The JangleBox

Indie, Noise, Shoegaze… Music

Decepciones – ECHOBELLY: Anarchy and Alchemy (2017)


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No es que ECHOBELLY fueran una de nuestras bandas favoritas en los maravillosos años noventa, pero sí que es cierto que tuvieron su momento de gloria y un puñado de canciones reseñables.
Lo que no es demasiado de recibo es que al albur de las resurrecciones y retornos de bandas de entonces algunas como ECHOBELLY se empeñen en subirse al carro con una serie de temas que para nada llegan al nivel de calidad media deseable. Me gustaría hablar algo más positivo de esta Anarquía y Química, pero de verdad que no encuentro demasiados argumentos. Algunos guitarrazos intensos por aquí y por allí, algunos despliegues vocales de la exhuberante Sonia Aurora y un par a lo máximo de temas digeribles. Lo demás es un vaivén de sonidos y canciones sin demasiada coherencia estilística ni musical.

“Guarding the entrance to Echobelly’s new collection of tracks is a fearsome opener and stomping single ‘Hey, Hey, Hey’. This song clearly marks their return with Johansson’s hypnotic blues rock riffs and Madan’s distinctive sultry vocals (with an added primal edge). On this track, this band is at times reminiscent of early PJ Harvey whilst capturing the glimmering light display of Echobelly’s core. The new drummer for this album is Ash Hall accompanied by bassist Oliver Kiernan. Both of them appear to be ‘nice enough’ session musician types with the latter touting Paul McCartney, Mel B and someone from The Kooks called Pete Denton on his credits.
‘Firefly’ continues the album at a similar pace, with a crunchy chugging bass riff that gives way to a more contrasting ethereal section that nudges previous Echobelly song structures like ‘Kali Yuga’ and ‘A Map Is Not The Territory’ found on 2001’s People Are Expensive. What starts to become clear from the second track onwards is this album showcases Madan’s vocal skills, which have developed one stage further, displaying more variation and showing off finesse like on ‘Firefly’ with its Arabian flirtations and ‘If The Dogs Don’t Get You’ with its rocketing “oohs” and somersaulting vocal attacks. Johansson’s guitar repertoire on the other hand has crystallised and continues to diversify with new tunings found on ‘Dead Again’ and ‘Faces In the Mirror’.
A lot of effort and final thought has gone into this album. Production surprises continue throughout like the springy vocal effect on ‘Molotov’ and variation in structure with ‘Autumn Angel’ being purely instrumental for the first segment, with delicate guitar rising from a hypnotic drone that turns into a distantly dulcet song. This paves the way for the concluding reflective post death track ‘Dead Again’. This is an album from a band that have been there and done it a few times, got bored, changed it up, run away, come back, swapped it up then become sophisticated and accomplished on their own terms with flair” (Drowned in Sound)

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17 febrero, 2018 Posted by | Echobelly | Deja un comentario

New Adult Friction – THE PAINS OF BEING PURE AT HEART (Painbow Music, 2017)

The Echo of Pleasure

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Kip Berman pareciera que hubiera perdido el rumbo tras la desbandada de su grupo en su anterior trabajo de 2014 (Days of Abandon), pero para el 2017 se puso las pilas. La feliz coincidencia de su paternidad trajo bajo el brazo un disco luminoso que, aunque para nada le devuelva a las mieles del Shoegaze post-adoslescente de sus dos primeros trabajos, sí que se nota en este The Echo of Pleasure (2017) un esfuerzo por ofrecer una obra digna de quien fue capaz de impregnarnos con himnos generacionales como lo fue allá por 2009 Young adult friction.
The Echo of Pleasure es un disco en el que salen a relucir constantemente las huellas ochenteras, el Fuzzy atemperado, el electro y desde luego, el Pop de resonancias mas Lushianas, una banda que acaso realizó un trayecto semejante al de los Pains of Being Pure at Heart.
Si el proyecto ya unipersonal de Kip Berman parecía que iba a diluirse en su anterior publicación, he de decir que tras escuchar este Eco del Placer rectifico gustosamente. The Pain of Bein Pure at Heart son una banda a la que le queda recorrido. Como dicen en Jenesaispop: “ Aun así, este cuarto disco ‘The Echo of Pleasure’ que habla precisamente de que el eco del placer no puede volver”, aún mantiene algunas cosas por las que merece la pena que no los “abandonemos”

“After the letdown of Days of Abandon, where Kip Berman stripped the band’s sound down to a merely pleasant shadow of its former self, 2017’s The Echo of Pleasure is an impressive comeback that sees the Pains of Being Pure at Heart recapture the sonic thrills and drama that they have when operating at their best. Berman mostly handled all the music himself, though vocalist Jen Goma plays a large role, and he had some help from bassist Jacob Danish Sloan and horn player Kelly Pratt. This small crew does a fine job of balancing the fuzzy noisegaze of early Pains records with a glossy, very ’80s approach that owes a great deal to “Lips Like Sugar”-era Echo & the Bunnymen, with a littlePsychedelic Furs circa Mirror Moves added for good measure. The songs are overloaded with sound — buzzing guitars, crashing cymbals, sugary vocal harmonies, various synths, and thudding drums — while Berman‘s vocals are the most mature they’ve ever sounded (most likely because this is the firstPains album that deals with real-life adult concerns like fatherhood and marriage). His voice is the tender heart at the center of the sonic storm, and he holds it together admirably. Goma‘s vocals are a perfect counterpoint that adds some earthy balance to his wispy soul, and she sounds fantastic on “So True,” the glittery dance-pop song she sings solo. It’s the poppiest moment on the album by far, though other songs come close. The cute and frothy “When I Dance with You” comes off like a bubbly radio hit, “My Only” is a sunny version of Darklands-era Jesus and Mary Chain with an uplifting chorus, and “The Cure for Death” jangles with all the grandeur of the Church. Along with all the pop, Bermansprinkles in some moments of fragile melancholy and tenderness too, like “Anymore” and “Falling Apart So Slow,” two slices of seriously sad nostalgia with heartbreaking guitar lines. It’s a fine mix of smiles and tears throughout the album, and the heady mix of shoegaze and new wave hits a sweet spot that lots of other bands have aimed for and missed. Berman and the Pains may have stumbled on their previous record, but on The Echo of Pleasure they shine like stars and explode like a rainbow of brilliant colors. It may not pack the same sonic punch as their early singles, but it has an overall more interesting sound, and the hard-won wisdom and feeling Berman injects into the songs now means that the Pains have transcended their struggles to find a sound, and have truly arrived at last” (All Music)

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14 febrero, 2018 Posted by | The Pains of Being Pure at Heart | Deja un comentario

Bedroom Shoegaze – SODA LILIES: Sleep Reel (Burguer Records, 2017)

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Shoegaze de dormitorio de sonoridades ariscas y guitarras cortantes. Muy interesante. “Recorded in an always dark and sleepy apartment with no electricity”


13 febrero, 2018 Posted by | Soda Lilies | Deja un comentario

A new born – WALDEN DOS: Henry ha muerto (2017)

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“Poco han aguantado Walden dos sin hacer canciones. Aún no se han cumpido los tres años desde que anunciaron su separación y ya están de vuelta con este trabajo de seis temas, Henry ha muerto, en el que siguen conviviendo la electrónica y el ruidismo guitarrero usando como pegamento entre ellos las brillantes melodías marca de la casa. Manteniéndose cercanos al sonido con el que otras veces se les ha vinculado (Krautrock, Shoegaze, Postpunk o Postrock), cada vez es más evidente que Walden dos tiene un sonido propio, cada vez más maduro.
Al disco se accede através de la base rítmica y el juego de sintes de La habitación de invitados, tras la cual, una voz casi declamada nos habla de tomar la iniciativa y pasar a ser protagonistas. Un tema con un recubrimiento de frialdad que se rompe a medida que te dejas llevar por las conversaciones de sus guitarras y líneas de sinte. En el siguiente tema, Magia, se recupera esa esencia sutilmente pop que nunca abandona del todo las composiciones de Walden dos. Un tema que crece hacia un desenlace épico que apela a la ausencia de artificios y la sencillez.
A partir de aquí entramos en territorios oscuros, muy del gusto de los madrileños. Una demoledora línea de sinte da entrada a El último hombre en la tierra que, con su evocadora letra, nos lleva en repetidas ocasiones al borde del precipicio. La tensión contenida se mantiene en el siguiente, El eco del tambor, que dibuja un atmosférico paisaje de fondo basado en la mezcla del ritmo pesado y las guitarras y sintes etéreos, sobre el que fluyen la melodía de la voz y los riffs que te recuperan de la hipnosis.
El siguiente tema, de nombre Gato Manx, es el único sin voz. Una construcción melódica, siempre sobre una persistente línea de bajo, que finaliza con un muro de guitarras, quizá menos presente en este trabajo que en anteriores, pero que Walden dos hacen siempre disfrutable. El final del disco nos lleva a la pista de baile como sin querer. Fénix es un tema quizá un poco mentiroso, ligeramente canalla, te toma de la mano para susurrarte algo al oído y cuando te das cuenta estás moviendo los pies. Un trabajo, en definitiva, que nos devuelve a unos Walden dos en plena forma. (Nota de Prensa)


12 febrero, 2018 Posted by | Walden Dos | Deja un comentario

Making the Blues – PAUL ZINNARD: Can´t Shine tonight (Video-Single, 2017)

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New video from the album “Songs for a Better Past” by Paul Zinnard. Directed by Alex Marin.


12 febrero, 2018 Posted by | Paul Zinnard | Deja un comentario

Na Na Na – TAYLOR MAC: Never wanted you (Russian Winter Records, 2017)

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“The listener finds themselves drawn, like iron to magnet, as the stunning vocal wraps around the room. The unhurried song, which is essentially only acoustic guitar and voice, is layered with inflection, melody and harmonies which belie the sparse framework creating an immersive composition and finds the audience wanting to hear more.” (Emerging Indie Bands)

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10 febrero, 2018 Posted by | Taylor Mac | Deja un comentario

Bichos Raros – ALVVAYS: Antisocialities (Polyvinyl, 2018)


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La continuación de Alvvays (2014), se produjo este pasado 2017 con Antisocialities, un bonito trabajo sobre esos personajes que, precisamente, encarnan a la perfección el público que una banda como ALVVAYS representa: esa inmensa minoría de chicas y chicos que son felices con un buen puñado de canciones aderezado con unas melodías penetrantes y no demasiado difíciles de digerir. Si a ello le unimos una homogeneidad conceptual y de letras, pues el resultado es este segundo disco de la banda canadiense. Un álbum algo más maduro sónicamente hablando pero que es una continuación lógica de su trabajo de debut. Buenas noticias para el POP de guitarras, los sonidos ochenteros y la nostalgia Indie.

“After releasing a debut album of noisy pop that was perfectly formed and felt like the work of a band already at the summit of their career, it seemed like the only place Alvvays could have gone was down. Maybe sideways, at the very best. Instead, after taking their time both writing and recording the follow-up, they made a giant leap forward instead. Antisocialites has all the sticky hooks of the debut, all the boisterous noise, and the open-hearted honesty, too. What the band adds this time is confidence and skill, gained from the reception their debut got and also all the time they spent playing bigger and bigger shows. The sound of the album is bigger and the arrangements fuller and more spacious, giving the instruments room to breathe. It’s a bit of a change, but it works in their favor, especially sinceMolly Rankin‘s vocals are a little more to the front of the mix and she sounds strong and fully in command of her voice, while retaining all the vulnerability she displayed before. The album is heavy with break-up songs and she captures the varying moods of a break-up with surgical precision. The pain seeps out of songs like “In Undertow” and “Not My Baby” like a fresh wound, while resigned anger flows through “Your Type” and a little bit of hope creeps into “Forget About Life.” The songs too, aim for and hit their targets dead on, whether its melancholy nostalgia on the lovely new wave ballad “Dreams Tonite,” the zippy dance-rock floor filler “Hey,” or the bouncing pop-punker “Lollipop (Ode to Jim).” The instantly catchy “Plimsoll Punks” is the equal, hook-wise, of “Archie, Marry Me,” and there’s not a weak link anywhere. The production (courtesy of John Congleton) is layered and clean, with reverb and noise used as a spice instead of a main course. Unlike the first album, where things tended to blend together into a whirring blur of noise, things are both more restrained and more exciting here. It’s down to dynamics and arrangements, both of which they pay close attention to at all times. The guitars aren’t just a Wall of Sound, there are great riffs, lines, and sounds that pop in and out of the mix. The backing vocal harmonies are more a part of the sound this time too, and Kerri MacLellan’s keyboards are even audible sometimes. Thanks to the care and feeding the band put into their sound, Antisocialitesmanages the rare feat of a band topping their brilliant debut with a sophomore effort that’s even more brilliant. Alvvays make it looks easy, and by the time the album is done spinning, it’s hard not to start thinking about how great their next record could be” (All Music)

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8 febrero, 2018 Posted by | Alvvays | Deja un comentario

Won´t Hold Us – ALLAH-LAS: Covers#1 (Mexican Summer, 2017)

Resultado de imagen de allah las covers #1
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Covers #1 explores tunes near and new to the Allah Las, with signature renditions of:

☆ George Harrison’s “Fish On The Sand”
☆ Kathy Heideman’s “The Earth Won’t Hold Me”
☆ ’90s LA cult band Further’s “JO Eleven” (vinyl exclusive)
☆ Television’s “Hard On Love” (an unreleased song from the band’s Marquee Moon recording sessions)

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7 febrero, 2018 Posted by | Allah-Las | Deja un comentario

ULRIKA SPACEK: Mimi pretend (Live at Tapetown, 2017)

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7 febrero, 2018 Posted by | Ulrika Spacek | Deja un comentario

Balcones Electrónicos – GREG KOWALSKY: L´Orange L´Orange (Mexican Summer, 2017)


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“What does the sun sound like? L’Orange, L’Orange, Gregg Kowalsky’s first solo album in eight years, might have the answer. Its vivid music – sourced from analog synths and mixed on a laptop – arrives in rays of sound that shine skyward. There are many moods in each track, but the overarching aura is one of brightness and optimism. Hence the album title, which nods toward the radiant hue of our life-sustaining star. “That’s the color I started to hear when I mixed these tracks,” Kowalsky says. “Mixing when it’s sunny out every day affects you.”
Kowalsky knows sunny days. He was raised in Miami, and has lived in Los Angeles for the past three years. The warm atmospheres of those shining coastal cities infuse the luminous ambience of L’Orange, L’Orange. “After I had worked on this album for a while, I realized the music sounds like those places to me,” Kowalsky explains. “This record is basically about my connection to Florida and California – even the song titles reflect that.”
As an example, Kowalsky points to the album’s second track, “Maliblue Dream Sequence.” Its lapping synth waves mirror the time he spent working on the record at a friend’s home in the beachside city of Malibu. But you can hear echoes of blue skies, sun-baked shores, and drifting tides throughout L’Orange, L’Orange – from the sparkling ripples of “Tuned to Monochrome,” to the rising rhythm of “Pattern Haze,” to the sandy layers of “Ritual Del Croix.” And it’s not just about LA. “Florida shaped my sound directly, and part of this album is me sticking up for Florida too, a beautiful place that gets a bad rap,” he says. “Florida’s all right. That’s one thing I want people to take away from this record” (Press Note)

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6 febrero, 2018 Posted by | Gregg Kowalsky | Deja un comentario

Pequeñeces – CAPITAN SUNRISE: Ventajas de vivir en un árbol (Discos de Kirlian, 2018)

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“Nos encontramos ante algunas de las mejores canciones del grupo, podrían haber entrado perfectamente en el anterior sin desentonar en absoluto, están a un nivel muy alto. “La vida en la casa del árbol” o “Tres tristes trastes” son canciones que nadie debería perderse, ideales para estos días otoñales que nos acompañan.
Canciones grabadas y producidas entre Zaragoza y Madrid por un exquisito elenco de músicos y productores: Javier Vicente (Carasueño), Carlos René, Javier León, Andrés Rebolledo, Mark Janipla, Alberto Iniesta.
El “nuevo” disco de Capitán Sunrise es y no es. “Ventajas de vivir en un árbol” incluye canciones inéditas que quedaron en un cajón de las sesiones de grabación de “Instrucciones…” más una canción rabiosamente nueva (grabada este mismo mes de septiembre) titulada “Abrazos gratis en la Puerta del Sol” que nos conduce por nuevas sonoridades. Además rescatamos alguna canción de las muchas caras B´s del grupo más un bonus track para cerrar definitivamente una etapa. Sí, “Ventajas de vivir en un árbol” cierra un etapa y nos traslada directamente hacia el nuevo álbum de Capitán Sunrise previsto para principios de 2018. Un disco que sorprenderá por su crisol de sonidos, las melodías inimaginables por muchos y una producción exquisita, va a ser un disco muy grande, otro paso hacia adelante” (Prensa, Discos de Kirlian)

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5 febrero, 2018 Posted by | Capitán Sunrise | Deja un comentario

Dubbing – GHOST WAVE: Heaven (7″, Alien Boogie, 2017)

Este animoso Heaven, con reminiscencias bailables y del mejor Madchester, es el nuevo lanzamiento de los neozelandeses GHOST WAVE. Un sencillo con tres mezclas distintas, ideal para bailar a ritmo de Dub.


1 febrero, 2018 Posted by | Ghost Wave | Deja un comentario

Swimming – MODERN STUDIES: Swell to great (Fire Records, 2017)

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“Inspired by an antique Victorian harmonium that eventually found its way from Northern Ireland to Scotland, Modern Studies’ debut album ‘Swell To Great’, aptly named after an organ stop, was unusually written with the malfunctioning instrument at the centre of their songwriting.
A stimulating approach that melds the old and new through their instruments, delicate harmonies and rich compositions that are steeped in traditional and contemporary folk music. The restrictive process even had their wheezy founding member, the harmonium, controlling the pitch as the intrepid band members tuned their tools accordingly.
Recorded in Harvey’s studio, Pumpkinfield in the rural surroundings of Perthshire, the quartet’s songs are embedded in the sea and the landscape of the shoreline.
Emily Scott’s tender lead vocals soar over the sweeping cello, bellowing harmonium and gentle percussive crashes on ‘Black Street’, ‘Bottle Green’ and ‘Sleep’, while hidden in its depths Rob St John, whose distinctive vocals recall David Thomas Broughton, experiments with tape loops that are buried within the layers of their orchestral arrangements. St John, known for his field recordings and art-science projects, cites as his guiding inspiration Brian Eno’s experimentalism and pop sensibilities.
Unfurling bucolic stories come with Scott’s lyrics for each song, ‘Supercool’ sets the tone with an immediate sense of yearning, moving into more contemporary folk-pop on ‘Father Is A Craftsman’ and ‘Dive-bombing’ evokes images of summer frolicking on the shore. The record includes an exceptional and haunting ode to Shirley Collins’ rendition of traditional song ‘Bold Fisherman’ that featured on the Earth Recordings ‘Shirley Inspired’ compilation” (Press Note)

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31 enero, 2018 Posted by | Modern Studies | Deja un comentario

Stoned – OH SEES: Orc (Castle Face, 2017)


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El enésimo trabajo de las huestes de John Dwyer (ahora rebautizados como Oh Sees), es un esfuerzo del musico de San Francisco por no quedarse estancado en los límites del Garage-Rock, una obra algo dual, pues camina por igual entre el Garaje que entre la Psicodelia, el Rock Progresivo o el Kraut. Un disco de sacudidas emocionales y guitarreras en las que Dwyer demuestra que su espíritu aún continúa siendo inquieto y difícilmente clasificable o acomodaticio. Por decir algo negativo, añadir que una buena parte del mismo se dedica a largos desarrollos instrumentales que quizás descolocan algo al oyente habitual de los Oh Sees, pero que demuestran, insisto, esas ganas de Dwyer de sorprender y epatar siempre con detalles inesperados.

“On their 400th album in the last two years, one might assume that the Oh Sees might be running out of steam. Maybe they would be out of ideas, lacking fire or retreading ground previously trod to the point of being worn out. Nope, none of that. Orc is another classic Oh Sees album that shows no signs of wear and tear anyplace in the operation. About half the record is made up of songs that are a white-hot blast of blown-out guitars, dual drummers bashing the living snot out of their kits, a bassist trying to hold it all together in the middle of a hurricane, and John Dwyer yelping like he just put his hand down on a hot stove. The other half is split between thudding heavy metal that comes complete with proggy organ breakdowns (“Animated Violence”), creepy art rock that showcases Dwyer‘s spookiest vocals (“Jettison”), tracks that impinge on the synth rock of Dwyer‘s Damaged Bug alter ego (“Paranoise”), and two songs that feature long codas with violin (“Keys to the Castle”) and drum (“Raw Optics”) solos. Through it all, Dwyer and crew ride the dynamic shifts between quiet and loud, navigate the madly juxtaposed sections, weirdly complicated hard prog, and mindlessly bashed-out garage rock, and basically keep listeners on their toes as it’s almost impossible to guess what might happen next, even within such a singular world as the one Dwyer has spent years carving out for the band. No matter what shape or form the songs take, they are driven by Dwyer‘s non-stop energy and the band’s uncanny ability to transmit it through the speakers like sparks from a live wire. He’s truly an indie rock treasure and if he and the Oh Sees made a hundred albums a year, they’d all be worth listening to. Especially if they had the raging fire, killer songs, and unpredictable genius that Orc has” (All Music)

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30 enero, 2018 Posted by | Thee Oh Sees | Deja un comentario

Esa Sensación – BLACANOVA: La Cabeza (El Genio Equivocado, 2018)

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“Blacanova son una banda francamente buena, y lo han ido demostrando disco tras disco hasta llegar al presente álbum, acertada continuación del también notable “Regiones Devastadas” (El Genio Equivocado, 15). De hecho, resultan tan destacados que son sin duda uno de los grupos más brillantes dentro del dream-pop y shoegazer hecho en nuestra geografía, puede que incluso el mejor de todos.
Los sevillanos manejan texturas sonoras, bruma hipnótica y voces insinuantes como pocos, y dominan siempre a la bestia resultante para guiarla con intencionalidad. Además, sus afilados textos en castellano los sitúan en el punto intermedio de gran atractivo, ubicado a medio camino entre maestros universales como Slowdive o Ride y mitos locales como Chuchoy Los Planetas. Las voces -alternadas o conjuntas- de Armando Jiménez e Inés Olalla hacen de “La Cabeza” (El Genio Equivocado, 18) un álbum críptico en el que merece la pena enredarse, siempre en busca de esa enésima arista colocada con determinación y sentido global.
El grupo ha anunciado un descanso indefinido tras la publicación de la presente entrega y, aunque siempre respetado por la prensa, dice adiós tal y como ha llevado toda su carrera: con las mismas dosis de fiabilidad y solvencia que de discreción y moderado reconocimiento genérico. Puede que el paso del tiempo termine por convertirlos en grupo de culto, tal y como tiende a suceder con ese tipo de bandas que estaban dotadas con indudable toque especial” (Mondo Sonoro)

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29 enero, 2018 Posted by | Blacanova | Deja un comentario

Recolectando – SOCCER MOMMY: Collection (Fat Possum Records, 2017)

Collection es el debut en larga duración de SOCCER MOMMY para Fat Possum. Un pequeño paso adelante para la carrera de Sophie Allison, el alma mater de este proyecto que comenzó como otros tantos en el dormitorio de casa registrando temas en una Tascam para, con el tiempo, evolucionar hasta un sonido algo más sofisticado dentro del entorno del Do it Yourself en el que se mueve como pez en el agua desde sus tiernos dieciséis años esta chica de Nashville. Una bonita mezcla en la que caben el Pop, el LoFi, los sonidos más cándidos del Pop neozelandés y esas pizcas de C86 que hacen de Collection un Mini álbum más que recomendable.

“Collection is the Fat Possum debut of Soccer Mommy, the solo project of singer/songwriter/guitaristSophie Allison. So titled because it gathers select songs from prior Bandcamp releases as well as a couple of previously unreleased tunes, all of the tracks included were newly recorded for the album. While Allison‘s introspective, guitar-centric songcraft carries a certain intimate, lo-fi quality, much of the material here falls on the more expansive end of expectations for the style. With guests on bass, drums, and additional guitar fleshing out a hazy indie rock, it makes for an ultimately breezy, charming set with subject matter that’s full of regret and heartache but doesn’t seem shallow. “Death by Chocolate,” for instance, opens with rich, extended chords across guitar, melodic keys, and background vocals before she describes her crush, sitting by her on the bus and smelling “like cigarettes and how chocolate tastes/It makes me wanna die, but I guess I can wait.” Still a teenager (and NYU student) at the time of its release, much of the album was written as a high-schooler, a fact that both explains some of the lyrics and makes others seem downright precocious. The more melancholy “3 AM at a Party” sleepily confesses to the heartache of unreciprocated love (“I wish we had chances to talk like this a little more often”), while the brighter “Benadryl Dreams” is more happily infatuated (“You’ve been spending all your time/Living on the backside of my eyes/Sleeping pills won’t clear my mind no way”). A brief teaser with only eight tracks that last less than half an hour, it’s enough to make the promise of the young Nashville native evident” (All Music)

Feb 3, 2018 Constellation Room Santa Ana, CA
Feb 5, 2018 Soda Bar San Diego, CA
Feb 6, 2018 191 Toole Tucson, AZ
Feb 8, 2018 Three Links Dallas, TX
Feb 9, 2018 White Oak Music Hall: Upstairs Houston, TX
Feb 10, 2018 Antone’s Austin, TX
Feb 12, 2018 The Syndicate Lounge Birmingham, AL
Feb 14, 2018 High Watt Nashville, TN
Feb 15, 2018 Aisle 5 Atlanta, GA
Feb 16, 2018 The Mothlight Asheville, NC
Feb 17, 2018 Kings Raleigh, NC
Feb 20, 2018 Rock & Roll Hotel Washington, DC
Feb 21, 2018 World Cafe Live Philadelphia Philadelphia, PA
Feb 22, 2018 Music Hall of Williamsburg Brooklyn, NY
Feb 23, 2018 Music Hall of Williamsburg Brooklyn, NY
Feb 24, 2018 Great Scott Allston, MA
Mar 3, 2018 HEADROW HOUSE Leeds, United Kingdom
Mar 4, 2018 The Castle Hotel Manchester, United Kingdom
Mar 6, 2018 Moth Club London, United Kingdom
Mar 7, 2018 The Hope and Ruin Brighton, United Kingdom
Mar 8, 2018 Supersonic (Free) Paris, France
Mar 9, 2018 Sugar Factory Amsterdam, Netherlands
Mar 23, 2018 The East Room Nashville, TN
Mar 27, 2018 The Burl Lexington, KY
Mar 28, 2018 The Bishop Bloomington, IN
Mar 29, 2018 Schubas Tavern Chicago, IL
Mar 30, 2018 The Raccoon Motel Davenport, IA
Mar 31, 2018 Bryant-Lake Bowl Theater Minneapolis, MN
Apr 3, 2018 The Bartlett Spokane, WA
Apr 4, 2018 Barboza Seattle, WA
Apr 5, 2018 Doug Fir Lounge Portland, OR
Apr 7, 2018 Bottom Of The Hill San Francisco, CA
Apr 10, 2018 The Echo Los Angeles, CA
Apr 11, 2018 Valley Bar Phoenix, AZ

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27 enero, 2018 Posted by | Soccer Mommy | Deja un comentario

Silvertonic – ULRIKA SPACEK: Modern English Decoration (Tough Love Records, 2017)

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Bajo ese título tan ´Kinksiano´se esconde un trabajo (el segundo) de ULRIKA SPACEK. Una especie de larga jam session que en realidad poco tiene que ver con esa página gloriosa del Pop Británico. Si acaso por su aproximación a las cosas cercanas. Modern English Decoration es un tratado de auténtico DIY adornado de guiños como por ejemplo, a ese Pop experimental de Olivia Tremor Control; al Kraut o sencillamente al LoFi más noventero. Un álbum preñado de guitarras a volumen convenientemente distorsionado que es una auténtica delicia, y que no se para en concesiones comerciales.

The relatively short amount of time between their first and second albums is testament to the band’s self-contained creative environment and the productivity it encourages. There’s a tendency to label this degree of self-reliant creativity ‘DIY’ – and the band do certainly feel emboldened by that ethos – yet to consider Modern English Decoration solely in these terms is a disservice. Their craft is considered and purposeful, the means of its production reflecting the band’s overall vision rather than the value system of an often haphazard and accidental DIY culture. “We enjoy listening to music through the album format and want our records to reflect that”, says Rhys Edwards (guitars, vocals, synthesiser). “Though we may explore this in the future, our records are not ‘jam’ records. We’re fans of collage based art, and create music in the same way“ (Press Note)

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25 enero, 2018 Posted by | Ulrika Spacek | Deja un comentario

Illusions – LOOMER: Deserter (Midsummer Madness, 2017)

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Más huestes Shoegazers. LOOMER vienen del Brasil, algo menos curtidos, este Deserter es su segundo trabajo. No les asusta la distorsión, si bien sus temas son algo menos compactos y con no demasiado poso, se dejan oír y tienen la inmediatez del Power-Pop de guitarras.

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24 enero, 2018 Posted by | Loomer | Deja un comentario

Grandiosidad – TOMBSTONES IN THEIR EYES: Fear (Send Me Your Head, 2017)

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TOMBSTONES IN THEIR EYES es una de esas bandas que engrosan la aparentemente grandiosa nómina de grupos de esencias Shoegazer que probablemente nunca van a a gozar de una gran repercusión, pero que, seguro que oyendo sus álbumes, les dedicas varias horas de tu atención.
Han conseguido elaborar un distorsionado artefacto sonoro a base de capas y de guitarras muy afiladas, apuntando lo mismo al Stoner que a la Psicodelia más rabiosa. Let them your ears…

“Stoner rock, neo-psych, subtle flavours of shoegaze and rolling slowcore melded with fluttering dark frequencies, intense melody and those totally addictive vocalisations of John Treanor make up the collective sonic melting pot of musically astute L.A based quartet ‘Tombstones In their Eyes’. Back inMay 2016 they literally blew me away with their ‘Bad Clouds’ EP, so much so that I have been waiting with baited breath to see what these guys could come up with next. The band are made up of John Treanor – Vocals/Guitar/Keyboards, Josh Drew – Bass/Backing Vocals, Stephen Striegel – Drums/Percussion & Samuel Sherwood – Percussion  and they have just announced their third EP entitled ‘Fear’ (Primal Music Blog)

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23 enero, 2018 Posted by | Tombstones in Their Eyes | Deja un comentario

Fixing a Hole – THE PROPER ORNAMENTS: Foxhole (Tough Love Records, 2017)


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THE PROPER ORNAMENTS no han perdido su gusto por el Pop de raigambre sesentera en este segundo trabajo: Foxhole. Quizás por momentos se relajen algo y tiren hacia un lado más sosegado con ese empleo de pianos y medios tiempos que acompaña a una buena parte de los cortes; pero continúan con sus influencias velvetianas/byrdsianas/psicodélicas en otro buen puñado de canciones como Cremated (Blow away), Back pages, 1969 o I know you know, con lo que damos por bien empleado el esfuerzo creativo de este Foxhole.

“Listening to the calm and steady indie pop of the Proper Ornaments‘ second album, one would never suspect the struggle and turmoil that went into its creation. After releasing their excellent 2014 albumWooden Head, the two guys leading the band, James Hoare and Max Oscarnold, pursued other musical venues, Hoare with Ultimate Painting, Oscarnold as a member of TOY. When they got back together to work on another album, they enlisted drummer Robert Syme and bassist Daniel Nellis from their live lineup and headed into the studio. After finishing work on another batch of quietly jangly and peacefully autumnal tracks, they realized the tape machine had malfunctioned somewhere along the way and left the songs warped and unusable. The setback put a strain on the members’ relationship and they went their separate ways for a time before decamping to Hoare‘s home studio to begin work again. The resulting tracks show none of the underlying strain or unpleasantness; instead, Foxhole is the kind of record that spreads out of the speakers like a warm wave of melancholy. The hushed voices, sweetly sung harmonies, quietly interlocking guitars, and gently rollicking tempos never break the quietly sad mood as song after song hits the sweet spot of midtempo beauty. It’s a change fromWooden Head, which had a slightly more unpolished feel. This album has been burnished, waxed, smoothed, and buffed until its woody surfaces glow like a September sunset. Both Hoare andOscarnold bought pianos during the songwriting process, and though the songs rarely feature piano in their arrangements, many, like the almost painfully pretty “Memories,” have the feel of classic singer/songwriters like Harry Nilsson. Other tracks have the same relaxed lope as Ultimate Painting; some, like “Bridge by a Tunnel” and “Backpages,” would have been highlights on their most recent album. Others point toward new directions their collaboration could take. The strummy country-rock of the regretful “I Know You Know” and the acoustic ballad “Jeremy’s Song” show them stretching a bit in positive ways. It may have been born out of frustration and strife, but Foxhole‘s inherent peaceful beauty and restraint make it a perfect companion for moments of reflection” (All Music)

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18 enero, 2018 Posted by | The Proper Ornaments | Deja un comentario