Photo by Julia Do Om
Self-described as “Retro SciFi Eurotrash armed to the teeth with barbed pop hooks and weaponised synths” or “Pop music for unpopular people”, the Flesh Tetris sound is to pin it down, simply one of a kind. Like an off-kilter dance-floor glitter ball it revolves through bold pop light and flirtatious electronic shadows, drawing the shades and hues of numerous more styles in its virulent adventure. It has already provided a riveting romp within the UK band’s first EP, Insert Coin, and is now in full exhilarating bloom and devilry within their forthcoming debut album, Wrong Kind of Adults.
Flesh Tetris sees the coming together of five unique talents already renowned for their exploits with other bands. It is fronted by duel vocalists in Eva Menon and Andy Heintz who had already seriously had us hooked through the bands Cauldronated and The Men That Will Not Be Blamed For Nothing respectively. Alongside the pair we find bassist/octaguitarist Andy Duke of Top Buzzer/The Duel/Cauldronated fame, drummer Jez Miller who also plays in The Men That Will Not Be Blamed For Nothing and keyboardist/vocalist Karen Bell who has a rather fine touch on the theremin too. Together they have created a sound and release which we cannot exactly describe no matter how we have tried but then again given the chance it does all the talking and persuading with ease.
As album opener For Fun swiftly reveals, it is a sound which is poppy yet rebellious, electronically mischievous but equally alternative rock sharp and all flirtatious temptation to body and imagination. The first track springs from law and order sirens, swinging in on the rhythmic strands of Duke and Miller as synths dance devilishly around them. Hips were swiftly infected, feet a rapid shuffle soon after as ears gripped the vocal uniqueness of Heintz and Menon. The track is untamed rock ‘n’ roll at heart, electro dance in its revelry and a riveting rousing way to kick things off.
Panic Buy follows swiftly revealing its own punk lined rock identity as beats and vocals steer the organic magnetism of the song. Bell’s backing vocals, though she is a must larger part to the band’s vocal prowess throughout the release then mere backing, simply seduced within the track’s own spirited allure; again a five prong creative attack gripping and manipulating. In some ways the song is something akin to a union between The Revillos and Dalek I Love You but distinctly all Flesh Tetris rascality.
Wrong Kind of Adults includes the tracks making up the band’s previous EP, all four being fully re-recorded, and first up is Hardest Part. Swinging in on a dub nurtured electronic saunter the track teases with skittish rhythmic scratching and electronic pulses as Heintz and Menon once more tantalise almost taunt with their combined vocal theatre. Theremin and an enslaving bass meander only escalate the hypnotic call, the song a perpetual simmer with moments of escalation which just enslaves from first breath to the final throbbing lure of Duke’s bass.
A sniff of Mindless Self Indulgence adds even more thrilling flavour to the outstanding Incoming, the outstanding track a schizoid slice of new wave/synth pop fuelled punk ‘n’ roll which easily lured away inhibitions with its predacious swagger and boosted throat borne eagerness with its own web of boisterous vocal variety before Jailbait Sex Pest Infestation offered up its own individual excellence. Apparently a song with an accompanying video which “was sparked by a misheard conversation between a toddler and his mother on the 29 bus” and is literally about a gang of flirty underage cockroaches trying to crash a party cockroaches, the track is an electro funk bred frolic which continues the album’s agility at getting into the bones and leading the body like a puppeteer. Like a musical equivalent to the little known but brilliant cartoon Oggy and The Cockroaches, the track just hit the spot.
Then again so do all as soon proven by Partners in Crime and its Bonnie and Clyde caper against an adult electro bred Scooby Doo musical landscape. Narrated by Heintz’s infectious growl and Menon’s Italian teases as much provocation as seduction, the track goes on the run with a web of imagination and sonic pleasure, Bell’s serenades in between pure delicious fondant on the richly flavoursome treat.
As mentioned the songs already introduced via Insert Coin come completely re-recorded to their benefit, next up Glass Bottom Boat especially flourishing in its keener swing and intrepid twists and turns. The summer of keys exuberantly sparkle against the rocky saunter of Duke’s basslines, their waves and earthy Brighton shore crisply swiped by miller’s catchy swings.
Both Landfill Cindy and Cat Box Journey kept ears and imagination aflame with matching ease, the first sheltering its misdemeanours within an electro punk confrontation as much threat and intimidation as infectious incitement. Its successor spins around a core hook which just had us at its first spiral, another instinctive lure of sonic flirtation matched by the fizzy embrace of synths and an espionage loaded bassline; the last of the two tracks another major best track contender.
The album finishes with the equally irresistible Rabbits, a track which from its opening warm synth coaxing had the body as its plaything with its electro dance and anthemic carousing. In many ways the track epitomises the Flesh Tetris sound though no two songs are really alike and despite are attempts are so much more fascinating and flavoursome let alone unique than our words have suggested.
Getting involved with Wrong Kind of Adults is the only way to truly find out; the album a tonic for the musically curious, a rousing reward for the bold.
Wrong Kind Of Adults is released on CD across all the usual digital platforms on 10th May 2019.
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Pete RingMaster 16/04/2019
Copyright RingMaster: MyFreeCopyright
The outstanding Party Shark Shake is next up, the song as the band’s actual name triggered by a book, no surprise here, about sharks by Susan Casey. You can almost feel the warm liquor soaked sand between the toes as the track stomps through ears, the swell of its melodic tides dragging the imagination and hips into the dangerous currents and depths below the biting dynamics of the song. Across the riveting attack, it builds up to rousing crescendos though at no moment is it anything less than an over powering incitement to body, spirit, and imagination. Imaging The Ghastly Ones and The Trashmen in collusion with The Damned and The Revillos and you get a whiff of the album’s greatest moment.
grizzled tones of Heintz and the equally alluring European lilted suggestion of Menon take ears and thoughts on the run, sound providing scenic temptation before the seriously magnetic tones of Bell serenade from the midst of the caper. Few bands have one great vocalist, to have three feels greedy and just another reason to explore Flesh Tetris. The track is superb, managing to even eclipse its outstanding predecessor before The Hardest Part swings in with its dub nurtured electronics and rhythmic intimation. Duke has hips swerving with a gentle but keen hunger whilst the controlled skittishness of Miller’s beats is an additional glorious itch to movement. Within this magnetic landscape vocals prowl and roar stirring up even greater greed and lust for a track which simmers before it boils compared to the more instant explosions of those before it but sizzles to the same heights all the same.
Fireballs boogies in ears next with its garage rock psyche pop, its crescendo building surges a deceptive pleasure as they never erupt into a full-on blaze, just into the next cycle of irrepressible teasing for its own heat soaked orgasmic pleasure while Never Sorry plunders the decades for its psyche infesting rock ‘n’ roll, flirting with the inspirations of artists like the 5678’s and April March along the way. Both tracks are sheer addiction in the making though that equally applies to the whole of the album including the thicker boned Suzy Don’t Stop. The rhythmic bullying is raw feet temptation whilst the fire borne strains of guitar and brass are delicious toxins in the virulence of song and vocal exhortation.
Hot Cross Fun only confirmed and pushed their rising stature which Nomads Of The Lost, recorded with producer Jim Diamond, undoubtedly gives another potent nudge to. Opener Nomads Of The Lost strolls in with brass aflame amidst swaggering rhythms, teasing and flirting with ears before Tina’s infectious vocal stroll grabs its fair share of attention. Continuing to swerve around the senses in sound and energy as grooves entice and rhythms urge bodily participation, the song sizzles and insatiably dances like a warped The Revillos on heat.
It opens up with its title track, The Witch House flirting through the voodoo rhythms the band has so masterfully transfixes with from day one. Where Mr Destruction’s beats used to transmit intent and resonance like a virus through ear and bone though, Duncan’s beats are more tempered to match the, dare we say mellower, tones of the music yet cast an equally lingering network of anthemic persuasion. Murray’s guitar is just as swift in its spicy coaxing as her recognisable and exhilarating vocal shrills and punkish tone. Completed by the dark rumble of Taylor’s bass, the song swings with attitude and a flirtatious swagger ripe with simple but deeply rooting Ramones seeded hooks and nostalgia bred chords. The track is scintillating revelry to start things off but just the beginning of great deeds.
With a line-up completed by Kieran, VV, and Alex, Oh! Gunquit equip Eat Yuppies and Dance with a torrential revelry which can fall into anything from psyche rock and pop to garage and punk rock, and on again to rockabilly and surf rock and that is still only part of the full musical stomp which starts with opener Sinkhole. The resonating slightly tinny beats which accost and incite ears from the first breath of the song are the sign of things to come, their anthemic lure having one single aim with their actions, to ignite body and emotions. Vocals jump in swiftly with the same impact before the song slips into a sultry groove woven caress of surf temptation over a vivacious garage rock canvas. The voice of Denver bred Tina brings an enticing tang to the exploit as does the acidic kiss of guitar enterprise which flames across the encounter, everything combining for a potent and lively start to the album.
magnetically and vibrantly compelling mind of the fictional character of its creator, employing everything and anything from industrial and steampunk to gothic rock and progressive metal, and that is just scratching the surface. With many of the tracks co-written with Gary ‘Stench’ Mason, The Shanklin Freak Show guitarist and provider of the majority of the guitar invention across the release, the album immediately lures in senses and imagination with the opening spoken narrative leading in the title track. It instantly intrigues as the scene setting premise strolls into the irresistible stomp of the song. Rhythms bounce around with a heavy mischievous gait matched by the electro and bass taunting whilst the guitar casts lines of sonic and melodic bait which is pure infectious toxicity. Best described as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, the track is a delicious fascination and the first irresistible hint of the lunacy to come.
