Bool – Fly With Me

Frustratingly it is far too easy for things to fly under the radar in a time where nothing is secret thanks to the extensive landscape of the internet, but one proposition we insist you do take notice of is Fly With Me, the new album from Bool. The German outfit roar in ears with a strain of alternative rock which infests the appetite with its grunge character and grips the imagination with an array of nagging hooks and rousing enterprise; it all coming together here for one of the year’s most compelling moments yet.

The band’s sound is maybe best described as Bush meets Morphine harassed by Damn Vandals and Fatima Mansions but from that mix thrills with its own unique personality of sound and craft. It demands attention and rewards with every passing second of bold and impassioned rock ‘n’ roll. Formed in 2007, Bool stirred up acclaim and an already growing reputation with the My Spirit, their third release realising the potential already heard in its predecessors. Recorded with producer Jon Caffery (Die Toten Hosen), Fly With Me hits and owns a whole new plateau for the band’s sound and invention, offering a relentlessly harassing and addictively creative trespass to lust over.

It opens up with Here We Are and a flame of guitar before, and not for the last time, a swiftly compelling bassline with its growling tone entices courtesy of Marc Fröhlking. The initial blaze settles down a touch as the vocals of lead guitarist Karsten Dittberner step forward, the bass continuing to offer delicious bait alongside as the crisp beats of Jens Geilert descend. Soon the fiery adventure of Dittberner and fellow guitarist Michael Malfeito rise again, the cycle repeated throughout with increasing energy and adventure.

It is a boldly striking start quickly matched by the more composed but no less sonically seared Soul Train. Emotion drenches every note and each syllable dropping from Dittberner’s throat with a crystalline melody a glassy temper within the growing tempest. Commandingly contagious and wonderfully irritable in many ways, it too lingers in ears and thoughts just as successors Shut Up and Kick Arse do. The first of the two is even more reined in which brings a tension and drama especially to its brewing crescendos which is raw seduction. Dittberner is a magnetic vocal presence potently backed by his companions, while together the quartet unite in imagination and dexterity with that earlier Bush reference at its enjoyable strongest. The second of the two has a Nick Cave like edge to its opening Doors-esque climate, hues which caress the brooding heart of song and sound before the track slips into an almost predatory stroll of primal rock ‘n’ roll at its inventive best with a rolling energy more than living up to its title.

My Own Heaven is a melodically grilled pyre of emotion which ebbs and flows through calm and volatility, each passing moment a web of arousing catchiness and suggestive enterprise around the addictive dynamics of Geilert while the following Revolution uncages a riveting holler of punk ‘n’ roll which has the body bouncing and spirit roaring. It is testy and flirtatious, a true treat among many within Fly With Me.

Bool equally show they are adept at caressing the senses as the dark yet elegant serenade of Hey You shows, its melancholic beauty and melodic croon pure enticement before You and Me stomps in with its own tenacious rock ‘n’ roll. Again Gavin Rossdale and co feels a big inspiration to the track but one which is easily welcomed within its infectious incitement. Essences of metal and heavy rock add to its theatre, a potent incitement more than matched by the rawer edged and dramatically textured Desire where again rhythms simply grip the instincts as the guitars create a web of sonic flames to be trapped by as vocals share their plaintive heart.

Through the even tempered if again tempestuous sonic reflection of Same Mistake, a song which feels very familiar for no obvious reason, and the similarly intimate balladry of Yesterday, there is no urge to pull away from the album, each rich captivation even if not quite reaching the heights of those before them. Fair to say both easily get under the skin as too next up Love is the Answer, a theatre of sound and temptation which barely hides its tension within keys and string woven melodies. The song is certainly a slow burner but over time grows to be one of the most memorable and essential lures of the album.

The release closes up with Right or Wrong, a song which pleases immediately but also takes its time to fully persuade and ignite the passions which, if without the stirring triumphs of its companions, it surely does. It is a potent conclusion to an album which for us has become an addiction in no time.

Fly With Me is the wake up call to one exciting band in Bool, be sure you do not miss the trip.

Fly With Me is available now through Boersma Records through most online stores.

http://boolofficial.com/    https://www.facebook.com/BOOLofficial/

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

Running Death – DressAge

The new album from German thrashers Running Death is one of those encounters you just cannot help going back to and with increasing zeal. Inspirations to the band include the likes of Megadeth, Testament, and Annihilator, traits audible within DressAge but their sound has much more in its armoury ranging from eighties heavy metal and rock to similar era speed metal.  It all comes in varying degrees within a certain thrash bred stomp and all colluding in one virulently infectious and catchy slab of muscular rock ‘n’ roll.

The band’s debut album of 2015, Overdrive, ensured the Bavarian are no strangers to eager praise or a host to new waves of fans and things can only escalate with the release of DressAge.  The album wears a grin on its creative face from its first breath and carries a mischief which gives its tracks a real feel of aggressive fun. It opens up with Courageous Minds, a track swiftly involving the listener in its lively gait and nature as rhythms thump and dance upon the senses whilst the guitars of Daniel Baar and vocalist Simon Bihlmayer spin a web of enticement. It is not long before the track is rigorously strolling through ears, the beats of Jakob Weikmann swiping as the voice of Bihlmayer growls in a quickly engaging affair which if not quite gripping the imagination as firmly as subsequent tracks certainly gets things off to a rather pleasing start.

Dressage is next, surrounding ears with an almost predatory web of textures cored by the throaty bait of Andrej Ramich’s bass. The anthemically driving rhythms of Weikmann quickly have the instincts to stomp hooked, the song taking mere moments more to eclipse its predecessor and really get the album rocking. Baar’s melodic enterprise is technically and sonically impressive and never diluting the natural roar and flow of the thrash fuelled encounter before a gasp of time brings the matching strengths and incitement of Delusive Silence upon an appetite already beginning to get a touch greedy for what is on offer.  Fusing a great mix of melodic warmth and metal irritability, the track only blossoms its weave of adventure and varied sounds keeping expectations wrong-footed and the imagination hooked.

Next up Heroes Of The Hour wraps ears in a wiry weave of melody and creative snares before revealing a more predator side through jabbing beats and antagonistic bass. They are in turn aligned to swinging grooves, a revelry soon infesting the aggressive and infectious tendencies of the song as another highlight is crafted before Duty Of Beauty bounces upon ears with a catchiness which borders on poppy. Those eighties influences spice all tracks and certainly impregnate the boisterous rock ‘n’ roll of the fifth song which also has a touch of Danish rockers Grumpynators to it.

Through the bulging contagion and biceps of the Motorhead scented Numbers and the motorbilly fuelled Beneath The Surface, fresh heights are continued and pushed, both outstanding tracks as compelling in tone and character as they are in individual craft while Anthem of Madness has neck muscles working and the body romping with its voracious instrumental theatre.

The album closes with the pair of Safety Second and Refuse To Kill, the first a fiery ballad which haunts and snarls in equal measure as guitars conjure a tapestry of evocative suggestion around just as strong vocal expression. It is a song which simmers upon the passions compared to other tracks but rapidly grows to be just as persuasive with each rerun of building body of energy and adventure. Its successor has a darker edge to its air, a song close to stalking ears as it fills them with rapacious rock ‘n’ roll cored by the most crotchety slice of thrash metal upon the album.

Cloaked in the fine work of Mexican graphic artist Joel Sánchez Rosales, DressAge is a proposition which merges something familiar with something forcibly fresh, the outcome a record which inspires only enjoyment and an eager energy to get involved. We will not say it will be a regular album of the year nomination but it will be one metal roar we will be keenly joined in love for.

DressAge is out May 26th via Punishment 18 Records and @ https://runningdeath.bandcamp.com/

https://www.facebook.com/runningdeath    https://twitter.com/runningdeath1

Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Dr. Hell – Apocalypse Boobs

dr-hell_RingMasterReview

Once more confronting ears with sounds suitable to voice an eager resurrection of the undead in a zealously riotous rampage, Dr. Hell unleash a new death dance of blood strewn horror punk going under the notoriety of Apocalypse Boobs. The German quartet’s mini album is a carnival of infectiously decayed punk rock and ravenous enterprise weaving familiar and individual exploits into their finest offering to date.

Since emerging from their respective North Bavarian mausoleums in 2010, though rumours are they actually formed in 1812 a secret place known as “The Bloody Islands”, Dr. Hell have released two albums of their raw and predatory horror punk, When I was just a little ghoul … in 2012 and Drunken Zombies two years later, and shared stages with the likes of The Meteors, Demented Are Go, KoffinKats, Blitzkid, The Other, and BananeMetalik to name just a few. Set to uncage their live ferocity on the UK this November, the band whets the appetite and scars the psyche in anticipation with the Undead Artists Records release of Apocalypse Boobs.

drhrll art_RingMasterReviewFrom its melodic Intro, the album leaps at the senses with Dead Girl with hungry riffs and swinging rapier like beats on the frontline. Swiftly led by the growling tones of DanDan Delirious, band and song career through ears with contagious punk/hard rock revelry and though there are no major surprises it is irrepressibly addictive and soon gaining full and eager listener involvement before Hate launches its more venomous and fiery tirade. With a touch of Frankenstein Drag Queens From Planet 13 to its irritability and raw trespass, the track binds ears with a toxic groove as again the rhythms of bassist Ina Insanity and drummer Mike Maniac growl and bite respectively.

Both tracks spark an eager appetite for the album’s assault and each is quickly eclipsed by the riotous stomp of Zombie Zoundz. With a whiff of The Sweet like seventies glam and the invasive predation of The Damned to its character, the track stalks the imagination around unbridled bouts of virulent aural voodoo resulting in a track for which lustful participation is a given.

Shrunken Heads is just as irresistible next, opening with heavy metal bred grooves around rockabilly riffs which only increase their and the song’s potency with every passing second of catchy enterprise. As in its predecessors, the song has a chorus ripe with contagion while guitarist Podo Panic entangles it in greed sparking melody sick flames throughout. As impressive as it starts, the album is at its pinnacle over the two tracks and only reinforces the point with Wasted Horror Punkrock Princess and a caustic punk brawl resembling a mix of Angelic Upstarts, Blitzkid, and Turbonegro with just a touch of Madball to its inescapable catchiness.

Completed by the anthemic incitement of Zombies in Town, another track as captivating in its antagonistic nature as its web of enterprising flavours within a rousing punk roar, Apocalypse Boobs  is primal rock ‘n’ roll to get loudly enthused over. As suggested it is not always the most unique proposal yet every track is pretty much distinct to Dr. Hell, igniting a lusty reaction and greed for much more; reason alone to stand in its bloodlust we say.

Apocalypse Boobs is out now via Undead Artists Records and @ https://bloodypunkrock.bandcamp.com/album/apocalypse-boobs

https://www.facebook.com/bloodypunkrock

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

Infectious bounds and spiky hooks: an interview with Pranx

PRANX_RingMasterReview

With a clutch of videos and a potent first EP behind them, Pranx is a German outfit beginning to lure potent attention. Their rousing live presence has equally drawn high praise. So to discover more about this upcoming proposition, we seized the chance to talk with the trio about their EP, progress to date, and all things Pranx in general.

Hi guys, many thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started?

We are PRANX, a Pop Punk band from Mosbach, Germany consisting of Marcel on drums, Rouven on bass and vocals, and Boris on guitar and vocals. We formed in February 2014. Rouven and Boris had played together in a band since 2008 but their drummer quit. Instead of just searching for a new one we decided to make a new start entirely and form a new band with a new name and new songs. We met drummer Marcel on Facebook to start PRANX in early 2014.

Being involved in other bands before, has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Like we said, Boris and Rouven had played together since 2008. Marcel was also involved in some bands before including a German hip hop band. I don’t think it affected the style we’re playing now with PRANX but it definitely had an impact on our growth as musicians in general. The good chemistry between our two vocalists regarding singing harmonies together for example has been cultivated while playing together in their former band.

What inspired the band name?

It’s a shorter version of Rouven’s and Boris’ former band Prank FanatiX. We wanted to have a name that’s easier for people to remember as it always was spelled wrong on flyers. The original Prank FanatiX name was inspired by the term ‘faith fanatics’ in Green Day’s song ‘East Jesus Nowhere’.

Pranx2_RingMasterReviewWas there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

As a band we hope to enrich some people’s life by playing music, just like all those bands we look up to did and still do to us. Music of those bands had such a massive impact on our lives over the past few years, so we hope that someday people feel the same thing about our music. That’s what we want to offer the people who listen to our music. Another idea behind starting this band is to create some kind of exit out of this daily routine. We want to achieve more in life than just working normal jobs and get stuck in boring lives like 99% of today’s society.

Do the same things still drive the band time?

Yes, we’re still driven by the same things. I think even more than when we started.

Since your early days, how would you say your sound has evolved?

It hasn’t evolved that much since PRANX started but it definitely has since our first days of making music in general. Our very first songs clearly had a Blink-182/Green Day stamp on them whereas now our sound is much more individual (even though you can clearly still hear the Blink influences of course). Since a few years we’re also influenced by this new wave of pop punk bands that has appeared. Bands like Neck Deep and The Story So Far are also great inspirations.

Has it been more of an organic movement in your sound or more a deliberate wanting to try new things?

A mix of both I would say. A huge part of our sound comes from us wanting to try new stuff but sometimes while writing songs something new comes up and you hadn’t planned it. If it’s not something we had in mind for our sound but still sounds cool we go along with it and try to implement it.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

That’s hard to answer. I can’t think of anyone that changed the way we create music but I’m sure it happened subconsciously anytime along the way. All in all we’re still very conservative songwriters. Take a guitar, play some chords and jam some melodies until you find something you like and go from there.

Is there a process to the songwriting which generally guides the writing of songs?

When someone has the idea of a new song he usually likes to write the first version of it all by himself. The process is writing the whole thing, making a demo with all the instruments and arrangements and then showing it to the rest of the band. Then we look at it together and see what we can optimize and change to make it the sound great.

Where are your lyrical inspirations drawn from more often than not?

The inspiration for the lyrics comes from situations of our everyday life. Things you go through in every stage of your life or even things and problems we notice in other peoples’ life around us can make perfect inspiration for song lyrics.

Can you give us some background to your latest release?art_RingMasterReview

It’s a 4 track EP called Things On Your Mind that was released in early 2015. There are two music videos so far and the third is released very soon, but we plan on doing one for the last song as well. All the videos are directed and produced by bassist Rouven. All in all I think the album is a great mixture of catchy sing-along choruses and cool punk riffs, spreading a lot of positive energy.

Give us some insight to the themes and premise behind it and its songs.

Another Year and Standard are more or less love songs about girls from the past. Especially for Standard I tried to write the cheesiest lyrics and make it as cliché as possible. You could see it as a kind of a tribute to all the 90s pop punk love songs. Pogo Romance is a song about failing while promising a glimpse of hope for getting back up again at the end. Nightmare is about social isolation and forgetting to live your life in the ‘real’ world.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Since we’re a band that’s short of money like every other band and studio time is expensive we try to do as much work for the record as we can before we enter the studio. This means we have the final songs all ready to record in their final state and try to make changes in the studio only when really necessary.

Tell us about the live side to the band?

For me playing live is the best part of being in a band. It’s not only having fun and partying on stage with your friends but also the time of the night where you’re not on stage and have the chance to meet new people and other musicians. There are so many cool people we got to know just by playing shows all around Southern Germany. Always nice to connect with and to play shows for awesome people!

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it in Germany? Are there the opportunities to make a mark if the want is there for new bands?

Where we come from is actually one of the worst places for bands to start. The music scene of our hometown is as good as dead and I think it always has been. We always have to travel a little bit further to play good shows. We have to rely heavily on the internet to reach people because there’s little to no interest in live bands in our region.

Pranx3_RingMasterReviewHow has the internet and social media impacted on the band to date?

I don’t know if PRANX would still exist if there was no internet. We probably [would not have] even found a drummer if [we had not] met Marcel on Facebook. 95% of people got to know us through Facebook or YouTube so without that I don’t think we had a chance to even reach people.

I think you can still use the internet to your advantage even when you’re a big band with greater success. But I also think it can be hard to influence whether it’s working for you or not. What works for one band does not necessarily have to work for another and sometimes the mass of people on social media is hard to predict or analyse. In my opinion, your music is what counts at the end of the day. You can do every single thing right when promoting your music through the internet but if your songs suck people still won’t like you. On the other hand you can get good exposure if your music kicks ass even if you’re not a social media pro.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Thanks for the interview! If you like, you can check us out at https://www.facebook.com/PRANXofficial to watch all our music videos and check regular updates. Watch out for our next music video for the song Pogo Romance that’s going to be released soon!

http://pranx.bandcamp.com/   https://twitter.com/PRANXofficial   http://www.pranxofficial.com/

Pete RingMaster

The Ringmaster Review 16/06/2016

Copyright RingMaster: MyFreeCopyright

Black Space Riders – Beyond Refugeeum

Pressefoto BEYOND REFUGEEUM EP_RingMasterReview

It is hard to say whether Beyond Refugeeum, the new EP from space rockers Black Space Riders, is an epilogue, continuation, or parallel entity to the band’s acclaimed fourth album, Refugeeum of 2015. In varying ways it is all of those identities whilst providing a mouth-watering and spirit rousing proposal from the ever captivating imagination of the German outfit offering four new tracks to tempt with a couple of remixes.

The quartet of original recordings making their first appearance upon Beyond Refugeeum, are songs which the band deliberately kept back from Refugeeum to release separately; tracks which according to vocalist/guitarist/keyboardist JE, are “unlike what you might expect from this band. But you can still tell that it comes logically and quite unmistakably from the Black Space Riders. The songs are exalted, sometimes overwrought, vivid, and yet accessible. Much has happened in Europe and in the world since these songs were written at the end of 2014 and recorded in early 2015, but they seem to be even more contemporary and necessary than ever.

As soon as first track Willkommen engages and embraces ears, it is easy to understand his suggestion. The EP is straight away recognisably Black Space Riders invention but moving in different circles of ideas and fresh directions, and increasingly so across the release. The opener is an instrumental which starts with a gentle intent and touch, guitars coming in one by one with bass and percussion close behind. Each element has a melodic and rhythmic restraint but a provocative essence which brews and grows across the six minute encounter. Spatial yet increasingly aggressive and intimate, the track is like a psychedelic nebula, drawing in denser sounds and energy until creating its own dramatic world, or in this case an intensity fuelled sonic climax.

16_01_04 ep_beyond_refugeeum_cd-digisleeve_RingMasterReviewThe following Freedom At First Sight sees the band venture into a more nostalgic field of inspiration, post and gothic punk with new wave hues enthrallingly flavouring its magnetic presence. The vocals have a dour tone and melodies a colder air to match the ambience of the otherwise rousing roar of the song. In many ways like a mix of Sisters Of Mercy, Killing Joke, and Joy Division, it is glorious with a closing crescendo of voice and sound to get lustful for. Across their releases, Black Space Riders have created some memorable and irresistible proposals but this track might just eclipse them all.

Droneland grumbles into view next, its sonic breath a grouchy nagging which is soon accompanied and overwhelmed by the magnetic light of synths, though an underlying shadow still lingers as the track blossoms a mesmeric flight over shamanic rhythms.  The attitude loaded lure of bass adds another irresistible hue, as too the grainy vocals which soon breed great spirit-raising harmonies. Once hitting its full height, weight, and stride, the track is a forcibly rousing incitement again revealing new shades of colour and imagination to the creative palette of the band.

Just as fascinating and thrilling is Starglue Sniffer, a pulsating slice of funk rock with spatters of excitable melodic and sonic temptation across a flirtatious bass lure and exotic rhythms. The falsetto hue of the vocals catch ears by surprise whilst only pleasing though it is the thumping dynamics and almost rebellious textures of the song, as well as sultry grooves, which steal the passions most. Becoming more irritable and volatile with every passing breath, the track snarls and flirts with sublime effect, to join its predecessors in leaving ears and appetite greedy for more.

Completed by VRTX RMX, an atmospherically invasive yet alluringly droning remix of their last album’s opener Vortex Sun, and finally Gravitation, the electro club remix of the band’s Give Gravitation to the People, a song on D:REI the band’s debut album, Beyond Refugeeum is an unmissable treat for fans and newcomers. The final two tracks make great listening but it is the new songs which grab all the eager plaudits whilst revealing an array of new pastures we can only hope the band explore further. We loved the previous Black Space Riders releases, but Beyond Refugeeum might just be our favourite moment yet.

The Beyond Refugeeum EP is out now via Black Space Records on 12” vinyl, CD, and digitally@ https://blackspaceriders.bandcamp.com/

http://www.blackspaceriders.com   https://www.facebook.com/BlackSpaceRiders

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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

Six Reasons to Kill – Rote Erde

Six Reasons To Kill Promofoto 2015_RingMasterReview

Six Reasons to Kill has a sound which is bred from the cancerous depths of death metal and metal/hardcore, an assault and corrosion of the senses which has been increasingly brutal and ravenous over the years. The German quintet calls it Darkside Metal and it is in full rabid force on the band’s new single, Rote Erde.

Formed in1999, The Koblenz hailing band has evolved and defined their raw and voracious sound across five albums as well as a handful of singles and split releases. Lyrically they have become BE094 Six Reasons To Kill - Rote Erde Cover_RingMasterReviewjust as imposing and uncompromising with themes of social issues, war, racism etc. fuelling their attacks. 2015 saw Six Reasons to Kill undergo a significant line-up change. It has not slowed them down though, instead it was an issue which has seemingly only opened another vat of malevolent intent and ferocity in their music if Rote Erde is the sign of things to come.

From its opening breath, the track is a wall of hellacious rhythms and wiry grooves for a murderous yet fiercely enticing welcome. In no time, the predator within is in control, bestial intent and intensity colluding with the incisively ravenous riffs and alluring hooks from guitarists Marco and Loc as well as the thick rabid rhythms of Christian and Sven. With Daniel’s insatiable growls and spleen venting animosity the instigator of even greater antipathy, ears are inescapable victims and the imagination, with the emotions, greed driven devourers of the corrosive treat.

The track leaves exhaustion and lustful reactions in its wake, confirmation that the changes have only inspired Six Reasons to Kill to new vicious treat and adventure, which in a different way continues in the accompanying Of Fire, a rousing cover of the Dismember track. The band has not fiddled with it in any big way but their fresh belt of creative savagery alone offers another appealing shade of hostility to the encounter as it completes a thoroughly enjoyable and bruising release.

Six Reasons to Kill are darker and fiercer than ever before yet it feels like they have only just begun exploring this new wealth of brutality. Should we rejoice or run in fear?

Rote Erde is released March 11th through Bastardized Recordings on 7″ vinyl coming in three limited-edition colours available @ http://shop.bastardizedrecordings.de/index.ph

http://www.sixreasonstokill.de/   https://www.facebook.com/SIXREASONSTOKILL

Pete RingMaster 10/03/2016

Copyright RingMaster: MyFreeCopyright

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

THE TiPS – TWISTS’N’TURNS

pic C_Helge_Tscharn

pic C_Helge_Tscharn

An album to get you dancing, thinking, and acting on your instincts, TWISTS’N’TURNS is a mighty reminder that its creators, THE TiPS, is a band you really need in your life, especially if reggae, ska, punk, and funk brings your ears and emotions to life. The third full-length from the German band, it is also their most eclectic and imaginative adventure yet and in turn their most rousingly enjoyable.

Hailing from Dusseldorf, THE TiPS was formed in 2009 by vocalist/guitarist/keyboardist Aljoscha Thaleikis after returning back to his homeland after spending some of his formative years in the United States where he was introduced to styles of music that he was previously unfamiliar with. Having explored the merger of flavours such as soul, ska, reggae and dub with the punk rock of his roots, his return to Germany led to the creation of THE TiPS. The band’s debut album High Sobriety was released in 2011 with its successor Trippin’ unveiled two years later, both to potent success. The past two years alone has seen the trio of bassist Philip Pfaff, drummer Janosch Holland, and Thaleikis play over 130 shows, the sharing of stages with band such as The Mad Caddies, Die Rakede, Ruts D.C., The Toasters, and Jaya the Cat amongst them. Now they are poised to stir up broader and stronger attention with the Alexander Beitzke (Jamiroquai, Ed Sheeran, Florence And The Machine) produced and Pete Maher (U2, Linkin Park, Lana Del Ray Nine Inch Nails) mastered TWISTS’N’TURNS; twelve tracks which swing and stomp whilst taken a bite at issues impacting on all.

The album opens with Birds in Trees, instantly clasping ears with vocal and melodic temptation before showing its sonic and rhythmic muscles. From that wall of energy a mellower but no less magnetic stroll emerges as the song saunters with its reggae bred gait. Thicker eruptions break throughout, grooves and spicy hooks adding to the welcome trespass before things relax into captivating calm again. It is a riveting persuasion, a rich tempting only blossoming further with the distinctive tones of Skindred frontman Benji Webbe who guests on the excellent start to the album.

THE_TiPS_TWISTSNTURNS_RingMaster ReviewThe following Leaving Home gently swings in next, its sultry sway aligned to the thick brooding tone of bass and gripped by the excellent vocal presence of Thaleikis. Impossible not to be hooked by its reserved yet anthemic chorus alone, the song has a By The Rivers meets The Skints nature which simply entices, a success matched by the seductive croon of Wasting Time. Similar spices line the infectious romancing of ears, as too an equally catchy and tenacious energy which soon has hips and voice in eager involvement. Both tracks are irresistible, easy going yet imposingly compelling proposals though both are overshadowed a touch by the outstanding Chosen Fool. Stabbing riffs collude with the grouchy bass to quickly excite ears; imagination and an already keen appetite swiftly inflamed by the Ruts like punk ‘n’ roll invention which also emerges to add fresh bite and attitude to the exceptional encounter.

The band’s punk heart is given full rein for Johnny’s Song next, another striking and virulent arousal of body and emotions carrying an essence of Russian punks Biting Elbows to it. Similarly THE TiPS brew flavours which hint at a Sublime/Living End link-up, but coming up with something distinct and incendiary to themselves. It is uniqueness just as apparent in the infectiously sultry funk infused saunter of If You Want To and the noir lit landscape of City Lights. The first glides through ears with a slightly mischievous enterprise whilst the second is pure aural and emotive drama. From vocals to keys, exotic hooks to the ever pungent tone of Pfaff’s bass, the transfixing incitement is a web of intrigue with a volatility that is seemingly Skindred seeded.

Alien emerges with the same shadowy hues and emotional intensity next, flowing from the provocative shadow of the previous track. It swiftly wraps heavily persuasive and seductive tendrils around ears, at times conjuring a darker climate of intimidation to contrast and unite with the bluesy hued flames also arising from the mellower strains of the slow burning treat of an encounter.

Igniting another devouring of the band’s punk ‘n’ roll imagination straight after, Parade shares a riveting steely bass lure amongst swinging rhythms from Holland, before Do It Right prowls and flirts with its predacious ska punk devilry. Managing to be as sinister as it is irresistibility tempting, the song has body and emotions bouncing, matching all feisty movements in catchy and melodic kind. Equally, it powerfully stirs up thoughts too; an impressive knack the band has leading to full involvement from all aspects of the listener as evidenced by the Red Hot Chili Peppers spiced Back in the Days. There are some songs which are instinctive manna for the soul; encounters which simply turn on the sweet spot for an everlasting romance and this definitely qualifies as one.

Completed by the simply mesmeric, emotive serenade of Still Turning, another song which leaves a lingering imprint, TWISTS’N’TURNS is one thoroughly and imposingly thrilling union between band and ears. It is surely the release to take THE TiPS to the attention of spotlights beyond their homeland’s borders and the underground scene in general, at the very least destined to make a mark on a great many end of year favourites lists.

TWISTS’N’TURNS is out now on Long Beach Records Europe @ http://thetips.de/shop/

http://thetips.de/   https://www.facebook.com/thetipsofficial

Pete RingMaster 22/02/2016

Copyright RingMaster: MyFreeCopyright

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