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

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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.

http://www.thepulsebeats.org

http://thepulsebeats.bandcamp.com/album/dont-turn-your-fucking-back-on-me-7-single

9/10

RingMaster 12/03/2014

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