The JangleBox

Indie, Noise, Shoegaze… Music

Reissues – GIANT SAND: Returns to Valley of Rain (Fire, October, 2018)

“Valley of Rain was Tucson’s Giant Sand’s debut album recorded in 1983, and eventually released by 1985. It included Howe Gelb on vocals, guitar and Winston Watson on drums for most of it, Tommy Larkins on drums for some of it and Scott Garber on fretless bass for all of it.
Now some 30 years later, This new re-recording of that first album will be toured by the band this summer, playing only those Valley of Rain songs. GIANT SAND RETURNS TO VALLEY OF RAIN”

Live Dates

04 May: Mercado Block Party Concert @MSA Annex, Tucson, AZ, United States
24 May: Tower Musikclub, Bremen, HB, Germany
25 May: Batschkapp, Frankfurt On Main, Germany
26 May: Rätschenmühle e.V. Geislingen, Geislingen An Der Steige, Germany
27 May: Dachstock, Berne, Switzerland
28 May: Feierwerk / Hansa 39, Munich, Germany
29 May: Kulturladen Konstanz, Constance, Germany
30 May: Druckluft, Oberhausen, Germany
31 May: Musik & Frieden, Berlin, Germany
02 Jun: Vega (Small Hall), Copenhagen, DK
04 Jun: Parkteateret, Oslo, NO
05 Jun: Under the Bridge, London, UK
06 Jun: Concorde 2, Brighton, UK
07 Jun: The Fleece, Bristol, UK
09 Jun: Whelans, Dublin, IE
10 Jun: The Oran Mor Glasgow, UK
11 Jun: The Voodoo Rooms, Edinburgh, UK

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16 agosto, 2018 Posted by | Giant Sand | Deja un comentario

Orquídeas – THE ORCHIDS: I never learn / Echoes (Wiawiya, Single, 2018)

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Los renacidos y reformados THE ORCHIDS afrontan esta etapa de madurez con singles como este I never learn / Echoes (Wiaiwya, 2018), que les reconcilia con su producción inicial y les emparenta con los sonidos de Sarah Records (de cuya escudería formaron parte) y el Pop más acústico e intimista.

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15 agosto, 2018 Posted by | The Orchids | Deja un comentario

GORGEOUS BULLY: Patience (Single, 2018)

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“The new single from our new album ‘closure’ – out soon via Breakfast Records. “Set around a chunky, instantly catchy guitar riff, the track talks of inner struggles but projects them via brilliantly sunny instrumentation, contrasting light and dark perfectly” (DIY MAG)

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14 agosto, 2018 Posted by | Gorgeous Bully | Deja un comentario

Rush – ROME IS NOT A TOWN: Rush/Nothing to claim (Startracks, Single, 2018)

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”It’s sorta post-Riot grrrl, post-No Wave, experimental music and completely engaging from beginning to end.”Thurston Moore (Sonic Youth) (NME)

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13 agosto, 2018 Posted by | Rome Is Not A Town | Deja un comentario

Tirarse al barro – CORNERSHOP: Double Denim / Sugar Sugar (Ample Play, Single, 2018)

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“We are pleased to present to you two new recordings and videos.
Some have said that Double Denim sounds like early Prince, either way it is an instantly memorable summer song.
The single flipside is the perennial Sugar Sugar, chosen after someone on Twitter said Cornershop were the real life Archies, which upon investigation a statement we rather liked” (Press)

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12 agosto, 2018 Posted by | Cornershop | Deja un comentario

Run! MAJ MONET: Run Maj Monet (Single, 2018)

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“It is a indie-electronic collage of synths and guitars about letting go and the borderland between moving on and choosing to stay, the single is also Maj Monets first track in english” (Press)

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11 agosto, 2018 Posted by | Maj Monet | Deja un comentario

Efluvios – BALDUIN: Bohemian Garden (Sunstone Records, 2017)

“It’s not easy painting words for Balduin. Creative cookery with a drop of alchemy and nostalgic mellotronic ingredients? Lysergic meltdown of cinematic and psychedelic audiophilatelies” (Press)

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10 agosto, 2018 Posted by | Balduin | Deja un comentario

Lucecitas – AZURE BLUE: Fast falls the eventide (Matinée Recordings, 2018)

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“Sensational fourth album ‘Fast Falls The Eventide’ from Sweden’s Azure Blue! Across eleven impressive tracks, the sound is darker than on previous releases with more synths and electronic flourishes but with the same timeless melodies and dreamy moods that we have come to associate with Azure Blue.
The album presents a sonic tale about being true to yourself and the neon colors explode as rushing minimal wave tempos meet slowly floating cinematic scenes about new love. Tobias Isaksson has produced, played, and mixed nearly every detail of the album himself in the studio in Stockholm from a stubborn dogma of a sound palette where the hard and rough meets the beautiful and ethereal.
Highlights include the stunning first single ‘Whatever ‘18’, the sophisticated ‘Crimson Red,’ the new indie classic ‘My Final Candle,’ the positively catchy ‘Don’t Turn Me On,’ and the old school synth pop of ‘Erratic Motion.’ Several tracks include guest vocalists including notable Swedish artists Peter Morén (Peter Bjorn & John), The Land Below, Paola, César Vidal (Caesars), Julia Boman, and Tangela.
Absolutely contemporary and undeniably cool, ‘Fast Falls The Eventide’ is an impressive, moody, moving progression from one of Sweden’s most internationally acclaimed indie artists” (Matinée Recordings)

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9 agosto, 2018 Posted by | Azure Blue | Deja un comentario

The Hits – THE DEREVOLUTIONS: Playing the Hits (2018)

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THE DEREVOLUTIONS son una de esas formaciones que tanto gustan por estos lares: pareja, expertos en samplers, ávidos devoradores de todo tipo de sonidos…
Sus discos (especialmente sus sencillos) suelen ser todo un despliegue de diversión y de hedonismo Pop. Para este verano han preparado otro de esos cócteles lúdicos y nos ofrecen un puñado de versiones de lo más variopinto. ¿Cuál es vuestra favorita…?

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8 agosto, 2018 Posted by | The Derevolutions | Deja un comentario

Colourful Palette – BELLE AND SEBASTIAN: How to solve our human problems (Matador, 2018)

How to Solve Our Human Problems, Pts. 1-3

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Una paleta multicolor, un resumen de todos los sonidos que han caracterizado a esta banda de ya dilatada carrera. La trilogía de How to solve our human problems (Matador, 2018) es una síntesis perfecta de veintidós años de carrera; una vuelta a los orígenes dando protagonismo a tres Ep´s, como en sus comienzos. Un disco que, en contra de lo que había leído a algunos hypsters, es una continua sorpresa, una sucesión de buenas canciones, sin desperdicio: orquestaciones, sintetizadores, instrumentos clásicos, producción impoluta, Baroque-Pop, Disco, FolkPop delicado
Los mensajes clásicos de BAS: paso a la madurez, relaciones, siempre desde un punto de vista positivo.
En definitiva: lo mejorcito de BELLE AND SEBASTIAN compendiado en quince canciones en las que seguro te vas a ver reflejado en alguna de ellas.

“On the eve of launching Belle and Sebastian‘s project How to Solve Our Human Problems, leaderStuart Murdoch explained his band’s decision to release a series of three interlocked EPs instead of a long-player with this: “I think these days when an LP comes out, it’s kind of disappointing. Nothing seems to happen, and I thought, ‘We’ve got to do something different.'” Murdoch‘s way to combat the digital grind harks back to Belle and Sebastian‘s earliest days, when the group released a series of three EPs between 1996’s If You’re Feeling Sinister and 1998’s The Boy with the Arab Strap, but those releases were spaced out over the course of 1997, where each of the installments of How to Solve Our Human Problems arrived in succession in the first months of 2018. Consequently, all threeHuman Problems EPs feel cut from the same cloth, all buzzing to a stylish good vibe pitched halfway between ’60s modernism and ’70s disco. Since this is a series of five-song EPs, Human Problemsisn’t paced like an LP, which is a benefit. Perhaps there are moments that drift, such as the mellow bachelor pad neo-instrumental “Everything Is Now,” but they’re designed that way, offering color and texture to music that already had a surplus of both. Like any good EPs, the mild throwaways wind up as endearing as the major items on Human Problems, since they keep the 20-plus minutes of music cooking and provide plenty of room for such fetching accents as oboes and analog synths. Taken as a whole piece, though, the striking thing about How to Solve Our Human Problems is neither the finely honed sense of craft — evident in both the compositions and sharp production — nor how the group now excels in churning out a disco epic like the six-minute “Sweet Dew Lee.” Rather, it’s how Belle and Sebastian have completely devoted themselves to joy, squeezing out any remnants of melancholy that may have lingered in their music. In an era of darkness and confusion, such defiant positivity feels bracingly radical” (AllMusic)

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6 agosto, 2018 Posted by | Belle and Sebastian | Deja un comentario

Melody Rats – LUCY AND THE RATS: Lucy and The Rats (Dirty Water Records, 2018)

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No. No son Suzy Quatro, aunque a Lucy Spazzy seguramente no le sentaría nada mal la comparación. Son una de las sorpresas de la escena londinense: chica curtida en bandas, buen combo de acompañamiento, y producto de fácil digestión; si bien facturan un sonido de raigambre setentera, mezclando con soltura Power-Pop con melodías altamente adheribles al oído bien acostumbrado a ambrosías más Pop: ya sabéis, ese tipo de Bubble-Pop que tanto nos gusta por estos lares. Si bien el disco comienza con más garra rockera, ésta se va suavizando conforme pasan los cortes. Disfrutable.

“The band’s self-titled debut comes with ten songs and all of them shine brightly with big hooks, jangly guitar lines and the kind of choruses that will be stuck in your mind after just one listen. A big part of the band’s appeal has to be attributed to Lucy’s vocals, delicate and powerful at the same time. Think Blondie, The Primitives, The Darling Buds or – more recently – Best Coast” (Punk Rock Theory)

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5 agosto, 2018 Posted by | Lucy and The Rats | Deja un comentario

LAZYEYES: Echoes / Glass house (EggHunt, Single, 2018)

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“Lazyeyes is a shoegaze / post-punk band from Brooklyn, NY. Not unlike their predecessors RIDE, My Bloody Valentine, Slowdive, and others like Interpol, Lazyeyes bring a fresh take on the waves of crashing guitars and soaring vocals. Past praise is plentiful -The band self-released their sophomore EP, New Year, in January 2015, and it was quickly picked up and reissued by Burger Records’ cassette imprint, Wiener Records. Lazyeyes was a featured artist in the November 2014 issue of NME, and in December of that year, Stereogum described their sound as “a muscular, riff-happy brand of guitar-based dream-pop,” going on to proclaim that “their songs burst with angular hooks and polished melodies.”
The new LP, “Echoes” is about delving into a space where the loss of innocence becomes galvanized amidst the growing times of young adulthood. The energy of adaptation stirs the spirit, yet the weight of confrontation buckles the knees and leaves social truths and real peace just outside your grasp” (EggHunt)

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4 agosto, 2018 Posted by | Lazyeyes | Deja un comentario

Last chance – INFINITY GIRL: Somewhere nice, Someday (Disponsable America, 2017)

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Pues una buena banda que parece que echa el cierre. El tercer disco de INFINITY GIRL es el epitafio sonoro de este grupo de Brooklyn. Un documento preñado de Shoegaze, de muros de guitarras, de distorsiones controladas, de ese fuzzy preñado de ensueño y voces susurrantes. Una pena…

“Named after a late-’90s Stereolab song, Boston shoegaze band Infinity Girl bear little resemblance to that band’s synth-heavy lounge pop. Instead, they have a late-’80s/early-’90s noise pop sound that combines effects-heavy guitars with clear, up-front vocals. My Bloody Valentine is an influence to be sure, but it’s more the emotionally direct MBV of Isn’t Anything than the sonic overload of Loveless.Infinity Girl‘s sound comes much closer to American shoegaze bands like Swirlies, Lilys, andMedicine than their British counterparts. The band has an exceptional control of dynamics, balancing fuzzy guitar effects with gentle vocals, and using synths sparingly. More often than not, their songs feel urgent rather than hazy, with standouts such as “Heavy” and “Dirty Sun” possessing a restless energy” (AllMusic)

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3 agosto, 2018 Posted by | Infinity Girl | Deja un comentario

From what it said – BARK PSYCHOSIS: Dustsucker (Fire Records, Reissue, 2018)

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“Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound. Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton’s crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their “trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns” (Uncut).
Recorded in Graham Sutton’s East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and ‘found drumming’ from ex-band member Mark Simnett.
Bark Psychosis’ ‘///Codename: Dustsucker’ would go on to be their last studio album” (Press/Fire Records)

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2 agosto, 2018 Posted by | Bark Psychosis | Deja un comentario

Relativity – VIRGINIA WING: Ecstatic arrow (Fire, 2018)

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“Their favourite records are the perfect counterbalance of the considered and the superficial. Whether it’s Madonna, Talking Heads or Holger Czukay – we enjoy these artists in the background with friends or profoundly and alone.
Virginia Wing both understand and embrace this concept fully as they return with Ecstatic Arrow, an album which finds them in a place of renewed strength, optimism and clarity.
Recorded in Switzerland, in the family home of longtime friend and collaborator Misha Hering within the domesticity and gentle routine of communal life, the album represents a world as predisposed to solemn introspection as it is to blithe conviviality.
Ecstatic Arrow borrows from the heterogeneous terrain of The Flying Lizard’s Fourth Wall, the exuberant technology assisted pop of Yellow Magic Orchestra and the playful sophistication of Lizzy Mercier Descloux’s Press Colour, arriving at the evergreen intersection of pop music and conceptual art.
The resolute opener of Be Released and album centre point The Female Genius pair resonant Fourth World instrumentation with sonorous, loping drum patterns. Elsewhere, the sentimental march of single The Second Shift plays out like an after-hours ballad re-imagined by Wally Badarou and For Every Window There’s a Curtain is coloured by the blue-lit haze of an Eventide warped tenor saxophone.
Three albums in, the voice of Alice Merida Richards is more compelling and expressive than ever. The glacial deadpan of previous records has given way to a more candid, self-possessed delivery, showing an appreciation for the humour and tragedy innate in the downtown Arcadia of Laurie Anderson, Robert Ashley or even Lynn Goldsmith’s Will Powers.
It’s with this voice that Richards outlines a simple ideality that fortifies the entirety of Ecstatic Arrow – inequality pervades, destructive behaviours are inherited and each subsequent generation has to reconcile the debts of its precursor – yet a space exists within ourselves and each other that houses a fact we must be reminded of – we have the ability to choose. Even in moments of frustration; the ascerbic eye-roll toward male entitlement, Glorious Idea or the world-weary Eight Hours Don’t Make a Day, there persists a joy for living that refuses to be confined.
A depiction of a group finally at ease with itself, Ecstatic Arrow is a tribute to the internal momentum that quietly guides us toward our destination” (Press)

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1 agosto, 2018 Posted by | Virginia Wing | Deja un comentario

TALL BLONDE: West Hollywood (Single, BDPop, 2018)

“Tall Blonde’s music is clear-cut and unpretentious, similarities being drawn to the likes of Tom Odell, Cage The Elephant, or even an early Radiohead” (Vents Magazine)

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31 julio, 2018 Posted by | Tall Blonde | Deja un comentario

Screaming – WILD ANIMALS: The Hoax (BCore Disc, 2018)

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“Basements: Music to fight hypocrisy” (2016) has lasted over two years. The Madrid based power trio have slowly conquered an ever increasing national and international audience, mainly supporting -and supported by- the underground scene, DIY, and in short, honouring the title of that first album.
Fast forward two years and the number of gigs the band have played can already be counted by the hundred, they have already toured Europe twice, done two tours around the United Kingdom and one in Japan, proving that Fon, Paula and Jamie definitely don’t suffer a lack of energy when it comes to hopping into the van and getting around. Especially the latter, Jamie also has his (very active) parallel project, Jamie 4 President, confirming his natural talent for creating guitar riffs and melodies that go straight to the heart.
The latest demonstration of Wild Animals’ hyperactivity is “The Hoax” (2018), ten new and extraordinary songs written between the three of them, full of personal stories, with open and critical views, nostalgia, it’s a toast to friendship, and includes melodies and fuel in equal parts. An ideology and aesthetic (they have yet again trusted the art- work to illustrator Manu Griñón) that has already proven to be a strong hallmark of the band.
The album starts with major hit, “Lost in translation”, where the band revive tour adventures. Nostalgia fills the albums second track “Science-fiction”, but also criticizes the dangerous power of isolation that smartphones and social media can cause. The album continues with “Interrupted girl”, a shout out for the normalisation of sexual freedom (sung with a folk-punk rhythm).
We could go on until the last track of this bands album. But it all comes to say that they are fully positioned before society. They live out experiences and tell stories in an endearing way, always looking to find and keep all that’s true, real and shared, in a more and more technified, manipulated and individualist world.
Musically, echoes of Superchunk, Sugar o Dinosaur Jr. are still present, but its their own personal sound that really stands out now, more and more cultivated, equally dirty as crystalline and full of details and songs that are perfect from start to end. Santi Garcia has again produced the album hand in hand with the band to create a unique sound, album after album, this time combining the acoustics of a Catalan masia (Cal Pau Recordings) for the drums with his renowned studio Ultramarinos Costa Brava, for the rest” (BCore)

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30 julio, 2018 Posted by | Wild Animals | Deja un comentario

Party Girls – TV GIRL: Death of a Party Girl (2018)

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TV GIRL continúan en la brecha, pese a llevar ya una buena temporada en ésto, y pese a ser una banda eminentemente de Sampler-Pop, si bien con el tiempo han ido evolucionando y adaptando su sonido a modelos más cálidos, más cercanos a melodías incluso tropicales e intimistas sin olvidar del todo sus raíces más cercanas al Pop sesentero y al Retro.

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28 julio, 2018 Posted by | TV Girl | Deja un comentario

Tabernas – FRESHARD & STANLEY BRINKS: Midnight Tequila (Wiaiwya, 2018)

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Espíritu festivo, entre Folkie, a medias entre acústico y electrónico y, por qué no decirlo, algo tabernario y lúdico. Una rareza en el catálogo de Wiaiwya.

“Wiaiwya has joined forces with Fika once again to release the new Freschard and Stanley Brinks LP. By now you will know what you love and expect from these two; lo-ish fi indie folk love songs about drinking and drinking songs about love” (Wiaiwya)

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27 julio, 2018 Posted by | Freschard | Deja un comentario

Hey! It´s Smiling – FAMOUS PROBLEMS: Hey! It´s Raining (Wiaiwya Recordings, 2017)

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Un disco precioso en un formato más que adecuado: el Mini Álbum, lo que le concede el privilegio de la inmediatez y de la sorpresa. Siete cortes más un bonus que no tienen desperdicio: siete canciones que destilan un gran Pop con aderezos de garaje, de fuzz, o de ese Pop cotidiano y casi de juguete que realizaron gentes como The Vaselines.
Para su elaboración, la banda de Jeffrey Greene ha contado con la colaboración de miembros de Comet Gain, Black Tambourine o Left Outsides; lo que te da una idea de lo que te vas a encontrar en este precioso Hey! It´s raining, el debut de FAMOUS PROBLEMS.

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27 julio, 2018 Posted by | Famous Problems | Deja un comentario

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