YELLOW JUMPS TWICE - "TIN BOXED Germany’s Yellow Jumps Twice dubs their music “psychebritrock” and align themselves musically with the Brit pop movement led by bands such as Stasailor and Coldplay among others. Vocalist, guitarist, and primary songwriter Sebastian Teufel first formed the four piece in 2000 and their thirteenth album, Tin Boxed, illustrates why the band has endured when many other contemporaries of the same movement have either slowed or else settled into predictable ruts. They have diversified their sound a great deal since their turn of the century birth and the broadening of their sound and songwriting aesthetic has helped spread their renown to a global level rather than confining to England and continental Europe. The album’s first track “Through Empty Space” has an evocative opening before Frank Lisker’s bass enters the mix. This is a simmering rocker building over time and the two guitar attack generated by Teufel and Christian Urban creates quite a fray, especially when they hit the song’s chorus and the energy level peaks. Some post production effects are applied to Teufel’s vocal to accentuate the disconnection depicted in the lyrics but they never sound too stagy. Tin Boxed’s second song “In Beauty and In Grace” is a much more personal song about Teufel losing his father Walter to gradually encroaching dementia and the clarity of the writing makes this tragic experience relatable for listeners. It has a much more traditional gait than the opener and the underlying acoustic guitar gives listeners a peek at how the track likely began life. The sinewy guitar riff driving “For Heaven’s Sake” forward is ideal for the indignation at the heart of the song. Teufel writes about how our changing social contract finds so many alienated from traditional values – not ideas about what is moral or immoral but, instead, how we insist with increasing vehemence our interpretation of truth, fact, and reality cannot be disputed despite all evidence to the contrary. Sandy Hannekum’s spot on drumming for this performance creates crackling energy for the track without ever overplaying. It’s one of the best outright rockers included on Tin Boxed. “Hey Laura” has emotional weight without ever rising above a near muted level until near the song’s end. Yellow Jumps Twice has elastic artistry – after over a dozen album releases, the band brims with confidence throughout this release and never rely on a single path forward to impress their audience. It is varied at a level other bands can only aspire to. The longing bubbling up from the finale. “These Little Things” never resolves, but it shouldn’t – in a way this song depicts much more than unrequited love but, extended further, shows a band still hungry to bear their heart for audiences and make their voices heard above the din. It ends the album on a rousing rock note with its freewheeling guitars and a great rhythm section performance. Yellow Jumps Twice proves, if nothing else, that honest, intelligent, and passionate rock inspired songwriting still has an important role to fill in our lives. Michael Rand” - Michael Rand

Yellow Jumps Twice – Stop Treatin’ The Beaten Ways – Review by Marty LoFaso After a prolific output including a dozen albums, it’s clear that Hamburg’s Yellow Jumps Twice has found their collective groove. The Psychedelic Brit Rock band has a new one on their hands, entitled Stop Treatin The Beaten Ways. As they approach their 20th anniversary, this solid release shows that the trio has been able to meld a unique identity in their time together. Yellow Jumps Twice – Stop Treatin’ The Beaten Ways The album begins with the title track, a fun rocker with excellent dynamic contrast. Contrasting sections turn out to be a theme as the song progresses, with the major chorus and minor post-chorus offsetting each other nicely. The lyrics mix with the music to create an optimistic feeling, with both elements playing off of each other to create the mood. While the lyrics are a little wordy, the listener can easily grasp the message of the song, which also features a middle eight section that diverges well from the main song. Again this shows a theme of contrast within the music that may even cause an elitist trendetarian to raise their brow. Next up is the album’s lead single, “Every Single Day”, another fun rocker that begins with a jangly guitar a la The Byrds, with rhythmic delay a la The Edge. The band experiments with timing/rhythmic changes as the tune unfolds, and while initially jarring, the experimentation is ultimately rewarding for the listener. The lyrics in the chorus ask questions as opposed to making statements, which is always a great technique for providing a listener with an introspective experience. “Every Single Day” continues their trend of music and lyrics intertwining to create the overall mood. “This Is Me”, a harder rock tune, barrels into the listener’s ear with a great minor guitar riff, switching things up from the strumming harmony of the previous songs. More introspective chorus lyrics provide the listener with an open-ended experience, but the guitar solo may slightly distract from the overall vibe of the rest of the song, rather than complement it. The song ends strong on a powerful outro. A rugged and catchy tune, “Not My Kinda Talk” oscillates between straight hits and a syncopated groove. After exploring this push/pull, the chorus deploys some well-timed dissonance, giving the listener’s ear a break from the more consonant harmony up until this point. The deviation in harmony complements the ominous vibe of the song. “Feel Alright” provides great tension and release in the music. The guitar solo explores a Middle Eastern feel, and it allows for a great contrast from the rest of the song. While stylistically appropriate, the vocals sometimes sound strained, giving the feeling that the singer is going slightly beyond his range. It’s encouraging to hear musicians challenging themselves, especially musicians who have been in the industry for some time. “Over Again” employs a great Bo Diddley/George Thorogood beat. Vibrato-laden guitar adds a creepy element to the song that accompanies the feeling well. “Gotta Let Me Go” incorporates horns that push the song through to a huge arrival point at the chorus. The arranging and instrumentation of the song are excellent, different than the rest of the record without veering too far away. The album ends on “Strange Days”, a haunting, epic ballad. The bass melody drives the song, with the rest of the instrumentation slowly joining the rhythm section to build into a long, emotional jam providing a powerful finish to the record. The band is truly refining and honing their craft, proving why they’ve been around for almost 20 years and why they’re still going strong after a dozen albums.” - Marty LoFaso


Yellow Jumps Twice – Stop Treatin’ The Beaten Ways BY  0 COMMENTS Their fans refer to them affectionately and simply as, the yellows. Founded in 2000 by Sebastian Teufel; the Hamburg, Germany-based alt-rock quartet known as Yellow Jumps Twice (a moniker acquired during a random game of Monopoly) have been in the music game for some time. Consisting of:  Sebastian Teufel (vocals, guitars, keys), Christian “Chrischi” Urban (guitars), Frank Lisker (bass), and Christian John (drums), these four know what it means to work, performing in such venues as the Frankfurt International Artist Launch Festival, the Open Air of St. Gallen (Switzerland), the Rock City Club of Bologna (Italy), and the May 1st Festival of Artists and Bands in Vasto (Italy). But perhaps most impressive is the band’s 11-album anthology, which dates back to 2000, and inlcudes:  2000’s True Companions, 2001’s Fish Stories, 2002’s Yellow Jumps Twice, 2004’s Whatever Happened To…, 2005’s Get A Tan From Singing In The English Rain, and, Beside The Street, 2006’s Ain’t Nothing Better Than…, 2007’s 130 Days, 2008’s Stranger In My Car, 2011’s 22113, 2012’s From Red To Blue, 2015’s So You Think You’re Most Peculiar, and their best-of collection—2017’s So To Say. Their latest effort, Stop Treatin’ The Beaten Ways, a full-on rock’n’roll collection with plenty of riffs, kicks and rhymes, makes it eleven. Stop for a moment and appreciate that fact. Here’s what we dug most… Opening with This Is Me, Teufel’s vocals echo a blend of Wes Scantlin (Puddle of Mud) and Neil Young. (Don’t try to imagine it…just give it a listen.) The relatable feelings of ambivalence and indifference make for a grimy, 90s-style jam on Feel Alright. This is a cool tune, with great contrast/dynamics, and super sharp performance and production. Our Favorite Track:The slightly jazzy—yet still totally grimy—album title track, Stop Treatin’ The Beaten Ways, has a Better Than Ezra-esque feel, and some catchy, substantive writing… “Hey you,Don’t you know it’s trueWhat we went throughLed us to something new?Hey you,Listen to what I sayIt’s a perfect dayTo stop treatin’ the beaten ways…” Opening with a half-a-minute of charmingly ambient layers of guitar, the album closer, Every Single Day, ends the project with more heart. (Be sure to stick around for the cool synth solo at 3:15.) Teufel shows that an open pair of eyes are both a blessing and a curse, as he asks perhaps the biggest questions of all… “The ether is filled with lies and hateThese are what’s called, post-factual timesI always tried to listen to my heartBut balance is in danger of falling apart How can we tell what’s realityHow can we tell what’s the truth…” Accessible writing, solid veteran musicianship, and quality production abound in Stop Treatin’ The Beaten Ways—the 11th album by German musical troubadours, Yellow Jumps Twice. A tasteful blend of old-school, fully-instrumental compositions join with true-to-the-day lyrical content to create an enjoyable listen which is relevant to the times. Those of you who still seek-out hand-crafted music, made the old-fashioned way, will enjoy this album. Whose lovechild…?If Neal Young sung rock songs with Ozzy’s band… ” - The Ark Of Music

— The Ark Of Music

Indierock/Britpop YELLOW JUMPS TWICE „22113“ (  Artverwandt: Psychedelic Furs; Richard Butler; Peter Murphy; The Beatles; Oasis   Jahr um Jahr schmiedet Sebastian Teufel, kreativer Kopf der Formation „Yellow Jumps Twice“ seine Pop-Schmuckstücke britischer Prägung. Nach einem Soloausflug und dem Umzug von Frankfurt nach Hamburg gibt es nun mit der EP „22113“ (Postleitzahl der neuen Studio-/Probenraumadresse) das erste Lebenszeichen der neu formierten Band. Die vier dort gebotenen Songs beweisen erneut, dass Britpop made in Germany hervorragend funktioniert. „In Beauty And In Grace“ basiert auf einer Pianolinie, die auch Coldplay gefallen würde und die sich als eine Art Puls durch den ganzen Song zieht, allerdings manchmal durch die melodiöse, druckvolle Soundwand der übrigen Instrumente zurückgenommen wird – um dann doch wieder in alter Stärke aufzutauchen. Das Orgelintro von „King Of The World“ in Kombination mit Teufels Gesang hat einen progressiven Touch und etwas von den frühen Genesis. Auch die Strawberry-Fields- sprich psychedelischere Seite der Beatles und ein Hauch von Oasis kommen einem in den Sinn. „Moths Keep Flying“ mischt Goth-Grundrythmus und -Orgel mit gradliniger Rockgitarre zu sphärischer Stimmung mit Abtanz-Faktor. Eine Ballade darf natürlich nicht fehlen: „Where Are You Now“ schlägt eine langsamere Gangart ein und entwickelt sich mittels Piano, Keyboardteppich, einfühlsamem Bass und effektvoll eingesetzter Akustik- und E-Gitarre(n) zu einer wehmütigen, nachdenklichen Hymne. Teufels Stimme, die sowohl an Richard Butler (Psychedelic Furs) als auch an Peter Murphy in seinen Solozeiten erinnert, ist das unverkennbare Markenzeichen der Band, der schon jetzt für ihren nächsten Longplayer möglichst viel Aufmerksamkeit und Airplay zu wünschen ist. Top-Track: Moths Keep Flying Julia Vetter” - Julia Vetter

— Eclipsed writer

Brit-flavoured Indierock YELLOW JUMPS TWICE „22113“ (  Artverwandt: Blue October; The Airborne Toxic Event; Kings Of Leon; R.E.M. Aus dem Raum Frankfurt kommend, sind die Indie-Rocker Yellow Jumps Twice unter Federführung von Sänger und Gitarrist Sebastian Teufel seit 2000 aktiv. In dieem Jahr stand der Umzug nach Hamburg an. Ihre neue EP „22113“ (PLZ der neuen Studioadresse) mit vier Tracks im Gepäck startet smooth, melodisch und ähnlich wie Fury In The Slaughterhouse offen für Pop-kompatible Mainstream-Avancen. „In Beauty And Grace“ ist schlicht romantischer Poprock, doch „Moths Keep Flying“ ankert näher an härterem, Rhythmus-getriebenem Indie à la R.E.M. und Midnight Oil. „Where Are You Now“ ist eine waschechte Ballade für Träumer auf der Suche nach ihrem Seelenpartner, verziert mit Piano, Klampfe und viel erinnerungstrunkenen Synthie-Streichern. Spätestens beim schwelgerischen Gitarrensolo kommt so richtig Wehmut auf. Zum Schluss eine Überraschung: „King Of The World“ erweitert den Melodie-intensiven Indie-Reigen um psychedelisch-artrockige Töne: Ein beatleskes Flöten-Mellotron erhebt dieses Midtempo-Stück über den bloßen Indie-Horizont hinaus und das finale Gitarrensolo erinnert gar an Marillions Steve Rothery. Mit etwas mehr Mut zum Experiment jenseits melodischen Schönklangs könnten Yellow Jumps Twice gar zu ihrem dritten echt weiten Sprung ansetzen.   Top-Track: King Of The World  WS ” - Walter Seher

— Eclipsed writer

Yellow Jumps Twice lassen sich treiben in großen Gefühlen und Harmonien, was sie oft in hymnische Weiten führt. Die gedämpfte Euphorie der Hamburger Indietruppe überträgt sich aber auch in intimen, kleinen Szenerien. Dann denkt man bei den Songs aus Sebastian Teufels angerauter Kehle an einen nächtlichen Bargast, vielleicht am selben Tresen wie Glen Hansard oder I Am Kloot. Ulrike Rechel, Musikjournalistin (tip Berlin)” - Ulrike Rechel

— Tip Berlin