As writers, we are constantly inspired by the sounds and records we cover; words sparked and imagination stoked by the craft and invention of others. It is a rare honour to return the favour but that is exactly what we have managed to do. Last year we introduced ourselves to electro/art rock outfit Das Fluff, the brainchild and creative vehicle of Berlin/London-based vocalist/writer/producer Dawn Lintern, through firstly the single Far Gone and in turn the band’s current album Flower With Knife. It was our review of the latter which seemingly sparked the imagination of Dawn into writing a new track. That song has now become the band’s new single, Ringmaster, and even without the bias of our lucky involvement it has to be said it is one mesmeric seduction of a proposition.
The single comes ahead of a fourth album the band is currently working on, the magnetic tones and lyrical agility of Dawn uniting with the electronic experimentation of Christian Ruland. It is a proposition among fans and media alike for which anticipation is full and one sure to be escalated after the release of Ringmaster.
The song opens with a melodic sigh swiftly joined by the caress of guitar and throb of rhythmic shadow. Just as quickly the alluring voice of Dawn slowly swings from their textures, her tones writhing around the sounds like a sultry dancer whilst coaxing ears and imagination with seductive intimation. There is a dark carnival meets shadowed burlesque breath to the track, an alluring glaze which adds further colour and shape to its instinctive romance and darksome heart.
Haunting and transfixing, like a flirtatious sunset lined with melancholic beauty, the song is pure captivation and alone more than enough reason to get excited about the band’s forthcoming full-length. Ringmaster is a track which outshone even our pride spun hopes and comes with a stunning video which you can see on our Video Selector page, another pleasure from Das Fluff.
Upcoming Das Fluff live shows:
May 25 – Petersburg Art Space / Berlin
June 2 – Electrowerkz / London
June 9 – Stigmata / Glasgow
June 16 – Zosch / Berlin
http://www.dasfluff.com https://www.facebook.com/dasfluff/ https://twitter.com/DasFluffTwit
Pete RingMaster 09/05/2018
Copyright RingMaster: MyFreeCopyright
Producer by ex-Vibrator, Pat Collier, High Rise Supersize is the first release to feature new vocalist/rhythm guitarist Joey DeRella and comes as the band venture across the UK on a string of live shows including playing Rebellion in August. High Rise Supersize opens with one of those hooks you just have to take a bite of, guitarist Luca DeRella luring swiftly keen attention, leading it into the waiting rhythmic incitement of bassist Timmy DeRella and drummer Billion Dollar Bish. There is boisterousness to the track which just entangles the spirit especially once Joey’s eager tones join in the rock ‘n’ roll romp. The track is DeRellas typical yet soon shows a fresh character and intent with its animated melodies and sneaky hooks. Equally there is a touch of old school punk devilment to its roar which only adds to the fun.
With his equally well-received single of February, You Ain’t The Girl, the trio of tracks this year to date revealed a great broad and imaginative canvas to Antoniou’s sound which Rag Doll stretches just a little more. The track has a tasty line in dark blues rock in its virulently infectious swing, a teasing almost sinister texture infesting the delicious groove and rapaciously tenacious character of the song.
Infused with lyrical content dealing with a gun-wielding girl from Texas, Dallas Knows the Reason instantly lures ears with vocal harmonies and lyrical suggestion, rhythms lurking with a firm hand as melodies meander just waiting to explode into life. That they do as the song quickly hits its tenacious stroll, rhythms now bounding through ears as the bass grumbles alongside the fiery exploits of the guitar. It is a highly infectious affair, its slight lulls intensifying the song’s swing once it erupts again.
Killing Time provides that sustenance. The song is a beguiling gothic lit shroud of sound, its wrap as bright as it is shadowed. A darksome throb groans as agitated rhythms again court the serenade of English. It is a sombre pulse though which is as welcoming as it is portentous, Lloyd weaving an atmospheric theatre of suggestion with guitar and bass, the colour of the drama provided by the equally compelling portrayal of emotional espionage from keys and voice. With every venture into its obscure scenery the song escalates in intimation and flavours, bewitchment growing to fascination and ultimately lust.
