Devildriver – Trust No One

pic by ben hoffmann

pic by ben hoffmann

There is no mistaking Trust No One as a Devildriver incitement. From the recognisable throat scarring vocals squalls of Dez Fafara to the anthemic rhythmic antagonism of bassist Diego Ibarra and drummer Austin D’Amond, through the grooved and sonically caustic imagination of guitarists Mike Spreitzer and Neal Tiemann to the pure carnivorous roar of the groove metaller’s sound, the Californian’s seventh album is familiar Devildriver animosity. Yet there is something different to the beast; its body slimmer, almost stripped back to the core elements of the band’s sound whilst its contagion of venomous grooves has become even more creatively vocal and more virulently compelling. Whether Trust No One in this state is the band’s best proposal to date is under debate but it is fair to say that the album might just be the most physically and emotionally enjoyable encounter with Devildriver yet.

Linking up with producer Mark Lewis again at the Audio Hammer Studios, Devildriver show their intent from the first seconds of opener Testimony Of Truth, the want to savage the senses with hellacious rock ‘n’ roll. An inviting groove winds around the initial hefty jabs of D’Amond first with already the climate of the song a fiery challenge which only imposes further as the song evolves and Fafara’s raw tones further fire up the spirit of the song. It is prime Devildriver incitement but already devilish designs of melody and grooving is gripping the imagination, bringing individual character to each twist and turn here and in due course, to each subsequent proposal within Trust No One.

The thick and potent start is quickly surpassed by the barbarous exploits of Bad Deeds. The torrential assault of the invasive beats and the ear accosting rapping nature of the vocals aligns perfectly with a sultry melodic weave spun by the guitars within their own corrosive tide of predacious riffs. It is gripping stuff, irresistible hostility fuelled by a drama and imagination individual to that of the band’s previous outings. The track’s impressive success is soon matched by that of the even more grievous My Night Sky, though its own animus of emotion and intensity is tempered by the equally potent magnetism colouring the web of sonic invention and suggestiveness.

Devildriver_CMYK_RingMasterReviewThree tracks in and already the senses are numbing and energies breathless such the force and creative weight of the tempests. No respite is given though as This Deception, from a waspish coaxing round melancholic keys, tears into the listener with nostrils flared over a rabid rhythmically jagged ire spewing jaw and in turn, Above It All crawls all over the senses and into the psyche with what can be best described as a swarming surge of ravenous belligerence and aural irritability. Both tracks are not short on their own array of expectations defusing and imagination sparking essences either, the first through seductively flirtatious grooves and the latter with exotically hued strings and melodies which entice and bewitch even within the raging storm of the outstanding ravishment.

Daybreak spins some bluesy grooves into its maelstrom next, they colluding with addictively heavier cousins as riffs and vocals unite for some savaging with the backing of infectiously mercurial rhythms. Spreitzer and Tiemann simply shine throughout Trust No One, here especially as they conjure a landscape as unpredictable and fascinating as it is blistering, while in the album’s title track, they help shape a tempest as sonically elegant as it is uncomfortably threatening.

Arguably the nastiest and most uncomfortable track on the release is Feeling Ungodly, though it too is unafraid to spring some of the catchiest grooves and hooks across the whole of Trust No One while devouring the senses in body and emotion. Again, it is hard not to be swept up by the spiteful air and invasively infectious nature of the excellent track before Retribution grows from a melodically alluring proposal into one which nags and growls like a rabid dog infested with the inescapable irritancy of niggly grooves and the biting incessancy of beats and riffs. It is an irresistible incursion followed with equal ferocity and compelling adventure by For What Its Worth and an adversarial and merciless sonic malefaction which might not quite live up to many of its predecessors but leaves only a craving for more.

As we said at the start, whether Trust No One is Devildriver’s final hour we cannot say yet, even after a dozen listens, but it is hard to remember many encounters with them bringing as much raw enjoyment and the same kind of urge to go straight back into the turbulence as their new album.

Trust No One is out now via Napalm Records on CD @ http://devildrivertrustnoone.com/  and digitally @ https://itunes.apple.com/gb/album/trust-no-one/id1091651702?app=music&ign-mpt=uo%3D4

http://www.devildriver.com/   https://www.facebook.com/devildriver

Pete Ringmaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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Josh Mellor – Same Bed

art_RingMasterReview

Josh Mellor is a young British singer-songwriter bred in Ipswich and now based in London. He is also poised to release debut single, Same Bed, a poetic melodic caress around honest lyrics and heart fuelled vocals making an ear pleasing introduction to an artist with promise on open show.

Establishing his live presence in local Suffolk venues, Mellor moved to London last September, taking “a large portfolio of material” to the capital and quickly hitting its live scene. With over 40 gigs a month, he soon made a mark on the night life there, a success and reputation already being furthered by Same Bed with the single being picked up and supported by the likes of Express FM, Shoreditch Radio, and Croydon FM among others.

As this first single suggests, Mellor’s music has its roots in folk, musically and in the simply but clear portrayal of “emotions and feelings through the eyes of everyday people.” With bassist David Dupuis and drummer Leo Martin alongside, Same Bed and Mellor quickly have ears engaged as melodies float from his guitar as easily as expression with his distinctive vocals. There is an immediate emotive edge to his voice which at times almost defuses its consistency yet only adds to the heart and suggestiveness of word and song.

Against the darker hues of the bass, melodies and harmonies blossom with a spicing of keys being equally involving of the imagination as increasingly energetic beats invite hips to sway to the song’s infectious manner.

The single makes for an enjoyable first listen to Mellor, leaving many clues as to why he has been so successful on the London live scene.

Same Bed is out now @ https://joshmellormusic.bandcamp.com/releases

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Pete RingMaster 13/05/2016

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The Open Eyed Dreamer – Free Your Own Mind

free your own mind_RingMasterReview

The Open Eyed Dreamer is the solo project of Bracknell hailing Steve Fearon, the former frontman of the strongly missed British industrial rockers Ghost In the Static. The Free Your Own Mind is the debut EP from that project which was in many ways an idea and presence predating Fearon’s previous band. In the words of the man himself though, “For a long time, The Open Eyed Dreamer was nothing more than a persona, a mask worn on stage, someone sung about in Ghost In the Static Songs.” With the striking Free Your Own Mind the first ‘words’, The Open Eyed Dreamer is now Fearon’s voice against a world where “power is misused and misappropriated by those who hold all the card.”, and a release for his inner anger.

Fusing electronic incitements with raw rock and melodic pop textures, Fearon’s sound and EP is an attention grabbing blend of extremes and differing textures. It roars in defiance, snarls with antagonism, both lyrically and musically, but equally seduces while inflaming body and imagination with vibrant melodies and tenaciously infectious hooks. The heart and thoughts of Fearon and songs are unmistakable, their bite and contempt at the injustices running and ruining the world forceful but bound in music and imagination which forcibly but contagiously suggests and highlights without ever breaking into the realms of preaching.

Free Your Own Mind opens up with Press Enter To Continue and the line, “This is a bed time story but not for the innocent; you know what you’ve done and what it meant.” As big portentous beats accentuate the moment and the gentle but open inescapable challenge of that simple line, synths begin to rise and bring their intimidating sizzle to the brewing provocative drama of the brief opener.

The attention and imagination seizing start leads to the magnetic lures of Simple People where instantly it too is wrapped in dark shadows and an oppressively evocative ambience. Simultaneously Fearon’s vocals unveil the track’s narrative and emotion with rich expression and the enjoyably familiar style that helped make his previous band a potent proposition. Warm flowing melodies align to catchy beats as hooks just as magnetically blossom within the darker climate of the song, all seducing and igniting body and spirit as firmly as its tone and words spark the imagination and emotions.

Inspirations drawn upon by Fearon include, among many, the likes of The Prodigy, Gary Numan, NIN, Cease2exist, KMFDM, Infected Mushroom, and Combichrist. They are essences which in varying degrees you can sense across Free Your Own Mind. Third track Waiting though, has a hint of fellow UK band MiXE1 to it, something after investigation unsurprising when learning the song, the only one not solely written by Fearon, was created with Michael Evans of MiXE1 and Defeat’s Gary Walker. The pair also physically feature in the song; Evans’ vocals easy to spot within moments as they provide an excellent companion and foil to the equally impressing and darker tones of Fearon. The song is superb, a swiftly captivating persuasion with also a touch of the Walker Brothers to its melodic and emotional atmosphere. Synths paint a just as potent and dramatic picture as the vocals and lyrics, a combination which infests and lingers in appetite and memory.

It surely has to be the lead track to draw newcomers into the project, though The Last Revolution provides a just as commanding and gripping proposal next. Its shadows are far darker than its predecessor and in some way, especially rhythmically, its drama even bigger and bolder as the song envelopes ears and thoughts. There is also a great predacious nature to a track which at times feels like it is stalking the senses; nudging and imposing on them as an instinctive volatility inspires scything strikes of beats and keys for another resonating incitement.

The EP is brought to a close by The Final Photograph, a smouldering electronic caress with sonically blistered skin veined by melodic and vocal coaxing. The gentler wash of synths and sonic suggestiveness also has an inbred irritability which subsequently erupts and fuels the track’s volcanic and galvanic climax.

It is a fine end to a great, I guess, introduction to The Open Eyed Dreamer. Fearon calls Free Your Own Mind his “call to arms” and indeed it is an arousing of the listener in many irresistible ways.

The Free Your Own Mind is out now @ https://theopeneyeddreamer.bandcamp.com/album/free-your-own-mind

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Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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Vienna Ditto – Ticks EP

Pic Wildblanket Photography

Pic Wildblanket Photography

Bringing their most eclectic sound and irresistible hex yet to follow up an eagerly acclaimed debut album, British duo Vienna Ditto are about to unveil new EP, Ticks. It is seven tracks of fiercely diverse and mesmeric aural imagination; a collection of encounters embracing voodoo rhythms, electrified blues temptation, and beguiling vocal dexterity honed into a septet of unique psyche twisting proposals.

From being child student and guitar teacher in 2000, creatively reuniting a decade later, vocalist/synthist Hatty Taylor and guitarist Nigel Firth have become one of the most intriguing and imaginatively unpredictable encounters within the British underground rock scene. The Oxford hailing band through EPs and singles since their first, a self-titled EP in 2011, has explored, nurtured, and uniquely spun a sound which has always fascinated but become increasingly more fascinating and spellbinding release by release. That growth and exploration accumulated in the release of their feverishly praised debut album, Circles, last year. With the release of Ticks and some hindsight though, the impressive album now feels like it was the end of the band’s first chapter, a rounding up of early ideas and successes providing a springboard into even darker and boldly adventurous escapades to experiment with, such as those making up the sensational Ticks.

The EP opens with its title track, a slice of quirky pop with wonky melodies and smouldering rhythmic grooves around the immediately siren-esque tones of Taylor. Beats play as a settling lure until the song opens up with an even darker tang to its grooves and new wave like hues to its hooks and excitable energy. Slipping back into that initial seductive coaxing, things down settle again though a lingering volatility is there waiting to fuel another round of the addictive chorus and the subsequent sinister emotive waltz and mischievous musical tango which begin entangling each other. The track is glorious and, as the EP, simply more infectious and imposingly addictive with every listen.

art_RingMasterReviewTiny Tambourines follows up the thrilling start with a gentler melodic kiss on ears, though tantalising electronic incitement and an off-kilter rhythmic shuffle are also there courting the warmer hues of sound and Taylor’s ever evocative voice. The track is a fuzzy romancing of ears and imagination, again with a great tempestuousness which means unpredictability lurks at every twist and turn before the brilliant warped bossanova of Frank Account takes over. From the first strains of guitar, ears sense a festival is waiting to pounce, a few seconds more brings confirmation as strolling beats and swinging harmonies surround Taylor and the flirtatiously jazzy grooves and devilish hooks of Firth. Like a slightly deranged hybrid of The BeauBowBelles and Molotov Jukebox, the song bewitches and enslaves; taking body and imagination on a lively and provocative adventure.

The mesmeric blues croon of Motherless Child comes next, the song a melancholic serenade lined with sultry yet unsettling shadows within a brewing portrait of loneliness and loss cast by voice and melodic discordance. It is spellbinding stuff, becoming more potent with every listen; a quality admittedly every song holds including the haunting cinematic drama of My Way of Missing You. Maybe best described as Portishead meets Morcheeba whilst lost in a dark world shaped by Lydia Lunch or The Sugarcubes, or not, the song has thoughts drifting off into shadowy exploits as ears fall for its invasive and hypnotic beauty.

The band’s sound switches to a spirit sparking gospel character for next up Go Down Moses, an incitement with loco guitar revelry and twisted gothic blues ingenuity to create a sure fire passion igniting protagonist. Its dark rock ‘n’ roll joins the long list of momentously rousing songs and moments within Ticks quickly joined by closing track Come Back and its busy and sinuous landscape of textures and craft within a cosmopolitan theatre of sound. Alone leaving ears and appetite greedy for more, the song brings Ticks to a sensational end while revealing yet another aspect to the creative sorcery breeding the release.

Vienna Ditto is a band which keeps on impressing and providing adventures which continually surprise and excite as they themselves become bolder and more dramatically imaginative.

The Ticks EP is released 13th May 2016 via Ubiquity Project Recordings @ https://viennaditto.bandcamp.com/

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Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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Peekaboo Primate – Misanthropical

PP_RingMasterReview

Bedlam suggests an element of chaos to its madness, an uncontrolled essence which certainly does not fit the character of Misanthropical, the new album from Finnish alternative metallers Peekaboo Primate. Yet in every other way the word best describes the creative diversity and inventive loco of the band’s irresistible incitement. The release holds ten tracks which twist and turn like a kinetically sonic kaleidoscope weaving an eclectic array of flavours into their own distinct imagination fuelled escapades.

Peekaboo Primate is like the joker in the pack of modern metal; not the fool playing with a lunatic demeanour just for attention, though mischief is never far from their imagination and songs, but the bold protagonist using unpredictable exploits to ignite the senses and inspire thoughts towards, in the case of Misanthropical, a world where “as ugly, brutal and harsh but sometimes also beautiful as it is – everybody wants to be part of the greatest party of our time before our species go extinct solely by our own hand.

Hailing from Tampere, and originally under the name of Airhead, Peekaboo Primate was formed in 2004 by vocalist Lauri Lepokorpi and drummer Riku Airisto. The original line-up also included Hannu Kumpula and Tuomas Kumpula up to the release of the band debut album Peek-a-boo Primates in 2011. Following its release, the band changed its name to Peekaboo Primate with its personnel subsequently completed by the addition of guitarist Matti Auerkallio and bassist Juhani Rytkönen.

The time between albums has seen the band’s sound evolve and become even more defined in its real uniqueness, though if looking for a hint to what band and Misanthropical offer, imagine a mix of Dog Fashion Disco, American Head Charge, and Five Star Prison Cell with a touch of 6:33 to it. From its first heartbeat the album has ears and attention gripped; Spray Tan opening things up with an assault of tenaciously unpredictable rhythms and hungry riffs as wiry grooves wind around their thick bait. The vocals of Lepokorpi are just as dynamic and impressive, carrying an air of Chad Gray to their rousing presence at times as keys and guitars create a masterfully tempestuous and exotically dramatic theatre of sound

PP_Cover_RingMasterReviewIt is a thumping start matched in quality and irresistibility by the psychotically cultured Ha Ha. Sonic and rhythmic stabs court vocal shenanigans from the start with heftier beats soon adding their instable intent to the quickly compelling mix. Slithers of jazz and groove metal flirt with avant-garde psychosis as the track grows and writhes as well as anthemically incites in equal measure before allowing Nothing the opportunity to prey on an already submissive appetite and imagination for the release. The song saunters along with flirtatious and intimidating hues to the fore, Lepokorpi like the ringleader in its midst as his narrative challenges and highlights the issues theming the magnetic proposal.

From its initial intriguing low key start, The Unleashed soon unveils a pulsating and sinister body of synth bred sound as exotic and sultry hues in female voice and melodic suggestiveness add an alluring invitation. The challenging words of Lepokorpi probe and echo in the background before with unpredictability as enjoyable and prominent as ever, the track slips into a reggae cultured shade of character, though it is just one moment in the revolving journey of the encounter.

An addictive dose of pop ‘n’ roll grips next in the outstanding shape of Heroine, its catchy colour led by the great guest vocals of Noora Louhimo from Battle Beast. The rest of the song is a predacious prowl with the again effect coated tones of Lepokorpi stirring up riffs and rhythms between the flames of pop temptation. Within moments, it is sure to have bodies bouncing and voices fully involved, as ours, before Mama Earth rumbles as sonic spices zoom in and out across its growling tone and nature; that American Head Charge reference coming to the fore here, across a wonderfully grouchy yet fiercely inviting proposition.

As its predecessor, Star has a more ‘straight forward’ adventure to its body, though as the last treat too, there are plenty of unexpected and seamlessly woven together twists to catch out expectations and enthral the imagination, especially when uncaging some creative aberration midway. It’s more composed sanity and boldness is contrasted by the delicious raw frenzy of Peekaboo Primate, the track a demented slice of noise rock infested avant-garde/nu metal mania and quite irresistible as it stalks and bruises the senses.

Some of its punkiness survives in the cantankerous luring of ears by Follow My Lead, though the song is unafraid to bring some pop seeded melody and contagion into its imposing metal shuffle between even more irritable and aggressive trespasses.

Ending with the melodic caress of 291112, an emotively suggestive instrumental which fits easier into the scheme of the album with each full listen, Misanthropical is ripe pickings for the imagination and enjoyment. It offers a canvas and adventure which persistently provides fresh twists and surprises even after numerous listens. We will admit, we had not heard of Peekaboo Primate previously, a band which right now it is hard with their music to get out of our heads.

Misanthropical is released on CD and digitally May 12th via Inverse Records.

http://www.peekabooprimate.com/   https://www.facebook.com/peekabooprimate  https://twitter.com/peekabooprimate

Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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

The Ellipsis – Wasted Potential Me

The Ellipsis_RingMasterReview

The Ellipsis is a young British band with a very easy on the ears ability to weave melodies which sing in the imagination while a virulent catchiness springs upon the body. The evidence is in their recently released debut EP Mind In The Sky and now their rousing new single Wasted Potential Me. Taken from that EP, it is a spirit raising, energy enticing wake up call to newcomers and a confirmation for those in the know that the Coventry hailing indie rockers are the real deal.

With its seeds sown when guitarist John Connearn and drummer Ben Eardley formed their first musical project as twelve year olds, The Ellipsis, with bassist Harry Green and vocalist/rhythm guitarist Henry Bristow completing the line-up, has become a potent presence not only on their local live scene but spreading across the UK. Their emergence has been more than helped by potent tracks like debut single White Feather and impressive live performances at the likes of the Wychwood festival, when headlining Coventry OxJam, and in front of 30,000 rugby fans at the Ricoh Arena. Radio play has been a courting support too and it is easy to expect the band to have more with Wasted Potential Me stirring up ears and further attention.

From its first seconds and a great bait of eager guitar, the song is soon in command of ears and appetite, the swinging beats of Eardley and strolling dark tones of Green’s bass alone thick temptation. Into a seriously catchy stride and character, with the rhythms continuing to jab and incite feet and hips, warm harmonies and Bristow’s engaging vocals soon enjoyably collude with spicy grooves and flirtatious melodies.

At times there is a touch of The Vapours to the song, The Farmer Boys meets Lightning Seeds too; a slight whiff of nostalgia which only adds to the captivation and inescapable addictive roar of the song.

Wasted Potential Me is no one off in The Ellipsis sound, having checked out their EP on the back of it for proof, but it is one of their most dynamic slices of distinctive pop rock which all should think about adding to their impending summers.

Wasted Potential Me is out now @ https://theellipsis.bandcamp.com/

Upcoming Live Dates

Sat 4th June – Coventry, Motofest

Fri 1st July – Coventry, Godiva Festival

Fri 7th July – Napton Music Festival

Sat 8th July – Nuneaton, Nunfest

https://www.facebook.com/theellipsisuk/   https://twitter.com/TheEllipsisUK

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Pete Ringmaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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

The Pulsebeats – Fiction Non-Fiction

The Pulsebeats_RingMasterReview

Every two years or so we seem to get a new stomping encounter with The Pulsebeats; a regular occurrence, certainly over the past four years, providing so far highly memorable and rousing adventures. Nothing has changed with new album Fiction Non-Fiction either, a riotous ten track affair which has the body and spirit leaping with the band’s distinct fusion of garage and punk rock with power pop contagion.

Formed in 2010 by a quartet of musicians from Manchester and Santander in Spain, The Pulsebeats soon had an increasing flock of fans bouncing live and with their self-titled debut album of 2011. A raw but captivating romp, it awoke a new wave of attention and media interest which was further stirred up by the band’s three track 7” single Don’t Turn Your Fucking Back On Me two years later. That release immediately revealed a new imagination and diversity in the band’s songwriting and sound which has now been taken to yet another plateau with Fiction Non-Fiction. Released a couple of weeks ago by FOLC Records and Action Weekend Records, the recording of The Pulsebeats’ new roar of energetic fun saw the band return to Santander’s Drive Division Studio with Alex Pis handling production. What emerged was a collection of songs eager to reveal the band at its most musically adventurous and indeed creatively tenacious yet.

What Can I Do? is the first slice of engaging incitement on the album; a welcome instantly wrapping ears in jangly guitar and crisp beats. The distinctive British tones of Nathan are soon adding to the already potent lure of the song, his and fellow guitarist, Luis’ riffs and hooks surrounding his tones with matching zeal and expression The track is a tidy slice of power pop mixed with sixties spiced R&B, a warm an catchy start soon eclipsed by Dead School Marching Band. New wave like guitar insurgency rubs the senses first; their almost duelling bait soon accompanied by the swinging rhythms of drummer Ral and the almost haughty bassline of Alex. In no time, the outstanding song has feet and hips bound in its virulence whilst a Who/early Jam hue blossoms to ignite the imagination. It is also an inventively busy proposal, vocal growls and writhing harmonies colluding with spiky hooks and tangy grooves to add to its ear gripping devilry.

Cover_RingMasterReviewThe punk ‘n’ roll of Eyes On You leaps straight from the closing breath of its predecessor, the track a glorious old school incitement with a touch of early Buzzcocks meets The Freshies to it; indeed Nathan adding a Howard Devoto like toning to his raw vocal persuasion. Like the previous track, it quickly and easily has body and passions involved while showing more of the variety in sound shaping Fiction Non-Fiction.

The following All I Give also has some of that nostalgic spicing to certainly its acidic hooks and uncluttered body, bringing a lighter infection of pop ‘n’ roll for its magnetic chorus, while Carrie-Anne is a less forceful proposal creating a flirtatious smoulder with sultry surf like melodies within a power pop/new wave hug with just a touch of The Only Ones to it. Both songs easily command undiluted interest and an increasingly greedier appetite for the album, if without quite matching up to the major heights of those before them and the thumping garage rock ‘n’ roll of Baby Girl. The anthemic punches of beats alone have limbs involved, vocals and riffs taking care of the rest of quickly seduced attention.

The mischievous nature of the band in word and sound is never far from the surface of the album and especially dynamic and irresistible in The Man Without A Head. The stomping slice of rock ‘n’ roll is an epidemic of sonic contagion with a host of additional strands drawn from blues, vintage R&B, and pop punk. Many tracks have a claim for best track honours within Fiction Non-Fiction, this one of the most vocal though so too is its successor, the resourcefully infectious and melodically lusty September Calendar Girl.

To be honest most tracks create an unforgettable peak within the lofty stature of the album, the glorious Everybody Wants Some intoxicating punk rock revelry almost aflame with raw energy and attitude to match earlier heights. It offers an uncomplicated two and a half minutes of breath-taking and seriously addictive rock ‘n roll which just ignites body and soul.

Completed by the even briefer punk riot of The Ballad Of Medicine Stu, again a track impossible not to get fully involved in, Fiction Non-Fiction is the kind of release you turn to for pure fun, knowing it will not disappoint in sound, adventure, or attitude. As for The Pulsebeats, they just get better and better, which means so do their records which Fiction Non-Fiction can testify.

Fiction Non-Fiction is available now on CD and download through Folc Records/Action Weekend Records and @ https://thepulsebeats.bandcamp.com/album/fiction-non-fiction

https://www.facebook.com/The-Pulsebeats-378049614144

Pete Ringmaster 11/05/2016

Copyright RingMaster: MyFreeCopyright

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