James Cook – Reverse Engineering (Vol. One)

JC

2013 is a busy year for singer/songwriter/producer /video artist James Cook, who follows up his impressive and successful debut album Arts & Sciences of 2012 with two full length releases this year. Towards the end of the year there is the release of his second solo album Ausland, but before that the ex-Nemo frontman and songwriter is treating us to Reverse Engineering (Vol. One), a seven track album of cover songs which is one big treat. Consisting of songs of artists from the late seventies and early eighties who ignited his passions and one suggests aspirations musically, the album is a delicious re-invention of classics ignited once again with James Cook imagination.

Reverse Engineering scientifically refers to finding advanced technology that is beyond understanding and taking it apart, then from the discovery of how it works creating a new version from the knowledge. This can certainly be applied to the songs upon the album, Cook, in the words of a room about the release, ‘creating an ‘alien twin’ of the original version by dissecting and redesigning the original.’ Bringing in expressive and skilled musicians (the Dollhouse band) to add their charm and passion to the songs, including once more violinist/string arranger Anne Marie Kirby who he worked with on not only Arts & Sciences but also the baroque pop curio The Dollhouse of 2009, Cook has given a new breath and energy to songs upon the release which emerge as a vibrant and thrilling companion to the originals.

The album opens with David Bowie classic Ashes To Ashes and instantly opens up a new expanse of thought towards the song, the a0326705245_2rich emotive tones of violin from Kirby and Ed Bruggeme, viola from Charlie Stock, and the seductive shadows from cellist Terezie Kovalova, wrapping the ear in a rapturous embrace which ignites open feelings. The string quartet is arranged by Kirby who consistently over previous releases with her imaginative arrangements has impressed and pushed songs into deeper impacting textures and evocative visions. As Cook begins the lyrical passage of the song, a new breath seduces the senses from within, the dramatic air and passional strength of the song enveloping with seductive and riveting grandeur but it is a majesty which has no sense of indulgence or self-importance. It is a wonderful version which stands boldly by the side of the original for these ears whilst as mentioned opening up a new shadow and life within the song.

The following track is The Teardrop Explodes song Treason and with its successor Making Plans For Nigel, steals the show on the album. With the guitar of Cook and a wonderfully resonating and throaty bass call from Smity immediately capturing full attention, the track strolls with a sure swagger through to the passions. As with the first and subsequent songs, Cook does not attempt in any way to emulate or cheat off of the delivery of the notable frontmen who bred the originals vocals, but infuses them with his own unique and compelling easy on the ear tones. As the strings of Kirby and Kovalova add their again irresistible presence, the track submerges the emotions in an understated but full wash of melodic beauty with the firm and punchy drums of Tom Marsh providing an equally addictive framework. With the elegance of the strings bringing their suasion through an air of dance and mischief, the track is a waltz come stomp which sparks only the purest adoration.

XTC is probably the first band to truly ignite a full lust of passion towards their sounds for us here but Making Plans For Nigel was the only song which wore out its welcome on the heart though from one of the greatest British bands. Cook has managed to bring the track back to its original glory and surpass it with passion and poetic musical imagination. The same line-up as on the previous track takes the Colin Moulding penned song and turns it into an emotive stroll along the banks of adventure and warm playfulness. They take the simple repetition across the song which helped lose the original version its appeal and treat it to an unpredictable yet familiar energy and sense of pride which itself steps forward to outweigh that of its seed.

Through Hiroshima Mon Amour, a track from the original John Foxx fronted Ultravox! and now given a mesmeric and melodic sunset of a passional sound, and The Go Between’s Bachelor Kisses where vocally and musically there is an incandescent to its invitation which inspires only further submission, the album continues to captivate and thrill. Admittedly as superbly crafted and interpreted as they are they do not match the opening trio of songs but that is just down to the beauty and ingenuity of those earlier gems. Our Lips Are Sealed though does reach up and pull itself up to those heady heights, the Go-Go’s song, also recorded by Fun Boy Three and written by Jane Wiedlin and Terry Hall from the two bands, carving out its own irrepressible niche upon the album with the cello and bass of Kovalova and Cook respectively, offering a deep captivating presence to the wonderfully refreshing and bracing encounter. There is a Walker Brothers feel to the song which only enhances the tonic it brings to ear and soul with each dance within its breath-taking arms.

Completed by an imaginative take on the Kraftwerk track Neon Lights, the song another with the full string quartet painting a unique and inspiring emotive canvas for Cook to lay his narrative, Reverse Engineering (Vol. One) is a passion capturing piece of colour drenched imagination and interpretation, and one hopes is the first of more such projects from the artists as suggested by the title. Though it could be looked at as an appetiser or piece of creativity to bide time before Cook’s next solo album, the masterful treat shows itself as a valid album in its own right even if its appearance comes as a staggered invitation. Released as a free download one song at a time a monthly leading up to Ausland, and with two songs already available, it is an album all should go to without hesitation.

To get the album go to http://jamescook.bandcamp.com/

http://www.jamescookmusic.com

9/10

RingMaster 15/05/2013

 

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By The Rivers – Self Titled

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Initially persuaded like so many by previous single Take Control that the 6 strong original new age reggae band By The Rivers was a unit which just had to be watched closely as their fresh and soulful melodic craft to grew into even greater things, the release of their debut self-titled album confirms and enhances all those previous thoughts and emotions. The eleven track release is a stroll through the heat of summer with all the warm caresses of the sun and the heart at tantalising play in its tender and emotively engaging arms. It shows that the previous single and releases were mere appetizers for the seductive feast of sound and invention to follow, a record which easily confirms all the acclaim and eager declarations surround the band since forming.

Formed in 2010 by friends since birth, Nile Barrow (lead vocals/guitar) and Jordan Birtles (drums/vocals), By The Rivers honed and sculpted a unique sound fusing a weave of reggae/ska/soul/afro-beat, all flavours igniting a driving passion in the duo. The cultural aspects of the sounds also aided to the influences as the pair began writing songs with a social commentary as well as just as potent love songs and positive takes on things that affect the youth of today. Joined by Matt Willars (bass), Sam Read (keys/guitar/vocals), Will Todd (Tenor Saxophone), and Leo May (Trumpet), the Leicester band was no stranger to acclaim from their first steps into view. Within their first seven gigs the band was lined up to play alongside the likes of Dawn Kinnard, Neville Staples, Fun Lovin Criminals, and Toploader, sparking an appetite within promoters and venues for their distinctive and refreshing sounds. The first year continued with the band sharing stages with the likes of The Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, and The Specials whilst continuing to earn impressed responses from people such as  Lynval Golding, guitarist and vocalist of The Specials/Fun Boy Three who declared “They are the new The Specials”. Their two EPs drew press and fan acclaim with debut single One Word and its successor Take Control both like the album released via Kompyla Records sparking up a strong anticipation for the album, a hunger which is easily fed.

The album opens with the instantly magnetic Vulture, the song a melodic blaze of vocal harmonies and expressive seduction from BTRAlbum_FrontCoverthe off, even before the music adds its compelling swagger and elegance to proceedings. An energetic but respectful romp which holds the ear and emotions by the hand as it dances across the brass flames and flashing guitar strokes, it is as infectious as it is lyrically provocative, the vocal persuasion of Barrow and co as irresistible as the perfectly sculpted melodic teasing and narrative colouring the intent of word and voice. The full combination is simply a magnet for the passions and senses setting the album off on the perfect start.

The following Make Your Own Road lifts the immense start to another plateau of excellence and steals one of the top honours spots on the album. Heralded by a restrained but bright brass call the song is soon offering a sultry stroll of deep throaty bass lures and group vocal calls as the chorus opens up the scintillating encounter. As the guitar picks and plucks the greedy heart the trumpet and sax offer a defined wantonness which enflames an already brewing ardour incited by the vocals and deliciously emotive bass sound. Every element of the song is passionate and expressive, each aspect an individual tease and narrative in tandem with each other and in union a piece of melodic alchemy which lights up every shadow and corner of thoughts, heart, and the day.

After such an immense start there was bound to be a dip in temptation but if there is it is barely recognisable as the likes of This Love, You Got It Wrong, and Don’t Look At Me with the aforementioned Take Control slipped in their midst, enchant and evoke further pleasure. Certainly the songs do not reach the same elevation of the opening pair but with the beauty of the first of the four a radiant kiss upon the ear and the persuasive ‘call to arms’ of the single with its deep temptation lined coaxing just two outstanding moments from this part of the album alone there is no slip in its fascination and strength.

The album ends as powerfully and contagiously as it begins with firstly the irresistible Rise Up stroking the ear into an enamoured rapture with its reggae honed siren call and brass fire erupting to deepen the temptation and soon matched by the Caribbean soaked rhythmic/melodic tango of Run Home, a song with an eighties whisper which reminds of Haircut 100. The closing pair though almost steal the whole show with the sweltering allurement of Don’t Say You Love Me raising the temperature with an epidemic cursed melodic enterprise and the closing Rocksteady a thrilling crescendo of ska shaped melodically grooved splendour to what is a stunning album.

By The Rivers, band and album, is a treat the summer of this and every year hence forth will adopt as its mesmeric soundtrack and the heart as its long lasting invigorating companion.

http://www.bytherivers.co.uk

9/10

RingMaster 07/05/2013

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

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