Bask in Feathers: Introducing Rooster Cole

Rooster Cole pic

If like us you have been impressed and excited by Brighton band Black Black Hills, you might just get a tingle, again just like us, at the thought of a solo project from the band’s frontman Mark S. Aaron. When the man in question got in touch telling us about his new solo project Rooster Cole, there was an immediate intrigue and excited eagerness to find out more and once we had embraced the first two songs from this new adventure, there was little option then to share. As expected from previous exploits there is an elegance and grandeur to the sound of Rooster Cole but equally it has an intimate presence skirted by wonderfully invasive shadows. Nick Cave springs to mind as a comparison in many ways but truly the project has a uniqueness which seduces from the first note and syllable.

As mentioned Mark S. Aaron was /is the frontman to Black Black Hills, not too sure on their state of being right now to be honest, a band which has supported the likes of Twin Shadow, Maps & Atlases, and The Vaccines. Their sound also found good acclaim from the likes of Edith Bowman, Nick Grimshaw, and Huw Stephens, with their single Far From My Arms chosen by Lauren Laverne as one of her show’s MPFrees of the Day and placed on the Radio 1 playlist. Rooster Cole sees Aaron step out alone with a pair of captivating tracks as his first temptation. Still to play live as he works on further songs with a single and video planned for later this year, Aaron is already brewing up some hungry attention and it is easy to see why with the magnetic charm of his first offerings.

The two songs marking Rooster Cole’s emergence are More Than You and The Waiting Place, two sultry evocative persuasions which simply entrance the imagination as potently as the ears. More Than You moves into view on a breeze of jangling guitars and a broody bass tone, all gentle and restrained in their gait but rich in their expressive hues. Once the distinctive tones of Aaron open up the narrative’s croon a thicker emotive embrace cradles thoughts immersing the listener into a smouldering climate of heat and incitingly suggestive seduction. The song is still tempered in its urgency yet has a sway and swing which makes feet submissive but once the epic voice of sound and vocals in their varied delivery clasp the chorus, new incendiary heights and tempting depths are opened up. The song is simply glorious, its broad shoulder of sound expansive yet intimately caressing with lyrical and vocal enterprise. With keys bringing further colour rich flavour to the song it alone sparks a hunger to keep Rooster Cole under close attention.

The Waiting Place is a slower bewitchment, a piano led walk through resourceful scenery of discord kissed melodies, percussive kisses, and the noble come sombre yet emotionally incendiary vocals of Aaron. The song is covered by a red skied emotive climate, its potent vivacity a tempering lure to the shadows unfolding within the irresistible tale. There is an essence of Helldorado and Saint Agnes to the track at times and of the Dennis Hopper Choppers too, but all mere comparative spices in the ingenious design of Rooster Cole.

Though not official releases the two songs are available from Rooster Cole as free downloads from https://soundcloud.com/roostercole, an offering it is easy to loudly recommend all treat themselves to. Using the pair as inspiration, the suggestion that Rooster Cole will be a name on the lips of the country and in the ears of a legion of feather enthusiasts on a future horizon is unavoidable. https://www.facebook.com/roostercolemusic

RingMaster 26/03/2014

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Sunsmasher – Hell/Noise/Church

sunsmasher

A sonic suffocation and intrusive adventure which smothers the senses whilst igniting the imagination, Hell/Noise/Church the new EP from Scottish metallers Sunsmasher, is one of those exhaustive violations you can only welcome hungrily.  The three track release is not a comfortable listen but certainly a compelling ravaging to which addiction is an easy option. A merger of doom, crust, sludge, noise and plenty more, the Glasgow trio’s sound takes no prisoners and shows no mercy ensuring that their new EP is an inescapable predator, one fuelled by a thrillingly corruptive toxicity.

The Glasgow quartet was formed in 2010 with the intent to create ‘claustrophobic, intense, and violent music’ with essences bred in the member’s background in the Scottish grind, crust, and hardcore scenes. Debut release, the Mammothian/Loud/Cult demo a year later drew good attention and helped the band to a potent following which was accelerated as Sunsmasher exhausted stages alongside bands such as Conan, Dragged Into Sunlight, Monarch, and Wormrot. The last couple of years saw a few line-up changes in the band and a stronger crust and noise inspired sound emerging through their original doom seeded invention, the result as evidenced by Hell/Noise/Church, a not exactly unique but certainly a hellacious proposition individual to the band. Mastered by James Plotkin (Khanate/O.L.D.) and recorded with Kevin Hare (Black Sun), the new release easily pushes Sunsmasher into a greater spotlight, one deserving to reward as much as the band thrills.

Axe To Grind emerges from an increasingly intensifying and swirling sonic incitement, though the emergence is more a vicious launch at Sunsmasher - Hell-Noise-Church - coverthe ears with guitars and drums carving chunks from the senses and synapses whilst vocals squall with a razor sharp edge and malicious savagery. It is a brutal abrasion of hardcore and noise voracity which within seconds has ears ringing and emotions cowering. The band soon teaches though that they are unafraid to experiment and wrong foot as the track suddenly stops and drops into the thick embrace of an oppressive sludge prowl. Bass and drums find a restraint to their onslaught, though not their bestial intimidation, whilst the guitars merge a melodically hinting sonic tempting with a deeper guttural growl. It is a riveting enticement which consumes and invigorates simultaneously; a droning bait veining it all to captivate infectiously as a stalking low slung groove seduces. With vocal and atmospheric torments searing the air, the track is hypnotic slavery which grows stronger and more compelling over time.

The following Redeemer is just as rapacious but uses a ‘lighter’ sonic toxin to master senses and passions early on. There is a discordant lilt to the guitar call which immediately adds a tempting edge to the opening crawl whilst the lumbering rhythms and heavy throat of the bass provide a formidable canvas for the evolving stature and incitement to ravage. The best track of the three, the song worms its way into the psyche for a long term and intensely lingering chastisement.

Final song Perdition lets a great bass line draw in the imagination first, guitars soon joining it’s tempting with magnetic riffery. The initial premise of the song is almost gentle in comparison to that of the previous tracks, a caustic yet embracing abrading. It is not for long though as the weighty intensity of the track smothers all to enclose and consume the senses. Confirming the invention and exploratory heart of the band, the new thick doom clad swamp of sound is speared by a heavy swaggering groove right out of the Pantera songbook before merging all essences into a choking and enlivening strangling. As all the songs, it twists and turns with enterprise and malevolence, employing all the flavours announced at the start of the review into a mouthwatering and contagious destruction.

Obviously Sunsmasher and Hell/Noise/Church are not going to be for everyone but for noise corruption and feral sonic sculpting within a sludge/doom landscape it is hard to recommend much better.

https://www.facebook.com/sunsmashermlc

http://sunsmasher.bandcamp.com/album/hell-noise-church

9/10

RingMaster 26/03/2014

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Kobadelta – The Hidden Door EP

Kobadelta

Expelling a captivating kaleidoscope of emotive shadows and sonic light, The Hidden Door EP is a transfixing and quite compelling proposition from a band beginning to draw intensive praise and acclaim its way. The creators of the magnetic release are UK rock band Kobadelta; a quintet from Newcastle who are stirring up an energetic and demanding appetite for their imaginative sounds. Consisting of five enthralling and expressive mergers of psychedelic and melodic rock with blues and spatial rock ‘n’ roll additives, the band’s new release is a masterful temptation which whether fully seducing or simply awakening eager attention leaves senses and imagination greedy.

With the Ritual (Time Flies) single of last year under their belt as well as the sharing of stages with bands such as Temples, Splashh, and Kobadelta-The-Hidden-Door-EP-e1394372154357Superfood, Kobadelta takes little time to excite ears whether new or old with the opening seconds of first track Supernatural Cause. Drums and bass cast the initial temptation to excite senses with the guitar soon adding its melodic lures to the coaxing. It is an instant web of persuasion which seemingly draws on The Doors and Echo & the Bunnymen, an embracing enticement which smooches and dances with the imagination whilst the vocals of Dom Noble croon with expressive strength. Throughout its heated narrative and melodic climate, the song sways before and leans bewitchingly upon the emotions, the tangy sonic design by guitarist Alex Malliris and mesmeric charm of the keys from Jordan Robson a potent spice for thoughts and passions. The track is an exceptional entrance, one which simply gets stronger and richer over time marking the band out alone as something potentially special.

The following Electric Chair as the first launches its bait with the crisp rhythms of drummer Chris Malliris and the especially alluring throaty bass prowl of Jonathan Marley leading the coaxing. There is a swagger to the song from the first note, one egged on by a delicious guitar twang and fiery sax caresses but most of all by the sheer inventive mischief of the song.  Also as its predecessor intriguing shadows and a heavy air to certainly the rhythmic intensity borrows the imagination in its own purposeful casting whilst the guitar and keys colour that emerging canvas with inspiring and immersive psychedelically bred hues. It is a masterful enticement continuing the impressive progress of the release.

Not Above & Not Behind moves in next with its acoustic and vocal union, Noble confirming his skilled and potent delivery is as varied and consistently compelling as the sounds. Admittedly taking a little longer to fully persuade than maybe other tracks, the song emerges as a thoroughly absorbing incitement before making way for the title track, a musically expansive encounter spawned from the same emotive reserve and descriptive strength as its predecessor. Big rangy beats steer the fire of passion and sonic design though arguably the drama and truly incendiary spark of earlier songs is lost somewhere in its flames. Nevertheless it is another heavily brooding and accomplished suasion for ears and satisfaction.

The closing Love Stoned Chic is a deliciously intensive smog of fuzzy sonics and raw atmospheres thickened further by an impacting rhythmic penetration and guitar causticity. Veined by a searing melodic toxin and gently invasive keys, the track ventures into the realm of The Doors once again though it is impossible to take too much of the originality of the song away from Kobadelta.

A release which increases its potency and persuasion the more you let its fingers tease and search the senses, The Hidden Door EP is a rousing and enthralling adventure proving Kobadelta to be on the frontline of the most exciting and fascinating emerging rock bands around in the UK. Expect big things for and from them ahead, something to eagerly anticipate.

https://www.facebook.com/Kobadelta

http://kobadelta.bandcamp.com/

8.5/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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The Milton Incident – Innocence Lost

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French alternative metal band The Milton Incident has built a strong following and reputation in their homeland with their resourcefully potent and rigorously impacting sound whilst also making initial inroads further afield and with the release of their debut album Innocence Lost, it is not too adventurous to suspect that they will be making a similar mark on the attention and passions of the rest of the melodic metal world. Consisting of eleven tracks which are as dramatically contagious as they are skilfully crafted with a fusion of groove and alternative metal with plenty more spicery involved, the album is a thrillingly imaginative proposition. It is not exactly ground-breaking, songs holding a familiarity at times to previously trodden exploits, but with an incendiary passion and distinctly inventive sculpting to the individual premises, it is a release to capture emotions and spark greedy appetites.

Hailing from Paris, The Milton Incident since forming in 2010 has laid down a more than solid presence with a similar strong fanbase through their sound and live performances. Shows with the likes of Kreator, Moonspell, Dagoba, Vulcain, Mass Hysteria, KlogR, and Eyes Set To Kill has only increased the spotlight upon them whilst their music has been played on numerous radio shows worldwide. Recorded with Steeves Hostin (Beyond the Dust) and mixed/mastered by Shawn Zuzek (Daughters of Mara), the Dooweet Records released Innocence Lost makes a stirring full introduction to the band, one destined to leave a lingering mark on the widest attention.

From the opening title track, a short disturbing intro of intimidating sound clips and melodic intrigue, the album launches into a fiery and Covermuscular persuasion with Deadset. Its initial coaxing is a menacing almost predatory incitement but it is not long before strong vocal harmonies and melodic entwining wraps engagingly around the ears. That heavier threat is never far from the surface though; expelling bursts of cantankerous grooves and rhythmic antagonism throughout, stalking and gnawing the senses alternatively with the melody rich embrace of the track. It is a striking encounter soon exceeded by the riveting Torn Down, grooves and rhythms again bordering on carnivorous but the perfect complement to the expressive vocals and sonic endeavour which soaks the imagination as rewardingly as the melodic flames. There is a Stone Sour essence to the track in many ways though the song ventures in areas which could be compared to others like Three Days Grace and Tool as well as later Mudvayne too, yet the result is definitely particular to The Milton Incident.

The snarling Deus Ex Machina featuring Shawn Zuzek, rampages across the senses next, again the band merging dark rapacious elements within its elegant and exploratory melodic adventure. It is a magnetic slice of metal which evolves and explores before the ear, an invigorating provocation as contagious as it is intense. Its fluid drama is succeeded by the absorbing Dearest Enemy. From a cyber, almost starkly harsh ambience, the song immerses thoughts in an emotive reflection musically and lyrically whilst aligning them with more cryptically savage elements to its suasion. Like its successor Split Second, the song does not ignite the same heat of passion as other tracks but still leaves thoughts impressed and hungry for more, both tracks skilfully crafted and enjoyably presented with the second of the two holding a Poets Of The Fall like potency before its incendiary climax.

The thrills are turned right up yet again with Dopamine, a virulently infectious confrontation of bruising rhythms, rigidly barbed riffing, and passion drenched vocals. It is a masterful storm of uncompromising aggression and respectful melodic enticement ensnared and driven by ridiculously addictive grooves and unbridled enterprise. A major moment on the continuing to impress release, it is soon matched after the enjoyable emotive breather Irukandji, by Pyromaniac, another growl of senses stripping riffs and inflammatory rhythms courted by a deliciously acidic and caustic groove. With a range and depth of vocals to match the fire and intensity of its intent, the song prowls and sways with primal seduction and thoughtfully lit rapaciousness; like the sinewed assault of an American Head Charge fused with the emotional melodic waltz of an Alter Bridge.

The lofty heights are continued with the outstanding and voracious Conspiracy of Silence, the track an almost pestilential provocation with synapse spearing riffery and sonically drenched bait which infects ears through to passions. Its tremendous outpouring leaves a slight shadow over the following Memento, though the song only adds further coals to the pleasing fire and power of the album, whilst the closing 10-56 provides a classically seeded canvas for the imagination, one coloured by thick melodic hues and epically dramatic emotion. It is an imposing and compelling encounter from The Milton Incident concluding an equally bruising and irrepressibly seducing experience.

    Innocence Lost is an excellent full debut from a band you can expect to be hearing much more of. The Milton Incident has the potential to be a major instigator in melodic metal as their sound explores its brewing individuality for greater uniqueness and impact, something to eagerly anticipate.

http://themiltonincident.com/

8.5/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com