'BEATSTEAKS' is apparently military jargon for a grenade, rocket or some similar incendiary device, though it turns out to be a suitably flammable handle for a band who sound like they're liable to go off in your hand at any second.
I'm new to them, but this Berlin-based quintet are a relatively long-term Rock commando unit who have gained an impressive foothold over the past decade or so. Their CV is impressive, including a noted Skate-Punk past, releases on respected US imprint Epitaph and four LPS, of which 2004's 'Smack Smash' achieved platinum status in the band's native Germany.
Thus, Beatsteaks have an enviable past and also largely adhere to a Fugazi-style DIY attitude (designing their own sleeves and T-shirts, answering all their e-mails personally etc etc), though with their new album 'Limbo Messiah' they are meeting The Man head on with a release on the Warner Music (Germany) label.
If this sounds like it might have softened their hardcore hearts, well don't you believe it Bub, because at 31 minutes, 'Limbo Messiah' is a short, sharp and focussed Rock'n'Roll assault on the senses. The clipped, staccato attack of recent single 'Jane Became Insane' gives you some idea of what to expect, but the whole album writhes with energy and exhilaration.
Beatsteaks' understanding of their US Hardcore history is undeniable. Looming opener 'As I Please' ain't a million miles away from Husker Du circa 'New Day Rising', while the frenetic and stuttering 'Sharp, Cool & Collected' seethes like prime-time Minor Threat. 'Bad Brain', meanwhile, may or may not be a tribute of sorts to the pioneering Washington DC band and certainly mainlines on the sort of intensity that made 'Rock For Light' such a breathtaking listen.
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The band's Skate-Punk roots rarely poke through the sonic surface. The ominous leer of 'Cut off the Top' attempts to find room for skanking guitars though its' heaviosity never really lets up. It's by no means bereft of groove, though, as the mellow 'She Was Great' proves, while the likes of 'Meantime', the drum-heavy 'Soljanka' and the defiant 'Hail To The Freaks' (which could almost be latter period, beaten'n'blue Ramones) demonstrate these Berlin boys have their fingers on a vibrant Pop-Punk pulse too.
Beatsteaks, then, clearly enjoy the challenge of versatility. Their ability to send a Moshpit stark, staring Radio Rental is never under threat, but their dalliances with subtlety and guile and courage in pulling off the odd hard-edged Pop heist will help to keep them in contention where that all-important wider audience is concerned. Boxes ticked accordingly for me.
Beatsteaks online
Beatsteaks on Myspace
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