Catchy US and UK 60s and 70s rock ‘n’ roll fused expertly on this strong and enjoyable Mallorcan debut.
The Ripples are a five-piece from Mallorca, and this is their debut LP, coming after the 2023 EP “Restless”. Two songs on it were recorded at Abbey Road Studios, and this gives a clue as to what is to come on the record. They say that they are influenced by their love of American bands of the sixties and seventies, and you can hear artists like Tom Petty and The Velvet Underground in their music. However, there are also hints of British music, from groups like The Beatles and The Kinks, which appear from time to time on the record. It is rock ‘n’ roll, but with the catchiness and melody associated with these two, and so is a great listen.
The group was formed by singer and frontman Toni Sbert, who also plays acoustic guitar and keys, and his long-time friend, guitarist Nacho Andreu. Sbert was living in the US and Andreu in Spain, but in 2022, they met up in Mallorca. This led, after intensive rehearsing, to recording an EP in their friend Tomi Solbas’ studio in an abandoned theatre in Calvia, Mallorca. Solbas has produced this record. The EP was meant to be a one-off, but Andreu’s brother, Juan, on lead guitar, and Berto Meana, on bass, also joined the group. Drummer Jordi Rullan came on board later, the group then started playing gigs in 2023 and recorded this album in 2024.
They accept that they can’t make a living from music alone, and so have day jobs. However, their passion for music means that they have played over 50 gigs, including a tour of the UK. Their enthusiasm comes through strongly in the life and energy of the music on the album.
It starts very well with the catchy ‘Life In The City’, with its jangly guitar and organ rippling through. Here, there is disenchantment with city life: “mean old town will show no pity”. From then on, there is a range of American rock, with the next track, ‘Never Gonna Be’, having a nice swing and some country-rock licks. The words tell of regret over a love that is ending, “we knew right from the start/ this loving/ slowly would fade away”.
Next up is ‘Time To Burn’, a Chuck Berry-like rocker which is great fun, and then the lively Eagles-like country-rock of ‘High On The Street’. The next three tracks encapsulate the album’s great strength, where different influences are fused to produce an original song that is very much the band’s own. ‘You’re The One Who’s Lonely’, where the tables are turned on a woman who has spurned the singer, starts like The Beatles, adds some more country licks, and ends with a great sing-along chorus. ‘Be Careful’ kicks off with some Dylan-like harmonica, but then goes back towards Beatles melodies. Finally, ‘Something’s Got A Hold On Me’ has piano which recalls Mott the Hoople at the start, but then great harmonies and a chorus like The Beach Boys.
The album ends with ‘No Direction’, which reminds you of Jonathan Richman, The Strokes and even Cockney Rebel, bizarrely, at one point. And you can’t help but think of ‘Waterloo Sunset’ on the final optimistic song ‘Sunshine Of My Day’.
This is a strong and enjoyable debut, which should give them encouragement to keep writing and performing their music despite the inevitable obstacles in their way.
