Cat Dail – Fight for Love

Sparking a spring in the step as it dances with the imagination, Fight for Love is the new release from US singer songwriter Cat Dail. It is a seven track offering which creates a web of styles and flavours woven into one irresistible party for ears with the Chesterfield, NH bred Cat. She has been a potent participant in her national Indie rock scene since the nineties and surely is now about to tempt far broader attention with this contagion fuelled new album.

Not only as a whole but individually the songs within Fight for Love are joyful conspiracies of sound. Whether you call its instincts as pop, rock, funk, blues or whatever, and all apply song by song, the fusion of flavours is a perpetually imaginative and magnet combination. Each track has a unique personality and invention united in the welcoming enterprise of Cat’s voice and lyrical temptation.

The EP begins with Can’t Buy Love, the song slipping in on a rhythmic impulse to spread a tantalising climate of woozy intimation and sound around the immediately engaging tones of Cat. Seductively haunting and suggestive in its melodic air, the song similarly captivates with its hip sparking sway and slow but lithe gait; the craft of guitarist/bassist Teddy Kumpel and drummer Shawn Pelton, as across the whole release, matching the prowess of Cat. Surf, blues, and country spices all add to the smoky temptation getting the EP off to an ear grabbing start.

Similar hues collude in the following Player, a slice of rock funkiness and melodic rock with a whiff of Fleetwood Mac to its lively stroll. Once more the vocals just dance on the ears as they lyrically tease, the song’s imagination just as rich and pleasurable as the song fluidly ebbs and flows in its constantly inspiring energy before Catch Fire grips feet and hips with its mellower but just as manipulative shuffle. Reggae nurtured flavours unite with surf rock currents as the song flirtatiously entices, a country twang teasing in its swarthy air.

Both tracks just hit the spot though are still eclipsed by the following Wonder Love, a heavier slice of pop ‘n’ rock which almost prowls the senses before uncaging one inescapably catchy chorus. Everything about the track is pure temptation amidst creative manoeuvres which just got under the skin in swift time, again an array of flavours combining to charm and bewitch.

Featuring trombonist Clark Gayton and Steven Bernstein on slide trumpet, Flow Zone is equally as compelling and joyous with its Talking Heads meets Molotov Jukebox conjured canter. Unsurprisingly another individual collage of flavours is honed into an ear gripping adventure around rhythms which alone incite body and spirit to indulge. It all adds up to the best track on the release, one which lingers and teases long past its departure.

The EP concludes with the pair of She Can Fly and Molly & Matchbox. The first offers an alluring sunshine of pop lined sound, a radiant embrace of melodic romance added to by the keys of Andy Erin and led by the perpetually tempting voice of Cat. Its successor is a country rock bred encounter with sultry climes and melodies around instinctively open vocals and words. There is also a fire in its belly which bubbles up from the song’s natural simmer and though, simply down to personal tastes, the song did not thrill as its predecessors it still ensured the album closed on an unmistakable high.

However you wish to describe Cat Dail’s sound, which as its press release asks “Is it Blues? Funk? Rock? Soul? Folk?” it is sheer magnetism and pleasure within Fight for Love, a record which puts a smile on the face and in the spirit.

Fight for Love is available now @ https://store.cdbaby.com/cd/kyalb01283297 and https://catdail.bandcamp.com/album/fight-for-love

https://catdailmusic.com/   https://www.facebook.com/catdailmusic/   https://twitter.com/catdailmusic

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright

Holly Holden y Su Banda – Tropical Soul

Putting on notice body curves and swerves, we suggest no summer will be complete without the exotically sexy and melancholically captivating Tropical Soul. Just as suitable for smouldering cold hugging nights before a flaming fire, the new EP from Holly Holden y Su Banda is a musical travelogue and emotional reflection to seduce ears and spirit. It is also one of the year’s biggest delights so far and potentially the moment an already acclaimed and eagerly followed singer songwriter comes under the biggest spotlights.

From London and with many years of her life also embracing the relative beauty and life of Cornwall, Bristol, and Berlin as well as just as inspiring travels, study, and musical collaboration within Latin America and the Caribbean, Holly Holden brings it all to her wonderfully eclectic and adventurous sound, perfectly tagged as tropical soul. Like music as a whole, it is a borderless proposition offering a worldly exploration for artist and listener.  Flavours from Cuba, Ecuador, Colombia, and Dominican Republic collude with Caribbean and European enterprise, a mix dancing and flirting round intimate and love nurtured reflections as irrepressibly evidenced by her new EP.

Already with plaudits for her 2012 formed collaborative project and album Xistence with Cuban rapper Alayo Style as X Planet, Holden linked up with guitarist Frank Clarke and drummer David Beauchamp in 2014, Holly Holden y Su Banda emerging from their combined venture. Seemingly persistently busy with her own shows and as part of female vocal group Deep Throat Choir who have just released debut album Be OK and Johnny Flynn and the Sussex Wit, things will surely become even more hectic and crazy as Tropical Soul infests bodies and imaginations.

The EP opens with the irresistible El Impulso, its inescapable temptation instantly teasing through Holden’s smiling bass throb, it courted by small but spicy sparks of guitar. Her voice is soon an energetic smile in ears too, slipping effortlessly between English and Spanish as melodies from Clarke’s guitar weave their warm coaxing. It is hard to truly give a proper reference to Holden’s music such its diverse and unique character and presence but a mix of Holly Walker, Regina Spektor, and Molotov Jukebox gives a pretty good idea of the pleasure waiting within Tropical Soul. With percussive scrapes and Beauchamp’s frisky beats, the song is manna for feet, hips, and enjoyment and still just about eclipsed by its successor.

The ska lined Run immediately has its swing emulated by flesh, its relaxed but tenacious stroll a lure of wonderful ska inspired riffs and rising flames of brass as Holden’s melodic croon contemplates aided by just as tasty harmonies. Across the release, contributions from percussionist Satin Singh, keyboardist Daniel Correa, trumpeter Will Roper, Marcos Caballero on tuba and alto saxophonist Sarah Parkes add their prowess to the trio, Clarke also a blast on sax. Who plays where I cannot say but as on the second track, it all makes for a captivating rhumba some might say addiction was invented for.

Dead Coral swings in next, its Caribbean spices and Cuban spotted grooves sharing infection as Holden effortlessly grips in voice and word. Again you know it is a proposal doing good as feet instinctively shuffle and bums bounce before bodies rise to full height and spring their lustful involvement, the proof in The RR office. To be honest such the power and potency of the sounds, the EP need a few listens before attention can delve deeper in the lyrical explorations of Holden, a just as rewarding discovery as personal and intimate thoughts are shared.

There is a definite feel of The Specials to Mellow Drama, its ska seeded keys and air carrying the lonely almost noir lit shadows of Ghost Town  yet tempered by the sultry sway and waltz of brass and guitars. The epitome of melancholic seduction and elegance, the song is a haunting bewitchment lingering long after its departure though within the release quickly replaced by the blues and reggae hued soul of the imposingly catchy Benji Muji Mau; another inescapable tempting for physical and vocal participation.

The EP is concluded by Born At The Right Time, a more low key incitement, though it is all relative, but still equipped with juicy hooks and rhythmic bait around the ever fetching tones of the lady. It also has its own blues seeded breath as guitar and trumpet align in rueful endeavour, a final imagination stroking smoulder to fly away with.

Like for so many others we suspect, Tropical Soul is our first global tour with Holly Holden y Su Banda; a thrilling escape for which no passport was needed; as her bio suggests Holly Holden’s music provides that.

Tropical Soul is released April 9th.

http://www.hollyholdenmusic.com   https://www.facebook.com/hollyholdenmusik   https://twitter.com/HHoldenmusic

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

King Salami and the Cumberland 3 – Goin’ Back To Wurstville

If there is one band in this fast paced world which gives the body an even more intensive and thorough workout it is undoubtedly King Salami and the Cumberland 3. This is a band where an Automated External Defibrillator should always be on hand at every show they play, waiting and ready to revive the inevitable wasted bodies.  Now that need has been transferred to the band’s records. When playing all three of the band’s albums back to back, apart from a danger to health, it is a hard choice to say which is best, all in their openly individual ways an equal treat, but without doubt Goin’ Back To Wurstville is the most demanding and exciting for heart and limbs yet.

The new album from the Sultan of Sausage and his fellow creative rascals is a blur of incitement, a cavalcade of irresistible temptation for feet and hips. Each of its thirteen songs teases and infests the psyche, sharing groove woven rhythm & blues punk ‘n’ roll to lose all shades of sanity to. As ever, it is a busy time for the quartet; gigs coming up at a rate of knots across the globe before and even more so after their highlight performance on the BBC show The UK’s Best Part-Time Band last year. With the outfit in the middle of a UK tour right now and featuring in Roger Corman’s movie, Death Race 2050, you can be sure that Goin’ Back To Wurstville is only going to accelerate the demand on the boys and their riotous sound.

Featuring Spencer Evoy from fellow body contorters MFC Chicken and his salacious sax, Goin’ Back To Wurstville quickly gets down to business with Pineapple Mama, the song feeding off the album’s lively Intro with an initial bass groan and flames of fiery sax, they leading to an insistent romp of riffs and rhythms led by King Salami’s inevitable energy and vocal revelry. It is party time, the song swinging from the rafters with body enslaving grooves dangling their insatiable bait to further ensnare ears and limbs. Soul, r&b, rock ‘n’ roll and more excitable flavours all get involved in the multi-flavoured proposal, King Salami and co straight away feeding greedy hopes with a fresh new adventure.

The pugilistic rascality of Nosebleed Boogie is next, guitars and sax colluding in a devilish enticement of melodic theatre as King Salami uses Ali like vocal footwork to evade the rhythmic punches, his magnetic prowess like a blend of Bo Diddley and Little Walter before offering even feistier fun in the boisterous romp of Busy Body. An infection of spicy grooves and virulent riffs, the song ensures the listener is on the end of major manipulation echoing its title before the glorious adventure of King Ghidorah rises up from its oriental bed with sixties cinematic adventure fuelling its melodies and rhythms. With King Salami a dramatic narrator, T. Bone Sanchez’s grooves are a three headed tempting of flirtatious hookery, melodic seduction, and tenacious persuasion, theatre skirted by the addictive rhythmic rumble of bassist Kamikaze UT Vincent and drummer Eric Baconstrip.

There is no escaping the frisky intent of the following King Size Love, its rockabilly nurtured stroll manhandled by addiction shaping rhythms and coloured with more of the salacious enterprise which continually and artfully springs from the guitar of Sanchez across the album. Feet and hips are swiftly lost to the song’s shuffle, lungs already gasping for breath by this point within Goin’ Back To Wurstville but managing to find plenty more air for the blues strung jungle of She Was A Mau Mau and after that, the garage punk lined surf rock lit antics of No Stoppin’. The first of the two is a sweltering near on muggy affair for the heart whilst its successor is a blaze of instrumental rock ‘n’ roll which has the body at its most frenetically subservient in the hands of the album.

The treats just keep coming too; Tiger In My Tank keeps the listener moving like a puppet on tricky strings of rhythmic pestering and melodic misbehaviour, all urged on by the saucy blasts of sax and King Salami’s inexhaustible energy and spirited character.

Stutterin’ Sue leaps around with garage rock rapacity and raw captivation next while Camel Hop after that sees roving basslines and agitated beats stir up another voracious contagion of sound and spirit rousing enterprise, sultry Arabian scented  grooves winding around ears and appetite as rock ‘n’ roll rumbles in the belly of song and listener. Both tracks are an epidemic of temptation, unrelenting creative persistence more than matched by the Johnny Kidd and The Pirates hued Shiver which follows.

Concluded by the double diablerie of firstly the album’s dirt encrusted rock ‘n’ roll road trip going under its title track moniker and lastly the carnival of Latin summer fun that is Caramba!, the sensational Goin’ Back To Wurstville is bliss for ears and soul. With each of the King Salami and the Cumberland 3 releases we seem to offer nothing but lustful praise so with their third full-length we were determined to find something which might be suggested the band could improve upon. Quite simply we failed, though you know the band will still find something fresh and bolder next time and with regards to best album question, listening it as these fingers tap, yep Goin’ Back To Wurstville wins the debate.

Goin’ Back To Wurstville is out now on Dirty Waters Records @ http://www.dirtywaterrecords.co.uk/shop/#!/King-Salami-and-the-Cumberland-Three/c/2793708/offset=9&sort=normal

https://www.facebook.com/KingSalamiandtheCumberland3/

Pete RingMaster 22/03/2017

Copyright RingMaster: MyFreeCopyright

Sabatta – Middle Of The Night

SABATTA NEEDS YOU _RingMasterReview

Creating a fiercely flavoursome breed of rock ‘n’ roll described as grunge soul, British band Sabatta follow up the release towards the end of last year of their well-received album Middle Of The Night with a new single in the fiery shape of its title-track. The track is a feverish mix of styles and flavours epitomising the band’s broad sound and a tenacious energy which ignites their live presence and its parent release.

Led by singer/songwriter guitarist Yinka Oyewole, the London based Sabatta has toured across the UK and Europe as well as the US over the years, sharing stages with the likes of Peter Doherty, Slaves to Gravity, Saul Williams, Zoe Kravitz, and Janelle Monae along the way. Numerous festivals has embraced the band’s crowd inciting live show too, whilst later albums like Emperor’s MOTN_SINGLE_COVER _RingMasterReviewNew Clothes and Sabatta have especially drawn acclaim and attention. With Oyewole exploring solo material as well as making appearances in films, TV, and music videos with the likes of Kevin Bacon, Ashley Waters, and James Arthur since 2011, the quiet Sabatta bounced back into ears in fine style with Middle Of The Night in 2015, its title track now poised to spark 2016 off in the same way last year ended for the band.

A guitar jangle and rhythmic roll breaks the silence first, its repeated rally sparking a strolling groove spreading sultry tendrils as the quickly engaging vocals of Oyewole join the brewing party. It is a growing energy which bursts into a fuzzy blaze stocked with soaring harmonies and rousing funk ‘n’ roll revelry. The track relaxes back into that initial catchy canter again, all the while building its energies and tenacity to spring up again, a repeating cycle which has anticipating glowing with each round as eagerly as the band’s own to burst into boisterous action.

Weaving a tapestry of dirty grunge and emotive soul, flirtatious funk and fiery classic rock, to name some of its textures, Middle Of The Night is a spirit raising feel good stomp which might not be re-inventing the rock wheel but certainly provides a whole new colour to its invigorating roll.

Middle Of The Night is released April 8th @ https://sabatta.bandcamp.com/album/middle-of-the-night

http://www.sabatta.net   http://www.facebook.com/sabatta   http://www.twitter.com/therealsabatta

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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

The Rogue Network – Milk and Honey/Lowland City

TRN_RingMasterReview

Having heard a buzz was brewing around the UK band, healthy intrigue went with a look at a pair of tracks being released this month by The Rogue Network. The band’s debut EP, which was released last year, sparked plenty of the attention beginning to crowd around the trio, and with the pairing making up their latest single being taken from it, reasons why are easy to hear.

The band’s sound is a tenacious blend of alternative rock with rich blues and soul attributes. It also has an infectiousness to it which adds to the magnetism of rousing riffs, bold rhythms, and compelling grooves. Consisting of vocalist/guitarist Gerallt Williams, bassist Jameson Bell, and drummer Danny Hughes, the band’s inspirations lie in the blues/soul sounds of the seventies but equally it relishes the adventure of modern rock ‘n’ roll. An electronic essence only adds to the inventive and genre varied weave they conjure; a tapestry which now enticingly shines in the band’s new offering.

Milk and Honey opens on a sonic shimmer which is quickly aligned to a bulbous throb of a bassline and a catchy guitar jangle. As vocals join in, a rock pop essence emerges to infest ears and hips; it colluding with lively hooks and a resonating collusion of bass and keys. There is something familiar to the song yet nothing particularly definable as it strolls along with a garage rock meets blues ‘n’ roll swagger amidst a contagious melodic and harmonic smile.

In contrast, Lowland City has a scuzzier air and voracity to its sound and character though it too reveals a virulence which soon has body and spirit fully engaged. William’s vocals continue to entice and incite, leading the anthemic essence of the song whilst the bluesy liquor flowing through his grooves takes care of the imagination as the addictive rhythmic prowess of Bell and Hughes has the listener bouncing.

Both tracks leave thoughts and appetite loaded with satisfaction and finding a hunger for more, which a dip into the EP they originally came from feeds courtesy of the sultrily toned emotive balladry of Again and the fuzzy delta blues tango of A Killer’s Song.

Milk and Honey and Lowland City already stand as favourites and are sure to whip up fresh attention and eager ears with their recent unveiling whilst the band work on and record a new clutch of songs. 2016 is looking like being another potent year for The Rogue Network.

Milk and Honey/Lowland City is out now.

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Pete RingMaster 17/03/2016

Copyright RingMaster: MyFreeCopyright

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

The Veldt – The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP

photo credit Ed Marshall

photo credit Ed Marshall

The Veldt is one of those projects which really does offer something a little different and for a fair while now. It is no different in regard to new encounter, The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP either. Consisting of five immersive tracks bred in the band’s fusion of indie, dream-gaze, soul, and immersive ambiences, the release simply grabs the imagination in a creative adventure pretty much unlike any other.

Formed by North Carolina hailing twins, Daniel and Danny Chavis, The Veldt has had success capturing ears and attention since the eighties with their individual atmospheric sound. Already performing as children and taking inspirations across the likes of gospel, Motown, and Pink Floyd into their personal pleasures and thoughts, the pair emerged then as The Veldt, a name taken from a Ray Bradbury story. To simplify the following years, the duo has worked with the likes of Robin Guthrie, A.R. Kane, Mos Def, and Lady Miss Kier and shared stages with artists such as My Bloody Valentine, The Pixies, Cocteau Twins, Oasis, Living Colour, The Jesus and Mary Chain, and TV on the Radio as well as released a host of acclaimed offerings. A name change to Apollo Heights occurred around the mid-nineties followed by a permanent link up with bassist Hayato Nakao in 1999; that a move which brought a new dynamic to the band’s sound. Eventually a return to the name of The Veldt ensued and its re-emergence is now marked by the release of The Shocking Fuzz of Your Electric Fur, it the forerunner to new album Resurrection Hymns to be released later this year via SonaBLAST! Records.

With its title borrowed from an E.E. Cummings poem, the EP opens with new single Sanctified. Emerging on a gentle but sonically misty air soon welcoming the bass throb of Nakao, the song quickly blossoms into a warm yet atmospherically muggy embrace. It is an evocative hug of ears and the impressive vocal expression and prowess of Daniel, in turn a fiery but controlled trespass of the imagination built on an array of melancholic textures, transfixing melodic drones, and sonic layers shaped by the imaginative suggestiveness of Danny’s guitar. With additional vocals from Marie Cochrane to accentuate the emotive harmonies, the track is an inescapably engaging proposal to start things off.

The Veldt - The Shocking Fuzz of Your Electric Fur (cover)_RingMasterReviewIn a Quiet Room follows and quickly provides a less intensive and crowded proposition but one still as rich with emotional flames amidst guitar and keys shared drama. The vocals alone ensure attention is a given but add the thick tapestry of sound and trance seeded imagination, and the song as EP almost traps the listener in soulful beauty.

Both Token and One Day Out of Life take ears and thoughts on sultry flights through distortion lined sonically soupy climates; the first swaying and floating with ethereal elegance around more tenebrific rhythms. Its successor is a slower fall into provocative seas of sound becoming a senses smothering and engaging immersion around hypnotic rhythms. What grips the imagination most though, is the theatre of shadows which prowls alongside or courts the radiance of these and all songs; a shade perpetually reflecting and accentuating matching hues within their lyrical and emotional depths.

The EP is closed by the classically soulful and slightly familiar yet rigorously fresh And It’s You. It also has single written all over it; hooks and melodies as tantalising as the vocal and atmospheric shimmer which soaks the song as bolder rhythms pulsate with evocative temptation.

It is a fine end to a compelling release; an encounter which offers fresh intrigue and new enterprise with every listen. As suggested at the start, The Veldt creates music which stands alone; the evidence being The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP.

The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP is released March 18th via Skully Records @ https://theveldtmusic.bandcamp.com/releases

https://www.facebook.com/The-Veldt-154526351270221   https://twitter.com/veldtthe

Pete RingMaster 17/03/2016

Copyright RingMaster: MyFreeCopyright

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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

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