Steaming Satellites – Self Titled

Steaming Satellites_RingMaster Review

Steaming Satellites is an Austrian band that for the past ten years has been a major lure and adventure in their country’s music scene, underground and within stronger spotlights. The fact that it has taken their new and third album to find, like for so many others, our attention shows how little of the vast music world anyone has a hold on at any given time. We can only be thankful that the Salzburg band’s new self-titled release has found its way through to thrill ears and ignite the imagination though because it is simply bewitching.

Consisting of Max Borchardt (vocals/guitar), Emanuel Krimplstätter (keys/bass), Matthäus Weber (drums, programming, keys), and the recently joined Manfred Mader (bass), Steaming Satellites casts a sound bred from indie rock but welcoming to an array of flavours from blues, funk, soul, and electronic enterprise. Their previous pair of albums were strongly acclaimed propositions whilst live, with shows alongside bands such as Thin Lizzy, The Ravonettes, and Portugal. The Man amongst a great many, the band has earned a potent reputation for sound and performance. Now it is the turn of album three to stir things up and as for the umpteenth time the release lights our ears and revitalises emotions, the thought of Steaming Satellites becoming a ‘household’ name across numerous territories seems a thick possibility.

It opens with Together and a caress of acoustic guitar; a gentle coaxing aided by the immediately enticing and expressive tones of Borchardt. Soon stringed tempting wraps around ears and in turn a dark moody bassline strolls through the emerging colourful and creative landscape of the song. As keys jab and harmonies unite, the song blossoms into an infectious romance for the imagination and a swiftly open appetite for the release. As catchiness and shadow kissed drama similarly grows within the fascinating proposal, feet and hips become eager whilst thoughts only greedily consume the impressive entrance of the album.

cover_RingMaster Review   Its indie rock swing is emulated in the following Rocket, though electro tempting is the first bait to engage ears to lead them into the military funk of the rhythms and the fiery dance of the guitar. Its air becomes a sultry breath at certain points, always returning to its lively endeavour though as varied spices burst from the festive heart of the track, again with feet and voice in eager involvement. Like The Flaming Lips trying on the psych rock of The Doors and the creative intimacy of Billy Momo, the song excites before departing, leaving lingering trails behind it though the fuzzy revelry of Unreal soon has attention all to itself thanks to jangly hooks and a deliciously roaming, slightly grouchy bassline which toys with the melodic radiance of the keys and harmonies. At its heart, the track is a funk bred romp but as already shown, Steaming Satellites never leave anything to settle into predictability, always keeping invention and surprises potently shimmering.

Both Honey and Restless Robot keep pleasure high and enterprise blooming, the first with its tangy Arctic Monkeys/Kings of Leon shuffle within a flirtatious smile and the second through a rhythmically dark and sonically sultry Portugal. The Man meets Futureheads tango. There are many other slithers of spice bringing a whisper of varied bands to the song, and album, but in the hands of Steaming Satellites all get turned inside out and honed into something unique and as here forcibly captivating.

Door is a heavier emotive croon which, without matching the successes before it, enthrals with its evocative textures and instinctive bounce aligning perfectly with the song’s moodier atmosphere and vocal heart whilst Circles slips into a bluesy Black Keys-esque character with stomping riffs, crisp rhythms, and spicy grooving. It too pleases without tapping up the lustier reactions found by earlier songs and definitely ignited by the outstanding Unfold straight after. The track is pure magnetism, a resourceful serenade of intimate vocals and emotive smouldering which just gets bigger and more persuasively spellbinding with every passing chord and melodic spice. It is as much an anthem as any raucous sing-a-long rocker, a compelling contagion of sixties keys, seventies melodic drama, and indie imagination.

Through the raunchier funk ‘n’ roll of Back And Forth, the feisty post punk meets indie/electro rock of Phone, and the dark White Stripes rock ‘n’ roll of Fill The Cup, album and listener continue to be fully involved in each other whilst Secret Desire employs a more restrained stride and melodic haze to its crystalline sparkle of keys and guitar to further engage the imagination. Tempered by the earthier tones of the bass and the grounded delivery of Borchardt, the track is the perfect blend of dark and light; maybe a slower burn on the passions than other treats within the album but another leaving long term hooks in its wake.

The album is completed by Move On, a gorgeous slice of lively balladry cored by ever impressing vocals and coloured by a virulent and imaginative tapestry of melodic and sonic colour. The track is a tremendous end to an outstanding release, an encounter which gets more commanding with every listen. It is hard to imagine Steaming Satellites being a relative secret from now on, but then as we said music is so big that the ease with which one can miss things is inescapable. Our suggestion is that band and album, is not another you allow to pass you by though.

The Steaming Satellites album is out from October 30th

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Pete Ringmaster 29/10/2015

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Steaming Satellites – Slipstream

Steaming Satellites

Following their highly acclaimed debut album The Mustache Mozart Affaire a year ago, Austrian band Steaming Satellites unveil its successor Slipstream, a release which one suspects with easily  match the strength of response certainly amongst their fans. Eleven indie/alternative rock/electronic tracks which at times seem deceptively simple but are crafted with precise thought and imagination, the album easily shows why the Salzburg quartet is earning such eager reactions even if it does miss out on provoking a continual potent wash of ardour for its offerings.

Reliably informed that the band began around 2005, they began seducing their local and homeland crowds soon after before venturing farther afield with a US tour with Hello Electric in 2009 followed by another with Portuguese band The Man the next year. 2012 saw not only the release of their first full-length but more tours across Scandinavia and Spain with Two Gallants whilst strong festival appearances including the Eurosonic Festival in Groningen brought this year to life. The foursome of vocalist/guitarist Max Borchardt, bassist Manfred Mader, keyboardist/bassist Emanuel Krimplstätter, and drummer/programmer/keyboardist Matthäus Weber have built on their previous release with Slipstream, bringing an arguably grittier and more caustic breath to its presence though melodies and electronic elegance are still given full rein.

Released via The Instrument Village, the album opens with its title track, a cosmic heralding instrumental with sinister suggestiveness and295486_10151678988644741_1044438872_n dawning melodic grandeur. Seemingly seeded in 2001: A Space Odyssey, it is a decent enough beckon which leads into Another Love, the song instantly grabbing attention with its Sicilian keys temptation. Soon joined by the distinctive tones of Borchardt the lure only gets stronger especially when the brewing drum and bass persuasion grips tightly to ignite a wash of passion. There is a soulful fire to the vocals which again is focus pulling whilst once into its stride the song saunters along with evocative colour and melodic enterprise.

The next up Notice raises things another level, keys again opening up the path for the fine vocals and melodic sun of the song to stroll along. A rich bluesy lilt to the guitars has thoughts alert whilst the now bold swagger of the track and its harmony led festive energy has ears dancing to their soulful tune. A foot and emotion puppeteer of a track, there is a certain Black Keys feel to the song which seems at odds with the suggested comparisons to Led Zeppelin, Pink Floyd, and Bob Dylan which accompanied the release, though you can at times understand that idea. The following Another Try also brings a different thought, this time of the Alex Turner led band as it evokes a reflective and provocative narrative within the imagination. The synths sculpt an inciting ambience whilst the drums vein it with an honesty which alongside the excellent gnarly snarling bass lines ensnares a real hunger for their presence.

The intriguing ballad So I Fell Down brings again that Arctic Monkeys feel especially vocally, with Procol Harum like keys reaping the seeds of the seventies to mesmerise mind and emotions. Like the album as a whole, the song takes time to make its persuasion, taking numerous plays before it fully declares its riches it is the epitome of a slow burner forging a long term recruit for its glory.

Both Timezone and No Sleep for the Damned engage easily with the ear without quite matching what came before, though the blues drenched croon of the second of the two skirted by a great rhythmic taunt holds more than enough to pull one back into its depths time and again. The next up Rudder ebbs and flows within the passions, its evocative electro weaves and vocal harmonies making a magnetic breeze across feisty rhythmic waves of temptation which traps the listener in its creative snare. It like many does not light any raging fires inside but smoulders in thoughts and memory potently enough to make another strong impression, something you can lay at the door of Slipstream as a whole.

Shadows Collide is another more than decent ballad where again Weber steals most attention, which is then left firmly in the shade by the best song on the album, Anyone. There is a mischievous look on its tempting face from the start; keys, guitars, and rhythms courting the emotions like a pack of festival hounds before stretching their arms to welcome a delicious flaming shower of brass. The song takes no time in securing total ardour but then raises the game again with a step midway into mellower sway of invention and energy speared by hot coals of sonic invention and melodic fire.

Concluded by Gone and its melancholic poise, Slipstream is a very enjoyable and appetising album which as mentioned makes it clear as to why the band has come under such positive declarations, though it does not exactly spark a rapturous passion inside.  Steaming Satellites does bring plenty of appetising and easy to indulge in sounds and imagination though and undoubtedly will leave their fans new and old blissfully content.

http://www.steamingsatellites.com/

8/10

RingMaster 02/09/2013

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