The Cavemen – Born To Hate

TC_RingMasterReview

It did not take the release of recent single Too High To Die/I’d Kill to stir up eager anticipation for the new album from The Cavemen, that instinct bred by the band’s debut album last year, but it certainly added to the energy of the lustful welcome offered to Born To Hate. Native New Zealanders now UK based within the “grimy streets of London”, The Cavemen is one of those proposals you naturally take to or not, but for raw and uncompromising spirit stirring rock ‘n’ roll, the quartet’s punk driven garage rock takes some beating.

That previously mentioned single suggested a new primal ferocity and trashy tenacity had been bred in the band’s sound, a lascivious urgency which again fuels Born To Hate. In many ways the release is a continuation of The Cavemen’s self-titled debut album; more of the same lo-fi devilry but with this fresh impetus of sonic corruption, the band breaches a new plateau in their salaciously dirty rock ‘n’ roll.

Savage is the first assault on ears, its blues scented impurity a swift involvement of ears and appetite as sixties garage rock puts on its punk pants for a stomping trespass driven by the rhythmic slaps of drummer Jake and the moody bassline of Nick. As with most songs from the band to date, involvement with feet and vocal chords is swift and full, its ease of persuasion just a warm up for the joys to come as I’m A Mess swoops in straight after. A teasing spicy hook starts things rolling, its inescapable lure soon backed by tenacious rhythms and the scuzzy enterprise of guitarist Jack, in turn his great unpolished vocal backing to the punk attitude bred delivery of front man Paul creating a rousing union hard to resist.

swamp-cover_RingMasterReviewI Hate Art romps in next, its raucous hook littered confrontation assaulting and exciting like a fusion of The Sonics and Eddie and The Hot Rods and quickly in control of hips and feet whilst stirring up a litter of trouble before Satan Is Her Name stalks ears and imagination with the same trashy deviancy and demonic wantonness as bound in its centre of attention. Fair to say floorboards bounce when the song is around, its infectiousness enslaving and instantly matched by that uncaged by the corrosive sixties pop bawdiness of In Love With You complete with eagerly chopping riffs and fab four inspired howls.

There is a taste of Motorhead to next up Speed Of Death, its harsh ferocity and virulent antagonism as catchy as anything taunting from within Born To Hate while showing a broader diversity within the familiar Cavemen sound. That variety continues across the album as songs like I Hope They Drop The Bomb On Me bullies and flirts with its sonically befouling seventies punk/power pop inspired antagonism and straight after the crazed punk ‘n’ roll of Ain’t My Baby ignites an even greedier reaction and union between listener and release.

The band drops down a gear for the excellent Dead To Me, its meaty croon though still loaded with muscular energy as it strolls rabidly through ears with its psychobilly laced garage rock before Nasty Girl Nasty Boy whips up the passions all over again with its The Pirates meets The Flys romp. Pure rock ‘n’ roll in its most primordial punk breeding, the track is irresistible; a certain pinnacle though closely chased throughout the album by songs like the psychotic UK Subs coloured C.H.A.R.L.I.E. and the ever glorious I’d Kill (To See You Dead). One of the tracks on the last single, it is a belligerent nagging of the senses carrying a great groan of The Saints and The Lurkers to its grouchy contagion.

Born To Hate is completed by the persistent fingering of Why Won’t You; a song as seventies pop glam as it is punk in its sonically ravaged way, and an inescapable infection to bring a thrilling release to a boisterously rousing close. The band’s songs might and will draw comparisons to others at certain times but every flavour is devoured, twisted, than corrupted again until emerging as part of a riot unique to The Cavemen and right here helping create an album which simply leads you into dirty habits.

Born To Hate is available via Dirty Water Records at https://thecavemennz.bandcamp.com/album/born-to-hate  and http://www.dirtywaterrecords.co.uk/shop/#!/The-Cavemen/c/18119001/offset=0&sort=normal

 

https://www.facebook.com/thecavemennz

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

The DeRellas – Freakshow

DeRellas_RingMasterReview

Kicking off their own album Rockaway Records in rousing style, UK punk ‘n’ rollers The DeRellas release new mini-album Freakshow. It is an insatiable six track roar of the band’s familiar glam infested sleaze punk rock ‘n’ roll but equally their most instinctive punk rock centred trespass upon the senses. The result an incitement which just fires up the instincts to be bad whilst treating ears to their most irresistible proposal yet.

Freakshow is also the first offering from the London hailing quartet without vocalist Robbie, one of the band’s founders along with bassist Timmy DeRella. Stepping forward to fill the spot as if he has always been there is Stevie D, the band’s line-up completed by lead guitarist Luca DeRella and also new drummer Bish, once of Flesh for Lulu. It is a foursome which goes straight for the jugular with the Pat Collier produced Freakshow; from its first breath tearing up its surroundings like Johnny Thunders meets The Boys infested with the raw power pop of The Quakes.

Rip It Up descends on the senses first, from its first rap of drums and spicy grooves winding around ears with a salacious attitude backed by tangy grooves and predacious rhythms. Stevie’s vocals are just as cantankerous as the sounds around him, carrying a great irritable edge potently backed by Timmy and Luca as a strong catchiness invades song and ears. Carrying a touch of The Damned to its darker riffs and rhythmic imposing, the song without ripping up trees is a strong and enjoyable start to Freakshow which blossoms into a greater beast hereon in.

Strung Out Sin City grumbles and rumbles upon an already keen appetite straight away next. A nagging potency lines its riffs whilst rhythmically the track is enjoyably heavier and darker than its predecessor, it all combining with a lively imagination which sees the song quickly eclipsing the opener. It too has a chorus which demands involvement whilst Stevie’s rhythmic guitar prowess is a great echo of the sonic enterprise cast by Luca. There is plenty about The DeRellas sound which is familiar but as here rarely to the detriment of creating its own character and persuasive individuality.

cover_RingMasterReviewHinted at in the last song, a great 999 flavouring invades next up Soho Hotel, an essence which accentuates the virulence of the song and its fiercely catchy demeanour led by the swinging bass groove of Timmy and Stevie’s rousing delivery. Bish’s beats equally make a lively impact throughout as sonic flames escape the strings of Luca. The song is another step up in power and adventure within Freakshow more than matched by the album’s outstanding title track. Taking best track honours, it is a bad boy encounter; defiant in heart and aggressive in bearing stirring up all the punk rock/rock ‘n’ roll instincts within itself and the listener.

Dress Up, Mess Up is another pushing thoughts towards 999 comparisons without losing its own DeRellas identity; the song a boisterous stomp of hungry riffs and bitchy rhythms as vocals and melodic toxicity inflame an eagerness to get involved. Again you could say surprises are low yet everything about the song and indeed Freakshow is fresh and all persuasive.

The release closes with a captivating version of the Adam and The Ants track Plastic Surgery, The DeRellas giving it a rawer Sex Pistols/The Adicts edge which just hits the spot dead centre.

Freakshow is The DeRellas at their most punk yet and no coincidence that the album outshines their previous and thoroughly enjoyable reputation marking encounters. It is also a great start to their new label which we would suggest in providing more of the same will be hitting, like the band, far loftier heights.

Freakshow is out now through Rockaway Records digitally and on CD and 10” green vinyl @ http://thederellas.bigcartel.com/

Up Coming Live Dates:

Friday 11 November – Birmingham, Hare & Hounds (with The Black Bombers and The Primevals)

Thursday 17 November – Bristol, Thunderbolt (with The Setbacks)

Saturday 19 November – Reading, Rising Sun Arts Centre (with Rage DC and The Go Go Cult)

Sunday 27 November – London, The 100 Club (with The Crunch)

Sunday 11 December – Edinburgh, Bannermans (with Buzzbomb + more TBC)

http://derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

Eight Days – More To Life

eight-days-band-promo-shot_RingMasterReview

Seemingly tagged as melodic hardcore more often than not but showing a hefty side in hook laden punk rock in their new proposition, British trio Eight Days is one of those bands knocking on the door of broader attention. Since emerging on the first breath of 2014, the London based outfit has earned a reputation of being one of the more potent forces within the underground scene. Evidence of that strength linked with a generous invention for ears and imagination to embrace can be found in the More To Life EP, a release suggesting that Eight Days might soon be going above ground to tap into national attention.

With inspirations said to come from the likes of Norma Jean, Black Peaks, Blink 182, and Yellowcard, Eight days released their debut at the end of their first year. The well-received No Idols EP was followed by the band rampaging across the UK on numerous tours before sophomore EP, Surrounded By The Ones Who Want Me To Fail, was unveiled to greater acclaim, proving that the months had also seen the band’s songwriting and sound blossoming.

More to Life is another step forward in all aspects by Eight days, a quartet of songs as raw and emotionally intrusive as they are fiercely infectious with dramatic hooks and surprising twists to the fore. There are still areas where uniqueness is a less obvious proposal but continuing as they are, that is something easy to suspect being remedied in the future.

eight-days-cover-artwork_RingMasterReviewThe EP opens up with Was It All Worth It and straight away the track has attention hooked as a melody, with a mix of warmth and shadow in its character, wraps enticingly around ears. A rising storm of rhythms led by the feisty beats of  Lewis Fife with the brooding rumble of James Carty’s bass alongside soon join the invitation, it all taking the listener into the turbulent yet catchy heart of the song where the guitar of Ben Brazier casts suggestive melodies and inventive hooks around his emotion flushed vocal squalls. It is a potent mix captivating from start to finish, melodic and post hardcore textures engaging each other in an arguably less than original but certainly potent way for a strong start to the release.

The band’s imagination kicks up a gear from hereon in starting with Unclear as the threesome bring some stronger punk rock elements into their bruising dramatic roar. Carrying a touch of Cancer Bats to its bellow, the second song bounds through ears with venom and animosity though again the instinctive catchiness of their song’s gaits and swinging rhythms make it all very enticing. Spicy hooks and unexpected twist and turns in the imagination of the song makes it stand out in no time, group shouts and the predatory growl of the bass adding to a creative drama not as obvious in its predecessor.

It is a fresh invention and boldness even more persuasive in the following Counterweight. From its first breath, the song is throwing tangy grooves and virulent hooks at the listener while Brazier’s throat is raw through ire fuelled confrontation. The track is irritable rock ‘n’ roll, an irrepressible trespass on the senses and the biggest highlight of the already impressing release.

A growling grouchy bassline opens up final track Walls; hard and melodic rock spiced flavours mixing with the band’s instinctive aggressive enterprise. At times a twist away from taking best song honours from its predecessor, the song is a fine end to a very satisfying release.

More To Life is proof that Eight Days are something fresh in a crowded melodic hardcore scene and once they find that real uniqueness there may be no stopping them.

The More To Life EP is out in stores on Friday 14th October and @ https://eightdaysuk.bandcamp.com/album/more-to-life and http://eightdaysuk.bigcartel.com/

https://www.facebook.com/EightDaysUK  https://twitter.com/eightdaysuk

Pete RingMaster 13/10/2016
Copyright RingMaster: MyFreeCopyright

Ruts DC – Music Must Destroy

RUTS_newphoto_RingMasterReview

Back in the day, The Ruts stood to the fore of the punk scene in sound, presence, and lyrical insight, an attack which evolved but never diminished as Ruts DC emerged from the sad death of still missed frontman Malcolm Owen. Two albums before and two after his passing provided an innovative and snarling voice for a generation and more before the band disbanded. Reforming for a benefit show for their guitarist Paul Fox, following his diagnosis of lung cancer and who died not long after, remaining members John ‘Segs’ Jennings (bass and vocals) and Dave Ruffy (drums) carried on and released the mighty Rhythm Collision Vol. 2, another glorious dub fuelled vat of diversity to echo the success of Vol.1. Now the band are poised to uncage a new tour-de-force in the shape of Music Must Destroy, a release, to get straight to the bottom line, which is quite possibly the finest rock ‘n’ roll album you are likely to be aroused by this year, maybe this decade.

Music Must Destroy is one glorious anthem made up of ten ear and imagination sparking proposals. Segs and Duffy with Leigh Heggarty have taken their time to write, hone, and step forward with their latest collection of songs but, aided by a host of guests such as Henry Rollins, Captain Sensible, Boz Boorer, Marco Pirroni, Jake Burns, Kirk Brandon, Tara Rez, and Paul Laventhol, have created another landmark in punk fuelled rock ‘n roll. The album’s variety of incitements sit somewhere between the raw challenge of The Ruts and the experimental exploits of Ruts DC, the band calling themselves The Ruts DC for the new offering suggesting the band came at the album from the same angle. The trio has explored their past and inspirations across the fan funded Music Must Destroy to create some of their most inspiring and fiercely addictive songs yet.

It all starts with recent single Psychic Attack, it alone a highly charged and intoxicating incitement to get greedy over. With a Damned like scent to its riffs, the song strides from its initial shimmer with imposing rhythms and one mouth-watering bassline. Within seconds the nagging riffs and Segs’ potent tones grip ears further, his words and expression getting as much under the skin as the twisting and turning character of the song itself.

Starting off a release with such a momentous moment would put a strain on many offerings from other bands, but The Ruts DC simply follow it up with matching peaks of imagination starting with the band’s upcoming new single and album’s title track. Featuring Henry Rollins, Music Must Destroy also makes its initial coaxing with rhythmic and repetitive guitar shared bait which needs mere seconds to get under the skin. Melodies and drama spread as the song expands its theatre of intent, group harmonies pure infection around Rollin’s call to arms before a chorus to stir armies pulls thoughts and spirit into the song’s galvanic prowl.

The Ruts DCart_RingMasterReviewSurprise steps forward next carrying a broader rock air to invasive seduction. Like a blend of Ruts single West One (Shine on Me) and the sound of 999 at certain times, the track crawls over the senses, sweeping them up into another virulent chorus and nature before the highly emotive and haunting Second Hand Child takes over. This too infests body and emotions with ease, its poetic melodies and evocative vocals as magnetic as its sound with the dusty lure of The Duel’s Tara Rez’s voice extra temptation to be tempted by.

Soft City Lights is another recalling the early days of the band, its reflective melodies and shimmer infused in a smouldering embrace of evocative adventure and harmony. With rhythms casting darker shadows and intimidation, the track is aural alchemy and like those before it and indeed to come quite irresistible, a success emulated by the anthemic and predacious roar of Kill The Pain. A track which stalks the listener with a challenge in its voice as potent as the virulence in its infectious character, it too has bodies bouncing and attitude aflame.

The mellow seducing and evocative pleads of Peace Bomb follows, the song a Bolan-esque engagement showing more of the album’s diversity, variety continuing  across the psychedelic shimmer and melodic jangle of Tears On Fire and the hard rock soaked exploits of The Vox Teardrop. It is impossible to pick a best track within Music Must Destroy but the first of the pair always features in first thoughts while its successor simply stirs blood and spirit each and every time.

The album concludes with Golden Boy, a poignant ballad seemingly inspired by the death of previous band mates and a captivation as powerful as anything before it with its heart offered vocals, emotionally charged melodies, and provocative strings.

The track is a breath-taking end to a simply electrifying rip roar of an album. Music Must Destroy has all the qualities and boldness expected of The Ruts/Ruts DC past and present. The guys might be a touch older than those early inspiring days but they still have the energy, snarl, and invention to provide something seriously special which can also spark a new generation.

Music Must Destroy is released September 16th via Westworld/Sosumi Recordings with the single/title track released September 9th.

Album pre-order links: CD digi: http://bit.ly/MusicMustDestroyCD and Vinyl double album: http://bit.ly/MusicMustDestroyVinyl

http://www.pledgemusic.com/projects/ruts-dc-psychic-attack

https://www.facebook.com/theruts   http://www.theruts.co.uk/

Pete RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

The Hostiles – Last Call

The Hostiles Promo Shot_RingMasterReview

Giving the most glorious workout to swinging hips and inexhaustible feet, as well as instinctive pleasure, Scottish Ska-punks The Hostiles recently released new album Last Call. It offers thirteen tracks of melody thick, brass clad, and feverishly delivered punk ‘n’ roll as raw and snarling as they are inescapably irresistible.

Formed in 2001, The Hostiles began with brothers Josh (guitar/vocals), and Chris Barron (bass/vocals). Growing up in the US, the pair was seduced by the sounds of west coast ska and the likes of Reel Big Fish, NOFX, and No Doubt. In their teens, the pair moved to Scotland, soon discovering the rawer energy and sounds of bands such as Capdown, Lightyear, and King Prawn. Linking up with Callum Douglas (drums) and Steve Bruce (trombone), The Hostiles was soon rousing the local live scene with in time Joe Stainke (trombone) completing the current line-up. Quickly renowned for their energetic live performances, the band’s reputation swiftly grew and spread, helped in turn by the release of debut album Always Looking Forward in 2009. Proceeding to share stages with bands such as Reel Big Fish, Less Than Jake, Zebrahead, The Mad Caddies, Strike Anywhere, and many more, The Hostiles followed up their attention luring first album with the Late Nights… And Early Hours EP in 2012 and the single/video For A Good Time Call 07946058526 two years later.

Now it is Last Call drawing attention and from its first minute arousing body and spirit. From the opening intro, the album leaps upon the listener with opener Ed Knows. An attitude laden bassline stalks the initial vocal draw, both leading into a fiery lure of guitar and rapier like swings from Douglas. Quickly as the trombones share their melodic flames, the track is a contagious blaze of infectious sound with a funk infused swing and punk ingrained fuel to its roar. There is little time before the listener is adding their full contribution in voice and movement, a success matched in the following Inconsiderate. A lighter stomp of a song with Hammond flavoured keys courting its instantly open catchiness, it carries a familiar air which only adds to its thrilling appeal.

The Hostiles Cover Artwork_RingMasterReviewThe band’s inspirations are never far from the surface at times, the second song evidence but spices used to shape songs which undoubtedly have The Hostiles character, as shown again in the prowling You Liar. Swaggering alone with mischief in its creative glands, the song is confrontational but an epidemic  of big hooks and intimidating attitude, and quite superb. It reveals the great mix of pop honed and punk rock driven sounds which have sparked the band’s passions over time, all woven into another distinctive proposition before things calm a touch with I’ll Assume. It is just a touch too as the song soon shows its teeth and melodic prowess in a King Prawn like canter with exotic melodies and moody basslines entangling the ever potent vocals and swathes of mariachi hued trombone.

Both Night Out with its dirty tone and ridiculously infectious enterprise and its successor Wish You All The Best has body and soul leaping. The first is ska punk at its most creatively virulent and indeed addictive while the second is a boisterous romp shaped with smart hooks and persuasive melodies as well cast in imaginative drama coloured by rock guitar and theatrical brass.

The album continues to keep the listener on their toes with a broad grin on their face as the punk brawl of Spend My Life, the gentler sway of So, I Wonder, and the blazing exploits of Late Nights come, go, and leave ears and appetite aroused. The third of the trio especially adds another pinnacle to Last Call, all offering undeniable reasons to embrace The Hostiles adventure, with To Err Is Human providing another major highlight. The band’s latest single, it also has a hint of Mariachi El Bronx to its melodic and trombone nurtured side, a great flavour mixing with heavier punk rock attitude.

Released From Captivity uncages another addictive tempting, guitars and bass alone creating a web of hooks which snare body and heart with ease. Familiar essences come to the surface of the song but flavours simply used to shade its own individual devilment before the closing pair of encounters starting with Nobody Else. The song does not make the same impact as others within Last Call, yet has mutual participation with ease so does little wrong before the album’s title track brings it all to a cantankerous close. It is a ska infested hardcore brawl of a proposal, vocals a throated scraping challenge as brass bring a tonic to the imposingly grouchy touch of guitar and rhythms.

It makes for an unexpected and pleasing end to a release which sees ears and fingers itching to go again within seconds of its close. There are a few rather special ska flavoured punksters around right now and as proven by Last Call, The Hostiles stand by their side.

Last Call is out now on Bubble Tea Records @ http://thehostiles.bandcamp.com/

https://www.facebook.com/thehostiles/   http://www.thehostiles.co.uk/

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Making Monsters – Bad Blood

2015 promo_RingMasterReview

We heard the buzz and now we know it is pretty much on the mark, UK band Making Monsters is one striking and seriously exciting proposition. Our evidence comes with the band’s new EP, Bad Blood. It is six tracks of highly irritable and even more contagious rock ‘n’ roll equipped with the snarl of punk and bold diversity of alternative rock; a proposal which stirs the instincts and spirit from start to finish; oh the fact that the band’s sound has a touch of Animal Alpha to it does it no harm either.

Emerging in 2011, the Derry based Making Monsters soon poked at keen attention with their self-titled debut EP the following year, that potently back by successor, Attention, two years later. Alongside that success, the quartet has developed and honed their sound and live presence, impressing and luring new flocks of fans while sharing stages with the likes of Young Guns, Silverstein, We Came As Romans, Max Raptor, and Skindred amongst many. A clutch of singles have increasingly stirred the blood and ears these past couple of years while a full UK tour with Fightstar and Arcane Roots last October cemented the band’s growing reputation. With Bad Blood though, it is easy to expect the band stepping into new spotlights and strength of acclaim, the EP holding all the creative cards to be a game changer in the ascent of the band as it is in their sound.

Straight away the EP suggests there is a new maturity and even bolder adventure to the Making Monsters sound, a thought confirmed song by song across Bad Blood. It opens up with its mighty title track, a slab of punk ‘n’ roll straight away teasing with spicy hooks as the instantly impressing roar of Emma Gallagher takes on all challengers in attitude and quality. Guitars and boisterous rhythms continue to entice and intimidate across the excellent encounter, Gallagher’s emotive fire backed by male scowls as Brian Doherty’s drum sticks beat out an addictive pattern.

MM - Better _RingMasterReviewIt is a glorious start with, as suggested at the start, a great Animal Alpha hue to its tempest; an imagination and appetite inciting beginning to the release quickly and potently backed up by Call Me Out. A kinder affair on the senses for the main but with an imposing volatility, the dark stroll of Gary Todd’s throaty bass at first holds court with the provocative tones of Gallagher, who is already showing much more of her versatility; the pair soon colluding with the fiery enterprise of guitarist Paul Monk and heftily swung beats to stir up an already keen appetite.

Latest single Better comes in next; its entrance also less intrusive but taking a quickly unshakeable firm grip on ears as shimmering melodies and senses piercing hooks lay their bait into the rhythmically virulent swing of the song. There are moments throughout it where thoughts wonder if Distillers were fused with Stolen Babies, would they sound like and as riveting as this. They are essences which continue to flavour a song which has the energies breathless and hunger greedier by its end, so luckily We Aren’t Living is next to eagerly share its melodic pop ‘n’ roll with a growl and a tenacious will. Like those around it, the track offers plenty of unpredictable twists and moments of fascinating imagination, neither ever disrupting the flow and impact.

Rose seduces next, Gallagher caressing ears with her warm yet snarly tones as sultry tendrils of guitar sway. It is a mesmeric coaxing soon over run by a torrent of spiky riffs and busy rhythms providing a just as enticing invitation. As now expected things are soon turning down new avenues and offering a variety of twists woven into a blaze of a song as raucous as it is emotively inflamed and intimate.

Bad Blood ends on our favourite track, a rampaging beast of attitude and invention going by the name of Noodle Sync. Noise and garage rock meets punk metal infused rock ‘n’ roll, the track is a blistering assault and trespass on ears and the senses. It is a cauldron of raw riffs and invasive hooks driven by the diverse drama and emotion of Gallagher’s explosive voice and presence, her ability and invention more than matched in sound and imagination by the rest of the band.

It is a stunning end to a quite exhilarating release; an EP which just might be the making of Making Monsters and certainly another step towards major things for the band one suspects.

The Bad Blood EP is out now digitally @ http://makingmonsters.bandcamp.com/ with physical copies available @ http://makingmonsters.bigcartel.com/product/bad-blood-ep

http://www.makingmonsters.co.uk/   https://www.facebook.com/makingmonsters   https://twitter.com/makingmonsters1

Pete RingMaster 16/05/2016

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

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