comes to urgent and socially aware music – more strident and enflamed than the British variety. The Triple-X Bourbon America gives the world makes our paler and alcohol-free brew seem rather weedy. What I mean is artists like Beyoncé and Kendrick Lamar, in Lemonade and DAMN., have produced albums that perfectly document the struggles and troubles in America.

PHOTO CREDIT: Carla Boecklin Photography

Robyn Cage, by comparison, is less inflammatory and angered than many of her peers but is eager to confront the splits running down the spine of the country. Politics is a rather risky side of things to get into: many artists can get it wrong and it’s difficult writing a song that makes you think. In a lot of ways, a song like Slow the Devil, and many songs that will be on the same-titled album look at people, love and the self. It is not only about the state of U.S. politics – but, there is a determination to examine why the people are on different plains and reading from different hymn books. With Cage, there is this sense of loving and ecumenical that gives her music an almost religious ideology. I am not sure whether Cage has faith – and, like a large percentage of Utah’s people is a Mormon – but one does not need to have religion to find faith. Cage does not sermonise not hector: her music is a hugely romantic, emotional and spiritual sound that needs not pontificate, judge nor discriminate. Her music has a conscientiousness and is keen to examine why her nation is feeling strained. There is something alluring and tempting about Robyn Cage. Not in a sexual way, you see – well there IS; but that is not where I was headed – when one sees her. The flame-haired songwriter is striking and eye-catching. Without hearing a note, she projects a sense of authority and mystery. Her promotional shots and videos utilise the beauty of her surroundings and show she is someone to be taken rather seriously. It may seem odd me looking at red-headed artists but, in a weird way, there seems to be a colour connection between Robyn Cage and her idols. Maybe it is the fact red-headed artists are rarer (than brunettes or blondes) or it may not to a sense of romance and allure – there is something about artists like Robyn Cage that stands in the mind longer than you might think. She is someone that makes the heart skip but, when hearing her songs, that spreads around the body and lingers in the mind.

PHOTO CREDIT: Carla Boecklin Photography

Artists like Tori Amos and Florence Welch are two artists Cage has been compared with – both are red-headed, strong and unique songwriters. Whilst there is a generational gap between Amos and Welch: both are defined by their beguiling music and powerful deliveries. The fact they are both red-headed makes me curious – whether the flame hair, in some way, ignites the music. It might be coincidental but it is interesting Robyn Cage finds inspiration from Tori Amos and Florence Welch. Those songwriters are established and legendary and, the fact Robyn Cage stands alongside them, is testament to her strong and nuanced music. It is not only her hair and extraordinary music that lingers in the imagination – there is a professionalism and determination that sets Cage out for long-term stardom. I have already mentioned her Kickstarter campaign – and will come back to it – but it has, as of last night, closed. Over two-hundred people contributes and $20,000 has been generated. Cage has supplemented the donations online with house concerts and performances. This means, not only will her album be able to spread its wings, but that money can be used on promotion and videos. Just look at her photos and there is a high-quality standard that few of her peers uphold. One sees these wonderful images and looks at her official website – full of information and links. One of my biggest peeves is when artists approach me and have very little to recommend. Their music might be fantastic but, if I am reviewing or interviewing, there needs to be photos and information. If I have an interview with a few grainy images – and a paucity of biography – then that reflects badly on me. It shows, more than that, the artist is not taking things are seriously as they should. There is an inherent link between exposure/fullness and the intent of a musician. It is not good enough – something I hear endlessly – for music to do the talking. Music, today, is a competitive and highly professional industry that does not want its artists untucking their shirts and slacking off with regards the household chores.

PHOTO CREDIT: Carla Boecklin Photography

It wants them to be a free spirit but dress with sartorial elegance and ensure their housekeeping is assiduous and diligent. Robyn Cage ensures her social media is updated and there are loads of great images for her fans. Many will argue the visual is not as important as the sonic: if you are a musician who wants to attract reviews and supporters; it is paramount you take every aspect of the industry seriously. Going back to Robyn Cage’s Kickstarter and, having passed a milestone (and closed its door); it shows there is a great bond between the songwriter and her fans. Cage, as she says herself, is someone who knows music is free and available these days – it does not mean it needs to be devalued at all. The fact so many have thrown their weight behind her album shows there is a demand to foster musicians and ensure they receive adequate support and equity. Wrapping everything up and it seems, when one looks at Robyn Cage’s music and output, she is someone who takes music very seriously. Her Kickstarter campaign has ended but there is a legacy and lesson that has come from it. I have been amazed by how many people have backed Cage’s campaign but it’s clear there is a lot of affection for her. When speculating as to the reason why so many people have supported the album drive, it can be broken down to the personality, music and professionalism. The videos and images how Cage is someone who looks for beauty and the memorable in everything she does. Her photoshoots and campaigns are well thought-out and beautiful. The videos are filmic and seem to have the ability to transfer into longer pieces. It seems Cage is a professional musician who could make it as an actor – as she has a theatric and dramatic talent that few musicians possess. The music itself is among the most original and astonishing I have heard. The vocals are immensely griping and affecting; the lyrics mix personal and universal whilst the compositions are busy, diverse and accomplished. Throw that together with a woman who is bright and lovable; friendly and open. All of this has resulted in a huge wave of affection from her supporters. This should act as guidance for any musician who wonders what it takes to get people to back their music – and gain success and longevity in the music industry.

PHOTO CREDIT: Bryce Johnson

Anyone who wants a song they can instantly bond with should direct themselves towards Slow the Devil. As a representation of Robyn Cage’s album – this, as its title track – it is a wonderful revelation and realisation. The opening shots of the song’s video (directed by Bryce Jonson) take us over icy mountains and a cascading waterfall – looking more like the depths of Iceland rather than Utah. The opening notes of Cage’s voice are as striking and evocative as the setting. A view-rich, physical sound that sees the heroine viewing the Devil in his Sunday best. Her soul and body are unassigned and departed: a sense of emptiness and surrender rushes from the first verse. One hears definite embers of Florence Welch in terms of the pronunciation and punctuation of the words. It is a flourishing and bellicose delivery that manages to steal focus from the lush and gorgeous vistas. The heroine is in the forefront and enraptured by the situation she finds herself in. There is a wicked dance unfolding – the entwine of Hell’s Tango – as Cage starts to slip away. Of course, the words are a virtual and spiritual representation of a pain that is as personal as it is common. Maybe the state of the nation – people on different plains and in different minds – is causing her strain but it appears there is a personal aspect to the song. Perhaps there are burdens of love and thought: unable to reconcile the state of her life compared to that of her country; feeling unsettled and foreign around people who seemed familiar and family beforehand. One feels, based in Utah, there might be some separation from the real compaction and explosion in the country – a slight geographical distance from the political arguments and the President’s agenda. There is a division, for sure: Robyn Cage wants to create a community and neighbourhood of like-minded souls. Tarnished and harrowed by the seismic shifts and rumble of turbulence; the vocal, for the most part, remains dignified and restrained. There is a gorgeous Country-like twang and hold that has a fluidity and smoothness. It mixes with a clarity and crystal tenderness that puts me in mind of Kate Bush – whether that is someone who inspires Robyn Cage.

In terms of the composition; there are beating percussion notes and strings lingering. It is kept quite light but manages to elicit a vibrancy and ominous quality. Robyn Cage’s songs are defined by their fullness and compositional intelligence. Here, in these early stages, that need to let the voice have its say is evident. One hears some intriguing undercurrents but is drawn to the heroine. Slow the Devil is as much a prayer and supplication as it is an exposure of fear and torment. It is hard seeing your people on different sides of the fence: fighting and arguing; conflicted and conflated; burning and judgemental. I have stated how Trump’s ascension might have influenced the song but the origin and story of Slow the Devil seem to hark back even further. There has been unrest in America for years. Many have felt the level of gun violence is unacceptable: the President unable to get a hold on it and compromise. It is hard saying just how wide Cage’s influence runs but it clearly has a lot of relevance in the current climate. America is still very unruly and not able to unify its people. One hears a mix of Synth. and Country mix with Alternative and Indie. On the one hand; there is a bubbling electronic sound that sticks in the mind. It seems to represent confusion and a physical release impending. The beats remain strong but become more pressing as the song progresses. The mood gets more intense and probing; there are yearning strings and something romantic working underneath. All of this put together – backed by COAV’s intuitive and assured production – means the song really strikes hard. STOLAR co-wrote the song and brings his voice and talent to the mix. It is a combination of talents that could have failed but does not. Cage’s voice gets more heated and passionate as the words indicate a sense of helplessness.

PHOTO CREDIT: Carla Boecklin Photography

“Every morning, feel you when I wake” so goes the second verse: “Wash myself of your sins and shame” provokes religious images but it seems less righteous. It is a very real way of washing away a sense of disgust and dirt – that has been accumulated by the rising tides in America. There are bloodied eyes and pointed lies – maybe it is someone personal or a political figure?! My mind is split between the two possibilities. In a way, Slow the Devil can only really be about someone who wields power and uses it to further their remorseless and questionable desires – almost an allure and sensuality to the way Cage renounces their spiked tongue. The pointed-tail Overlord is moving in a merry fashion: the need to be together and of one mind is enforced. I cannot get over how passionate and emotional the vocal display is. There is so much in the delivery that it is hard to get a handle on. As Cage lets her voice rise and swoon; the beats and electronics build up like an army. It is an evocative and compelling sound but not one that becomes too intense or intruding. It seems the heroine is not willing to relinquish her soul to this cruel figure. Many people around her are being tempted to a darker side: this is not going to happen to someone who wants to see her country and people returned to their former best. Given the relevance of the song; Slow the Devil will resonate with many and create something. It affected me in terms of the lyrics and vocal. Cage takes her voice to new heights and seems engrossed in every single moment. The lyrics have simplicity but, in a sense, it reads like poetic prose. One envisages scenes and possibilities; all manner of dark and staggering possibilities. By the end, you are exhausted and moved by the song. It is a stunning release from one of America’s finest emerging songwriters. Small wonder so many (including myself) backed Robyn Cage’s Kickstarter campaign – given the strength of her music and how different it is.

PHOTO CREDIT: Carla Boecklin Photography

I will end this now but, before I come back to the earlier themes, want to see where Robyn Cage is heading. I know she has new music – single-wise – very soon but I was keen to look at Slow the Devil’s title track – seeing as the video was revealed a week ago. It seems Park City provides ample opportunity for the young American. Looking at her tour diary and one sees the Montage Vista Longue (tonight) begin a run of dates that takes in Prime Piano Bar and Riverhorse of Main. It seems she splits her time between Montage Vista Lounge and Prime Piano Bar. Whether she has residency there or feels more settled among its people – valuable bookings and chances for Cage to spread the word and bring her music to the people. I am not sure whether there will be other U.S. dates this year – whether she has time to fit them all in – but the past twenty-four hours have been hugely important for Robyn Cage. If one wants a fuller sense of Robyn Cage, I urge them to take to her YouTube and Facebook pages. On Facebook, one can see Kickstarter updates and her speaking to fans. It is great seeing those clips of her providing updates and keeping fans abreast. Not only a window into her home (and soul) but a way of connecting with her fans – refreshing to see it in an industry where many are falling short of the mark. I’ll touch back on her Kickstarter campaign but I am so glad it has reached that $20,000 marker. It means all the music can be completed and produced to the highest standard. When the album is completed and out to the world; from there, Cage can think about new music videos and making her promotional shoots as professional and ambitious as she can. That money will also go to touring and getting out to as many people as possible. The U.S. is a vast nation and one that, in every state, provides plenty of spaces to perform in.

PHOTO CREDIT: Carla Boecklin Photography

I hope Robyn Cage comes to the U.K. at some point because there is a definite market for her over here. I looked at, among other things, red-haired artists and musicians like Florence Welch and Tori Amos. The Florence + the Machine lead has not released an album for a little bit and there seems to be a vacuum there. No artist like her is making music and one feels many would welcome her spirited and extraordinary music right now. Similarly, there is a real demand for Cage’s music. She cements a general feeling of unity and the need for change. Her lyrics look at the nation and how things have got tangled. The Devil is that embodiment of repression, struggle and negativity. Slowing that ill is something many are trying to do: the album’s title cut is a perfect distillation of feelings many of her country’s patrons share. I am not sure whether the track looks at the changeover between Barack Obama and Donald Trump and how the nation has transformed since the latter came to power. I know many supports Trump but it seems there is a lack of faith when it comes to his leadership. Those who support him are perpetrating ideals and values that seem to clash with those who favour progressivism, togetherness and equality. I have not seen America this divided in decades and it is a worrying time for the people there. We are in a similar situation in the U.K. Our Prime Minister is making foolhardy decisions and leading the country in a bad direction. The world is less assured and safe than it was so I can understand the need to profess a certain anger and annoyance. I am looking forward to seeing Robyn Cage’s album in the ether as it is a record of the times. Not only are there political and social concerns but plenty of emotion and personal revelations.

PHOTO CREDIT: Carla Boecklin Photography

I will bring this to close but want to end by returning to Utah, Kickstarter and Cage as an enigma and beauty. Her album campaign ended and reached an incredible mark. It shows platforms like this are crucial: crowd-sourcing is a great way of artists being able to fund their music and ensure the songs are brought to a wider audience. Many artists are struggling in the current climate given the fact music is (largely) free. It is a strained economy that finds so many having to gig relentlessly and break their backs. There is no easy way to overturn this and ensure there is a sense of structure and fairness. Robyn Cage knows music can be free but she knows it should not be devalued and taken for granted. Fans agree and, as such, she has ensured her Slow the Devil camping gas fruited and grown into something beautiful. Many have got behind it and want to see the music out there to the masses. I have mooted whether she will come to the U.K. but there is enough of America waiting for her. Utah is a magnificent state but one that is close enough to areas like Nevada and, it seems, The Beehive State is close enough to the West Coast. Cage could tour in California and find popularity there. I am not sure whether she is tempted to play out there and feel her music would connect with the people. I speculated Robyn Cage’s music took a lot from the diverse landscape of Utah. Those huge mountains and vast deserts; the contrast between the built-up areas the wide-open sweeps. Atmosphere, passion and calm feed into the music but there is evocative and fiery intensity that one cannot overlook. Here is an artist who has the potential to carve out a large chunk of the U.S. and find success throughout the nation – come to Europe and get her music to the people here. Looking at Utah and, aside from the spots Cage performs at, there are many others she might find favour in.

PHOTO CREDIT: Todd Cole

Look at Robyn Cage’s Kickstarter site to see how much the donations mean to her. This affection and appreciation, one hopes, will parlay into some gigs around Utah. A lot of the more popular spaces are situated in Salt Lake City but Kilby Court is somewhere that would be set-up for Cage. It is a hole-in-the-wall venue that has attracted the likes of The National, Vampire Weekend and Bowerbirds. The venue finds unique talent and is a great stop-off for rising artists seeking a wonderful, unexpected treat. The Depot features small Rock performances but they do switch genres here and there. Michael McDonald and Alice in Chains have performed here and (the venue) draws an eclectic crowd. Head to 400 West South Temple and one might encounter a great new artist in this trouble-free space. The Urban Longue is one is the best venues in Utah and has hosted artists like Sleigh Bells and Unknown Mortal Orchestra. I could see Robyn Cage performing there but, in reality, she might be too busy with the gigs she has – and getting the album out there and completed. With the Kickstarter success fresh in her heart; it will be a busy next few months for the young talent. There is something arresting and heart-breaking about Robyn Cage. In a time where the looks of female artists – men finding them more valuable than the music – are put under the microscope; it feels rather shameful highlighting Cage’s natural beauty. Not that this will ever take prominence (for me) over her music but it is hard to ignore the immense beauty and allure of Cage. This beauty is reflected in music that mixes calls-for-unity, strident anthems and huge anthems. The flame-haired musician is one of the most mystifying and staggering in the music world and someone who is in my mind. I have been stunned by the incredible potency of Slow the Devil – a tantalising insight into what the album will possess. There is a lot of love for Robyn Cage that extend beyond the U.S. When her album is made public; it will find her getting attention from stations over here like BBC Radio 6 Music. I will do my best to bring her to their attention because we need to have her over here. It is a great and prosperous time for a musician whose glory and success…