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, 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.

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



Vienna Ditto – Ugly


Creating flights of sultry enigmatic bewitchments, smouldering arcane blues swept electronic enchantments which evoke unique adventures in the imagination each and every time, electronic blues duo Vienna Ditto unveil their finest, most potent seduction with the Ugly EP. The three track release travels the psyche and emotions with a sublime soaked enterprise bred by a blend of country blues and gospel influenced ‘voodoo electronics’. It is a transfixing venture through sweltering evocative climes and across magnetic aural sunspots which gloriously mesmerise from start to finish.

Vienna Ditto consists of Hatty Taylor and Nigel Firth, a pair who first met when the latter started teaching the former guitar when she was 11 years old. The couple lost touch after a couple of years but met again by chance in the street in 2009, and within a week of reconnecting they recorded an electronic version of the Johnny Cash classic Ring of Fire, and their own composition Long Way Down within another a week of that. The second track found itself on Huw Stephens’ Radio One show which was followed by an appearance on the BBC Introducing stage at Glastonbury Festival and further radio exposure. Their self-titled EP of 2011 and following singles through to this year has intensified the acclaim and attention upon the band, each a fresh and vibrant exploration of a sound which is distinct and imaginatively unique to Vienna Ditto, a strength which the Ubiquity Project Records Ugly steps forward with to worry new plateaus of excellence.

The title track seduces ears and thoughts first, its opening celestial electronic wash instantly offering a suggestion of Vangelis before _CardWalletcoming to a halt to allow fiery guitar strokes to deliciously aggravate the senses and appetite alongside pulsating beats and a rockabilly temptation embracing the delicious tones of Taylor, this switch the first example of the band’s ingenuity within a torrential majesty of unpredictable imagination. Firmly into its creative weave all textures and essences merge to sculpt an incendiary and haunting expanse of atmospherically sweltering mystery. There is a feel of Saint Agnes to the flames which lick at the enthralling narrative vocally and musically whilst the increasingly bedlamic electronic teases tantalise and ignite potent exploits in the mind and passions.

The following By Way of Apology immediately caresses emotions through the vocal cradling of Taylor, it a sirenesque beauty within similarly emotive sonic invention from and the craft of Firth. The sound conjured envelops the senses, casting a canvas which the bewitching Taylor exploits and makes full use of to romance the narrative of the piece and the listener’s imagination. The Portishead like elegance of the song as well as the steamy ambience makes another exploration in the closing track Stop.  There is a sixties pop sorcery whispering from inside its woven electro and emotive wash providing another unhurried tender engagement which kisses and woos every aspect of the body and soul with a melodic alchemy and irresistible skilled sway.

Listening to Ugly is like walking through the soundtracks of unpolluted shadow soaked adventures of the heart, emotive travelogues across noir lit or sweltering climes which initially hold their secrets close to their chests but open up to the sirenesque call and bait of Vienna Ditto. The EP is simply scintillating and the band the fruitful hypnotic future of synth/blues pop.


RingMaster 25/10/2013

Copyright RingMaster: MyFreeCopyright

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

Jingo – Jaclyn

jingo pic oct

It must be at least two to three weeks since we last wrote about Jingo on The RR so that must mean we are overdue a single. Actually we are a little late with Jaclyn having been released at the beginning of the month, but better late than never and certainly when the song is as stunningly impressive as the band’s sixth unveiling.

The London based quartet of Jack Buckett (vocals/guitar), his U.S. born wife Katie (lead vocals/keys/guitar), Sahil Batra (keys/bass/guitar/vocals), and Joseph Reeves (drums), opened up their singles account with three tracks in the compelling shapes of IQ84, Same Without You, The Matador. Each was an eclectic mix of sounds and adventure which maybe only hinted as great as they were, at the potent things to emerge with their successors, Black Flowers and Wake Up, two songs which brewed up the darker heavier shadows of the band’s imagination and songwriting into a sultry blaze of intensive rock fuelled by scorching melodic flames. It has been an enthralling evolution which continues to engrain Jingo deeper into the passions, with Jaclyn is no exception.

Continuing the dramatic presence and grandeur of its predecessors, the new single again merges psychedelically flavoured heavy rock with virulently contagious passion, a brew which incitingly washes over senses and thoughts through music and vocals alike. Inspired by and dedicated to a Jaclyn Ann Perrelli, the song initially tempts ears and air with a guitar teasing alongside the powerful and mesmeric voice of Katie, her first touch gentle yet instantly magnetic.  With drama rising, a squalled name cry of the song’s inspiration sears the atmosphere before the track unveils its rigorous yet restrained stomp, a considered charge coated in vaudeville like charm within the emotively impacting weight of the musical narrative. It raises the hairs on the back of the neck, refusing to leave them be across the whole of its riveting expanse. Melodramatic keys equally lay down the strongest temptation but it is the stunning vocal potency and depths of Katie aided by equally impressive vocals from the band which steal and steer the passions into a feverish embrace. If there is a finer natural vocalist in British rock right now it is hard to bring them to mind right now.

Everything about the track is immense and majestic, as well as dynamically provocative with Jingo just getting better and better with each uncaging of their all-round talent through irresistible pyres of burning sounds and emotional flames. With references to the likes of Jess & the Ancient Ones, The Magic Numbers and now Saint Agnes and Helldorado creeping into view to give an idea of the original blazes being created, Jingo just might be the most important new entrant to the world of British music, certainly for our convinced hearts.


RingMaster 18/10/2013

Copyright RingMaster: MyFreeCopyright

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

Saint Agnes – The Good Fight EP


There is a romantic smouldering to The Good Fight EP from London duo Saint Agnes which is just as seductive and fascinating as the sizzling tantalising sounds which it is seeded from. The four track release is a mesmeric treat which transports the listener into a sweltering world of spaghetti western ambience and passion soaked psychedelic temptation, a visual evocation as much as it is an aural one and quite delicious.

Saint Agnes consists of Jon Tufnell (guitars, vocals, bass, harmonica, drums) from The Lost Souls Club and Kitty Austen (guitars, vocals, organ, percussion, bass) of Lola Colt, their meeting occurring when their bands played a gig together and creative union emerging, according from the promo with the release, from ‘Having both grown a little weary of the self-conscious restraint they heard around them they sought to create something bold and cinematic.’ That they certainly have with The Good Fight. The wholly DIY project and release was recorded on a shoestring budget in Kitty’s bedroom, though feels as expansive and full as any studio recorded release whilst holding a rawness which adds to the rich imagery provoked by its sounds, and across its evocative length provides a presence which is inciting to thoughts and visual imagination as much as it is to ears and passions.

Opening track Old Bone Rattle provides a visual impact as its title suggests, the song a flight of hollow rhythmic tempting and rattlesnake percussion around a sweltering melodic persuasion, igniting a vision of cattle skulls around ageing prospectors and Mexican Pistoleros laying down tequila driven stomps. The initial rhythms make an appealing sinewy cage to which the melodies and guitars add flesh and the excellent dual vocal embrace heart and character. The rhythmic persuasion never lets up throughout the track, its muscular tempting a spine to the sonic blazes and emotive melodic enterprise whilst the excellent vocal blend and swarthy Doors like keys add the vivacious call bringing it all together for a sultry seducing of the passions.

It is a stunning start soon matched by the following The Tower Falls. Again the rhythms lead the way with compelling allure whilst the soon to enter guitar carves a Tarantino like picturesque narrative for Kitty to heat up and explore with her wonderful siren like vocal inducement. Like its predecessor imagery and thoughts colour between the lyrical and sonic lines presented to create a landscape and emotional expanse as vivid as the impressive song. The harmonica is a potent call within the reflecting sun in the song’s skies whilst again the keys bring an ambient wash which envelops and evokes from ear through to mind and heart.

Drown Me In The River once more enters on a tide of big and bold rhythms, something which instantly connects with the listener each and every varied time. Keys and guitar paint the scenic premise with a vibrant hue to their enterprise whilst the bass canters along with a throaty intrigue which only adds to the emerging romance of the tale and aural portrait being weaved. It is another outstanding enchantment, the best on the EP, and an irresistible bait to keep a close eye on the project as they hopefully evolve into even greater realms.

As mentioned there is a loud Doors whisper to the release which is admitted in many ways by the closing song, a cover of the band’s Roadhouse Blues, but to that there is also elements which remind of the Dennis Hopper Choppers and Helldorado, though Saint Agnes truly with their almost shoegaze like pop kisses standing unique. The final track is a simmering acoustic fire of guitar, harmonica, and that delicious vocal union, its hug around the shoulders a blues kissed piece of humid beauty. Once the keys add their voice towards the end of the bewitching charm its flames are burning just that little more intensely for the fullest suasion.

The Good Fight EP is a real gem, a sensational haze of fiery imagination and hallucinatory inspiring invention. Released as a Name Your Price release @ this is a no questions asked deeply rewarding purchase…so go get your sensory provocateur.


RingMaster 03/07/2013

Copyright RingMaster: MyFreeCopyright

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


Gabby Young & Other Animals: The Band Called Out For More


The only word to describe The Band Called Out for More, the latest album from Gabby Young & Other Animals is glorious. Actually there are plenty of other words just as apt, bewitching and scintillating two examples, all emotive descriptions which are deserved by the release and its creators. From the beautiful sleeve, which I am still failing to put back together the right way after numerous hours of trying…damn you Ms Young, the album tantalises and seduces from start to finish. Consisting of thirteen songs which merge the instinctive essentials of gypsy folk, pop, rock, jazz, and cabaret, The Band Called Out For More is a mesmeric melodic burlesque, a carnival of imagination  which burns brightly and incessantly like a heaven bred temptress.

Gabby Young’s musical journey to this place in time saw her as the youngest ever recruit to the National Youth Choir at the age of 12. The Wiltshire girl then with her intent of becoming an opera singer in tow was sent off course by the discovery of Jeff Buckley and the jazz greats who began to inspire her thoughts, passions, and ultimately a change of direction. Making strong impressions at open mic nights and playing with an array of bands next filled her journey which had seen her relocate to London whose music scene she soon embraced. At the age of 22, thyroid cancer threatened to take her classically trained voice and it was at this point that she ‘took her songwriting seriously’ and started pulling her experiences into her songs and their creation. In 2008 the lady with drummer/guitarist Stephen Ellis formed her eight piece band and using crowd-funding recorded her debut album two years later, an acclaimed and excitedly received release. Followed by numerous gigs and festival appearances including Glastonbury her stature was cemented in the passions of a growing legion of fans. Playing around the world since has only elevated her strengths and presence which The Band Called Out for More with its compelling dance of Circus Swing and Burlesque Folk, has and will accelerate to even greater levels.

If one song on an album alone can make you immediately decide about a release it is In Your Head which instantly has the passions in a a4126194190_2waltz with its vibrant and sensational sound. Opening with a tease of drums and rich vocal harmonies skirted by a blaze of brass, the song takes a mere second to lead senses by the hand into a sultry stomp of swing and folk pop to which full involvement is the only outcome for feet, hips, and heart. With essences of the Electric Swing Circus and Molotov Jukebox to its stroll and warm kisses and pecks of Parisian elegance and soul borne melodies, the treat of an encounter is insatiable in its energy and generous in its rewards.

After such a potent start expectations suggest maybe a sight dip was in store though hopes argued in the albums defence and were soon backed up by the excellent Goldfish Bowl. Acoustic guitar and the ever strong and entrancing vocals of Young lures the appetite back into the album with charm and lyrical tempting, beckoning them into the folk washed riot of indie pop called the chorus. Into its infectious stride with rhythms and vocal harmonies enslaving the emotions further, the ever fine guitar play and song imagination grins as they tease and coax their eager victim with relish.

Both Walk Away and Male Version Of Me offer a sirenesque bait to devour with greed, the first bringing a sixties enchantment through the guitars and brass as well as the keys led sway of the song. With the fabulous lush and powerful operatically trained voice of Young soaring the heart of the song whilst notes gleefully ride her delivery, the evocative ray of warmth leaves a thirst for more brewing whilst its successor from a riveting ballad like persuasion expands into a sunset of melodic colour and welcoming harmonies which simply wrap tender arms around what is by now simply ardour.

The album continues to impress and stoke the fires with the fiery Open, a track which walks through the ear with crystalline keys and emotive strings around the vocals before spreading its arms for a near on big band wind of passion soaked melodic enterprise wrapped in the continually bewitching intricacies and swerving delights of the band’s imagination. This is swiftly followed by the smouldering breath and beauty of Clay Heart and the graceful poetry of Neither The Beginning Nor The End, two more pieces of songwriting and musical adventure which impact and bring vibrant hues to thoughts and emotions.

Horatio steps forward next to stand as another major pinnacle in nothing but plateaus. Its initial slow emotive call is pure allurement and the doorway into an even greater heated glamour as the track explodes into a western carved atmosphere of Latin tempered love and deliciously contagious fire. Musically and vocally the track brings the desert sun on the senses whilst lyrically the bar room narrative is coloured by a full portrait of keys. Like a mix of Helldorado and Saint Agnes, the song is sheer majesty.

From the equally hot ballad Honey with searing brass rapture into the heart bred Segment the album takes the breathless body on another monumental inciting journey. The second track like many on the album lays down a weave of polite inducement before bursting into almost rapacious greed to control the body. As stunning and anthemic as love, the track builds and expels crescendos of ever intensifying melodic might and beauty, the emotional potency of the song burning the hairs on the back of the neck. Reminding of Scottish band Letters, it is simply one more sensational moment on the album.

Completed by the regal The Answer’s In The Question, the gypsy lit folk tones of Curtain Call, and the dramatically thrilling carnivalesque title track, Young assisted by Ellis, Niall Woods, Ollie Hopkins, Rich Watts, Paul Whalley, and Milly McGregor has created a sublime album which simply makes every adventure and day one drenched in sun and warmth. Released on her own Gift Of The Gab Records, The Band Called Out For More is one of the reasons we get up in the morning and life feels so good. A must not be missed release.


RingMaster 27/08/2013

Copyright RingMaster: MyFreeCopyright

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