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

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Gazing into the fresh glow of The Cathode Ray with Jeremy Thoms

The Cathode Ray_RingMaster Review

Photo and copyright Peter Tainsh

2015 has provided many treats this year and definitely amongst them was the latest and second album Infinite Variety from Scottish indie band The Cathode Ray. It was an encounter embracing the nostalgia of the eighties through fresh and inventive escapades bred of the now. One of the band’s founders is Jeremy Thoms, he also the man behind the great indie label Stereogram Recordings, and someone who to describe as busy is a big understatement. Nevertheless, Jeremy kindly gave us a chunk of his time to talk about the album, The Cathode Ray itself from top to bottom and more, including an insight to his own musical loves…

Hi Jeremy and many thanks for giving us your time to talk with us.

Ever late to the party, we discovered The Cathode Ray through your new album Infinite Variety which came out a couple of months or so ago to, it is fair to say, swift acclaim. In a music world where it seems increasingly harder to actually get people to part with money or indeed offer full attention to things, did you have any particular expectations or hopes for its unveiling or is it more anything is a bonus for bands right now?

We didn’t have any expectations other than hoping that those who had liked the first album would stay with us for the second. We knew we’d made a good follow up album but, as you say, in an environment when it’s very hard to engage with people, nothing is guaranteed.

Photo by Hugh Womersley

Photo by Hugh Womersley

Originally the band was just you and Paul Haig, famed for Josef-K and his own solo career. The press release for the album suggests this was not originally intended to be a serious band project but a writing collaboration. Was that the case and what brought Paul’s involvement to an end?

Paul definitely just saw it as a writing collaboration – “a bit of fun” was one his quotes – with group recordings just being made to illustrate them. However, the reaction to them was so positive, one thing lead to another and I pushed for it to become a band and take it more seriously, which Paul wasn’t happy with so eventually he left. What confused matters in the press and public eye was that Neil, David and I were his backing band when he did a solo tour in 2008. However the emphasis then was completely on his solo work, and he had no intention of being a member of a band again after Josef K, which in the end we had to respect.

The double ‘A’ sided single What’s It All About? /Mind was released in 2006; I believe this was meant as a one off release?

Not initially but it ended up like that. Certainly with Paul participating. When we made the agreement with Pronoia Records in 2006, the album had been recorded with Paul’s full participation, but by the time we got around to discussing getting it released he had changed his mind. So he asked us to remove his lead vocals, which we did, although some of his guitar and backing vocals do remain on the first album.

At what point did that spark the appetite to push things further; as a full band and with more releases?

The point that changed everything was bumping into Steve Fraser at a TV21 album launch in 2009. I told him what had happened and he was keen to get involved. The minute we started talking music I knew he was the man. We didn’t even bother with an audition. I knew the songs were strong enough to survive without Paul’s involvement. That opened so many doors, being able to play live (which Paul would never have done as The Cathode Ray) and generally move things on after quite a difficult start.

Were some of you all already old friends and maybe previously worked together before uniting for The Cathode Ray we know today?

Neil Baldwin and I have known each other for 34 years (!) and have played in bands together intermittently since 1986. David Mack and I had been working together since 2000 so, yes, there was a certain chemistry. Steve was the “new boy” although we’d all known him on the Edinburgh scene previously.

I have to admit for once, and not intentionally, I read about the band and its background before hearing a note for a review, and to be honest once seeing a list of previous projects for members of The Cathode Ray2_RingMaster Reviewthe band which had been indelible pleasures in my personal soundtrack, subsequently luring a revisit to old favourites records after finishing the review too, there was an increased anticipation and eagerness to explore the band and album. Do you think having your musical histories has helped draw awareness to the band or not?

Well obviously there’s going to be a certain amount of that, but I do believe, hopefully without sounding conceited, that The Cathode Ray is more than the sum of its parts. But initially I guess it did help getting people interested through our various previous involvements.

There were whiffs of all some of your previous bands at times across the songs and often nostalgia blessed air of Infinite Variety, The Bluebells and Scars maybe most notably in our ears. You are a band unafraid to draw on previous adventures and spices to hone new and fresh exploits, as potently shown on the album?

The songs that I write aren’t consciously drawing on any of our past exploits, but I guess where you’ve come from does influence where you’re going. In any case, it’s probably coincidental, as Steve only toured with The Scars as a depping bassist so wasn’t involved in their creative process, while Neil only contributed to arrangements with The Bluebells. But inevitably, as we all come from that post-punk background, some of the sounds and styles of these bands are going to rub off.

How would you say The Cathode Ray has evolved over time and specifically between Infinite Variety and its predecessor, your self-titled debut album?

I would say the vague initial brief of merging post-punk Manchester with New York has simply broadened to the point where I regard ourselves now as a band that isn’t easy to pin down musically. Our original press release mentioned 60’s Garage, Soundtracks and Northern soul, to which one critic added Psychedelia, Glam-Rock, Euro-Disco, Krautrock and 90’s Alternative Pop when reviewing Infinite Variety. So it is definitely evolving. I’m currently demoing material for the next album and there’s even more interesting musical areas I’d like to explore. It’s good to surprise people.

TCR cover_RingMaster ReviewGive us some insight into the thoughts and intentions going into the writing and recording of Infinite Variety? Do you build a release on particular aims or ideas or predominantly let things organically evolve?

Things do tend to evolve organically. If you put too much pre-conceived thought into it, the music loses its spontaneity. Although I suppose one particular aim is not to repeat ourselves. Each album needs to be a significant progression from the previous one, so a certain degree of thought does go into that. Also, apart from melodies and lyrics, I’m always interested in rhythms and try to be as adventurous and varied as possible in that area too.

We described the album as a “kaleidoscope of fun, sound, and adventure”, a fair hint we think at the array of flavours and inventive spices fuelling and shaping the songs within Infinite Variety. In the hands of many bands it might be an incoherent mix, but you manage to seamlessly blend all spices and individual characters of songs perfectly. Where do you and the band start when composing songs?

Well I compose the songs and demo them first with the key riffs, chord progressions, lyrics etc. all in place. At that stage they often do sound fairly disparate. I then present them to the band in the rehearsal room and that’s when it starts to sound like The Cathode Ray. Steve, Neil and Dave all contribute parts and arrangements until we arrive at the finished article. Some songs like The Eyes Are The Window took a long time to come together and changed quite considerably from my original demo. Others end up fairly similar to the original template, but all manage to sound cohesive owing to the fact it’s the four of us playing them, I guess.

The album’s tracks manage to be rich and at times expansive in texture and flavour yet also ‘slim’, i.e. no excess baggage or indulgence. They manage to be an open evolution from your first album but also reveal a bolder leap in aural colour and character; how do you hear their relevance to older propositions as one of their creators?

Well obviously it’s difficult to be completely objective about something you’ve created yourself, but I see their place in relation to the first album as a natural progression. The leap in colour and texture which you describe is simply a way of moving the band forward, without cluttering things up unnecessarily. You use the word ‘slim’ and I suppose that comes in at the production stage – cutting off any excess fat!

How long in the making from first note to paper or thought through to last note laid down was the album?

The boundaries are always blurred as we always tend to have songs left over which were either written too late to make the cut or simply didn’t fit at the time. For example, This Force Of Nature had its origins as a completely different song dating way back to 2006. It had never sounded right so was left on the shelf. I went back to it in 2014 writing new lyrics and melodies and it quickly came together then. Eureka Moment and Buck the Trend were written in 2009 when Steve first joined. But the bulk of I.V. was written and recorded between 2012 and 2014 – around two and half years.

Our review stated spices of bands from around the eighties as rewarding aspects but over time sixties/seventies tones have emerged. I sense your own inspirations and musical loves go far back?

Oh yes – my musical tastes stretch way back! How long have you got? Songwriters have always been key to me. From Lennon & McCartney, Brian Wilson, Smokey Robinson, Jimmy Webb and Bacharach & David, through Dylan, Stevie Wonder, Scott Walker, Al Green, Bowie, Joni Mitchell, Robert Wyatt and Neil Young to Costello, Paddy MacAloon and Rufus Wainwright, the song is always key. Then there’s the bands I love – The Stones, The Velvets, The Doors, Faces, Roxy, Yes, Kraftwerk, Television, Talking Heads, Buzzcocks, Chic, Wire, Magazine, Pretenders, Joy Division, Dexys, Scritti Politti; Cocteaus, Talk Talk, Teenage Fanclub, High Llamas, Flaming Lips… the list goes on.

There is no mistaking that Scottish bands and rock ‘n’ roll of all styles and design bred there, has something unique to it, and we could go on a long list of examples. Can you define what it is in ‘the

Photo by Jez Curnow

Photo by Jez Curnow

water’ which helps breed such distinctive and so often inspirational bands from that part of the UK, as ones yourselves?

I think there’s an open-mindedness up here. Maybe Scottish bands tend to draw from a wider pool of influences than other parts of the UK. Or maybe it’s to do with being distanced from what’s happening down south – even in the age of the internet. It’s certainly true that scenes of their own do seem to crop up here around labels like Postcard, Fast, 53rd & 3rd, Creeping Bent and, possibly, our label Stereogram too, which has attracted similar kindred literate spirits. Either that or we all seem to be obsessed with the Velvet Underground!

What comes next for The Cathode Ray?

Firstly, we’ve got two more live shows coming up this year as part of The Stereogram Revue in Edinburgh and Glasgow, plus a new track called It Takes One To Know One on a compilation album. Then there’s a new video shot earlier this year at the Kings Theatre in Edinburgh by Jez Curnow to go with Saving Grace, our other featured track on the comp. After that we’ll be knuckling down to working on the follow up to Infinite Variety. I’ve got five or six new songs written and demoed, plus a couple of leftovers, so we’ll be getting on with them. Expect some new directions.

Your releases come out on Stereogram Recordings, your own label which seems to have out grown and blossomed far more than its original intent I believe. Can you tell us a little about it and what is ahead for the label too?

It has indeed outgrown its original intent which was simply to facilitate a release for the first Cathode Ray album, plus any other projects (The Fabulous Artisans) or archive material I had kicking about. But over the last couple of years it has been growing steadily with first Roy Moller signing up, followed by James King & The Lonewolves, Milton Star, St. Christopher Medal, Lola in Slacks and, Band Of Holy Joy. The critical and public response has been great which is hugely encouraging. As previously mentioned, we’re rounding off the year with two Revue shows which will feature the entire roster in some form or other (minus Milton Star who don’t have a live set up at present). These gigs will be accompanied by The Sound of Stereogram, a budget compilation in the spirit of New Wave in ‘77 or Pillows and Prayers in ’82, featuring both new and old tracks from all eight acts on the label. Next year promises some new signings plus new material from the existing acts.

My big thanks to you again for chatting with us; have you anything you would like to add?

Nothing to add except thanks very much for your support over the last year.

Lastly and looking at band’s influences on your Facebook profile, a list of bands littering my own record collection I have to say, can you indulge me and give us a few of the bands/records which inspired you to get into music and then as a musician push yourself further?

Well I’ve already mentioned a whole bunch of artists who’ve inspired me, so here’s some records that have been key: “With The Beatles”; “Motown Chartbusters Vol.3”; “Pet Sounds”; “Piper at The Gates of Dawn”; “Forever Changes”; “Loaded”; “Scott 4”; “What’s Going On”; “Exile On Main Street”; “Never A Dull Moment”; “Close To The Edge”; “Aladdin Sane”; ”Houses Of The Holy”; “Quadrophenia”; “Rock Bottom”; “Country Life”; “Zuma”; “Songs In The Key Of Life”; “Trans Europe Express”; “Marquee Moon”; “My Aim Is True”; “Never Mind The Bollocks”; “Risque”; “All Mod Cons”; “Love Bites”; “Fear Of Music”; “Closer”; “The Correct Use Of Soap”; “You Can’t Hide Your Love Forever”; “Rattlesnakes”; “Steve McQueen”; “Don’t Stand Me Down”. Again the list goes on…

Read our review of Infinite Variety @ https://ringmasterreviewintroduces.wordpress.com/2015/04/21/the-cathode-ray-infinite-variety/

https://www.facebook.com/thecathoderay   http://www.stereogramrecordings.co.uk

Pete Ringmaster

The RingMaster Review 23/11/2015

Copyright RingMaster: MyFreeCopyright

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Black – Wonderful Life Deluxe Edition

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    Ever since its release in 1987, the debut album Wonderful Life from Black has held a grip on our passions here to lure more than the occasional dip into its emotive and eventful charms over the years. It was a release which seemed to be hit or miss for each individual and probably never really found the depth of success it deserved, though it and its notable title track single, certainly was not lacking in strong popularity just not to the heights one expected at the time. The re-release of the album in this deluxe edition hopefully will open up a new hungry awareness for album and artist, and quite likely more use of that single.

Black was the persona of singer songwriter Colin Vearncombe who went on to record a further three albums as this project, two more along with Wonderful Life for A&M Records and another, Are We Having Fun Yet? on his own Nero Schwarz label in 1993. Arguably for personal tastes the subsequent albums never found the heights of his first but still confirmed the artist as one of the most compelling and emotively instinctive songwriters across the eighties and nineties, with the man still igniting the appetite with his work under his own name ever since. The re-release of Wonderful Life offers not only the full album but a second CD containing the original version of his most successful single, a selection of B-sides, and a quartet of songs recorded for a 1986 Janice Long session. The package also includes a specially commissioned interview with Vearncombe in the album liner notes and is a package which ignites strong nostalgia and still smouldering fires.

The album begins with what was to be its most potent voice, the title track. It is a song which originally was released in 1986 on independent label Ugly Man, that version appearing on the second CD. Re-worked for Wonderful Life it reached the top 10 following previous single Sweetest Smile from the album into the same success, and has since received multiple cover versions by numerous artists and appearances within adverts, TV programs and films. With seductive warmth and melancholic kisses enveloping the ear there is no surprise to its popularity and growth as a presence in UK pop, though arguably it is not the strongest track on the album. Its gentle moody persuasion and uncomplicated walk across the senses made the song instantly accessible and persuasive, its touch leaving a melodic residue on  body and emotions which still sparks up active feelings even now.

Songs like Everything’s Coming Up Roses with its feisty rhythmic temptation, golden ABC like melodic strikes and compelling emotive narrative, and Sometimes For The Asking with its steely guitar voice and electro resonance as well as additional sirenesque female harmonies, both bring a richer soak of emotive elegance and triumphant energy especially in the second of the pair, to entrap the passions with greater contagious craft and imagination. This was electro and heated pop at its best with the skill to temper all aspects into a perfectly inciting wash.

It is probably fair to say that some tracks like Finder, Paradise, and I Just Grew Tired did not stray far from the core of his invention at the time to lie in the shade of other songs on the release but it is also hard to deny that they also offered an impossible to resist melodic hand which was soon eagerly grasped by thoughts and heart. For each less dramatic moment though there was always a fire of enterprise in the likes of I’m Not Afraid with is shards of horn delight and anthemic call, and the sultry embrace of Blue, a song which leaves tingles and raging aural hormones at large in its wake.

The biggest triumphs come later in the album with the sensational Just Making Memories, a song with elements of The Cure to its hypnotic bass prowl, the deliciously tantalising Leave Yourself Alone, and the dramatically engaging rock fuelled It’s Not You Lady Jane, a song which has blood coursing through veins with greedy energy. They all trigger greater flames in a fire of ardour and pleasure which erupted with the opening whisper of the title track, and completed what is still a tremendously evocative and thrilling album.

The second disc begins with the previously mentioned original recording of Wonderful Life, a version easily on par with the recognisable track. Following songs all engage with unreserved enterprise even if some shine brighter than others. Songs such as Birthday Night and Dagger Reel have a Spandau Ballet whisper to their stances and across many of the songs thoughts of other bands ring out, something never apparent on the actual album, though it is not anything other than a spark to interest and intrigue admittedly. Everything’s Coming Up Roses (The Fairly Mental Mix) shouts Paul Haig as it bubbles and simmers upon the senses with flushes of molten passion in places whilst Have It Your Own Way has elements of Echo and the Bunnymen to it, and Life Calls a more than pleasing Teardrop Explodes swagger. Another highlight on the disc is the Scott Walker toned Had Enough making a quartet of tracks which especially leave a deep satisfaction.

The re-release is a great opportunity for those new to Black and Vearncombe to discover some essential and classically shaped pop music and for those in the know to discover some new treats and bask in the nostalgia of one special album.

www.colinvearncombe.com

9/10

RingMaster 03/04/2013

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