Beatsteaks
Limbo Messiah

THE REVIEW

We don't know what reasons may have driven the Beatsteaks to inaugurate a new season in their brilliant career with this album. But the fact is that since 2007, the year of the release of "Limbo Messiah", until today, things seem to be going right for the Berlin band.

Perhaps they were tired of the various "Punkorama" and the usual hardcore compilations. Or maybe they felt "Fulfilled" by the continuous appearances in thematic magazines for "Skaters, snowboarders, surfers," etc.

Who can really tell?

Maybe they were rusted by the countless evenings, the oceanic crowds of the "Deconstruction tour," "Warped tour," "Rock I'm ring" around the world... Who knows! Possible, but at least unlikely. So let's start by distinguishing some clear differences, or if you prefer, changes compared to their previous works:

The sounds first of all. Here they are warmer compared to the extreme atmospheres of old times; not that we didn't like those, but in fact, the songs "Crafted" to perfection shine for the greater attention to sonic detail. It is captivating then the alternation of the various registers present in the tracklist, which in full consists of eleven unreleased tracks. Punk as a pure exercise of style, as an attitude, as a rhythmic structure, as the only mindset starts to bore them at this point. And thus emerge new demanding requests, new styles to experiment with.

They open the dances in the best possible way: the guitar interplay in the intro of "As I Please" is ingenious, solid, as is the powerful vocal line that brands the first verse. The rhythmic fit is perfect: the refrain literally makes the song gallop, as it blends into the fabrics of modern-styled stoner rock. Especially on the attack. The rhythmic section hits you square in the face, and moreover on a fresh-off-the-barber shave.

The single follows. "Jane Became Insane" is a beach riff, so to speak; 4 chords on the beat hold the entire loop together. Stripped of any special effect, direct, and effective, almost wanting to draw a comparison with the "Mammasantissima" Rancid.

Tim Armstrong and his mates in this track would have loved to join in on the choruses, but I believe they weren't invited to take part...

"Sharp Cool & Collected" instead has the flavor of more classic punk. If Armin, the singer, didn't improvise some kind of "Scat," transforming the piece into something more original, and nailing the synchronous fitting on the ostinato of the drums. A song all in one go. Brief in duration.

After all, other tracks in the album also sound more tight and fluid. This is the case with "Bad Brains", "E-G-O", with new wave nuances, "Demon's galore": here the vocalist gives his best. He shoots some tremendous high notes. Spine-chilling.

Of another fabric is the second single "Cut Off The Top". The reggae rhythm here is felt vibrating at the stomach's mouth and gradually spreads the vibration to the instruments. An appropriate volume on this piece will suggest the same sensations to you too. Try it to believe it. Furthermore, it doesn't seem like a reggae piece made just to fill an otherwise monotonous and monochrome record. On the contrary, the very opposite is true. The group believes in Moses Schneider's production so much as to use for this single powerful effects, wisely dosed; there are Moogs on offbeats, timbales, and subs in abundance. Everything needed to create reggae beats contaminated by contemporary dub and Ska-punk.

"Meantime", the last extract from Limbo Messiah, perhaps remains the most convincing.

"....Take me away to be closer.." Armin is shouting right in your face, and in no time, you find yourself worshiping the thousand colors that his screaming releases. In this, the Beatsteaks stand out from other punk bands of our days. Besides being technically talented, having, and conveying such energy, they have one more weapon. What distinguishes a Band with a capital B from all the others: the vocals' great interpretative skills, now powerful and shouted, now seductive and crystalline, all supported by a solid rhythmic base.

"She Was Great". I recommend it if you are perpetually seeking a song to dedicate to a 'her,' and have no intention to infest the airwaves with the likes of Massimo di Cataldo... The base is funky, indeed if we want to be picky it's actually a "Motown." Falsetto voices and respectable counterpoint. Soul friends debaseriani. Soul funky even, and who would have ever expected it from 5 punkish Germans. A tiny guitar over the obsessive monochord occupies the chorus, adding that surplus of movement and rock that never goes amiss.

In conclusion, a truly worthy performance. A band that overall you would never have believed capable of such new suggestions. Starting out of a garage in the metropolitan suburbs, they chase that dream first in the clubs and social centers of Berlin. Then on the most prestigious German stages, reaching the top, playing practically with everyone (Nofx, Pennywise, Lag wagon, Faith No More, and many, many others). That drive, that passion, that incessant joy. That tenacity that ignites and projects you to chase and make real what you believed only a product of cerebral synapses. Punk bands spring up every nanosecond, but stars one each entire generation. We are fortunate to be in the right one. We are lucky to be here!

Emilio Pantuliano