Dead Register – Fiber

pic Joe Sands

pic Joe Sands

The inability to pin down the Dead Register sound is almost as enjoyable as the music itself and the expansive web of flavours making it up. The Atlanta trio weave a tapestry which seems simultaneously made up of essences from gothic and death rock, post punk and dark pop, doom and post rock and more. As shown by debut album Fiber, the richness of those textures is a genre crossing emprise of craft and imagination. Yet there is something easily accessible to its busy body of imagination igniting invention and atmospheric drama too, an almost familiar presence which still defies recognition. The result of it all is a release which has a uniqueness few can emulate and a fascination which simply seduces ears and emotions.

Formed in 2013, Dead Register began as the creative union of vocalist/bassist M. Chvasta (ex-Palaces; ex-Light Pupil Dilate) and his wife Avril Che (bass synth, textures, keys, backing vocals). The programmed rhythmic side of the project was replaced the following year by Chad Williams (ex-Magnapop) with a wave of writing and subsequently the live honing of songs live following. Bringing six of their favourite tracks together, Dead Register now release Fiber; an introduction which bewitches and challenges in equally compelling manner.

From its first moments, Fiber is a leviathan of monolithic, doom infused temptation sparking and feeding off the imagination. It manages to be imposing, bordering portentous, but with an infectious virulence and emotively melodic character of sound which does not so much temper its dark side but blossoms in its embrace. It all starts with Alone and a lone and slim melancholic melody. It is the spark for a doom loaded awakening of raw riffs and a deliciously gravelly bass groan. A suggestive ambience lays in its shadows too before the instantly impressing tones of Chvasta’s croon and the rhythmic shuffle of Williams help unveil new depths in the outstanding encounter’s increasing emotion and drama.  Che’s harmonies float like gossamer in that air whilst the track takes on a Southern Death Cult meets Modern English meets Swans presence across almost ten minutes of sonic and vocal bliss.

Dead Register Fiber Cover Art_RingMasterReviewIt’s impressive and gripping presence is matched in might by the album’s title track next. From its initial grouchy growl in metallic riffs and bass lures, the song has ears and thoughts thickly involved with an intimidating creative theatre and emotive exploration. It gently nags and openly immerses the senses in a slightly corrosive but engaging proposal, everything about it a skilful and imaginative merger of contrasts. Rhythms are irritable yet rousing, melodies poetic against almost ravenous sonic atmospherics, and Chvasta’s beguiling voice the descriptive haven within a tempestuous climate and raw wind.

A mouth-watering post punk incitement opens up the rhythmically irresistible Drawing Down next; it continuing to make ripe appearances within the evocative landscape and post rock/ gloom-gaze heart of the third track. At times there are spices sparking thoughts of bands like Echo and The Bunnymen and The Birthday Party, other times a surge of invention hinting at a Godflesh or Palms, but all strands within the band’s captivating ingenuity linked by the ever impressing vocals and the tenaciously seducing rhythms.

Grave offers the darkest, dankest climate of the album so far, its atmosphere almost clinging to the senses as guitars and bass cast emotively picturesque lures serenaded by the rich expressive tones of Chvasta. As all tracks, it has thoughts off on their own creative tangent whilst embracing the narrative offered by voice and melodic intimation; a craft and success unsurprisingly found in the following Entwined too. Even with the riveting throaty grizzle of the bass, a flavour hard to get enough of within Fiber, the song has a warmer tone to its predecessors. It has an almost mystical air, especially through its sonic and melodic design, though again raw and erosive shadows lurk and crowd their magnetic insinuations for great volatility in another lingeringly memorable moment on the album.

Closing up with the heavy seductive oppression of Incendiary, a track rivalling Grave for strength of suffocating emotive intensity, Dead Register transfix and thrill with every twist and turn of Fiber. Though maybe not quite matching those before it for personal tastes, the final track epitomises the qualities and craft of the band whilst exciting the senses and imagination. Again contrasting textures and elements collude through a kaleidoscope of styles and sounds to create something unlike any other proposal heard in a long time and likely to be found again this year outside of the trio. Fiber is dark magic, emotional trespassing, and quite wonderful.

Fiber is released May 6th via AVR Records digitally and on CD and cassette @ https://deadregister.bandcamp.com/

https://www.facebook.com/deadregister

Pete RingMaster 06/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Murder Shoes – Daydreaming

Photo Joshua Syx

Photo Joshua Syx

After three increasingly impressive and enthralling EPs, it is fair to say that the debut album from US rock/pop band Murder Shoes has been a highly anticipated proposition, and equally honest to say that now here, Daydreaming more than lives up to hopes and the potential fuelling previous encounters from the Minneapolis quintet. Once more, the band weaves tantalising songs from strands of indie, surf, and dark pop rock, evolving from them perpetually mesmeric and at times sinisterly ethereal yet tenaciously mischievous proposals. The result is an album based on sonic flirtation and rich imagination which lights ears and appetite with a sublime hand of adventure.

From the first meeting of guitarists Derek Van Gieson and Chris White, the seeds of Murder Shoes have quickly and potently blossomed into a creatively stirring proposition. Writing a thick body of songs together bred on and blending a broad array of inspirations, flavours, and styles, the pair recruited vocalist/keyboardist Tess Weinberg to their emerging project before completing its line-up with drummer Elliot Manthey and bassist Tim Heinlein. Within a year first EP Cash On Fire was unveiled, December 2014 its release with a self-titled successor arriving the May of 2015 and the Little Lost EP two months later, all through Land Ski Records who now bring us Daydreaming.

cover_RingMaster Review     Your Friend Kimmie starts the band’s new temptation off, opening on an instantly alluring bass coaxing soon embraced by surf lined caresses of guitar. The smouldering invitation is increased as the warm siren-esque harmonic tones of Weinberg gently lay upon the spreading strands of sonic enterprise and low key but pungent rhythmic bait. A sultry serenade fondling ears and imagination, the song makes a potent start for Daydreaming but is soon overshadowed by firstly the inescapable catchiness of So What May and in turn the haunting romance of Bad Reputation. The first of the pair saunters with a spicily melodic smile and infectious rhythms, its breath carrying a nineties scent which only adds to its easy pull on a keenly growing appetite for the release, whilst the second sways with a seduction of slim but quickly gripping hooks amidst a mesh of melodic tendrils cast by the guitars.

Recent single Nineteeneightyone strolls in with an energetic and creative virulence next, beats and vocals colluding to enslave ears as sonic endeavour paints the song’s canvas with evocative and fiery imagination. Both Van Gieson and White craft a fascinating picture with their invention, holding their tempting own against the ever beguiling delivery of Weinberg. Equally though, as shown further by Secrets, Heinlein and Manthey conjure an enticement of rhythms and darker shadows which simply and skilfully accentuates the melodic humidity and elegance around them. In Secrets the pair court the flames of warmth lining the surf fuzziness with a darkly provocative prowl, offering a jazzy contrast to the more fiery aspects shimmering boldly around them.

New single Girls Named Benji marks another step up in temptation and excitement within Daydreaming, its Throwing Muses meets The Only Ones like canter, an epidemic of inciting rhythms and sonic drama around a just as keenly delivered and tenacious vocal prowess and attitude. The track is as compelling as it comes and swiftly matched by the outstanding Little Lost. Once again instantly the rhythm section captivates and enslaves, and once more the guitars create a sonic and slightly scuzzy tapestry of rich enticement to seduce the firmer enticement. There is a feel of Belly and Breeders to the song but, as expected, it is twisted and woven into the rousing and here raucous ingenuity of Murder Shoes to addictive effect.

The surf fuelled beauty of Reefer And Pizza seduces ears next; it’s romancing sway like the sun on a lively sea but with a volatility that will have its thrilling say. Another major pinnacle that provokes a hint of Martha and the Muffins in thoughts, it makes ways for the album’s title track, a crystalline kiss of light with rolling beats and fields of sonic and melodic sultriness. Again there is that steely and dramatic underbelly at play, seeping along and into the textures of the song bringing a subdued and thrilling theatre of darkness with underlying intimidation.

Can You Sea Me brings its masterful stickiness of evocative enterprise and melodic intoxication next, the song maybe eclipsed by those just before but smothering the listener in celestial and earthy contrast for great pleasure before How Does It Feel closes the album with a similar weave within its own engrossing character of sound and imagination. It is a refreshing end to another excellent and thrilling offering from Murder Shoes. The album continues where the previous EPs left off but also shares new depth in sound and exploration along the way. Daydreaming is like a musical lover you will only lay back and think about for ages after tasting its creative kiss, that a success in anyone’s book.

Daydreaming is released November 6th via Land Ski Records and @ https://murdershoes.bandcamp.com/album/daydreaming

https://www.facebook.com/pages/Murder-Shoes/331873790352913  https://twitter.com/murdershoesband   http://www.murdershoesband.com/

Pete RingMaster 06/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Horse Party – What I’d Do

 

 

by Kate Wood June 2015

by Kate Wood June 2015

As well as so far impressing with every release, UK alternative rockers Horse Party have also managed to bring hefty elements of surprise as their dark sound and song writing evolves. The band’s 2014 Integrity Records released debut album Cover Your Eyes especially came stocked with unpredictable and riveting adventure, qualities emulated and twisted yet again by the Out Of Sight​/​Receiver single last December. True to form, the Bury St Edmunds has again whipped up a fresh blend and imagination to their music with new single What I’d Do, and again there is no surprise it leaves ears and imagination enthralled.

The trio of drummer Shannon Hope and vocalists/guitarists Ellie Langley and Seymour Quigley, emerged in 2012 and through singles, EPs, and of course album, have earned a strong reputation and increasingly acclaimed stature in the British underground rock scene. Fan, media, and radio attention has followed suit in growing and blossoming greater attention upon Horse Party and for regulars and newcomers alike, it is easy to see why their bluesy, often melancholic, and perpetually gripping creative adventures just capture the imagination and emotions.

Fair to say that Out Of Sight/Receiver was Horse Party’s finest moment to date, a release even managing in many ways to outshine the band’s outstanding album. It impacted that much we wondered whether the band had peaked and would struggle to match the dark majesty of the release but What I’d Do soon addresses any thoughts. Its two tracks certainly do not leave the previous encounter in the shade but with their own unique character and new whiff of flavours, they boldly stand side by side in lighting ears and sparking new hunger for the band’s hypnotic sonic devilry.

What I'd Do cover_RingMaster Review    What I’d Do comes first, strolling in on dark riffs and crisp beats with shadows dripping off the former and scything resonance spinning from the latter. The sultry tones of Langley swiftly add her distinct temptation but though the song is still as dark and invitingly solemn as ever, there is a more melodic rock toning to it and the guitars enterprise. At times the song casts its spell on attention with a Forever Still meets Stevie Nicks like persuasion and though it is not a major shift in sound from say the last single, What I’d Do comes with a more relaxed and less agitated countenance. The spikier, more discordant elements of the Horse Party sound are always greedily devoured here but with the same kind of ease, the melodic roundedness of this track slips through ears and into a hungry appetite for its mellower though no less provocatively dramatic presence.

The following Horizons sees Quigley take the vocal lead, his expressive tones filling the darker climate of the song whilst the ever enticing and incendiary rhythms of Hope guide and framing the encounter with skilled prowess. The track from another reserved landscape begins brewing an increasingly volatile breath until eventually exploding in a blaze of raw guitar and melodic intensity. Though returning to its more restrained saunter, the song has already taken a new magnetic turn proceeding to twist and writhe with invention and vocal resourcefulness. Unexpectedly an essence of The Housemartins comes to mind at times early on though across its fluid landscape, Horse Party creates bracing roars and intimate caresses wrapped in dark emotion and ferocious imagination.

What I’d Do and its companion prove once again that Horse Party is one of the most invigorating and original lights in British rock ‘n’ roll; how they are not a household name yet is baffling.

What I’d Do is available now as a free download @ http://horsepartyparty.bandcamp.com/album/what-id-do-horizons

Upcoming Horse Party Live Dates:

Fri 17th July – SAWLEY (Lancs) Beat-Herder Festival

w/Levellers & Basement Jaxx

Sat 8th August – NORWICH Owl Sanctuary

Sat 22nd August – CAMBRIDGE Junction

Fri 28th August – BURY ST EDMUNDS Homegrown Festival

https://www.facebook.com/horsepartyparty

RingMaster 13/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Vienna Ditto – Circle

Vienna Ditto _Reputation Radio/RingMaster Review

With every song and single released, UK duo Vienna Ditto has enhanced the seductive hex they have laid on certainly our ears since being infected by the band’s Ugly EP in 2013. Now the pairing of Hatty Taylor and Nigel Firth has set free their long awaited and highly anticipated debut album, and fair to say that their melodic voodoo has just got seriously enslaving. Bringing some old fan favourites together with re-workings of older releases and brand new slices of sonic devilment, Circle is a bewitching romance of sultry atmospheres, bordering on sinister melodic beauty, and psychedelic sunspots of harmonic alchemy.

Originally meeting when Firth taught Taylor the guitar when she was 11 years old, the duo began writing and creating together in 2009 after meeting by chance again in the street. Within a week of that moment, they recorded an electronic version of the Johnny Cash classic Ring of Fire and in a matter of another seven of so days created and unveiled their own first song Long Way Down. This quickly managed to find itself played on Huw Stephens’ Radio One show, leading to Vienna Ditto playing the BBC Introducing stage at Glastonbury. 2011 saw the band’s self-titled debut EP get a well-received release, its temptation the beginning to greater attention and responses earned by a couple of singles and more so the Liar Liar and Ugly EPs two years later. With further singles only enhancing and confirming the duo’s potent emergence and increasing evolution of sound, there has been a greedy appetite brewing amongst a great many for this first album. Now here it is easy to say that no-one will be disappointed and for newcomers, well simply welcome to a new musical lust.

The encounter opens with This Is Normal, a song instantly luring ears through a minimal but potent bassy riff and the siren-esque tones and expression of Taylor’s voice. As crispy beats and additional guitar enticing joins the mix so the song’s energy also elevates, though it is quickly back into the low key gait so things continue to be potently intriguing and unpredictable. As electronic invention springs its bait next, the track eventually slips into a magnetic stroll with Morningwood like revelry but yet again things only get twisted and turned around to relentlessly excite ears and imagination.

Owly circle_Reputation Radio/RingMaster Review    The irresistible start is emulated and surpassed by the following Feeling Good. With garage rock hooks colluding with surf and sci-fi shimmers, the song is quickly teasing and flirting like a sixties Venusian temptress. Also though there is simultaneously a climatic and sultry air enveloping the senses whilst beneath it a smouldering Tarantino cultured landscape becomes the home for an irresistible dance of vocals and grooves. The song is pure musical and emotional drama, an infection getting under the skin and into the psyche whilst providing the first major pinnacle of the album.

A melodic calm caresses ears next through the mellow charm of Wintertime. Comparisons to Portishead have been a regular offering since Vienna Ditto began and easy to see why with the golden kiss of charm offered by the tantalising third song on the album. It has its own intimacy and individual, almost raw innocence and beauty though as it casts a lingering peace which eventually makes way for the off kilter cosmopolitan enticement of A Happy Car is a Stolen Car. With a ska shaped bassline and exotic melodic hues within a spatial atmosphere, the song is a fascinating waltz of warped imagination and enterprise. The effect hugged vocals of Taylor court the bedlamic shuffle of the song and again a sixties pop hued psyche rock twisted soundscape. It takes a couple of listens or so to fully explore and understand the wonderful turbulence of ideas and bold adventure at work but rewards patience with another major highlight within Circle.

The band takes ears back into the dusty climes of a Morricone like terrain next through Pale Horse Rider, voice and strained guitar strings a compelling lead into a continually evolving and absorbing immersion of sound and emotion. Beauty again is the keenest description to lie at its door before the first of the band’s two current singles step forward side by side. Oh Josephine which we are led to believe is a tribute to dancer and civil rights icon Josephine Baker, has a haunting and pulsating shine to its air, a glow which resonates across every aspect as rhythms and the simply catchiness of the song steal body swerves and lustful thoughts from the listener. The following Long Way Down is an epidemic of addictiveness and brilliance. Primarily garage punk and rock across its numerous strands of temptation, the song also weaves a funk and synth pop lure encased in psychedelic salaciousness. Think Chick Quest meets MGMT with a touch of Jingo for good measure and you have a closer clue to the brilliance of the song.

     Both the hypnotic almost oppressive psychedelic wash of A Wheel Within a Wheel and the bulging devilry of Hold On enthral and thrill; the first a song bordering on psychotic with its kaleidoscope of sonic colour and melodic seducing aligned to off the wall ingenuity. The second of the two is jazz/funk pop twisted out of shape and stretched on muscular rhythmic sinews, then infused with guitar jangles and electronic mania before being given to Taylor to bind in her ever alluring vocals. The result is one virulent dance of unbridled infection and enjoyment though it is soon overshadowed by the sensational Hammer and a Nail. Opening with a caress of southern guitar and the endearing tones of Taylor, the song soon spreads into again Morricone seeded scenery within a dusty hot ambience. It is a transfixing maelstrom of mystique kissed sounds and emotional drama which toys with ears and imagination. The more revealed the darker the track becomes, its rapacious throat and intensity an encroaching clouding over the open beauty and sultry resonance of voice and melodies. As a single this incitement was glorious but reshaped and re-coloured for the album it is simply majestic.

The gentle croon of Liar Liar Quietly is almost an anti-climax initially after the previous glory but soon has ears and thoughts firmly in its soft and persuasive melody soaked hands. It is a spellbinding kiss with a need to spill eighties post punk like invention from within its serenade, again the band reaping seeds from earlier decades to enrich their own scintillating invention.

The album closes with a smouldering slice of gospel bred psyche balladry; I Know His Blood Will Make Me Whole another cast in the dark country of psychedelic rock ‘n’ roll. As expected the track spins a mesh of perpetual unpredictability and off beat exploration which just gets darker, bolder, and more addictive with time and age.

There is also a bonus track on certainly the digital version of Circle called Squeaking Wheel and it too is a sensational romp, one built on a blues sound and craft wound in creative mischief and ingenuity. Whether this or I Know His Blood Will Make Me Whole completes the album, Circle is easily one of the most scintillating and invigorating thrills of the year so far. Full of surprises and originality, album and Vienna Ditto deserve all your attention with the only losers being those not taking a listen.

Circle is available now @ https://viennaditto.bandcamp.com/album/circle

http://www.viennaditto.com/ https://www.facebook.com/viennaditto

RingMaster 16/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Murder Shoes – Self-Titled EP

Murder Shoes_Credit Photo to Aaron Fenster_01

Photo -Aaron Fenster

 

A slice of dark seduction always goes down a treat especially when brought with an imaginative smile and psyche haunting radiance. A healthy dose of rhythmic drama and melodic revelry similarly has ears and imagination more often than not seriously enthused within that kind of sultry landscape. It is a delicious mix which leaves us generally hosting a keen appreciation for its source, and in the shape of the self-titled EP from US band Murder Shoes, an especially lustful one. The five track encounter from the Minneapolis quintet is an intoxicating temptation of surf, alternative, and indie rock ‘n’ roll, a sound basking in the smouldering essences of each whilst creating its own individual inescapable seducing.

The seeds of Murder Shoes begin with the meeting of guitarists Chris White and Derek Van Gieson, seemingly at a bar where one worked and the other frequented. Conversations about music led to the pair uniting as songwriters, with a torrent of songs emerging from their complimenting ideations. A new potent factor emerged when vocalist/keyboardist Tess Weinberg was brought into the mix, followed by another spark of dynamics when drummer Elliot Manthey and bassist Tim Heinlein completed the line-up. With everything in place Murder Shoes stepped into the light and released the low key three-track Cash On Fire EP last December. It was just an appetiser for major things, a more than decent toe tester in creative waters, but in hindsight now blown totally aside by the might of the band’s new offering on Land Ski Records.

cover Derek Van Gieson

cover Derek Van Gieson

The adventure begins with Charlotte Manning and an opening temptation of sultrily toned guitar strokes aligned to smaller nibbles of their strings on ears. Van Gieson and White swiftly grip the imagination before the siren-esque lure of Weinberg begins her vocal caresses to intensify its involvement. It is a magnetic entrance but soon finding new levels of persuasion with the darker spicing brought by the throaty bass and more fiery hues to the guitar enterprise. A surf rock seducing by this time is just as fruitfully lighting body and thoughts, it all driven by the respectful and increasingly anthemic endeavour of Manthey. Like that packet of your favourite candy where good intentions in having just one becomes two, then another and subsequently the whole thing, such is the power of the song, every minute left alone listen, leaving an insatiable want for more.

And so it is with the following Maybe You Can, and the whole EP to admit the truth. It is another song rampantly persuasive and in control of the senses from its first singular guitar baiting of ears. That lone lure is soon bulging with a feisty march of beats and wrapped in fresh swarthy kisses of guitar as Weinberg produces more of her warm vocal enticing. There is a feel of The Capsules to the melodic and smouldering aspects of Murder Shoes songs whilst the unpredictable twists and invention within the encounter is like a blend of Chick Quest and Two Wounded Birds. The track continues to masterfully impose and enthral before making way for the fiery Under the Sea. You can almost feel the hot tingle of sand between toes as the surf pop persuasion dances with ears and emotions. Its sixties breath adds to the compelling character and sound of the song whilst mini crescendos even in their brief moments just breed a catchy drama to the glorious pop flirtation.

The following Sea a Little Louder brings another embrace of mellower energy but again without losing any of the gripping invention and melodic poetry of its predecessors. It is too bubbly to be classed as a piece of balladry but similarly with its alluring restraint far from being an incitement of intensive activity, a mesmeric croon the apt description for the song’s atmospheric and creative hug. It is easy to drift away with the breezy temptation, even its muscular rhythm saunter and the little bursts of climatic endeavour only empowering its immersive qualities.

Final track In Your Bed Or On a Train has limbs back in a frenzy and emotions fired up with its fusion of old school rock ‘n’ roll, sweltering surf ambience, and indie rock unpredictability. Think a modern day Wanda Jackson fronting a Morningwood type proposition and you sense why the EP’s closing offering is so irresistible. Rolling beats from Manthey again provide the resourceful and unrelenting wave of rhythmic enslavement which cores most songs whilst guitars and bass spin sticky darkly hued webs of adventure. Shrouded in the almost celestial tones of Weinberg, it is an exhilarating proposition, as the whole EP, and if the flavours we most mentioned, surf, indie etc. bring a lick of the lips, you are looking at potentially your favourite release of the year.

The Murder Shoes EP is available now digitally and on CD via Land Ski Records @ http://murdershoes.bandcamp.com/

http://www.murdershoesband.com/   https://www.facebook.com/pages/Murder-Shoes/331873790352913

RingMaster 05/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Rooster Cole – More Than You EP

11014988_898036816908038_5370801605538373932_n

If you had to choose one word to describe the music of Rooster Cole it would have to be dramatic. Given a couple more to use then evocative and spellbinding would be next in line. As evidenced by recent debut single More Than You, the band’s sound and presence is pure aural theatre, transportation to sultry and emotional adventures which simply seduce ears and imagination. Now a four track EP with the last single as its title track has been unveiled to declare Rooster Cole as one of the most exciting and magnetic propositions in the British music scene today.

Rooster Cole is the solo project of Black Black Hills frontman Mark S. Aaron, a band itself igniting the music landscape before seemingly going on a hiatus. With a sound described as Bluesman Mariachi Soul, hard to think of a more accurate description either, Aaron unveiled a couple of songs last year to whet the appetite before releasing, as mentioned, his first single a few weeks back. It was a song which not only expanded on the potential of those early tasters but opened up a new web of intrigue and promise which now the EP has been taken to even greater depths and thrilling exploits.

MORE THAN YOU EP blue     The EP opens with Up To The Teeth and swiftly with its spicy caress of guitar and more sombre bass tone, has ears alert and the imagination intrigued, especially when the expressive drama lined vocals of Aaron begin the narrative. Only a few seconds in and a swarthy climate soaks the senses and song whilst a spicy flavouring spills from the melodic enterprise of the guitar and an evocative tang seeps from the keys. Its ambience is just as humid and provocative whilst vocally Aaron paints a potent picture for thoughts and emotions to embrace. His voice and presence is pure magnetism, as his songwriting and musical craft, and imagining Nick Cave and Roy Orbison as one unique person will only take you closer to the impact and qualities of the man. For all its shadowed feel and dark drama there is catchiness to the song which is just as gripping, its chorus especially magnetic with its melodic and vocal roar.

     More Than You steps up next and from its first breath has the listener under a sweltering sun scorched sky, a Tarrantino meets Morricone ambience colouring the broad yet intimately suggestive soundscape of song. It is exotic in air and rousing in touch but equally with discord lined sonic winds also bringing their temptation, the track is an unpredictable and compelling adventure. Aaron once again croons ears into submission, every word and syllable a conjuring of the imagination with his distinct and mesmeric delivery; if there is a finer descriptive and evocative vocalist right now we cannot think of them.

Whereas the first two songs are gentle immersions, even if each also brews stirring and intoxicating crescendos, third track River Deep strolls in on an immediately lively swing and energetic shuffle. The sway of the song is simply hypnotic and the rhythmic enticement a lure to listener involvement in feet and body. Thoughts and emotions are in turn taken care of by the voice and rich melodic enterprise of Aaron, aided by the feel of eighties bands like Heaven 17 in the feisty pop energy of the song. As always, Rooster Cole songs are a blend of light and dark and the latter, with its bluesy rock embrace, offers up The Doors and Bernaccia like whispers, though it all emerges as one unique Rooster Cole emprise.

Final song Evelyn is a ballad of haunting emotion and beauty, an inescapable magnet for ears and unbridled seduction for the imagination. Strings caress the senses with their melodic croon whilst Aaron strokes thoughts with every line of the dark romance, it all gently prowled by the throaty tone of the bass. Brief but sending a tingle down the spine, the song is a glorious end to a stunning release.

Aaron had us awoken to his voice and songwriting with Black Black Hills, further impressed and excited with his recent single and now lustfully inflamed through the More Than You EP. Rooster Cole is now on course to be the future of dark mournful rock ‘n’ roll.

The More Than You EP is out now @ https://roostercole.bandcamp.com/

http://www.roostercole.com/     https://www.facebook.com/roostercolemusic

RingMaster 30/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Vienna Ditto – Hammer And A Nail

10462646_10152163488441517_4409918304595880062_n

All seductions should come with a little essence of raw and dirty temptation and that is something you certainly get with the sound of Vienna Ditto, especially in new single Hammer And A Nail. The release is a sultry affair; a steamy and climactic persuasion but equally offers a mellow croon with intimate charm, a mix which simply enthrals and excites. The British band has been nibbling away at major attention for a little while now, with increasing success through their releases, but Hammer And A Nail might just be the spark to lure in the most potent of spotlights.

London based Vienna Ditto is the creation of Hatty Taylor and Nigel Firth, a duo meeting when the latter started teaching the former guitar when she was 11 years old. After a couple of years the two lost touch but a chance meeting in the street in 2009 sowed the seeds to their union as Vienna Ditto. Reaping and weaving the essences of smoky blues, psychedelic rock, and electronica for their fascinating sound, the pair has found interest and air play with the likes of BBC Radio One, BBC6 Music and XFM, as well as highly praising reviews across numerous publications. Now it is 10919057_10152609779061517_1589235084162101861_nthe new single’s turn to push the band on and lure more to join their already strong and devoted following.

Hammer And A Nail opens on a gentle caress of guitar within an electronic wind, a barren landscape already being suggested to the imagination as the continental vocal delivery of Taylor flames within the broadening climate. Melodies come with a sixties colour and character, something persistently and enjoyably spicing their songs generally, whilst Taylor‘s voice has, as everyone seems to mention, a bewitching Edith Piaf quality to its tempting. The song itself brings a Morricone cultured soundscape with a soundtrack cast by a fusion of The Animals and Portishead. It holds an atmospheric breath which swirls around ears and Taylor whilst the skills and invention of Firth provide a transfixing maelstrom of enterprise and expression which is almost tempestuous in character and compelling in its precisely sculpted beauty.

Hammer And A Nail is also a proposition which lingers long after its parting with the senses; worming under the skin, into the psyche, and ultimately into the passions with sublime efficiency. The single is truly a mouth-watering temptation from Vienna Ditto, their finest moment yet, and the next major step in the band’s spellbinding of the UK music scene.

Hammer And A Nail is available from February 23rd

http://viennaditto.com

Ringmaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today