RSC Goes Non-Stop on New Single “Shadow Lady”
Listening to “Shadow Lady”, the latest single from global rock n rollers RSC, is quite possibly the most intense five minute period you can spend while safely indoors, driving in your load, or bopping about with headphones on.
I wouldn’t extend that statement to any public gatherings in which this one was cranked through any sizable or voluminous speakers, due to the sheer incendiary nature of the performances displayed by the five member band that collaborated with producer Jack Benzin on this one. The cut starts off eerie and from there simply bursts into pyrotechnic-tinged guitars, bass, and vocals.
In fact, it’s difficult to discern which of these elements is hitting you the hardest, notwithstanding the pounding of Andrey Kruglov on the drums. On the one hand, you might be inclined to go with Chris Hodges’ vocalizing, possibly because it’s the first of these sounds with which you’re best. Peep how the group’s front man has mastered the art of roaring the first word in his lines, before hitting you with a not quite smooth melody for the verses.
However, all pretense of order or structure quickly fades once the refrain kicks in, and Hodges lets loose with abandon about some shadowy babe who must’ve been a doozy judging by the conviction of his recollections/descriptions of her.
The guitars of Sergey Fedotov and Ilya “Lu” Smirnov (who also backs up Hodges in the vocal booth) are sheer overwhelming—particularly when paired with the thunderous bass of Sergey Dik. Again, it boggles the mind that these dudes could have even rehearsed with such ferocity. It’s beyond imagining they could sustain this energy for five consecutive minutes in live performances. It simply doesn’t end. No matter if the track is transitioning into the guitar solos, the intros, or the abbreviated outro, RSC pins you down early and doesn’t let you off the canvas until you’ve had enough.
Again, whoever this shadow babe is Hodges has immortalized must’ve been something really special. She’s alternatively playing after dark, creeping up on him, and even getting a little, well, crazy with the guy. The thing is with the conviction of the phrasing and sheer might of this musical onslaught, there’s no doubting Hodges’ sincerity—not even for a moment.