The JangleBox

Indie, Noise, Shoegaze… Music

Rolling Blackouts Coastal Fever – Full Performance (Live on KEXP)

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10 diciembre, 2018 Posted by | Rolling Blackouts Coastal Fever | Deja un comentario

Mary Jeans – ROLLING BLACKOUT COASTAL FEVER: Hope Downs (SubPop, 2018)

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ROLLING BLACKOUT COASTAL FEVER se alinean en la onda más enérgica (o Rough Pop, como ellos mismos se definen) del Pop australiano de toda la vida. 
Una gozosa aproximación al Power-Pop de los setenta con aderezos del College Rock y las gotitas Jangle (la tarea de sus tres competentes guitarristas contribuye a ello) que tanto nos enganchan, con unas guitarras electrizantes y lo suficientemente cristalinas para engancharnos. Un álbum de debut a lo grande, inspirado, imaginativo y con las suficientes bazas para repetir en un segundo. Si la fórmula les continúa funcionando, les auguro un futuro prometedor. Por lo pronto, gozamos de este Hope Downs. SubPop sabe lo que se hace…

“Rolling Blackouts songs have always been fueled by a jittery energy; though Keaney is billed as the band’s acoustic guitarist, he’s more like a second percussionist, his ceaseless strums propelling the songs with bongo-like fury. As “An Air Conditioned Man” vividly illustrates, however, Hope Downs radiates panicked agitation more than manic exuberance. Sure, the band continues to function as an ’80s college-rock fantasy camp: “Talking Straight” packs in all the post-punk propulsion, needling jangle, and crestfallen harmonies of an I.R.S.-era R.E.M. classic, while “Bellarine” practically begs you to sing the Go-Betweens’ “Was There Anything I Could Do?” over its opening riff. But RBCF are hardly operating in a blissful record-collector bubble. On “Mainland,” they put their own privilege under the microscope, with Russo recounting a recent trip to his ancestors’ homeland near Sicily, where bathers enjoyed postcard-perfect waters not far from where refugees were swimming for their lives. The beautifully downcast “Cappuccino City” paints an immersive yet damning portrait of café culture, singing of “FM on the stereo/Belgians in the Congo” as he subtly threads the needle between simple Western pleasures and colonialist violence.
Thirty years ago, RBCF’s brand of alternative rock would have made them ripe for crossover fame. But these days, their “120 Minutes”-era sound has been pushed to the margins—and not just of the pop charts. Even within the realm of contemporary indie, the band is a glorious anomaly. Sophisticated and subversive in equal measure, their staccato sing-alongs come on pristine and precise, then unspool in surprising directions as decorum gives way to abandon. Rolling Blackouts may occupy an empty playground on the modern rock landscape, but that gives them the freedom to run wild in that wide open space, inventing their own games and making up the rules as they go” (Pitchfork)

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8 diciembre, 2018 Posted by | Rolling Blackouts Coastal Fever | Deja un comentario

Pegamín – BOBITO: Celofán (Single, 2018)

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“Un año ha pasado desde que la banda Clara Plath se  despidiera temporalmente de los escenarios en la pasada edición del Festival Lempon Pop, interrumpiendo la gira de presentación de su último lanzamiento “Yes, I’m special” (Flor y Nata Records) debido a la maternidad de la cantante.
Mientras tanto, Roberto López, la otra parte del tándem murciano, ha aprovechado para lanzar un EP debut bajo el nombre de Bobito, junto a músicos de la escena como Juan Antonio Ross, Eduardo Pérez (The Lawyers, Home) y Miguel Ángel Torres (Clara Plath). 
“El verano de las cenizas” se publicará vía Flor y Nata Records a finales del mes de octubre pero ya podemos escuchar “Celofán”, tema adelanto que se acaba de estrenar en todas las plataformas digitales” (Prensa)

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3 diciembre, 2018 Posted by | Bobito | Deja un comentario

Bluessy – THE GROUNDHOGS: Blues obituray (Fire Records, 2018)

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“50th Anniversary limited edition die cut sleeve with liner notes from Mojo’s Dave Henderson.
The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pustelnik on drums.
The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove.
Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’.
Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs.
According to Tony in Zig Zag’s John Tobler’s sleevenotes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.”
“A deep excursion into musical depths further down than Canned Heat ever dared go.”
The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track” (Press)

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29 noviembre, 2018 Posted by | The Groundhogs | Deja un comentario

Palms – TAPE WAVES: Distant light (Bleeding Gold, 2018)

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Viejos conocidos por estos territoros, el matrimonio Kim Weldin y Jarod Weldin: TAPE WAVES publicó este verano su tercer trabajo, un disco marcado por casi todos los elementos que caracterizaron los anteriores: Dreampop a bajas revoluciones, guitarras esta vez sí, algo más cristalinas y una decidida apuesta por los temas más cercanos al relax que a la inquietud (en casi todas sus portadas aparece una palmera o una referencia playera). Sus referentes podríamos encontrarlos por las mismas sendas: Yo la Tengo, Cocteau Twins, Real Estate, Twerps

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23 noviembre, 2018 Posted by | Tape Waves | Deja un comentario

Reminiscencias – JACCO GARDNER: Levania (Single, Full Time Hobby, 2018)

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Aunque su título tenga otras evocaciones, el último sencilla de Jacco Gardner, adelanto del que será su próximo trabajo (que aparece en estos días), es quizás el menos cercano a la Psicodelia, y sí más a cierta onda retro a las guitarras twang y a los Shadows. ¿Qué te parece?

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22 noviembre, 2018 Posted by | Jacco Gardner | Deja un comentario

Hopefully – COURTNEY BARNETT: Tell me how you feel (Milk, 2018)

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El segundo trabajo de COURTNEY BARNETT, se ha hecho esperar casi tres años, pero es un disco que ha merecido la pena su demora. Circunstancias personales aparte y la magnífica colaboración con Kurt Vile, este Tell me how you feel es un disco fresco, sin grandes pretensiones pero altamente disfrutable y sin embargo con un cierto índice de maduración. Indie-Pop de los noventa, esa onda rockera neoyorquina Television-Reed tan palpable y un toque justo Folkie hacen de este disco uno de los más interesantes del año.

“Courtney Barnett specializes in miniatures, which is why her 2015 debut, Sometimes I Sit and Think, and Sometimes I Just Sit, was such a wonder: with barbed words and gnarled guitars, she made everyday minutiae seem compelling. Three years in the making — it was delayed in part due to a 2017 collaboration with Kurt Vile — the 2018 sequel, Tell Me How You Really Feel, plays like the flip image of its predecessor. What once was captivating now feels indifferent, delivered with a shrug instead of a snarl. Everything about Tell Me How You Really Feel seems muted, whether it’s the grungy stomp ofBarnett and her band — a group that remains steadfastly and proudly stuck in the glory days of ’90s alt-rock — or her words, which now seem to meander to a point instead of cutting to the quick. As she’s a good craftswoman, the songs are by and large sturdy, but that talent also cuts against the success ofTell Me How You Really Feel: when they’re matched with the appealing yet incurious performances, everything feels a bit too cozy. Sometimes, a hook or a clever line cuts through the amiable haze — and “Charity,” with its chorus of “so subservient I make myself sick,” manages to blend both — but Tell Me How You Really Feel isn’t an album of moments, it’s a collection that sustains a mood: a mood that’s ragged and slack, but too dulled to charm” (All Music)

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17 noviembre, 2018 Posted by | Courtney Barnett | Deja un comentario

Underrated – DROPKICK: Longwave (Sound Asleep Recordings, 2018)

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Uno de los adjetivos más utilizados en la prensa musical para hablar de ciertas bandas es “underrated“. Me encanta esa palabra, foneticamente y por todo lo que encierra. El Pop llegado desde Escocia siempre me ha fascinado, y DROPKICK son una banda demasiado “underrated“, infravalorada; que comulga a la perfección con las hordas de Big Star / Wilco / Teenage Fanclub. Ya os podéis imaginar, la fórmula infalible melodía, buen gusto sonoro y exquisitez musical. Me podréis argumentar un cierto seguidismo hacia TFC, pero a estas alturas del partido me da un poco lo mismo: la música de DROPKICK es una delicia para mis oídos, y eso, para los tiempos que corren, es ya más que suficiente.

“Con Dropkick sucede como con esas cosas/personas que de tan cercanas y habituales como las sentimos no les otorgamos la importancia que verdaderamente tienen. El conjunto escocés suma con el actual quince discos editados —sin contar EPs ni manifestaciones en solitario— y siempre bajo una ágil periodicidad.Quizás eso influya en la normalización con la que se aceptan sus altos resultados, algo injusto y que es necesario resaltar precisamente ahora, cuando su nueva referencia se instala en un nivel sobresaliente. Ajenos a estas disquisiciones, el grupo sigue practicando ese noble arte adquirido de referentes como The Jayhawks o Teenage Fanclub a la hora de jugar con el power-pop y/o rock americano más luminoso y delicado. En ese sentido dejarán nuevas muestras como «It’s Still Raining» o «Come Around» de su inagotable pericia en dicho ámbito. Con capacidad también para decidirse por ritmos más cercanos al folk-country («Blue Skies») e incluso construir unos más ruidosos y densos («Giving Way»), emergen sin embargo  majestuosos entre bellísimas baladas («Faraway Places», «See You There») para recordarnos su entrañable y emocionante concepción de la música” (Kepa Arbizu, RUTA66)

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11 noviembre, 2018 Posted by | Dropkick | Deja un comentario

Nonsenses – MGMT: Little dark age (Columbia, 2018)

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Auténtico despropósito. Yo creo que estos dos se han propuesto hacernos creer que lo de su debut en 2008 fue el verdadero espejismo, y que su verdadera cara es la que han ido mostrando a lo largo de esta década, y que queda reflejada en este auténtico bodrio titulado Little dark age (2018). Algo así como el disco de un grupo de tributo a Depeche Mode, un trabajo falto de ideas, de frescura y de cualquier atisbo de creatividad o imaginación. Más que prescindible.

“Not all of this stuff is necessarily necessary. “One Thing Left to Try” sounds suspiciously like Empire of the Sun, and one of them is more than enough. Similarly, the album probably doesn’t need two songs about the evils of the hand-held internet. (In addition to “She Works Out Too Much,” we also get “TSLAMP,” or “Time Spent Looking at My Phone,” which, spoiler alert: They are none too pleased about it.) But the duo’s delight in sound itself is often infectious. The album is a riot of vintage synthesizers, dubby effects, and sumptuously gated snares, and they round out that ’80s fixation with just the right amount of psych-pop. Flangers flange, phasers phase, and the stereo panning spins like a Tilt-a-Whirl, but for once, the bells and whistles don’t drown out the songwriting.
While VanWyngarden’s lyrics have often strayed toward the impenetrable, here he’s more focused, settling into a dark mood that feels timely. Little Dark Age is an album about certainties dissolving. “Welcome to the shit-show/Grab a comfortable seat,” VanWyngarden sings in the very first song, pretty much summing up the second half of the current decade. It’s telling that the album’s most sing-along-friendly refrain is the rousing “Go fuck yourself!” of “When You Die.” Toward the end of the LP, “When You’re Small” makes a compelling argument for strategic downsizing: “When you’re small/You don’t have very far to fall.”
At this point, MGMT probably know a thing or two about the fear of falling. They seem to acknowledge as much on the closing “Hand It Over,” which, like Congratulations’ eponymous final song, is a kind of reckoning with their career, a self-aware snapshot of the whole complicated business of being MGMT. “If we lose our touch/It won’t mean much,” sings VanWyngarden, as if acknowledging their tenuous grasp on whatever brass ring the music industry once offered. The Beach Boys harmonies and Sgt. Pepper’s horns are familiar—it’s the first time on the album they sound like the old MGMT, really. “The joke’s worn thin,” he sings, early in the song, and, later, “The smart ones exit early.” It’s a long way from the rock-star fantasies of “Time to Pretend.” But if Little Dark Age is a new start, it’s a promising one” (Pitchfork)

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9 noviembre, 2018 Posted by | Mgmt | Deja un comentario

The Lonely Crowd Fades In The Air – SWERVEDRIVER: Mary Winter (Single, Dangerbird Records, 2018)

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Buenos tiempos para los que amamos el Pop de guitarras y el Noise más embriagador. SWERVEDRIVER están de vuelta. Lo hacen con este espacial Mary Winter, un sencillo que adelanta lo que será su nuevo material, a publicar a comienzos de 2019: Future Ruins (Dangerbirds Records, 2018)

“Like many of us, what’s to come has been weighing heavily on frontman Adam Franklin’s mind. “There’s a lot of foreboding with regard to the future on this album,” says Adam. “Space is in there a lot too. In the first song, the character is a spaceman who’s trying to remember what life is really like. Also, it could be about somewhere in the world where winter isn’t like the winter here. A sunny place, but it’s December or January and you’re trying to remember winter. Something’s going on.” That first song is “Mary Winter,” an instantly recognizable blast of Swervedriver afterburners that you can listen to” (Brooklyn Vegan)

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7 noviembre, 2018 Posted by | Swervedriver | Deja un comentario

A Perfect Cycle – THE CROOKED CREW: The sheltering sky suite (1, 2, 3) / Supermoon (Single, 2018)

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Un ciclo perfecto. Una estación completa. Una especie de vida en miniatura. The Sheltering Sky resume en sus más de quince minutos lo que la música de CAPTAIN EXCUSE & HIS CROOKED CREW expresa a día de hoy: una gozosa recreación en lo mejorcito del Pop de raíces Folkies, que comienza de forma inquietante, pero va tomando forma poco a poco, agrandándose y cobrando nueva vida. Un tema en expansión, que cambia de tono conforme pasan los minutos y que termina en una radiante explosión, aunque con esa inquietud que el Capitán suele dejarnos (“An endless parade of frozen days / A reminder of what could have been but never will”). Una canción de las de antes, de las que se hacen desde la independencia, desde ese no tener que rendir cuentas a nadie, si acaso a tu propia expresividad.

Supermoon, sin embargo, musicalmente es más un retorno a los orígenes del Capitán. Nos evoca aquellos tiempos en los que el sonido anglosajón dominaba la escena musical. Una canción de estructura Pop perfecta, de desarrollos exactos que probablemente tenga origen en una concepción mucho más acústica y folk, como nos queda reflejado en los últimos segundos de la misma. Si he de ser sincero, me quedo con esa armónica y esa sencillez adornada de las distorsiones justas que hacen de esta súper luna un ideal inalcanzable (“I thought you could do so much better / But settled for the scum of the earth” ).

The Sheltering Sky / Supermoon es, pues, un sencillo para disfrutar con calma, con relax. Problablemente nunca lo encontrarás en una playlist de las que ahora nos perturban. Qué más da. La música de la Tripulación Maldita es para disfrutarla y saborearla. Los mortales quedarán en la tierra a otras historias. 

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5 noviembre, 2018 Posted by | Captain Excuse & The Crooked Crew | Deja un comentario

The Dream – WIDOWSPEAK: Expect the best (Captured Tracks, 2017)

Expect The Best

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Abandonaron algo el tono fronterizo y se dedicaron más al ambiente más íntimo, a la introspección sonora sobre bases etéreas. Un resumen de lo que es el último trabajo hasta la fecha del grupo de Molly Hamilton: WIDOWSPEAK, un grupo en el que en cada disco puedes encontrarte algunos cortes memorables. en Expect the Best no iba a ser menos…

“After Almanac and All Yours, Widowspeak seemed like they were on the cusp of going full Americana — a vital aspect of their music, but one that overlooked the band’s distinctive version of rock. Molly Hamilton wrote Expect the Best‘s songs while in Tacoma, Washington, and the return to her hometown may have inspired the band to revisit the misty fusion of grunge and shoegaze of their earliest releases. While Widowspeak still sound more intricate and detailed than most of their Pacific Northwestern forebears, it’s undeniable that this is the fullest, heaviest-sounding incarnation of the group yet, thanks to Hamilton and Robert Earl Thomas inviting touring bassist Willy Muse and drummer James Jano into the studio to bring some live energy to Expect the Best. Of course, “heavy” is a relative term for a band as atmospheric as Widowspeak, but they get heads nodding — if not exactly banging — with foggy interpretations of grunge like “When I Tried” and “Let Me.” The band expertly contrast these heavier sounds with vulnerable moods and words, imbuing them with a bruised brooding on the title track, which feels like a spiritual cousin to their early single “Harsh Realm,” as well as on the yearning “Dog” and “Good Sport,” a brief sketch that nevertheless showcases Hamilton‘s way with an extended metaphor. As Widowspeak return to sounds from their past, they also add new ones, such as the flutes that add an extra witchiness to “Right On” or the smoky, seductive, ’60s psych of one of the album’s standouts, “Warmer.” Here and on the album’s bookends — the golden, bittersweet opener “The Dream” and the seven-minute finale “Fly on the Wall” — Widowspeak are subtle and epic at the same time, building to crescendos that engulf listeners before they realize it. A late-summer bonfire of an album, Expect the Best proves once again that when it comes to hazy introspection and reflection, few bands are better at it than Widowspeak” (Allmusic)

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3 noviembre, 2018 Posted by | Widowspeak | Deja un comentario

You only like me when i´m sad – ILLUMINATI HOTTIES: Kiss Yr Frenemies (Tiny Engines, 2018)

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Álbum de debut de esta cantautora-productora-ingeniera que ha facturado un disco de presentación un tanto irregular pero que en los cortes que más nos han atraído es capaz de concentrar un alto nivel de interés, con un sonido Indie muy caracterizable, con la innegable influencia neo-surf angelina y una pequeña dosis de riesgo que es precisamente lo que menos nos atrae de este Kiss Yr Frenemies

“When it comes to volume, Sarah Tudzin likes to keep listeners on their toes. Kiss Yr Frenemies, her debut album as Illuminati Hotties, playfully leaps between a variety of decibel-dictated sonic moods from the indie-pop canon. Hushed acoustic reveries give way to knife-sharp stabs of guitar; contemplative, finger-picked tranquility crescendos to giant slabs of post-rock feedback and trumpet fanfare. “You only like me when I’m sad,” she sweetly sings during a quiet interlude on “Pressed 2 Death,” an otherwise boisterous rambler that’s dotted with kiss-offs and opens with a fart noise.
Tudzin—who is technically Illuminati Hotties’ sole permanent member, although she records with a full band—is a veteran studio rat, and it shows in the album’s dynamic sounds. In addition to working as a production and engineering assistant to big-time indie producer Chris Coady (Beach House, TV on the Radio), she’s logged studio time with acts ranging from Porches to Macklemore and worked on the sound design for the original Broadway cast recording of Hamilton. Her expertise gives her own tracks a funhouse-like quality, with an eruption of noise, six-stringed squeal, or purposely lo-fi effect around every corner. Even without knowing that additional vocals on the album are credited to “Everyone at Jesse’s Party,” you get the sense that she had fun making this record.
Tudzin describes the sound of Illuminati Hotties as “tenderpunk,” and that feels right. Every emotional abrasion and pang of longing on Kiss Yr Frenemies is conveyed with just the right mix of sadness and acerbity” (Pitchfork)

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31 octubre, 2018 Posted by | Illuminati Hotties | Deja un comentario

Mierda de la buena – SUBTERRÁNEOS: Take a Ride (Caballito Records, 2018)

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La escuela del Reverb-Pop y de las distorsiones a saco no deja de tener alumnos y pupilos aventajados. SUBTERRÁNEOS probablemente sean uno de los más notables. Tras un periplo de demos y Ep´s, el dúo Jose/Mónica debutan en largo con este Take a Ride, un artefacto en el que las guitarras y la distorsión son las protagonistas. Para registrarlo, han involucrado a Paco Loco y el resultado y el sonido es más que notable. A ello se le suma el hecho de que los temas son también de notable alto. Nada puede fallar entonces… 

“Take A Ride” (Caballito Records, 2018), un claro reflejo de sus intenciones: “Más reverb, es lo que sabemos hacer”.
Justamente eso es lo que han conseguido Subterráneos en “Take A Ride”, que parte del patrón que combina ruido con melodía y que el grupo ya había perfilado en “Maybe There’s A Light But We Cannot See”. Aunque aquí Subterráneos lo elevan al siguiente nivel al hacer del LP una sinfonía de electricidad variable que sigue varias direcciones: insinuante y velvetiana en“Junkie”; envolvente y magnética en “Star 89”; briosa y adhesiva en “A Tourist In Your Own Youth”; romántica en “Cause I Love You”; cuasi power-pop en“My Baby”; psicodélica con aire sesentero en “The Clouds”; y cercana al shoegaze en “Nighthawks”. Es decir: en “Take A Ride” (incluidas las tres bonus tracks de su edición digital) no hay relleno ni material sobrante y el sonido de Subterráneos destaca no sólo por su solidez, sino también por su maleabilidad” (Fantasticmag)

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29 octubre, 2018 Posted by | Subterráneos | Deja un comentario

Tomorrow is a long way – MATTHEW SWEET: Tomorrow’s Daughter / Tomorrow forever (Honeycomb Hideout, 2018/2017)

Tomorrow's Daughter

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El caso de MATTHEW SWEET  es altamente curioso. Un estupendo creador capaz de arrebatarnos en los noventa con discos epatantes que pierde la estela creativa en los dosmil y se dedica a realizar recopilaciones y álbumes de versiones junto con otra superviviente como Susana Hoffs. Pues este mismo músico es capaz de reinventarse en la segunda década de este siglo con discos como los que hoy reseñamos: álbumes en los que el de Athens es capaz de volver a sus orígenes más melódicos, tomando el camino por ese pasillo marcado por Big Star e iluminado al fondo por el Power-Pop y el College-Rock. Dos discos notables que nos muestran cómo cualquier tiempo pasado no siempre tuvo por qué ser mejor…

“Appearing after a six-year recording layoff and an exodus from California to his home state of Nebraska, Matthew Sweet’s 2017 album, Tomorrow Forever, was something of a “forward into the past” project, in which he reconnected with the sound and spirit of his ’90s classics (particularly 1991’s Girlfriend and 1993’s Altered Beast) while lyrically touching upon a number of personal crises (most notably the death of his mother). Sweet recorded 38 songs for Tomorrow Forever, with 17 tunes making the final cut. Sweet sensibly didn’t want to let all that extra material go to waste, and 2018’s Tomorrow’s Daughter is a companion piece that pulls 12 more songs from the Tomorrow Forever sessions. From a standpoint of quality songwriting, Tomorrow’s Daughter is hardly a step down from the previous album; Sweet’s gift for coming up with great melodies and memorable hooks does not fail him here, and the best stuff reveals he’s still a master of the great tune with a shadowy undercurrent. “Lady Frankenstein,” “Girl with Cat,” “Show Me,” and “Out of My Misery” are Matthew Sweet doing what he does best, and his glorious stacked harmonies are the perfect icing on the cake. However, Tomorrow’s Daughter shares some of the flaws of its precursor. Sweet’s home-brewed production lacks the sparkle and depth of his best work, and unlike his best ’70s albums, he doesn’t have a guitarist on hand of the caliber of Robert Quine or Richard Lloyd to give the performances an edgy push. There’s nothing the least bit wrong with the guitar work from Sweet and his studio crew (including Jason Victor, John Moremen, and Paul Chastain), but there’s a fine line between capable and inspired and these performances don’t always cross it. But if Tomorrow’s Daughter isn’t a great Matthew Sweet album, it’s most certainly a good one, featuring a batch of strong songs played with genuine skill and commitment by one of the most distinctive artists in contemporary power pop. If you liked Tomorrow Forever, you’ll enjoy the sequel, and even if you missed the first installment, this is well worth a spin for pop obsessives” (AllMusic)

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27 octubre, 2018 Posted by | Matthew Sweet | Deja un comentario

Fanfare – THE BELLIGERENTS: Science Fiction (Sony Australia, 2018)

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Tienen los elementos suficientes para convertirse en una banda de grandes estadios: un lanzamiento respaldado por una major, sonido contundente, mezcla de Psicodelia, electro y elementos Pop lo suficientemente bien repartidos como para hacer del debut de The Belligerents uno de esos discos que no pasan desapercibidos. Lástima que quizás en la segunda mitad del mismo divaguen demasiado y jueguen demasiado con la electrónica, quizás hasta llegar a un cierto hartazgo.

“The Belligerents’ debut album Science Fiction has landed. And you will want to get on board. The long-awaited full-length release from this Brisbane band, who have had the industry buzzing for some time, is out now through Sony.
The record is full of all the grand splendour you’d hope for: driving guitars, spaced out keys, layered vocals, plenty of reverb and trippy touches. Behind the style, though, there’s substance with catchy melodies and strong songs.
The journey begins with “Sorry to Say”, a gorgeous opener that carries you along on a mesmerising wave of interweaving instrumentation and dreamy vocals. Single “Caroline” takes you back to the world of retro psychedelia before spinning you off into a completely different direction, a dance party vibe that could keep you going all night. “Before, I Am” (“before I am a man I am a ghost”) is a song that could inspire navel gazing or star gazing. The awesome single “Flash” is a time-travelling trip, taking you from ‘60s sitar-infused groove, via ‘70s disco, through to ‘80s-‘90s Madchester. “Yes Man” turns the ‘70s disco vibe up to the max and is almost cheesy good. Closing track “Sleeping for Days” is a beautiful aural chill out, with touches of harp and strings.
The record has an equally psychedelic origin story, created by the five piece on Stradbroke Island, where they set up their own temporary studio inside a farmhouse. Apparently, hidden within the tracks are incidental sounds, such as cows lowing, cicadas buzzing and somebody washing up. To hear them, though, might take some careful listening or a lot of drugs. They recorded the album independently more than a year ago, but the product was so good they garnered lots of attention from industry, delaying the release of the album. And no wonder. These guys – Lewis Stephenson (vocals/guitar), James Griffin (guitar), Konstantin Kersting (bass), Andy Balzat (keys), Samuel Sargent (drums) – are talented. This is an album full of mastery, creativity and adventure from people not afraid to think outside the box. Production, handled by Lewis and Konstantin, is tight and flawless.
The windy path has led to an awesome destination, one which rewards fans and should earn them plenty of new ones. Now they’ve arrived. The universe awaits” (The Au Review)

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25 octubre, 2018 Posted by | The Belligerents | Deja un comentario

Twee Delices – THE JUST JOANS: Has anybody seen my boy (Single, Fika, 2018); You might be smiling now (Fika, 2017)

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THE JUST JOANS son un combo de Motherwell que funciona en el Pop desde hace un tiempo, concretamente desde sus comienzos más deliciosamente Twee hace justo una década, cuando les descubrimos gracias al contacto con una independiente como WeePop!
El caso es que los escoceses continúan firmes en sus convicciones más deliciosamente Pop, con un apego a ese regusto delicado y agradablemente amable.

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23 octubre, 2018 Posted by | The Just Joans | Deja un comentario

CELÉSTICA: Rondas en mi cabeza (Single, 2018)

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“Rondas en mi cabeza” es el último de los cuatro sencillos que Celéstica ha planeado publicar durante 2018. También es la canción más intimista y desnuda de todas las publicadas en este ciclo, que arrancó a principios de año con “Berlín”, continuó vía “Jugando con el tiempo” e hizo escala en la obra del gigante (¿?) Battiato a través de una exultante versión de “Yo quiero verte danzar”.
Grabado y mezclada por el grupo y masterizada en Vacuum Mastering por Javier Roldón, cuenta con la colaboración de César de Mosteyrín, guitarrista de Monocero. La portada es obra de la artista gráfica especializada en collage Amparo Pérez Villar” (Prensa)

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22 octubre, 2018 Posted by | Celéstica | Deja un comentario

A guide from Dunedin – THE CHILLS: Snow Bound (Fire Recordings, 2018)

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“The latest postcard from The Chills’ epic journey is an album about“consolidation, re-grouping, acceptance and mortality,” claims the chief Chill.“Hopefully a kind of Carole King ‘Tapestry’ for ageing punks.” 
Wow! Are rock bands allowed to grow old gracefully and assess the world’s and their shortcomings in the process? Is it possible to swerve the obvious and make something that’s bittersweet in tone but harmonious on the ear? Of course it is.
On ‘Snow Bound’ lost heroes are lamented, relationships are re-evaluated, atonement is sought, mortality is mulled over and fake news is undercut. It’s serious stuff, the thoughts of a dysfunctional 50-something wrestling with maturity and discovering that their post-punk DIY beliefs still have a real voice that resonates between the fans of their early years and which can now pass down to the next generation. 
Casting our minds back The Guardian mused, “They sound almost like the musical embodiment of autumn,” when confronted with ‘Silver Bullets’. Three years on, ‘Snow Bound’ nestles heartily in its own winter of discontent. And all this with a humalong melodic verve, Phillipps’ gift for the tempered dalliance of verse and chorus and those gorgeous euphoric organ fills. Lead tracks ‘Complex’ and ‘Lord Of All I Survey’ recall R.E.M, Go-Betweens and Guided By Voices” (Press)

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21 octubre, 2018 Posted by | The Chills | Deja un comentario

Synths and Shoulder Pads – WILD NOTHING: Indigo (Captured Tracks, 2018)

Indigo

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Está claro que el sonido de WILD NOTHING poco tiene ya que ver con el de sus inicios, allá por 2010, cuando ya nos hacíamos eco de su debut en TJB. Indigo es un disco decididamente Retro80, limpio, cristalino, con sonoridades que evocan por momentos lo peorcito y lo más empalagoso de la década de las hombreras y los sintes. A mi entender, bastante prescindible.

“After making the epically lush Life of Pause, which was recorded in three studios with different producers and collaborators, Wild Nothing‘s Jack Tatum wanted to do something different on the band’s next record. For 2018’s Indigo, he first made detailed demos, then took a small band into the studio and spent four days recording the songs live. These recordings were then built up by Tatumand producer Jorge Elbrecht as the duo added new parts and reused sounds from the original demos. The result is an album that’s just as ’80s-influenced as the last record, but much less fussy and more direct. Tatum hasn’t forsaken glossy production and gleaming sounds — everything here is clean enough to eat off of — and the songs are slicker than anything in the Wild Nothing catalog. In fact, they are slicker than anything in the Howard Jones or Prefab Sprout catalogs — two artists Tatumclearly reveres. This detailed, sweat-free approach could have sounded lifeless in the wrong hands, but the team here is lucky to have a typically strong set of songs to work with, and they don’t swamp the melodies in overcooked cheese. The saxes are kept on a low boil, the synths are minimal, andTatum‘s vocals are kept low in the mix as he sings calmly about heartache. The melodies and songs are strong enough that they could have withstood some less adept production; tracks like the swooning pop dream “Oscillation,” the lovely “Letting Go,” and the very hooky “Through Windows” would have shone like diamonds no matter what. Those are examples of how good Wild Nothingsound when doing uptempo pop; the ballads Tatum delivers are just as strong. The production really has a chance to come across on the slower, more measured songs like “Partners in Motion” and “Shallow Water.” The layered synths and guitars form a soft launching pad for Tatum‘s heartfelt vocals and rich harmonies. The balance of tempos and sounds makes for a well-rounded listen and it’s a step in the right direction after Life of Pause, which took the Wild Nothing sound right to the edge of overdoing it. Despite its slickness, this is a smaller album, built around real emotions and more scalable sounds, but its impact isn’t felt any less. Indigo is another block in the impressive body of work Tatum has built over the decade, and it’s some of the best retro ’80s (but not stuck in the past) music anyone is making in the 2010s” (AllMusic)

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19 octubre, 2018 Posted by | Wild Nothing | Deja un comentario

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