With original songs, and much merriment, the mOss circle journey began in 2009 in our Cave here in the NE Kingdom of Vermont 2009-2010.
Seven Days By Dan Bolles [11.24.10] "Was the world clamoring for a soundtrack to Magic: The Gathering, or maybe live-action role-playing (larp) tournaments, and the rest of us somehow missed the memo? Well, grab your cloak, long staff and 12-sided die, and prepare thyself for local fantasy-rock outfit mOss circle. Led by veteran seer/songwriter Margot Day, the Northeast Kingdom-based sextet’s self-titled debut comprises an epic tale indeed, one fraught with peril, curiosities and, um, dragons. And rock-and-roll flute. The journey down the hobbit hole begins with “Smoke & Mirrors.” Those expecting impish lute music or fey medieval folk are in for a rude awakening. It’s difficult to gauge an exact point of reference for much of mOss circle’s material. But if forced to do so at, say, crossbow point, the song exudes an early-hard-rock edge recalling Jethro Tull, while Day is presented as a latter-day ... incarnation of Heart’s Nancy Wilson. Or perhaps Blondie’s Debbie Harry.Lyrically, the song plays out something like a game of Dungeons & Dragons. “Beauty is my master,” sings Day ruefully, then is met by the band’s elfin refrain, “And I am her slave.” “The fire dragon,” Day intones. “And his prey,” comes the response. The Tull influence is more overt on the following track, “A Lifetime in a Day,” which features Day’s flute mirroring Cyris Bridwell’s attacking lead guitar before breaking free on a fluttering solo. “Ride the Dragon” is a scorcher, and most representative of mOss circle’s overall ethos. Following a driving hard-rock verse fueled by Day’s “story of fire and glory,” Bridwell spins a wicked yarn in which a dragon annihilates an unsuspecting village. He’s like Tolkien crossed with a computer hacker. His impassioned spoken delivery is oddly gripping — and impossibly dorky.And that kind of sums up mOss circle’s debut in a nutshell. As far as fantasy-rock goes, the band presents a lovingly crafted and mostly well-executed take on the genre... And gazing into the wizard’s glass, the prophecy here is that the audience will cling to them ..
".. she was the trendsetter that others emulated and a whole new generation will come to know Day in the latest incarnation of mOss". Mike Ventarola. "Epic Tale..gazing into the wizard’s glass, the prophecy here is that the audience will cling to them " 7Days. "mOss gives a good show in its visuals as well as with its sounds, with a definite appeal to a generation familiar with the magical mythologies of Tolkien's Lord of the Rings and even Harry Potter". Hardwick Gazette
RECORDS OF THE YEAR: mOss circle (promo EP) Mick Mercer "...I have no idea why they spell it mOss circle, unless it is written that once there was a mighty moss circle from which plentiful fauns did multiply, like a maths class au naturel, but I can say that Margot Day (The Plague fans will be delighted) is involved. The album comes later this year.. mOss circle Album: Mick Mercer ‘Smoke & Mirrors’ has quite a post-punk toughness about it but there’s a quaintly inviting chorus, as punch and caress combine with Margot Day in fine throaty form which at times reminds me a little of Guesch Patti, always a good thing. ‘A Lifetime In A Day’ has a purry, punky slither about it, and the organic recording really has you feeling you’re sandwiched into a studio with them. ‘Lonely Peacock’ sounds like a folky appropriation of Hendrix, or a relative of Curved Air and with male vocals featuring in ‘Chalice Well’ they slip sideways into historical rock, loose guitar slipping behind capering singing.‘Lupines’ is more dramatic, high vocals wan and relaxed, ridiculously catchy, with ‘Carni Babies’ pitching bass and flute into an understandably fruity mix. Then it’s back to an early New Wave clamour for ‘Ride The Dragon’ with scruffily spirited guitar and clattery drums. It’s swiftly back to a plaintive, earthy ‘Not Goodbye’, the angel-based ‘No Place For Love’ is another curious amalgam as they cross genres and eras, somehow fusing the spirit of Blondie and Fleetwood Mac with a well appointed vocal roving through the mottled, mellow rocky undertow.‘Rory To The Hills’ threatens to be some trad folk but it lopes off with jaw jutting punky finesse interspersed among the dreamier elements. I’m not sure why, as it would have worked either way, but clearly merging styles is their thing. ‘March On Spotted Salamanders’ is another curiously sprawled dark punky item, ‘Someday’ a lighter pop oddity and ‘Tween Worlds’ sees us out, flute fluttering in mildly rock probing and shuffling with lyrics tying up previous threads, then into the secret extra track which is deliciously light twittery pop fun with the best vocal performance of the lot.
" .. mystical vibe appropriate to their name is apparent" Times Argus
Margot Day - Voice, Flute. Kurtis Knight - Keyboards. William Bridwell - Bard, Vocals, Melodica. Kulom - Bass. Cyrus Bridwell - Guitar. Dov Michael Schiller - Drums.