Das Fluff – Anxiety Dreams

Though last year we came to the third album from Das Fluff late, we devoured the temptations within Flower With Knife last year like a kid in a candy store. Released in 2016, it introduced an artist who had an instinctive agility in grabbing attention and ears whilst seducing the imagination. It also sparked keen intrigue and anticipation for the full-length’s successor which the band was beginning to breed at the time we discovered the release. Now we stand poised on the lip of the release of Anxiety Dreams and all we can say is if you were wrapped up in the pleasures of Flower With Knife and its predecessors you really have only been dipping your toes in the post punk electro rock filth fuelled delights of Das Fluff.

Das Fluff is the creation of Berlin/London-based vocalist/writer/producer/rhythm guitarist Dawn Lintern, an artist who like the band’s sound just evolves and grows as an artist by the record. Alongside her is long-time collaborator Christian Ruland, a similarly magnetic presence with his electronic and visual art prowess. 2011 saw the release of debut album Would You Die for Me? with Meditation And Violence following two years later. Both encounters awoke ears and attention to the dance and drama loaded enterprise of the project though it is fair to say that it was the acclaimed Flower With Knife which really awoke a whole new wave of recognition and fans. With lead guitarist Joe Dochtermann alongside the pair, Anxiety Dreams can be expected to ignite even greater and broader awareness amidst a tide of plaudits the way of the band with its every breath, layer, and shadow echoing the intimation of its title.

The album roars into life with Millennial, a track which instantly had appetite and imagination on red alert as fluid electronic squirts align with inescapably coaxing beats while electro punk tendencies gather. In no time it breaks into its infectious stroll with Dawn’s melodic tones as mercurial in expression and attitude as the sounds around her. It is a rousing start to the album, a magnificent trespass of temptation and multi spiced sound seeing lips being licked for what is to follow.

The album’s title track is next up providing a prowling enticement with a matching vocal intent from Dawn as rhythms pulsate. Its electro post punk swells remind of Fad Gadget, an inherent catchiness which lines every dark breath and flirtation within the excellent seduction before Bleed Me Dry brings its own almost tenebrific yet radiant climate to immerse within. There is a far heavier tone and intent to the song compared to the previous one, an imposing threat cast by determined rhythms, the brooding bass of guest Wendy Solomon, and a gothic lined tone which is defiant and bold in its attitude.

Next up is Ringmaster, already a favourite offering from the band here. Released as a single and teaser earlier this year, it is a song which we have a natural connection with not only through its name but in the fact we somehow managed to be a part of its inspiration or rather our review of Flower With Knife was. A richly alluring serenade with a lively energy and pulse, the track rises from a sonic sigh and melodic caress with the ever magnetic presence and tones of Dawn leading the way. Immediately there is a drama to sound and voice; words emulating the theatre as the song’s sawdust earthiness colludes with melancholy lit but elegantly seductive harmonics. As burlesque nurtured shadows continue to envelop the darksome heart of the encounter, a Stevie Nicks-esque hue tinting the vocals, intimate shivers breed at the lure of the crepuscular but starry romance.

Through the irresistible strains of the rather outstanding Animal, a punk bred slice of rapacious electro rock with a deviously manipulative swing and imagination and the predacious almost vaudeville like antics of Freaks, the album evolves yet another shade of adventure and invention. The first of the two manages to be simultaneously hypnotic and feral, Dawn coming over like an especially magnetic Siouxsie Sioux within The Creatures like heart of the track while its successor probes and teases with feline grace within a dark visceral captivation as untamed as it is seductive.

The apocalyptic shuffle of Obey is a web of samples and stirring enterprise where dark predatory clouds and sonic winds trespass the psyche amidst melodic viscera and vocal dynamics. As its rhythmic incitement invades hips, the track invades thoughts and fears with devastation in its dust. As the previous track and Ringmaster, the song sees additional guitars from Stefan Missfeld to add to imposing drama so easy to devour though it still gets firmly overshadowed by the simply glorious affair that is The Cure. Smouldering surf kissed strokes of guitar are the first seduction on offer, Dawn’s melodic prowess the second with both undiluted seduction from the start. There is an intimacy to the album’s best song which feels like you are the focus of its intent while a sixties glaze just adds to its beauty, Dawn like a bewitching blend of Susan Maughan and Chantal Claret but as unique as the music hugging the senses.

The final pair of Rise and Supervolcano ensures that Anxiety Dreams leaves with a lingering touch and tempting. The former also has sixties pop colouring to its much more intense dynamics and suggestiveness nurtured by conspicuous imagination and equally lays blossoming seeds in thoughts for best song honours with the latter matching its fascination through its climacteric breath and inevitable destiny built upon portentous temptation and shamanic beguiling.

Anxiety Dreams is a release with so much in its intrigue carrying layers and diverse depths that each outing is a fresh adventure. We were already locked in an on-going affair with Flower With Knife but quite simply its successor leaves it trapped in its shadows as Das Fluff treads a whole new plateau of creative sorcery.

Anxiety Dreams will be released September 20th via Sohappymusic.

Upcoming das Fluff Live Shows:

September 14 – The Railway Hotel / Southend

September 20 – Monster Ronsons / Berlin (DE album launch)

October 26 – Paper Dress / London (UK album launch)

October 27 – The Railway Hotel / Southend

November 2 to 25 Asia Tour: Thailand, Malaysia, Vietnam including 23-25 November The Quest Festival, Hanoi, Vietnam

 http://www.dasfluff.com     https://www.facebook.com/dasfluff/   https://twitter.com/dasflufftwit

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

Vita and The Vicious – Bender EP

V & T V

It is far too early to mention Vita and The Vicious in the same breath as bands like Blondie, No Doubt, and The Pretenders yet as their new EP Bender feistily seduces ears and imagination, there is no escaping the potential within the band to possibly worry such heights in the future. They have a sound which you would guess has been influenced in some way by the certainly first of those two bands, an open flavouring which helps make their new three-track release a magnetic slice of melodic rock/pop. There is also an attitude to its songs which brings a fiery edge as enticing and refreshing as the infectiousness which flows freely through each encounter.

The beginnings to the London band were seeded around 2008 as a writing partnership began with vocalist Vita Ross and band lyricist Louisa Scott, with songwriter Keith James Godman a regular contributor too. The initial intent was to set Ross off on a solo career but it soon was apparent that she was more comfortable within a band scenario, a set-up her voice and live presence was more potent within. The band’s current line-up began emerging in late 2013; drummer Jamie Moore joining Ross before bassist Matt Young and guitarist Andy Manning were subsequently recruited. Last August saw lead guitarist Matt Fowler join the band, with the line-up finally completed by keyboardist Florence Sabeva. With a live presence and stature brewing nicely alongside the increasing potency of the band, Vita and the Vicious turned 2014 into a successful and busy time. They earned acclaim for shows at venues such as Zigfried von Underbelly and O2 Academy2 Islington, took big plaudits from a packed tent at Guilfest, and closed the year by supporting Holy Holy at The Welly in Hull. A national awakening is next on the agenda for the band, and even if not their immediate aim there may be no escaping that kind of attention thanks to Bender.

91UjsQowrBL._SX522_     The EPs title track opens the revelry up, a sonic breeze the spark for a compelling stroll of spicy grooves, seducing keys, and crisp rhythms. The striking voice of Ross is a swift enticement too, her tones somewhere between Debbie Harry, Wendy Wu (The Photos), and Chantal Claret whilst carrying the bite of a temptress and the fire of a vintage songstress. The song itself almost swarms over the senses, keys a lively bubbling of melodic seducing and rhythms a tenacious protagonist, both bound in the creative enterprise of guitars and vocals. Virulently contagious, the track alone spills that promise earlier mentioned, brewing thoughts of early Blondie with the raw temptation of a Karn8 or Japanese Voyeurs.

The following Face Off Honey opens with a similar sonic yawn but is soon weaving eighties synth pop into its volatile landscape. The track also offers a theatre to its imagination, one subsequently twisting into a confrontational but welcoming stomp led by voice and beats before returning to that initial tantalising energetic caress. The nostalgic breath never leaves the enjoyable flight of the song, fusing nicely with the great backing vocals and exotic rippling of keys shadowed by a broody bass sound and a wiry blaze of guitars. Though it cannot quite live up to the majesty of the opener, the song increases the hunger in an already greedy appetite whilst showing more of the diversity in the band’s sound.

Closing song All The Morning After is the same, revealing the band’s potency at creating evocative balladry within a tempestuously emotional and musical climate. The keys shimmer with robust radiance whilst guitars are almost stormy in their touch and invention, it all supporting the elegant croon of Ross. There is a touch of Danish band Forever Still to the excellent encounter as well as again an eighties air to its melodic rock hues, especially those coloured by the keys which maybe, to be a little fussy, over play that aspect a touch even if without defusing the rich allure of the song.

Without doubt Bender, the song, steals the richest acclaim but backed by two mouth-watering slices of melodic imagination, the Tom Wilcox (Woody Woodmansey’s Holy Holy, Lisa Ronson) produced EP is the announcement of Vita and The Vicious as one of the UK rock scene’s new exciting and captivating prospects.

The Bender EP is available now @ http://www.amazon.co.uk/Bender-E-P-Hand-Numbered-12/dp/B00WKAD3RK/ref=sr_1_1?s=music&ie=UTF8&qid=1430732405&sr=1-1&keywords=vita+%26+the+vicious

 http://www.vitaandthevicious.co.uk   https://www.facebook.com/VitaandtheVicious

Upcoming Show dates/;

May 6th EP Launch The Borderline, Soho London

June the 14th Cargo, Shoreditch London

RingMaster 05/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Chantal Claret – The One, The Only…

by Anna-Franziska Milanollo

by Anna-Franziska Milanollo

With big boned rhythmic seduction and even more tempting melodic suggestiveness, the debut album from Chantal Claret is one delicious romp of sixties pop and modern insatiable inventive hunger, a release which makes the term having a good time as a description seem rudely limiting. The former vocalist for the excellent Morningwood, Claret has crafted her own soulful and enchanting not forgetting vivacious sound, into a larger than life treat which brings femme-pop from five decades ago in a feisty and thrilling union with attitude drenched indie pop. Think Imelda May meets Brenda Lee with strong whispers of Wanda Jackson, Gwen Stefani, and at times essences of Brody Dalle’s Spinnerette, and you get the unique presence of Chantal Claret. The One, The Only… is an album which has feet and emotions pumping in time and passion with the forthright sounds it offers, a release which quite simply and persistently thrills with each and every enthralling note.

    The One, The Only… is something very different from anything Morningwood unveiled though there is still a visible thread The One, The Only. . . Chantal Claret by Nick Walker Photography 2between the two due to the stand alone vocals of Claret who arguably upon her first full length solo release has found an even richer and expansive depth to her tone and delivery. Following up the acclaimed Pleasure Seekers EP whose four tracks also grace this album, the new release dances with the passions and ear to send a rapture marauding through the body like a tide of raucous melodic energy which ebbs and flows yet never leaves anything less than captivated seduction roaming its presence.

The opening intro introduces the artist like you would have found at an authentic live performance or TV show of the sixties, or so my Dad told me… an audience excited and drooling as the artist takes her spot in their eager spotlight. It leads right into the muscular rhythms and initial crafty tease of Bite Your Tongue, a song which sways with devilment whilst coaxing the passions into its instantly infectious embrace. The rhythms continue to dominate from the drums and bass, even in its quietest lure, whilst the keys add smokey whispers to stand side by side with the blaze of horns. It is a terrific start with a female snarl and wile to its magnetic temptation.

The thrilling start continues with Pleasure Seekers, a track which has the fire of the band of the same name in the sixties and the gentle pop artfulness of Nancy Sinatra, through the contagious Pop Pop Bang Bang and on to This Time. The second of the trio is one of the highest pinnacles, its arrival on a nursery rhyme like coaxing opening moving into a riveting stroll of woman scorned devilry with accompanying violent intent. Not the most involved song in its construction but certainly the most dramatically mesmeric and energetic, the track enlists the listener into its revengeful mischief with enigmatic craft and arcane breath. The third of the trio leads the senses into a wealth of bulging rhythms and enchanted melodies coated in a sinister design which sparks an ardour as potent as the sacrificial seduction of a siren, both inescapable and unrelenting.

Arguably there is a constant surface shine and glow to the songs which shades the variety at work initially but with songs like the Crystals/Yeah Yeah Yeahs prompting No Love Lost and the Aretha Franklin/Gwen Stefani call to arms of Real Girls and their curves and swerves, any similarity in the coating is soon dispelled with their individual voices, the latter of these two a hip hop/pop fusion which makes it impossible not to hungrily enlist in its cause.

Further flames of pleasure come with the fifties gaited Black Widow, a song which is as tricky as it is insatiable, its aural tongue licking its lips as it seizes the heart with the appetite of its subject. The Mari Wilson sounding Honey Honey stands alongside the song as another real high point its sixties energetic kiss from keys and passionate vocals leaving thoughts and emotions into unbridled mischief before handing over to the excellent Song For The Sinners, the best song on the album. It stomps with guileful invitation and addictive charisma whilst the licking flames of the again irresistible horns incite further temptation into its cute yet dangerous heart.

The One, The Only… is an outstanding album which guarantees nothing but full and breath-taking pleasure, and who could want to share those moments with anyone other than the temptress Chantal Claret.

http://chantalclaret.com/

9/10

RingMaster 03/04/2013

Copyright RingMaster: MyFreeCopyright

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