The JangleBox

Indie, Noise, Shoegaze… Music

Yesterday and Today – THE RUBINOOS: From Home (Yep Roc, 2019)

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“This could be the last time/Better make it count!” So sing the Rubinoos on “Do You Remember,” the opening cut on From Home, suggesting that the group is seizing the opportunity a reunion offers. Of course, the power poppers reconvened many years ago, opening up a third act at the dawn of the 21st century. From Home arrived in 2019, many years into their reunion, and it plays like an album from a working band; it’s assured, comfortable, and doesn’t stretch the group’s limits. Since the Rubinoospositioned themselves as guitar-pop torchbearers from the start of their career, the adherence to pure power pop values doesn’t necessarily seem tired. The group value tightly written songs, performed with a punch and smile, not doing much to stand in the way of their big guitar and vocal hooks. Occasionally, the band stretches a bit: “Do I Love You” flirts with a disco beat, “Rocking in Spain” swaggers to a big swing, and the proceedings close with “Watching the Sun Go Down,” which shimmers as gently as a sunset. Like the gently self-aware lyrics, these are the grace notes to a collection of songs that would rather satisfy than surprise, and there are charms to this kind of dependability. The Rubinoos believe so fervently in their power pop gospel that if you find their sound appealing, it’s hard not to smile at From Home (All Music)

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11 diciembre, 2019 Posted by | The Rubinoos | Deja un comentario

Minus 5 Forever – THE MINUS FIVE: Stroke Manor (Yep Roc, 2019)

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Como si de una resurección avefinesca desde el más allá se tratara, Scott McCaughey concibió su decimotercer trabajo prácticamente desde la cama del hospital donde se reponía de un desgraciado ictus que casi le deja impedido para siempre. Pero se ve que cuando la enfermedad se topó con el gen creativo del músico, decidió que iba a ser benevolente con el de Seattle y le dio una nueva oportunidad de seguir adelante con su carrera musical, en la que siempre nos encontramos con momentos deliciosos como los que jalonan este trabajo tan especial. Todo un derroche de emotividad y buen hacer musical, lleno  por iguel tanto de guiños al Pop sesentero como al Pop más experimental de Elephant#6.

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9 diciembre, 2019 Posted by | The Minus 5 | Deja un comentario

Clouds – THE STARGAZER LILIES: Occabot (Rad Cult, 2019)

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Nubes (o nubarrones) de distorsiones y los clásicos muros de sonidos del Shoegaze más visceral son las que adornan los cielos sonoros de la música de THE STARGAZER LILIES, combo de Portland que iluminan su cuarto álbum desde su debut en 2013. Vaivenes sónicos que tienen como característica principal la densidad y esa oscuridad levemente iluminada por efectos que consiguen esa ensoñación profundamente shoegazer.

“Occabot is the fourth album of The Stargazer Lilies, a heavy shoegaze and psychedelic pop ensemble formed in Portland from the ashes of a band called Soundpool by husband and wife John Ceperino and Kim Field, along with drummer Tammy Hirata. Six years away from their debut in 2013 with We are the Dreamers, the sound of the Lilies haven’t essentially changed, floating in that ever-reliable magic carpet of ethereal and distorted melodies led by the delightful vocal dubs of Kim Field, while gliding over a furious sea of saturated guitars and infinite echoes. If anything, the Lilies’ latest release improves the formula, culminating a long quest in search of a defining sound that now belongs to the band, even if that means drawing heavily from the holy grail of the genre, that album that some of you would have already guessed, is called Loveless.
Occabot feels like looking at a beautiful portrait while it melts. One can easily visualize the painting running down the canvas as it drips to the floor yet forming another piece of abstract art on the ground almost by accident. These casually formed layers of melody and noise are a carefully curated exercise of substance, a sound that is not easily achieved. And the Lilies have made their homework, giving the knots that extra turn and letting the songs slide into a slightly different sonic spectrum, resulting in something that is both familiar and satisfying.
“Magenta Sunrise” opens the album majestically. Field sings shrouded in distortion and echo, backed by a distant organ until the drums kick in with a psychedelic rock beat. In a few minutes, the Lilies already have made their case. If you have ever waked up in a hospital bed in the arms of morphine after being sucker punched in a drunk disco brawl, you are already well equipped for Occabot.
David Lynch comes to mind when “Monsters of Your Thought” follows up. It’s a sort of deformed ballad where melodies struggle to chain with each other, constantly coming in and out of pitch, while the tune peaks at a very inspired Floydian guitar solo courtesy of John Cep. “Foreverless” strangely sounds like Mötley Crüe with an overdose riding down Sunset Strip and crashing into Slowdive’s touring van. The hoarse guitar riff marries Field’s vocals beautifully, while Hirata’s simple but effective drumming supports the sonic storm as it cruises with extremely dense tempo.
The B side of Occabot is a bit less eventful albeit solid, mostly commanded by the six minutes of “Dizzying Heights” and the closing drone wonder of “Icarus Sun”. While Occabotmanages to ignite the flame that The Stargazer Lilies had in their first two albums, and that arguably went dim with the release of Lost 2 years ago, it is safe to say that the band is back to a comfortable spot in the shoegaze map. Aware of their influence, they simply amplify it, making you feel like you are sinking in a bed of electrified feathers, which in the end, it is all that one longs for in this, the land of noise and dreams” (Sputnik Music)

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4 diciembre, 2019 Posted by | The Stargazer Lilies | Deja un comentario

Segall not Segall – TY SEGALL: First taste (Drag City, 2019)

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“Segall has a catholic definition of psychedelia, opening the door to prog freak-outs, a bit of fractured folk, cascading vocal harmonies, and spooky synths. None of these accents change his basic architecture. He’s still working from a common vernacular—a bit ofLed Zeppelin here, a bit of T. Rex there—not intending to recreate the past as much as to give his flights of fancy some context. It’s hard to sound weird without a baseline for normality.
The new additions brighten First Taste, giving it a bold and intense sheen. But make no mistake: To a garage rocker, every instrument looks like a guitar. A Greek bouzouki and a Japanese koto can still make a racket if they’re strummed like a Fender Telecaster, and double-tracked drums don’t hurt, either. Consequently, First Taste is sometimes just as frenetic as Deforming Lobes. But as a producer, Segall is intent on leaning into empty spaces and absences—to play with the elements of light and shade that Jimmy Page brought to Zeppelin.
Segall, though, remains a patron of low-rent scuzz-rock, so First Taste can sound cheap—intentionally so. He pushes levels into the red on “The Fall” to accentuate its breathless velocity, and he uses schoolyard recorders to bring unruly circus energy to “I Sing Them.” This elevated trash isn’t the only trick in his toolbox. First Taste is sharply paced, sequenced for maximum impact as two separate vinyl sides but also effective as a seamless 41-minute listen. The over-saturated “Taste” serves as a frenzied fanfare for the entire affair, while the malevolent, tarry grind of “I Worship the Dog” is paired with the sweet, steady-rolling “The Arms.” “Lone Cowboys,” an epic suite crammed into four and a half minutes, concludes the album with the suggestion of more music lurking around the corner.
Leaving the crowd wanting for more has never exactly been Segall’s style, so the album’s sudden end isn’t merely bracing—it’s a source of perspective. Abandoning the guitar has sharpened his senses as a record maker, making him cognizant of his excesses. By trimming slack and channeling indulgences into bursts of pandemonium, he comes away with an unusually focused album. If the songs don’t linger as long as the sound, chalk that up to Segall being a “first idea, best idea” kind of guy. This time, he concentrated on production. Maybe next time around, he’ll turn his attention to the tunes” (Pitchfork)

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2 diciembre, 2019 Posted by | Ty Segall | Deja un comentario

TONY MOLINA: Songs from San Mateo County (Smoking Room, 2019)

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“Smoking Room and 650 Records are pleased to announce the new compilation LP “Songs From San Mateo County” by Tony Molina. This is a collection of unreleased and unfinished material recorded between 2009-2015″

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27 noviembre, 2019 Posted by | Tony Molina | Deja un comentario

Enciclopedia – TONY MOLINA: Kill the Lights (Slumberland, 2018)

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Como si de una enciclopedia musical se tratara, este álbum de TONY MOLINA es, desde la portada (con reminiscencias evidentes a Manassas), un compendio musical de cierto carácter Retro al Folk-Pop de los sesenta y setenta pero también al Indie más “Esque” de maestros como Teenage Fanclub, que a su vez absorbieron las influencias de las huestes de The Byrds o de Big Star. Y lo mejor de todo es que este esquivo californiano se las arregla para enviarte estas pequeñas píldoras en temas que en su mayoría no llegan a los dos minutos, es decir, la fórmula LoFi empleada convenientemente en caramelos Pop. Interesantísimo.

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25 noviembre, 2019 Posted by | Tony Molina | Deja un comentario

DELIRIOS DE GRANDEZA – JACK WHITE: Boarding House Reach (Third Man Records, XL Recordings, 2018)

Boarding House Reach

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Definitivamente, parece que al JACK WHITE de los extintos WHITE STRIPES e incluso al de THE RACOUNTERS le perdimos definitivamente. Este tercer álbum en solitario es un auténtico ladrillo plúmbeo de studio jams, algunas improvisaciones, escarceos electrónicos, los clásicos truquitos sonoros de White… y unas composiciones que realmente no aportan nada. Demasiada megalomanía perdida entre un marasmo de géneros que si bien a algunos músicos les sienta de maravilla, ante la inconsistencia de las composiciones de este Boarding House Reach, resulta aún más soporífera. Hay algunos momentos de lucidez (Connected by Love, Corporation, Humoresque…) que para nada elevan el nivel medio del álbum. 

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18 noviembre, 2019 Posted by | Jack White | Deja un comentario

Spencer Tracy – NICK LOWE: Love Starvation / Tokyo Bay (Yep Roc, 2019/2018)

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Aunque actualmente tenga un aspecto más cercano a Spencer Tracy que a ese estupendo músico de Power-Pop que nos encandiló a finales de los setenta y los ochenta, lo cierto es que NICK LOWE está viviendo una nueva juventud. Si a ello le unimos una banda de apoyo ciertamente notable y unas composiciones propias dignas, que se mezclan con una serie de covers acertadas, el resultado es este regreso de LOWE a los ruedos musicales, esta vez en reencarnación rocker más cruda que de costumbre, pero verdaderamente deleitable.

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6 noviembre, 2019 Posted by | Nick Lowe | Deja un comentario

They try to do their best – IMPERIAL TEEN: Now we are Timeless (Merge Records, 2019)

imperial teen

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Hombre, si tu principal aspiración es convertirte en inmortal, como reza el título del sexto trabajo (después de un paréntesis de siete años) de IMPERIAL TEEN, este Now We Are Timeless quizás no sea el mejor instrumento para conseguirlo…

“When Imperial Teen formed in the mid-’90s, their sugarcoated pop sounds stood in sharp contrast to their punky roots. The first piece of information usually offered up about the band was that their principle songwriters, Roddy Bottum and Lynn Perko-Truell, had ties to alt-thrashers Faith No Moreand Bay Area punk institutions like the Dicks and Sister Double Happiness. Those heavy connections were largely immaterial to Imperial Teen‘s vibrant pop sound, one that subverted the still-all-too-macho grunge trappings of the time with openly queer lyrical themes, coy co-ed harmonizing, and heavy doses of power pop hooks, understated humor, and sleazy grooves. As the band progressed over the next 20-odd years, their sound matured without mellowing. Sixth album Now We Are Timeless follows its predecessor Feel the Sound by seven years, and while the songs speak to the journey the members ofImperial Teen have been on together, many of the core elements of their sound remain intact. Subdued album-opener “I Think That’s Everything” is a gentle tone setter, introducing lithe harmonies over a bedding of electric piano chords and synth sounds that come and go. This mood is quickly erased by the punchy swagger of “We Do What We Do Best,” a slab of edgy pop in line with the band’s best work. The time between albums grew as the years went on, but the band’s signature sounds are untouched by this. Dialed-down tracks like the springy and melancholic “Walkaway” and the grittier, feel-good rock of “The Girl” would all sound at home in almost any era of the band’s evolution. At this point all four bandmembers live in different parts of America, and NWAT was assembled through remote collaboration. This process can be felt on moments that come across more like solo songs fleshed out by sending files back and forth than a band playing together in the same room. Those moments are in the minority, however, and for the most part the group presents a bouncy cohesion despite the album’s long-distance creation. While there’s a somewhat more thoughtful tone to some of the material here than in their earliest work, Imperial Teen have always approached their music with a certain self-awareness. That self-inspection never eclipses their keen sense of arrangement, songcraft, and back-to-basics pop core that has been central to the band for their entire run. Even stitched together from four different states while looking at aging and uncertain futures, these ten songs are simply more of Imperial Teen doing what they do best” (All Music)

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4 noviembre, 2019 Posted by | Imperial Teen | Deja un comentario

Neverdying – REDD KROSS: Beyond the Door (Merge, 2019)

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Los clásicos nunca mueren. El sonido clásico tampoco. Este es un axioma que la banda de los hermanos McDonald tiene más que asumido desde hace ya varias décadas. Fueron algo así como los Flamin’ Groovies de la época Grunge (absolutamente fuera de lugar) y hoy en día los abanderados de algo así como el Neo-Glam-Pop de Guitarras. Eso sí: con un volumen brutal y con unos temazos que son auténticos himnos POP con mayúsculas, de los que quitan el sentido, aunque éso, en realidad es algo que ya llevan años haciendo, como hacíamos mención al comienzo.
Beyond the Door es un clásico desde su origen, y encima se toman la licencia de versionear a Henry Mancini y su The Party para abrir su disco. There´s no one like you, Ice cream (Strange and Pleasing), The Party Underground, What´s a boy to do, Jone Hoople, When do I get to sing ‘My Way’ hacen el resto; en Fighting, Fantastico Roberto o Punk II se les va un poco la mano en cuanto a volumen guitarrero y filigranas glamurosas, pero a REDD KROSS se les perdona todo. 

“Redd Kross invite you to explore Beyond the Door, an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “the Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge” (Promotional Sheet)

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28 octubre, 2019 Posted by | Redd Kross | Deja un comentario

Rock in Peace, KIM – THE MUFFS: No Holiday (Omnivore Recordings, 2019)

La imagen puede contener: 4 personas, personas de pie, multitud y concierto

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Es difícil escribir desde la tristeza, desde la pena que te produce la pérdida de alguien que se va mucho antes de que le llegue la hora; alguien que te ha acompañado y ofrecido momentos inolvidables durante muchos años, alguien que de alguna manera ha influenciado en la manera de ver las cosas y ese mundo maravilloso y mágico que es la música. La trágica muerte de Kim Shattuck además me pilló más de imprevisto, puesto que no me había enterado en su día, lo cual además me añadió un grado más de añoranza por no haber podido compartir con sus seguidores ese íntimo momento de duelo.
Sea como sea, KIM no ha llegado a ver publicada su obra póstuma, este precioso disco algo premonitorio titulado No Holiday, otra gozada de Pop de guitarras y composiciones ricas en melodías juguetonas a la par que temas que rebosan un mayor punto de reflexión e intimidad. Pareciera que KIM anunciara su final con temazos más sentimentales como The Best, No Holiday, Earth below me, Happier just being with you o A lovely day boo hoo en la que literalmente se saltan las lágrimillas al oírla. 
Pero No Holiday no sería un gran álbum de THE MUFFS sin renunciar a la fiereza y a la ironía acostumbrada del trío, y Down Down Down, Late and Sorry, Pollyanna, Sick of this world o la estupenda On my own son los epitafios perfectos para este grupo que ha marcado el sonido de dos generaciones. Rock in peace, KIM.

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21 octubre, 2019 Posted by | The Muffs | Deja un comentario

We´re not afraid – QUEEN OF JEANS: If you´re not afraid, I´m not afraid (Topshelf Records, 2019)

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No son más que juegos de palabras los de la introducción. QUEEN OF JEANS son una banda de Filadelfia de esa hornada de nuevas bandas / solistas especializadas en canciones íntimas, de dormitorio, de sentimientos a flor de piel protagonizadas por voces femeninas algo quebradizas pero no exentas de personalidad. 
QUEEN OF JEANS se mueven muy a gusto en este contexto, y en este nuevo trabajo, mezclan perfectamente esos ecos de Fairport Convention con la nueva sensibilidad Pop milenial.

“After releasing a dreamy, catchy debut EP steeped in retro influences like surf and psych-rock as well as later dream pop, Queen of Jeans refined their sound without significantly changing their style on their first album, 2018’s Dig Yourself. A year later, they take another step toward more streamlined structures on the still hooky and sweetly trippy If You’re Not Afraid, I’m Not Afraid. It represents a first-time collaboration with producer Will Yip (the Menzingers, Mannequin Pussy, Petal). Filled with yearning lyrics that veer between discontented, hopeful, and resigned, all delivered by main songwriterMiriam Devora‘s lucid, classic pop vocals, it’s a mostly lively, churning set with echoing guitar progressions and full rock drums. Extra touches in play include horns at the end of the rousing breakup song “All the Same” (“One day we’ll all be friends/’Cause this heart will yearn to mend”). Elsewhere, “Take It All Away” features strings, and “Bloomed” establishes rumbling guitar textures alongside its yelping vocal line. Among exceptions to the lush bounce of these and other tracks are the sparse, lullaby-like “Rum Cheeks,” a drumless song with spectral vocal harmonies, and the more measured, mid-tempo “Not a Minute Too Soon,” whose chorus nonetheless offers up one of the album’s strongest earworms. “Take It All Away,” a power ballad in 6/8 time, closes the album on a melancholy note. While some fans may miss the looser garage character of the band’s earliest recordings, many will take heart in the fact that If You’re Not Afraid, I’m Not Afraid delivers a consistently solid set of pop songs, a sympathetic protagonist, and a sound that still echoes with reflections of their beloved 20th century inspirations” (All Music)

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16 octubre, 2019 Posted by | Queen of Jeans | Deja un comentario

Piloto Automático – SLOWNESS: Berths (SchoolKids Records, 2019)

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El cuarto trabajo de SLOWNESS es un disco que no tiene la frescura de ese Shoegaze-Drone Pop tan elegante de los anteriores. Berths es un trabajo más visceral, más incisivo, de esos que parecen paridos en sesiones solitarias a altas horas de la madrugada, con el piloto automático puesto, lo cual redunda en una cierta reiteración que esta vez no contribuye con nada especialmente interesante, Hay momentos cálidos (Sand & Stone), pero otros que no les aporta absolutamente nada (Breathe). 
Un mini Lp que en TJB no celebramos tan gozosamente como ninguno de sus tres anteriores álbumes, para nuestra desgracia, pues SLOWNESS continúan siendo unos de nuestros clásicos “olvidados” a reivindicar en un precioso rincón de la industria discográfica.

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14 octubre, 2019 Posted by | Slowness | Deja un comentario

It´s not a Surprise – SEBADOH: Act Surprised (Fire, 2019)

act surprised

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Pues SEBADOH protagonizan este 2019 un nuevo regreso. Aunque, si somos realistas, las huestes de LOU BARLOW nunca se han ido del todo. Sus numerosos proyectos paralelos les permiten ocupar su tiempo en otras cosas, pero la banda matriz vuelve a publicar otro de esos trabajos que les reconectan, como siempre, con sus seguidores que desde los noventa les vamos adorando un poquito más a cada disco.
Act Surprised supone un regreso a sus tiempos de Bakesale o Harmacy, un disco más directo y grueso, donde no se atisba ni una sola concesión a ningún tipo de artilugio que emita sonidos sintetizados o ritmos programados. Un trabajo compuesto en la parte de Barlow tras una ruptura emocional y en el lado de Rowestein que incluso suaviza su tradicional visión más iracunda del Pop eléctrico de SEBADOH. Estarán en España en breve, y seguro que será un buen momento para comprobar su excelente estado de forma actual.

“It’s fairly remarkable that Sebadoh still has a trademark sound, given how much they’ve changed over the years. Lou Barlow‘s days as a nerdy, introspective guy playing with a four-track cassette machine are ancient history in 2019, the year they released Act Surprised, but to this day that’s what many folks think of first when they hear the group’s name. The 2010s edition of SebadohBarlow on guitar,Jason Loewenstein on bass, and drummer Bob D’Amico — has matured into a tight and confident rock band with an impressive amount of muscle, but there’s just enough skittery play in the guitar lines and the right amount of angst in Barlow‘s vocals that even this relatively chops-intensive and high-fidelity version of Sebadoh carries a germ of the satisfying chaos of their earliest work. Arriving six years after 2013’s Defend Yourself, Act Surprised melodically recalls the band’s mid-’90s salad days of 1994’s Bakesale and 1996’s Harmacy, with plenty of tunefulness and hooks running counter to the emotional awkwardness. But the performances are significantly brawnier in 2019; D’Amico hits a lot harder than Eric Gaffney or Bob Fay did in Sebadoh‘s earlier incarnations, and that has encouragedBarlow and Loewenstein to turn it up and rock out a bit. Justin Pizzoferrato‘s engineering sounds a bit buzzy in the low end, but the highs are clear, bright, and punchy, adding considerably to the impact of the performances, and though this is a long, long way from the resin-infused thunder of Dinosaur Jr., cuts like “Follow the Breath,” “Phantom,” and “Stunned” suggest Barlow is at long last bringing more of what he’s learned in his other band into Sebadoh. Emotionally, Act Surprised feels just likeSebadoh, but if you ever wished they’d make an album that would sound big, loud, and suitable for blasting on your car stereo, this is a sure step in that direction” (All Music)

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30 septiembre, 2019 Posted by | Sebadoh | Deja un comentario

LUNA is on fire – LUNA: Postscripts (Ep, Double Feauture Records, 2019)

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LUNA no se están quietos. Aunque no lo parezca, la banda de DAN WAREHAM se mantiene inquieta y productiva, y para celebrar la inminente gira que inician en octubre, han preparado un Ep digital, con algunas versiones y remezclas/retoques de temas antiguos.
Algunos incluso los mejoran (Inside your heart/The Monochrome Set), otros son rendiciones muy personales (Lonesome Cowboy Bill/Velvet Underground, California Blue/Roy Orbison). Material de primera para una banda encantadora.

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23 septiembre, 2019 Posted by | Luna | Deja un comentario

Marañas – SWERVEDRIVER: Future Ruins (Rock Action Records, 2019)

Resultado de imagen de swervedriver future ruins

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La intensidad que encontramos en I wasn´t born to lose you (2015) la volvemos a hallar en este nuevo trabajo de los “científicos de las guitarras” como les denomina All Music. Desde luego que es un buen apelativo. Swervedriver son especialistas precisamente en eso, en entretejer esa maraña de arpegios, de hooks y riffs que termina enganchando a cualquier amante del Shoegaze.
Quizás sea éste un disco más sesudo, algo más sentimental, pero no cabe duda de que no defrauda en ningún momento a los fieles de la banda de Oxford.

“Oxford guitar scientists Swervedriver weren’t always the first name to come up in a conversation about ’90s shoegaze, but they were responsible for some of the more inspired sounds to come out of the era, with an ear for the meeting of jangle and noise that bested even the most decorated shoegaze groups. After a lengthy hiatus, the band re-formed in 2008 and offered up the bright and beaming I Wasn’t Born to Lose You in 2015, their first new material in over 15 years. Sixth album Future Ruinscontinues the renewed and awakened character of its predecessor, but finds the band sounding more at home in their reunited state. Swervedriver‘s early material was moody, vaporous guitar rock that felt like watching patches of heat lightning on a drive through the desert. That spirit is very much in tact here, if updated to reflect 30 years of experience and life lived. The grungy album opener “Mary Winter” stacks layers of contrasting guitar tones and drifts between keys in singer Adam Franklin‘s signature approach to off-kilter melodies. Other up-tempo tracks like “Spiked Flower” and “The Lonely Crowd Fades in the Air” highlight Franklin‘s gift for melancholy harmonies and unexpected songwriting turns. There’s an underlying theme of apocalypse running throughout Future Ruins, and it can be difficult to pinpoint if the dystopic collapse gestured at across many of the songs is societal or emotional. The dreamy pop of “Good Times Are So Hard to Follow” skips its gentle melody over lyrics about the end of a love affair before drowning the entire thing in a blanket of fuzz. The album tempers its moments of warm, familiar pop with experiments in dissonance that feel new to the Swervedriver sound. The mid-tempo title track comes on like a cavernous slowcore anthem, but soon introduces clanging processed notes that clash with more subdued tones. The push-pull instrumentation mirrors the song’s lyrics, which again paint a picture of dismal end times. “Everybody’s Going Somewhere and No-One’s Going Anywhere” plods along with jagged echo effects, haunted bells, and a distant spoken narrative hidden under the interlocking lines of electric piano and disruptive guitar outbursts. The ten tracks here are less optimistic than the last album, but also less temperamental than the band’s younger days. The songs feel removed from needing to fit into any overarching identity and take risks that wouldn’t happen if Swervedriver was trying to reinvent themselves or re-create a time long passed. Where I Wasn’t Born to Lose You was electric with the excitement of Swervedriver‘s rebirth,Future Ruins is the sound of a band that’s happy to be back and ready to get down to the business of pushing their sound forward” (All Music)

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15 septiembre, 2019 Posted by | Swervedriver | Deja un comentario

ALLAH LAS: Polar Onion (Mexican Summer, Single, 2019)

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“Polar Onion” takes us through the inevitable lows one encounters on a long journey, as Miles Michaud laments, “drown in the sea, I fill my cup – but it’s not enough” – a caricature of the lonesome cowboy seeking and occasionally glimpsing enlightenment. Commenting on the inspiration for the track, Michaud reveals that Polar Onion revolves around “the creeping paranoia that comes along with creating something that is inevitably valued based on the opinions of others” (Press)

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13 septiembre, 2019 Posted by | Allah-Las | Deja un comentario

VERSUS: Ex Voto (Ernst Jenning Records, 2019)

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“A lot of the songs are about escape, maybe to another dimension or an alternate universe,” Richard concedes. He singles out “Moon Palace” in which Toups sings “I wanted something more/What’s on the other side of the door?,” the existential lyrics belying the song’s saccharine melody. “University” offers the hushed assurance that “paradise [was] lost but we are alive,” echoing Richard’s escape trope. “Atmosphere” has Toups desperately pleading “Did you find the clue I left for you?/Will you realize it was all true?” before whispering with disarming intimacy, “Have you ever felt that way before?/Someone just behind your door?”
The electro-ballad “Baby Green” pairs with “Mummified” at the album’s center and emotional fulcrum, and is the crown jewel, one of the finest songs the band have ever written. Inspired by the Lars Von Trier’s Melancholia, “the plot device is the rogue asteroid destroying your world,” Richard explains, “‘swallow[ing] the earth and everything in it.’ But in the end it’s okay, because she has to live her own life, and learn by living, without you or anyone. No matter how painful it is to lose her, her journey, happy or tragic, will be a beautiful one. And I’d wait forever for another glimpse of that beauty.” This newfound faith updates the disenchanted darkness that’s long imbued Versus’ music, an unexpected deluge of oxytocin from a man who in 2010 said, “Well I’m just a dark person, and I get more nihilistic the older I get.”
That may still be the case, but the nihilism is leavened now by an element of hope, more urgent than ever in these dark times. Versus haven’t gone shiny and happy on us, but they’ve matured and embraced themes of mortality and the passage of time with resigned dignity. Creation, the concept of god, and human-ness are all invoked on the metronomic, pulsating track “Re-Animator,” perhaps the most unabashed song the band have ever written, and an appropriate finale to an exhilarating journey.
“Does the story end the way you want it to?,” Baluyut asks on Ex Voto’s opening volley “Gravity,” easily the most anthemic song on the album. It’s also the record’s leitmotif, as there aren’t any simple answers offered here. Yet, in their embrace of spirituality, compassion, and exploration, Versus have never sounded so comfortable on their strange, beautiful, and uncertain path. And nearly 30 years since their inception, they’ve provided us with an album that could just as easily serve as an entry point into their beguiling world, or a brand new favorite for a long-time fan on the remarkable achievement they’ve offered us on Ex Voto” (Bandcamp Note)

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11 septiembre, 2019 Posted by | Versus | Deja un comentario

VANISHING TWIN: You are not an island (VideoSingle, Fire Records, 2019)

Evidentemente, este tema tiene tintes de Pop retrofuturista, pero a mí me suena muchísimo a la forma de componer y a las canciones de David Crosby con The Byrds y en su primera época en solitario. Preciosa canción, no obstante.

Europe Dates:
21 Sep: Lévitation Festival, Angers, France
22 Sep: BAM Festival, Barcelona, Spain
10 Oct: Deaf & Hard of Hearing Centre, Oxford, UK
11 Oct: Glorious Traces, The Glad Café, Glasgow, UK
12 Oct: Lost Map All-dayer, Bellfield, Edinburgh, UK
20 Nov: Paradiso, Amsterdam, Netherlands
22 Nov: Festival Invisible, Brest, France
27 Nov: Bad Bonn, Düdingen, Germany
28 Nov: Import Export, Münich, Germany
29 Nov: Kantine am Berghain, Berlin, Germany
30 Nov: Ideal Bar, Copenhagen, Denmark
01 Dec : Aalhaus, Hamburg, Germany
04 Dec: Biko Club, Milan, Italy
05 Dec: Cinema Zenith, Perugia, Italy
06 Dec: Astro Club, Pordenone, Italy
07 Dec: Covo Club, Bologna, Italy
14 Dec: Outer Limits Showcase, Studio 9294, London, UK
28 Jan: The Cube, Bristol, UK
12 Feb: Portland Arms, Cambridge, UK

“London band tilts its psychedelic pop toward a utopian future” Pitchfork 

“A marvel of psych-pop futurism” Bandcamp 

“The Age of Immunology is, simply, a masterpiece” The Line Of Best Fit 

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9 septiembre, 2019 Posted by | Vanishing Twin | Deja un comentario

Hey Major: The Station (Video-Single, Indica Records, 2019)

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“This song is an introspective track describing a moment between two people and what they could have been, but knowing deep inside that they will never be. It’s a journey of change and enlightenment through love stories, struggles, encounters and wishes for humanity. That was the inspiration” (Press Promotional)

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7 septiembre, 2019 Posted by | Hey Major | Deja un comentario

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