NEWS
2026
Happy New Year! Back in the studio on 6th Jan. Almost there with the third album...
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June 2022
Review of 'East of the Moon'.
Oxfordshire Music Scene Summer 2024
The follow-up album to 2020’s ‘Green Triangle’ is a welcome return, full of folky melodies, jangling guitar tones, raw acoustic might and a clear theatrical voice that would suit a stage musical. Expectations run high as Ian Davenport (Gaz Coombes and Philip Selway’s producer) is in the production seat.
Opener ‘Outside’ exemplifies what Daniels does best and that is full-band, up-beat, steadypaced pop anthems. This sets a very high bar for things to come. The title track waltzes bittersweetly before highlight ‘Canary in a Coalmine’ shows Daniels’ range and ability to make a stomping chorus after some cool downplayed muted guitar lines. ‘Christine’ follows with an ode-like air of a chivalric courtly love. ‘Strangled Hares for Kidney Stones’ has Daniels really serving lyrical proficiency and cutting through the noise and pulling focus with some well-phrased ideas about authenticity, all strung together with a toe-tapping groove. The penultimate track, ‘Independence Day’ has shades of REM and is another string to the impressive bow of this breezy but introspective tour de force sophomore record. (Geno Naughton)
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​​​March 2019
​Review of the album 'Green Triangle' by Paul Carrera in Nightshift magazine
STEVE DANIELS ‘Green Triangle’ (Self released) “Words are flowing out like endless rain” sang John Lennon, and for Steve Daniels words are his prime colours for these twelve pleasing “song paintings”. During a working lifetime, initially as a school teacher and then onto the fringes of the music business with Edition UK, Steve has scratched his itch by singing in minor bands with poster-gold names like Plussupport, while simultaneously working up his own material for this debut release. His fine voice has a rich, easy quality, much like Justin Hayward, and it’s that, along with the mining of the folk idiom of fulsome old tales and supernatural stories, that brings to mind echoes of the Moody Blues, but without any prog bombast. So we have local ghostly legends recounted; about Ipsden’s highwayman in ‘Alas My Brother’, with its hints of early Genesis guitaring, and Checkendon’s ‘Green Triangle’ about US Airmen based there in WW2, where he spectacularly rhymes “Jeep” with “eternal sleep”. Then there is the delightful bluesy lady called ‘Serpentine’ who apparently has the kind of face that “commits crimes”, and a Medieval mystery ‘Miraculous Beam’, fashioned in the style of Chris de Burgh’s ‘A Spaceman Came Travelling’, another oral narrator that Steve sits well alongside. It’s probably true that inside every music publisher there is a personal album gnawing to get out, and with beautiful help from his erstwhile bandmates – Ollie Clark (drums), Graham Field (bass) and Matt Arthur (keyboards) – and all produced by the redoubtable Ian Davenport at Courtyard Studios, this is Steve’s legacy time, because off in the land of ghosts you can’t take it with you.
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