Rooster Cole – Swan Song EP

First the sad news…Swan Song is most likely the last outing from Rooster Cole and the good news? It is one seriously irresistible collection of tracks which epitomises the instinctive talent in songwriting and craft of its creator.

It is not the last we will be hearing of Mark S. Aaron either, the man behind the project and frontman for British outfit Black Black Hills which are still sorely missed, as he is moving on to new adventures with his next project, Mount Sinai. The Swan Song EP is a farewell which is much more than a goodbye as it is sure to awaken new ears to the history of Rooster Cole and previous triumphs like the More Than You and Bird Don’t Sing EPs as well as hopefully into the waiting arms of Black Black Hills before.

Aaron is one of Britain’s most individual and unique songwriters and artists, every note and syllable created and delivered with a dramatic flourish and imagination fuelled enterprise.  Within Swan Song alone, you can hear and feel the time taken and heart fuelling every aspect and moment of songs. It is aural theatre which invades the listener’s ears and imagination within a sound which resembles in its unique way the likes of Scott Walker, Roy Orbison, Nick Cave, and The Doors. To its particular grandeur though is an intimacy which takes you right into the blues bred soul of artist and song. Rooster Cole is a magnetic affair which has been no more seductive than with Swan Song.

The EP opens with 3102, a vibrant stroll with instantly catchy rhythms and a flirtatious hook. Guitar and bass share their magnetism around the distinctive tones of Aaron, all almost dancing with each other and indeed the listener as they head to a chorus no one could resist getting involved in. Every syllable dropping from Aaron’s lips is wrapped in emotion and suggestion, each note draped in melodic poetry as rhythms continue to guide hips and shoulders with their percussive swing. A warm stroll for the lover in us all, the song is pure manna for ears and emotions.

Animal Kingdom follows with its own instinctive sway and devilry. A fifties doo wop like lure instantly beckons aside Aaron’s rich emotive tones, that nostalgic scenting continuing to colour the appetite as harmonies and low key but magnetic melodies gather.  It too makes it simply impossible not to get caught and fully drawn into the song’s embrace, infesting body and spirit with energy rich melancholic beauty.

A post punk tinge comes with next up In Line, sonic twinges springing across a rhythmic shuffle as vocals croon with eager tenacity. With every word and expression, an intimate desperation flows from the throat of Aaron, its outbreak fire on the repetitive lure of the music. It is a heat which in turn fuels the magnetic flames of guitar which erupt as the superb song sizzles to its climax leaving ears and lust hungry almost desperate for more.

The release concludes with the emotive drama of It Is You, a serenade which gathers its thoughts and emotive heat line by line, chord by chord to flame with candescent majesty. It is a song which maybe does not strike as forcibly as its companions on the first listen but blossoms into an essential richly emotive hug which sums up the exciting adventure with Rooster Cole these past years perfectly.

Though it is not the last we will be blessed with the imagination of Mark S. Aaron, it is hard not to have a sense of sadness that this is most probably the end of Rooster Cole. As with all great relationships, good memories will prevail and great songs continue to linger in the passions, Swan Song offering a heady dose of both.

The Swan Song EP is out now on iTunes and @ https://roostercole.bandcamp.com/album/swan-song-ep

https://roostercole.com/    https://www.facebook.com/roostercolemusic/      https://twitter.com/theroostercole

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Bridport Dagger – Wolves/Trembling Sky

Sometimes you just do not know the goodness which is on your doorstep. Recently we had the pleasure of being introduced by one of their numbers to Bridport Dagger, a band which it turned out rehearsed and recorded in their singer’s home studio merely ten minutes away from The RR. Even more enjoyably, the meeting left us with the UK outfit’s new single in our eager hands and the urge to tell you about its rather tasty contents as well as the important message to constantly check out and support your local scene as you never know what treats you may find.

There is not a great deal of info we can tell you about the band except that it consists of vocalist/guitarist Jason Idnani-Powdrill, guitarist Lawrence Rice, bassist/guitarist Chaz Foster, and drummer/keyboardist Arran Goodchild. The quartet draws on the inspirations of artists and flavours such as Suicide, Nadine Shah, Roy Orbison, Guadalupe Plata, Clinic, The Gun Club, Flamenco, Get Your Gun, Fado, Ennio Morricone, and film noir especially the work of Wim Wenders and recently performed in an echo chamber under the river Thames and supplied sound design for a seven day immersive play in Berlin. But their sound you ask…well the most important thing here is a dark and seductive collusion of numerous flavours and textures but is maybe best described as Nick Cave and The Walker Brothers meeting Echo and The Bunnymen on a Tarantino set as Japanese Fighting Fish share their creative devilment. What emerges is something individual and magnetic to Bridport Dagger as epitomised by the double A sided lead of new single Wolves/Trembling Sky.

The single is actually a real meaty chunk as it also includes the band’s previous EP Knife through Water including a re-mastered version of its lead track and a couple of songs from that earlier mentioned soundtrack . The single opens with Wolves and an immediate clash of sound as rhythms and guitars collide. From within the inviting clamour a rumble brews; its tone rockabilly like as the guitars between them wrap a jungle of riffs in a sultry melody as Idnani-Powdrill’s vocals begin the shadowed croon of the song. Already the magnetism is addiction level, the subsequent scythes of guitar compelling across the captivation of bass and beats as the band’s rock ‘n’ roll shares dark flirtation. Every passing second brings a new twist of drama and sound, unpredictability as thick as the imagination flowing through the outstanding encounter.

Its partner, Trembling Sky is instantly a less intense proposition, a psych rock melody dancing over the darker hues of bass and again grumbling riffs. There is a Doors-esque air to the song, a shadowed lining to its lively spirit and bounce, and a sixties instrumental tone to the guitars which only adds to its instinctive attraction. As its predecessor, the song just hits personal wants and tastes full on though at two and a half minutes or so it frustrates when it ends just as lust rises.

The rest of the release starts with tracks found on that previously mentioned EP released last year with a re-worked mix of acclaimed track Harry Dean Stanton first up. As this piece is being composed news has just come through that the actor has died; a sad timing which instantly brings a poignant edge to song and its embrace of ears and focus. The song is a dusty shimmer on the senses, a poetic sigh spiked by shards of glassy guitar and soaked with the serenade of keys; a proposition which is masterfully enthralling from start to finish.

Next up is Cowboy Drone, a track which nags and teases like a menacing mix of The Birthday Party and The Doors that sizes up the listener with every note and breath before taking them through a tombstone littered climate soaked in post punk/psych rock discord and theatre. The track is glorious, a noir drenched drama of sound and voice which thrusts the imagination into the heat of dark trespasses.

Taken from the soundtrack of the Twin Peaks inspired theatre performance Bridport Dagger created the music for, The Dangling Man is one of two original songs it was bookended by, the following Lyra the other. The first is a sombre, almost caliginous play for ears and imagination with vocals and music a shadowy lure and the melodramatic caresses of sax courtesy of George Cleghorn sublimely suggestive while the second is a fifties hued dark ballad with more than a touch of Roy Orbison to its emotional humidity. Both tracks transport the listen to a dark and intoxicating place impossible to resist lingering within.

The livelier rock ‘n’ roll of The Butcher of Rome has hips swaying and appetite dancing, bass and beats alone a rousing shuffle to be enslaved by, a trap tightened by the teasing jangle of guitars, the seductive strokes of keys, and the storytelling prowess of the vocals.

The release is completed by the sweltering emotional drenched spectacle of Wilderness, a song which gets bolder and more psychotic and discordant with every passing minute for a mouth-watering finale of provocative noise and melodic toxicity.

Wolves and Trembling Sky as a single is one of the year’s most riveting experiences on the year so far; add the rest of its treats and you have one of the most essential come its release in October.

Wolves/Trembling Sky is released October 13th.

Upcoming live dates:

21st September: Bethnal Green Working Mens Club, London

29th September: Insomnia, Berlin

8th October: Twin Peaks UK Festival, London

10th October: Half Moon Putney, London

13th October: The Lexington (with the Flaming Stars and Get Your Gun), London

4th November: Paper Dress vintage 4th Birthday Party, London

https://www.facebook.com/bridportdagger    https://bridportdagger.bandcamp.com/

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

Rooster Cole – I Saw Mummy Kissing Santa Claus / Winter Wonderland

artwork_RingMaster Review

Ever wondered what the Christmas feeling would be like in the sultry heat of a drama soaked desert or within the rich smoulder of a suffocating climate? Rooster Cole provides the answer with his pair of festive offerings in the provocative shapes of I Saw Mummy Kissing Santa Claus and Winter Wonderland.

Those aware of the Rooster Cole sound know the solo project of Mark S. Aaron (Black Black Hills) is a rich and evocative immersion of mariachi toned dark rock ‘n’ roll creating its own distinct place somewhere between Nick Cave, Roy Orbison, and Eighteen Nightmares at the Lux. His two festive offerings are no different, each classic song given a striking and imaginative makeover fuelled by the unique Rooster Cole sound and imagination.

cover_RingMaster Review     I Saw Mummy Kissing Santa Claus is a romance of the senses with sultry resonance and echoes of nostalgic temptations for ears similarly caressed by the emotively expressive tones of Aaron. Equally there is a haunting and unpredictable drama to the encounter too but not enough to lose the festive warmth and glow of the song as it serenades with increasing creative theatre.

Similarly Winter Wonderland is a weave of those same heated textures yet provides its own unique mesmerism from its first breath, creating an immersive hug through its imagination intrusive sound. It carries a climatic air to its evocative body and intimate croon too, one becoming more wonderfully invasive and dramatic as the track grows and seduces the senses.

Fair to say Christmas songs traditionally leave our spirit and expectations of finding even a slither of pleasure in them dead but this year there has been a bit of a shock to the system. Already we have had stirring and irresistible offerings from both The Elfish Presleys and Venus de Vilo, and now with these two exotic treats from Rooster Cole, we may have to concede that all is not lost for festive musical temptation after all.

Both I Saw Mummy Kissing Santa Claus and Winter Wonderland are out now and ready to make your Christmas soundtrack @ http://roostercole.bandcamp.com/

http://roostercole.com/

Pete RingMaster 21/12/2015

Copyright RingMaster: MyFreeCopyright

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

Rooster Cole – Bird Don’t Sing EP

RC_RingMaster Review

Bird Don’t Sing is the second EP from UK band Rooster Cole and confirmation, if we needed it, that the man behind it all is one of Britain’s finest atmospheric and emotive song-smiths and vocalists. It offers four diverse and intensely provocative songs which just grab ears and imagination, transporting them into the heart of a sound described as ‘Bluesman Mariachi Soul’, a term which really does sum up the mouth-watering experience on offer.

Rooster Cole is the solo project of Black Black Hills frontman Mark S. Aaron, a band which itself was an acclaim garnering and feverishly devoured proposition which still has many hoping and waiting on a hint of a return. Last year saw Aaron unveil a couple of songs which swiftly whipped up keen attention, including ours, but it was debut single More Than You at the beginning of the year which nudged real focus on The Brighton based singer-songwriter’s emerging presence. That poke became a rich wake-up call as the single revealed itself to be the lead song from the similarly named first EP from Aaron. The April released More Than You EP, was a creative web of intrigue and dark adventure with a general climate as sultry and romantically dangerous as the mix of impressive and individual songs within it. Now five months on, another quartet of spicy encounters have arrived within the new EP to whisk the listener off into flirtatious shadows and emotionally haunting landscapes, and it is easy to suspect, even greater attention and rewards.

cover_RingMaster Review     The release opens with the instantly warm and lively Head Over Heels, and a dazzle of crystal melodies against the darker tempting of bass and guitar. Almost as quickly, the distinctive tones of Aaron cup ears with rich expression shaped by mariachi honed theatre. It is a magnetic sound and presence the man has; a cross between a melancholic Elvis and a mournful Roy Orbison yet with an instinctive swing and smile that simultaneously tempers and accentuates the shadows at the soul of the words and music. The song continues to bloom as guitar strings cast a weave of variety and enterprise matched by the vocals with bewitching effect. Delicious elements of unpredictable discord also come out to play whilst electronic beats, with a dulled sharpness, knock on the door of the song trying to get in. Theirs is a strange resonating touch which just works and though they would not be missed if not there such the potency of the track, they add a little more drama to contemplate.

The title track of Bird Don’t Sing follows, pulsating beats and tender melodies the first touch, the inviting voice of Aaron the second. In moments it has ears and thoughts firmly engaged, electronic tweets sparsely reverberating within the sombre but again welcoming ambience of the song. Like a fusion of The Walker Brothers and Nick Cave, the track seduces with a noir charm and elegance spiked by scuzzy eruptions which smother the senses in brief and quickly passing, but almost smoggy crescendos. It is a creative collision between textures, even if in swift moments, which unleashes the sorrow of the song in gentle persuasion and devouring intensity, again a blend which just works around the dark tale and heavy enticing voice of Aaron.

If the second song is awash with melancholy, O Darkness Come For Me right after is drenched in it, and similarly simply captivates. There is a fifties hue aligned to gothic sadness which drips from every pore of the song whilst wistful keys and a solemn piano melody court each other’s emotive beauty. It is absorbing stuff and with the ever sullen and enthralling voice of Aaron casting the narrative’s sorrow, also quite irresistible.

In saying that, it still gets outshone by final song and rousing stomp, Waiting Place. The track was one of the two songs first revealed by Aaron before the first single, and a glorious bewitchment which slowly washed over ears as its piano led walk embraced discord kissed melodies and sombre yet emotionally incendiary textures and vocals, it was too. Between its first appearance and now though, it seems like Aaron has fed it Viagra as it has returned as a far more boisterous and refreshed encounter, bouncing with the sultriness of a temptress and romping with the tenacious canter of a stallion. The track still lies under a red skied climate of suggestiveness over a dustily emotive landscape, but like a bold Ranchero baring his soul with troubadour revelry it now infests ears with a funky, discord lined and noir folk adventure in word and sound. The track is superb, managing to go from being something truly special to revealing a whole new character and intent which is still nothing less than magnificent. Simply it is dark rock ‘n’ roll at its most resourceful and invigorating.

Fair to say the final song steals the show, but from first maudlin note to its lingering last, the Bird Don’t Sing EP is majestic. If Rooster Cole has still not reached your personal playlists yet…you really are missing out.

The Bird Don’t Sing EP is available from September 18th via the Rooster Cole Bandcamp.

Pete Ringmaster 18/09/2015

Copyright RingMaster: MyFreeCopyright

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

Scanner – Splat

scanner_RingMaster Review

Seeding their own devilish riots in old school punk bred both sides of the Atlantic, Pennsylvanian rockers Scanner unleash their third album to keep the aggressive roar of nostalgic and organic punk rock snarling. There is plenty more essences to the thirteen tracks making up Splat, variety as keen as the attitude fuelling the release, but ultimately album and band is raw rock ‘n’ roll in heart and temptation.

Scanner was formed in 1979 by vocalist/bassist Joe Brady and guitarist/vocalist Junnie Fortney, the band name inspired by the David Cronenberg film Scanners after Brady read about it in a monster magazine. Pretty soon the band was stirring up attention and a loyal following throughout the Central Pennsylvania, Maryland, and Washington D.C. areas. Their sound embraces inspirations from 50’s rock and roll, 60’s hard rock and surf, and 70’s glam and punk, honing it into the band’s own horror/ punk rock, surf and garage punk exploits. 2012 saw the current line-up come together with the addition of drummer/vocalist Troy Alwine, with a year later the trio releasing debut album One Foot In The Grave, And More Pissed Than Ever. It was an acclaimed introduction to the band for a great many and confirmation of the qualities Scanner fans had been enthusing about for the previous pair of decades. Last year was marked by the release of Exploding Heads in Harrisburg – Live Recordings From 1982, a live album of old material as well as the Monsters Axes & Choppers EP from Brady’s other project, horror rockers Losers After Midnight.

With the Brady conceived and produced 45 band strong critically acclaimed benefit compilation album Assault & BATtery, which raised funds for Bat World Sanctuary, also on the CV for 2014, Scanner now set sights on the broadest attention yet with Splat, and as soon as opener Fist in the Air has ears gripped and emotions elevated the thought is that punk fans of all ages and eras need this encounter in their lives. The track quickly ensures the listener is following its title, its opening throaty bassline the lure into familiar yet refreshing punk riffs and sonic spicery. Attitude is ablaze as the plain but inviting tones of Brady incite lyrically and in expression, his bait an easy involvement within the more calm but forceful blend of crisp rhythms and raw riffs.

_0_SPLAT_Cover_RingMaster Review   The strong start is soon overshadowed by Just Like Bela, the band’s horror punk invention lining the predatory gait and design of the song. There is a healthy whiff of Misfits/Wednesday 13 to the encounter but its own character shines through, especially with the inventive mix of vocals and hard rock enterprise which frees itself. As it eclipsed its predecessor, so the track is outdone by the outstanding Living Life to the Emptiest. The third track has the edge and air of Dead Kennedys to its belligerent and anthemic confrontation, entwining it with great slithers of melodic acidity from Fortney’s guitar and punching it through with the raunchy bass and whipping beats of Brady and Alwine respectively.

A rapaciously commanding cover of The Angels’ Straight Jacket comes next, the song given a no frills make-over and emerging with a feel of The Saints to its richly satisfying punk ‘n’ roll, before Biker provides its own seventies inspired enticement. The song takes ears and thoughts right back into the breaking storm of punk rock, its DIY feel a bracing two minutes of raw endeavour and tenacity.

   Letter to the Government spills seventies glam and southern dirt rock revelry in its political attack within a bluesy entanglement of sound and enterprise whilst Running Riot sees Scanner take on the Cock Sparrer’s street punk classic to captivating success before haunting the psyche with Ghost Song. All three tracks have ears and emotions fully enlisted but it is the last of the trio which seduces the imagination and passions most. Its surf/psychobilly climate has echoes of The Meteors and Tiger Army to it but, as with all songs, variety is a vocal part, here punk and seventies garage rock bring extra juicy hues.

The Turbonegro meets Jello Biafra smelling Queen of the Stage has the body bouncing around next whilst a broad smile and further burst of pleasure is sparked by the band’s reworking of Bowie’s Suffragette City. The song has everything which you will have enjoyed in the original but roughed up and twisted around a bit, resulting in a great version to rival any other you may have come across.

Mischief and humour is as much a healthy asset as the flavours and invention of the Scanner sound and all give a fun time in Yeah We Suck, a round-up of ‘advice’ they and most bands will have gained at one time or another. That urge to have a ball continues in the album’s title track, an infectious brawl of virulence which is for the most instrumental but does have a lyrical bounty consisting of just its title being repeated with increasing relish. It, as most before it, has a claim for best song within Splat but the favourite spot gets grasped at the last moment by closing song Kaw-Liga. A country music song written by Hank Williams and Fred Rose, and covered by the likes of Johnny and the Hurricanes, Del Shannon, Roy Orbison, and The Residents over the years, Scanner turn it into a dark rock ‘n’ roll predator. Riffs and rhythms almost stalk the senses as the outstanding blaze of vocals ebb and flow across its sinister surf spiced landscape. It is only half the adventure though, the band breaking out into cow punk devilry too, switching between both provocative contagions throughout for one riveting and thrilling romp.

The US hailing Scanner might be an unknown secret right now but they hopefully and should not be for much longer as Splat trespasses on increasing numbers of ears for an increasing awareness. Go get some is our suggestion.

Splat is out now.

RingMaster 26/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

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

 

Braddock Station Garrison – High Water

Braddock Station Garrison

    Merging evocative Americana with feisty rock ‘n’ roll, US band Braddock Station Garrison make a very pleasing and richly promising introduction with their debut EP High Water. Six tracks which ignite the imagination and appetite for instinctive melodic rock, the release is an adventurous endeavour which at its heights ignites the passions and in its quieter moments of persuasion provides a vibrant and absorbing charm draped with drifting emotive shadows. It is not an explosive invitation into the band but one of compelling substance and lingering persuasion.

     Hailing from Washington DC, Braddock Station Garrison’s seeds began when vocalist/guitarist Steve Schillinger and guitarist Tom Soha, who had known each other for years, started to jam together. Officially formed in 2011, the band was soon expanded with the addition of drummer Michael Chapman and original bassist Patrick, who left the band last December to be replaced by Jim Bledsoe. Taking influences from artists such as Tom Petty, Neil Young & Crazy Horse, Cheap Trick, Aerosmith, Johnny Cash, and The Smithereens, the band has evolved a sound which grabs attention whilst suggesting, certainly on the EP, that it is still a work in progress with greater potent things to come.

    High Water has its major highlights topping and tailing the release but in between offers an equally magnetic clutch of dark coveredged melodic enticements. Opener Into Your Arms is a dramatically infectious treat setting things off in immense style. From its first breath thumping muscle bound drum beats hypnotise the ear soon joined by a gloriously throaty bass lure making even greater bait for the imagination. Once the excellent expressive vocals of Schillinger cast a sultry lure over proceedings the track melts the passions and steals their allegiance. At this point the song reminds of the Orson Family track Heartbeat, evolving as flames of caustic guitar ignite the atmosphere alongside rasping riffs into a more Chris Issak seeded encounter with essences of Roy Orbison to its almost rockabilly lilted temptation. It is a masterful and virulently contagious stomp with a melodic acidity which brings garage rock rawness to its beauty.

     The impressive start provides a tall order for the following songs to complete and though for the main they run in the openers wake, all starting with A Lot to Ask offer a pleasing and accomplished endeavour to immerse in. The second song is a straight forward melodic rock stroll but with, vocally and musically, a distinctive enterprise to give it a unique if not ground-breaking character. Thoroughly enjoyable and deceptively infectious the song passes the ears over to Fall, which with a similarly cast blend of riffs and melodies continues the expressive pull of the EP. No aspect of the song stands out with striking brilliance but everything slots in and unites for a skilled and mature invention which treads existing paths with invigorating energy and enterprise.

    The following Maria With Child with a stronger country twang to its presence is the least persuasive song on the EP though there is little to dismiss about its melodic elegance and rhythmic convincing. There is certainly a close similarity to the song with the previous pair of tracks and if there is any sobering thought to temper the enthusiasm for the release it is that you wonder if they bring enough variety in their songs yet. As the pleasing guitar craft and quality shows backed by all other elements, skill and imagination is not lacking.

    California Specific gently coaxes in the listener with a singular guitar and vocal beckoning before expanding with a fuzz kissed blaze of sonic temptation and crisp rhythms which sculpts a smouldering rock pop contagion blending seventies psychedelic radiance with modern alternative rock adventure. Without ever exploding into the fire you expect, the track is a riveting and thrilling proposition which answers in some ways that question about bold variety to the band’s songs, a reminder immediately reaffirmed by the excellent closing track, Girl Gotta Gun. A scuzz fuelled garage rock built romp with garage punk bred abrasiveness and caustic guitar flaming, the track is different in every aspect to what came before but still fits effortlessly within the release and easily at home with the previous Americana coated songs.

   Without doubt the first and last songs are the pinnacles of the EP, and hopefully the direction that Braddock Station Garrison explore further but such the strength and appeal of the rest of High Water, you suspect only good and enthralling things will come from the band as they spring forward from this impressive start.

Get the High Water EP as a Buy now name your price download @ http://braddockstationgarrison.bandcamp.com/

https://www.facebook.com/BraddockStationGarrison

8/10

RingMaster 28/01/2014

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