The Pulsebeats – Don’t Turn Your Fucking Back On Me 7”

The Pulsebeats

   It feels a long time since being introduced to the irrepressible Spanish miscreants The Pulsebeats through their debut self-titled album of late 2011. Across that distance though their lure and mischievous temptation has never waned, their release remaining a regular on the RR playlist. Its time though may have come to a ‘end’ as the riotous sounds of the Spaniards return in scintillating style with new 7” single and download, Don’t Turn Your Fucking Back On Me. Released via FOLC Records, it is a three song riot of punk bred rock ‘n’ roll which simply infects and incites full emotional and physical rebellion.

     Hailing from Santander, The Pulsebeats leapt at the world at the beginning of 2010, the quartet containing two experienced in rock ‘n’ roll from playing in The Vipers alongside another pair of musicians just as voraciously hungry and creatively energetic. As mentioned it was their debut album which sparked a keen appetite for the band, a thrilling and potential driven release which only suggested greater things to come, which the single is only too happy to confirm. Whereas the full-length had an infectious pop punk thrust to its garage punk and rock mayhem, Don’t Turn Your Fucking Back On Me reaps the contagious seeds of more caustic punk rock but without losing any of the trademark ridiculously catchy and insatiably addictive charm. Hooks and riffs aligned to a lyrical and passionate snarl once again steal the passions, but as always with The Pulsebeats fun is the order of the day and there is plenty of that thrashing around on the single.

    The title track makes the first thrust, its opening play of guitars moving into a strolling gait with a slight cowpunk lilt to its pulsebeats coverenergetic stance. The vocals step in next adding a raw punk attack to the infectious provocation with a garage punk breath also barging in on the raucous revelry as the song rolls out its irresistible stomp. It is a glorious sonic incitement opening up an attack on politicians and their neglect of the needy whilst lining their own pockets. The Pulsebeats may like to rock and rock hard but they are no wallflowers when it comes to dealing with society’s issues either.

     From the excellent start, the band shifts up the gears with firstly White Little Horse. The song unleashes an opening almost disorientating melee of beats and sonically sculpted guitar teasing ensuring attention is instantly wide awake. From there it settles into a riveting stroll laced with a great throaty bass line and jagged riffs, both courting the ever coaxing vocals amid the brewing mischief of the band. Garage punk with a pop spawned catchiness, the song flirts with the ears like a mix of The Stooges, Eddie and The Hot Rod, and Buzzcocks with an extra air of The Strokes; the blend happily leading imaginations into bad habits and emotions into lustful responses.

   The final track I’ll Let You Know brings addictiveness another potent dose of provocation as guitars jangle and clash teasingly with the senses whilst raw vocals, singular and on a united front, add discordant irreverence to the party. With a ridiculously virulent bass hook the prime protagonist for the passions within the sixties punk inspired blaze of guitar and attitude, not forgetting infection, the song is a mouthwatering and exhausting rampage which anyone would sell their souls for to create or simply enjoy.

    It has taken a while to see the return of The Pulsebeats  release wise but they have made that wait an insignificant niggle with easily their best fevered frenzy yet. Don’t Turn Your Fucking Back On Me is a magnificent beast of a riot again reminding us that The Pulsebeats is one of the finest inimitable exponents of vivacious multi-faceted rock ‘n’ roll.


RingMaster 12/03/2014

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Midnight Mob -These Days



    The second in their range of very limited edition CDs helping to get UK coverage for bands from around the world, STP Records are releasing the excellent These Days album from New York City rockers Midnight Mob. Consisting of ten rousing tracks of punk and incendiary rock, the release is a feisty and thrilling showcase for an equally compelling band.

     Midnight Mob formed in 2009 and took little time in firing up audiences and passions with their seduction of passionate and bruising rock ‘n’ roll. A year later the band’s line-up became a stable confrontation, its frontline provided by the rich and feisty tones of Blackey Deathproof, sweetness and venom wrapped up in every unleashed syllable. Alongside her the guitars of Mickey Squeeze and Spydyr cast equally riveting and persuasive sounds whilst dangerous rhythms are bred from bassist Carly Quinn and drummer Catastrophe. A self-titled EP was uncaged in 2011 alongside a video for the track Overdrive. Both drew healthy attention to complement the band’s live reputation which has seen them play sizeable chunks of the US. Last year a second EP, Black Moon Rising, pushed the band further into the spotlight with the singles These Days and All For Nothing stand out opportunities, both subsequently receiving video releases filmed by Jarret Bellucci and Adam Bailey respectively. 2013 also saw the departure of Catastrophe but also interest from STP in bringing the band to the attention of a European appetite, which the new CD achieves with ease and quality. Bringing all the EPs and singles into one concentration of fevered rock music, it is hard to imagine that These Days will not make Midnight Mob a heavily talked about and sought after import for British passions.

     Overdrive starts things off and instantly has appetite and feet launching their support. From a distant vocal cry within an intriguing sonic breath, the song collects its sinews and fire in a brewing intimidation before unleashing a torrent of sonic bait, thumping rhythms, and rebellious riffs. Into full stride the track, ridden by the instantly provocative and enthralling delivery of Blackey, seduces and rages with hooks and grooves aplenty, all enslaving the imagination whilst frisking the passions. It is potent punk ‘n’ roll, a fire of enterprise and passion which nags and taunts for the fullest satisfaction.

     From the scintillating start, the album moves from a brawl to a wanton rock dance with All Or Nothing. More reserved in its gait and intensity though certainly not potency, the song romps with melodic majesty and a delicious vocal harmony which just caresses all the naughty places. Like a mix of eighties band The Photos and the early days of Blondie but with the snarl of The Objex included, the track is a contagious temptation instantly matched by Hit Or Miss and Perfect Crime. The first has a chorus which stands before you eye to eye, daring you not to join in with its ridiculously tempting chorus like calls from the first few seconds. Almost preying on the senses with its energetic stomp and virulently masterful persuasion, the song merges pop punk and hard rock for a quite magnetic encounter which may not fire up the emotions as the first pair but certainly leaves them grinning as broadly, especially that deviously addictive vocal enslavement. The second of the two takes a more straight on rock route to thoughts, its body as with so many of the songs familiar, though it might just be to the fact that we have listened to the album much more than anything else these past couple of weeks, and engagingly welcoming. Again infectiousness works its way into ears and passions for another persistently fun time.

    Through the belligerent rhythmic and riff driven stomp of Be Mine, a track which lays shadows on vocals and thoughts like a warm glaze, the band continues to light the fuse of rapturous hunger. At times the song, especially through its ratchet of guitar strikes, reminds of Penetration but also with its blaze of melodic rock enticement presses other thoughts of artists like Lita Ford into the blend, as does the following Walking Dead, it a masterful menacing seduction from Blackey matched by the melodic weave of Squeeze and Spydyr and the bass prowl offered by Quinn. Listening to the album is like indulging in an expanse of greatest hits tracks with this one of the biggest pinnacles.

   The twin musical growls of Black Moon Rising and My Undead Darling “You Still Haunt Me” push the listener into a darker diverse corner of the album, the first a sultry embrace with a bordering on psychobilly swagger and Danzig like drama. It is a riveting adventure abrasing and seducing the emotions in skilled and tempting style whilst its successor rolls in on a wash of rhythmic incitement soon aided by sonic and bass teasing, again a rockabilly essence seeding the magnificent stroll of rock ‘n’ roll. The band states as one of their influences Cheap Trick, and certainly this joy has that epidemic pop rock essence and passion stealing potency, to which you can adds tasty moments of The Creepshow.

    The title track leaves little time to compose your clothing and temptations, whisking the listener to their feet for a waltz through heat climates and smouldering emotions. It is an elegantly absorbing invitation with the charm to calm wild stallions and rioting crowds. Something the closing So Hard would achieve the opposite of, its sinews and boisterous intensity a punk rock provocation with melodic rock armoury. Though the track does not reach the same levels as the rest of the album it makes a powerful finale and only adds to the reasons why this side of the pond should join the Midnight Mob.

      These Days is not an album to push boundaries it is fair to say but for honest and give it all rock ‘n’ roll there are few better. Jump on board and grab a copy of Midnight Mob’s UK debut is the recommendation, before it is too late.

These Days is available from


RingMaster 12/03/2014

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Forever Still – Breaking Free EP


  Providing the evidence as to why there is a real buzz brewing around Danish melodic metal band Forever Still, the Breaking Free EP makes a charming captivation with beauty as prevalent as muscles. Merging gothic and melodic metal to simplify their sound, into something not quite unique but attractively distinct to the Copenhagen quartet, Forever Still is an emerging proposition to set the imagination creating and emotions basking.

     The band came about in 2009 from the linking up of Mikkel Haastrup (bass, guitar, keys) with vocalist Maja Schønning who he came across during a gig with her former band. Working on songs and recordings, the pair was joined by drummer Chad T. Charlton two years later, his ferocious skills bringing a new aspect to their sound. Studio work also saw Anders Bo (Medina, Celina Ree) adding his guitars craft before Carsten Christensen joined more recently to complete the band’s line-up. Last year saw Forever Still playing Denmark’s Nordic Noise Festival as well as being selected as one of the top 5 bands to play Germany’s biggest dark festival, the M’era Luna Festiva as well as the creation of their debut EP with legendary producer Flemming Rasmussen. Mastered by Troy Glessner (Underoath, Kitie), Breaking Free provides four tracks with the potential to send Forever Still to the forefront of recognition and attention.

     As soon as The Key opens up its sinew clad melodic arms you sense something intriguing is pending, a feeling soon confirmedCover Art Breaking Free as the first electro caress is joined by lively rhythms and feisty riffs. It is the stepping forward of Schønning where things really come together, her seductive yet formidable voice cupping the ears as bass and drums court and temper her elegant narrative. It is an enthralling encounter which only increases its lure and weight the further the band ventures into its depths. A simple yet potent hook lights the way as emotive textures and provocative harmonies expand their persuasions, the song becoming increasingly catchy yet dramatically emotive before taking its leave upon an unexpected and thrilling raw roar from Schønning.

  The excellent start is instantly backed up by The Last Day, another magnetic electronic beckoning calling in an immediate appetite. Once again riffs and rhythms craft a frame which encloses invitingly around the ears whilst offering quiet intimidation. Within its hold colour rich sonic hues and flaming melodies paint a tender, drama driven premise, Schønning impressing yet again to suggest she is one of the rising presences of female fronted and melodic metal. The merging of tones and emotions in to her delivery is bewitching especially when being skirted by a snarling electronic presence within the song. It is the mixing of elegance and predation, vocally and musically though which completes the capture of the passions, that ability bringing a living breath to each unpredictable, but wholly enthralling track.

   Towards The Edge comes into view on a weave of muscular endeavour and almost voracious intent before soaring on the combination of Schønning and gentle keys into air and imagination. Entwining and seamlessly moving between the light and dark of the scenery sculpted by the band, the track is a glorious adventure adding another layer of enterprise and magnificence to the sound and presence of the band.

   Completed by a live acoustic version of The Last Day, the Breaking Free EP might just be three individual songs but potently declares Forever Still as the real deal and a band destined to rich and influential horizons. They have something different to the rest of the like flavoured bands, a hunter of an adventurous essence which can only broaden and deepen ahead.


RingMaster 12/04/2013

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Havenside – Living Our Darkest Days


    Formed in 2006, US band Havenside has become an invigorating excitement for ears but never quite made that big step into the strongest spotlight. Forging a ferocious mix of metal and hardcore, the band certainly across their previous three albums has sculpted persistently pleasing results from within their continuing rich potential but without lighting the major fires they suggest they are capable of. Their fourth album Living Our Darkest Days is in also a little guilty of not truly exploiting the promise and undeniable quality of the band but it certainly makes a strong fist of its attempt. The twelve track slab of sonic savagery and antagonistic vitality seizes ears and imagination from its first ravenous minute never relinquishing its grip until the final seconds. There are a few ‘ailments’ you can lay against the otherwise impressive encounter but the Sacramento has still crafted their finest moment yet to worry those higher echelons of recognition.

    Formed in 2006 by vocalist Brandon Wells, Havenside despite going through a few line-up changes has earned a fine reputation LODD_HighRes_Coverfor their ferocious sound and stage presence, not forgetting their well-received albums. Released via Innerstrength Records, Living Our Darkest Days is the Californian quintet’s fourth full-length fury, an intensive bruising to fire up appetites and emotions. The album takes little time to ravage ears as opener Indisputable from a distant squall launches a violent tirade upon the senses; riffs and rhythms aligned to lethally rapacious vocal spite producing an immediate savagery. The rigid antagonistic riffery of Casey Mann and Nik Santos churns up and chews on synapses with their heavily laden vitriol whilst the bass of Jordon Morch snarls with bestial rage alongside. It is a towering mix under the drive of the crippling rhythms of drummer Jaramia Bond, a thrust given a rabid head by the raw tones of Wells. Grooves threaten to break free from the tempest at times, teasing with their presence but never given full rein by the weight of the song. It is an intriguing and satisfying start which suggests more than it delivers but all the same grabs attention and enjoyment.

   Featuring Rob McCarthy (ex-Lionheart), The Broken storms in next, a winding groove given licence to twist around the imagination as the rhythms punch a frame around their lure. With Wells unleashing a malicious combativeness, the track plunders the senses with invention and voraciousness like an agitated leviathan. It is a spiteful yet magnetic provocateur raising the stakes for the passions to embrace. Its tempestuous qualities and strength is soon matched by the following Despised and then left behind by the excellent Things Will Never Change. The first of the two, like its predecessor, casts grooves and hooks within an intense cyclone of aggression and though the song does not quite have the bait to spark the same depth of reactions as the first pair, it has plenty to keep a hunger brewing. By this point a surface similarity coats the songs which does not deter or disappoint but does suggest some of the reason that the album does not explode in the passions as strongly as it should. The second of these two tracks is the exception and shows what is possible. Grazing and brawling with the ears from its first breath, the song instantly has something about it which is different and bold, drawing in the imagination ready for the excellent twist of clean backing vocals. Flinging sinews and malevolent attitude lyrically and musically around, the track has a swagger and swerving flow to its body which ripples and enthrals, the track moving away from the more metalcore premise of other tracks. It is a glorious incitement and one easy to hope the band explore further.

    Both the intimidating Unite & Conquer and the almost danceable, almost, Standing Your Ground Pt. 2 prey on the listener next, both accomplished and severe examinations which pale against the previous song but stand tall alone, before the first single from the album stomps forward. Stronger Everyday is a fiery and formidable encounter which lurches over and traps attention with its keen and resourceful animosity, providing another worthwhile wounding for the senses.

     The outstanding pair of King By Destruction and Supplicator soon put the last song in a shadow with their adventure and intensity. The first with a pack like stalking from its rhythms and riffs, nags and provokes with purposeful intent but it is the small melodically bred sonic veining and assisting clean vocals which lift the track from the rest, that and the increasing dramatic imagination and diversity which ignites the latter part of the song. Its successor is a swift explosion of bad blood, an excellent unpredictable tirade focusing on the more hardcore heart of the band. Like the last, it further suggests the expansive elements of the songwriting and sound within Havenside, something still not allowed enough freedom for us.

    The final trio of songs ensure the release ends on a strong footing if slightly underwhelming compared to previous songs. Composure rants and riles against the listener musically and lyrical in fine style with flashes of intrigue lighting up its war whilst Curse, which sees a guest appearance from Howie Favichia of Lifeforms, from a fascinating melodic intro crafts a brutality which scavenges emotions. Again there are great glimpses of emprise to the engagement though never anything truly pushed to its limits. Final song Refuse To Sink brings Living Our Darkest Days to an uncompromising and pleasing end if again without realising or exploring the full promise of its invention.

    The track sums up the album, a song which impresses and crafts some strikingly imaginative moments but seems afraid to unleash the creative beast inside. Living Our Darkest Days is a thoroughly engaging proposition all the same, Havenside at its best but still with some potential to unleash…that something to eagerly wait for.


RingMaster 12/03/2014

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My Refuge – Living In Anger


My Refuge - Foto

    Hailing from Italy, My Refuge is a band which has steadily gained very decent attention for themselves at home, a recognition which will be increased whilst potentially starting a just as keen reaction further afield through the release of new EP Living In Anger. The release is a power metal encounter which without casting any major surprises easily satisfies and potently continues the Varese based quintet’s more than solid emergence.

     My Refuge was started in 2010 as a solo project by guitarist Mauro Paietta, a start soon followed by the release of the 3407 Picture Of An August Night EP. Expanding in size with the enlisting of guitarist Simone Dettore, bassist Salvatore Chimenti, drummer Valerio Ferrari, and lastly vocalist Moz, this current line-up in place and stable from 2012, My Refuge was soon writing and creating potent and flavoursome sounds. Living In Anger is the next unleashing from the band, a taster and invitation to their forthcoming debut full-length due later this year, which easily raises interest and appetite for band and album. It is fair to say that it does not light any raging fires but just as undeniably it does offer plenty of temptation and potential to satisfy and lure a wealth of new hearts into the upcoming horizons of My Refuge.

     Opener A Storm is Coming is exactly as its title suggests, a tempestuous and voracious energy soaking ears from the first Living In Anger - Cover 200x200second. Though not exactly entering the eye of the onslaught, the song soon settles into a sinew clad, rhythmically driven stalking, the thumps of Ferrari bordering belligerent and the guitar design and tempting of Paietta and Dettore enticing. The magnetic bass sound from Chimenti adds its own individual predation to the stalking gait of the track whilst Moz provides a strong and varied vocal narrative which complements the song’s exploration without leaving lingering fires. There is an open familiarity to the song, as across the whole EP, but it makes resourceful use of previously well-worn paths to build a pleasing and very easy to return to encounter.

    The following song, The Cage (Oh Demon In My Eyes) does not carve out new ventures for heavy and power metal either but imaginably feeds any wants and needs from the genre with skill and endeavour. Like the first, the track does not rampage and push the listener into anthemic pastures with grand and mischievous premises like many power metal charges, but instead centres on emotive and dramatically passionate aspects. The vocals and guitars explore these evocative hues intensively and creatively leaving bass and drums to intimidate and lure the senses in deeper; it is a strong and potent blend impressively sculpted and delivered, if lacking the key to waking a more ravenous appetite for its invention.

     The title track steps up next with more of the same design in its particular pattern; vocals and thick melodies with an acidic nature leading the suasion from within another intensively brought rhythmic cage. Moz again unveils a good stretch of delivery with purpose and skill, even the typical heavy metal wails which usual fall on barren ground with our tastes only enhancing the variety of the song. Parading an almost carnivorous throat to its intent, the song does not quite match the previous pair but still adds to the growing presence and convincing provided by the band.

   The EP is concluded by an acoustic song called Empty Rooms. To be honest it is a track which initially did not lay any really persuasive hands on thoughts and emotions but as it makes its way across and deeper into its emotive journey, the union of guitars and vocals work under the skin to provide a real highlight of the release. The controlled and wide array of vocals is a vibrant treat in the melancholic embrace of the song, a suasion bringing a very decent release to an outstanding close.

   My Refuge feels like a band still finding its unique presence and voice but providing a satisfying presence on that journey. Living in Anger will not set your heart racing but definitely makes for a pleasing and refreshing addition to power and melodic metal, which is always a well worth investigating quality.


RingMaster 12/04/2014

Copyright RingMaster: MyFreeCopyright

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