From first being introduced to Spain based rockers The Pulsebeats with the release of their self-titled debut album around 2011/12 we found an instinctive appetite for their garage rock/punk rock/power pop seeded sound which has only grown stronger by the subsequent release. It is a proposition which feeds on the instinctive rocker within fusing a celebration of open influences and the band’s own new and fresh enterprise. Almost six years though have passed since we last heard from the Santander band so there was extra and certain intrigue with the recent release of new album Lookin’ Out.
What quickly became clear is that the quartet of bassist Alejandro Santos, guitarist Luis Ibañez, drummer Ral Garcia and vocalist/guitarist Nathan Whittle, who we thank for sending their latest release our way as he did their first, have, without losing that inherent appeal of past and new entangled, bred even greater adventure and variety in their writing and sound. Lookin’ Out is a rampage of energy and contagion loaded enterprise, adrenaline bursting from every note and breath as passion and fun soaks every rapacious surge of hook carrying adventure, the album’s rhythmic incitement just as boldly manipulative and inescapably rousing.
Skipping Stones kicks things off and immediately wraps ears and memory in a guitar wire with a definite Buzzcocks bearing in its breeding. The eager thrust of riffs and rhythmic enticement alongside is just as catchy in its persuasion, that delicious hook a repeating pleasure as Whittle matches the infectious uproar in his vocal holler. The song makes for an irresistible start to the release which Mathilda’s Rifle cements with a more composed but no less eager pop punk stroll. Again Garcia’ swings are as athletic as they are manipulative and the melodic hookery of Ibañez an eventful pull within the track’s inescapable lure.
There is a Ramones-esque hue to the song which unsurprisingly is also open within the following (She Sings Like) Joey Ramone. As the thick gnarly snarl of Santos’ bass gripped within the rhythmic enticement of Garcia, the song instantly was burrowing deep, sonic sighs and eventful eruption an inescapable rush. Thereon in it carried us on a raucous wave of energy and creative animation, the album’s impressive start only becoming more irresistible.
Rock ‘n’ roll and punk rock merge for next up Reason To Believe, its body a weave of varied decades and new imagination while Burn The Guy roars with a sing-a-long prowess seeded in the seventies and nurtured in the contagion fuelled modern day enterprise of The Pulsebeats. Both songs proved impossible not to offer personal involvement yet each still found themselves, for personal taste, eclipsed by the outstanding 241259. There is something familiar about the track which we have still yet to pin down but it only adds to its devilish infection and adrenaline bound temptation, favourite track choice well in its sights.
Across the teasingly spirited Life As A Movie, a song with an XTC like hue to its smile ripped jangle, and the mercilessly catchy In The Picture with its hard rock honed groove and power pop character, band and release continued to orchestrate the keenest attention and movement which Cover Girl continued with its clamorous tempting upon ears and thought. Across the album, the quartet often look at the power of escapism from life offered by the fantasy provided in print, film and online, the third of these three a fine contemplation.
Hot Glue It! is another urging for that best song nomination, its garage punk bred stomp the breeding of personal body bouncing and throat hollering. Imaginative and influential in all is aspects, the track subsequently won the honour whilst proving that The Pulsebeats are flourishing as they become even bolder and more adventurous in their creativity.
The album’s title track was just as irresistible and another with an essence which teased in its familiarity yet grinned at any attempt to pin it down as it romped with swinging rhythmic limbs and cacophonous prowess. The sixties, seventies and 2021 all collide in its relentless contagion before Heart Attack embraces even greater time and inspirations to its blues punk, classic rock courting breast.
Coma State concludes the release, its punk/alt rock clamour a final calling on body and vocal chords as it vociferously roared whilst epitomising the adventure and variety cast by one ear thrilling encounter.
Lookin’ Out sees The Pulsebeats back bigger, bolder and better than ever, the album easily their finest moment yet and hopefully the spark for the broad recognition they have deserved for a fair while now.
Lookin’ Out is out now via FOLC Records and Rum Bar Records; available @ https://thepulsebeats.bandcamp.com/album/lookin-out
Pete RingMaster 07/01/2022
Copyright RingMaster Review
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