The JangleBox

Indie, Noise, Shoegaze… Music

Colours – SEEING HANDS: Seeing Hands (Discos de Kirlian, 2018)

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“Every weekday, DIY’s new music know-it-all Neu brings you one essential new release to get obsessed with. Today’s Neu Pick comes from Seeing Hands.
Everything’s coming up Newcastle. Well, sort of. Things are looking optimistic for the city’s football club, thanks to Rafa. In Eat Fast, they sport one of the most exciting UK bands in yonks. And now it’s time to add Seeing Hands to the list.
The lounging four-piece are of a dreamier kind to local contemporaries. Gentle guitar lines lift themselves out of a sweet daze, coming off like Real Estate’s stomachs flipping on a fairground ride after a parkside picnic. Sounds tame, but there’s a definite edge to Seeing Hands’ music; a deceptive precision that’s hard to hear in a sea of lovely reverb” (

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15 febrero, 2019 Posted by | Seeing Hands | Deja un comentario

Joining – TY SEGALL-WHITE FENCE: Joy (Drag City, 2018)


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El segundo disco colaborativo entre TY SEGALL y WHITE FENCE es un disco escrito enteramente a medias, compartiendo grabación y composición. Algo más que un mero juguete encaminado a la diversión, puesto que también compartieron gira.
El disco, sin ser ni mucho menos la quintaesencia del Pop, sí que ofrece momentos memorables, preñados de Pop Psicodélico (nos recuerda horrores al Sell Out de The Who), NeoFolk y algo de Garaje
Lo cierto es que la pareja funciona, las instrumentaciones son tremendas, y aunque la mayor parte de las canciones parecen apuntes (de nuevo la comparación Sell Out vía Olivia Tremor Control), en su mayor parte funcionan como un reloj de precisión (Please don´t leave this town, Body behaviour, Good boy, Do your hair, My friend…)


“The unbridled rock & roll force that is Ty Segall met up for the first time with the warbly psychedelic wanderings of White Fence on 2012’s Hair, a fine distillation of the pair’s strengths. Segall and White Fence‘s Tim Presley forged a sound that reined in Segall‘s sometimes excessive energy and gave life to White Fence‘s often precious music box renderings of ’60s excess. Since they made that record,Segall has gone on to expand his sound into something almost arena-friendly, while Presley has gotten weirder and more unpredictable with his solo work and other projects including DRiNKS withCate Le Bon. The duo’s reteaming on 2018’s Joy tilts the scale toward weirdness with many songs that are odd snippets of sound, lots of Presley‘s obtuse guitar lines and lyrics that sound like they were left out in the sun a little too long. For the most part, the record works like a charm, with the sometimes gleeful, sometime ominous White Fence psychedelic strangeness adding creepy tendrils that captureSegall‘s frenetic energy and drag the songs into unexpected places. The gothic vocal harmonies of “Body Behavior,” the squiggly guitar solos on the very John Entwistle-sounding “Good Boy,” the looping drums that buoy “A Nod” are little bits of left-field arrangement tricks show how well their styles can mesh. There are also times when Segall‘s innate swagger gives the songs an extra boost, like on the insistent rocker “Do Your Hair” or the sly folk-rock tune “My Friend” that ends the album on a high note. So far, so good, but alongside the songs that work like a well-baked cake, there are others where they seem to be sacrificing quality for weirdness, and that’s when the album flags a little. The overly quirky noise interludes are an energy suck and a couple songs don’t go anywhere, like the draggy, over-cooked “She Is Gold” where they indulge their most meandering tendencies, or the off-putting “Tommy’s Place,” which comes off like it was deep fried in whimsy. These less interesting, less well-formed moments leave the listener wondering if the album really needed to be 15 songs long. A few judicious cuts here and there and it would have been a very strong extended play instead of an uneven album that doesn’t quite reach the level the duo attained on Hair. It’s still worth checking out for fans of either artist, though, especially if their eccentric natures are the main attraction” (All Music)


13 febrero, 2019 Posted by | Ty Segall, White Fence | , | Deja un comentario

Clasicismo – GRUFF RHYS: Babelsberg (Rough Trade, 2018)


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La verdad es que el arranque de clasicismo y las ganas de añadir orquestaciones a sus temas le ha venido muy bien a Gruff Rhys para publicar su último trabajo, este Babelsberg, un disco que si bien no pasará a la historia como lo mejor que el galés haya publicado en solitario o con SFA, sí que es un acercamiento interesante a ese Pop Barroco con ciertas ínfulas de crooner al que ya se había acercado puntualmente en otras ocasiones, y que deja en este disco algunos ejemplos de máxima belleza: Oh Dear!, Frontier man, Limited edition heart, Take that callSelfies in the sunset… son canciones perfectas para disfrutar en un café al sol otoñal.


“Babelsberg is the fifth album by Gruff Rhys, his first record for Rough Trade since 2007’s classicCandylion. The album features orchestral scores by Swansea based composer Stephen McNeff and the incredible work of the 72 piece BBC National Orchestra of Wales. The result is Gruff’s best record to date – a ten song gazetteer of modern times, each track set to timeless, indelible melody. Amazingly, for a collection of songs written over two years ago, each one seems to pull very sharp focus on the times we’re living in” (Rough Trade)


8 febrero, 2019 Posted by | Gruff Rhys | | Deja un comentario

In the Beat – THE IN THE OUT: The In The Out (2019)

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“This debut release from Melbourne 4 piece THE IN THE OUT is a remarkable first LP effort. Stand out tracks include the gritty opener ‘Do You Wanna’ and epic psych rocker ‘Heat’, to the softer alt-country embellished ‘Birds’ and the electronic introspective of ‘Slow’.
Album closer ‘Hid In The Beat’ delivers an intense crescendo to finish what is an impressive mix of psych pop / Manchester inspired rock” (Press)


7 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

It´s raining outside – THE PERFECT ENGLISH WEATHER: Don´t you wanna feel the rain? (Matinée, 2018)

Don't You Wanna Feel The Rain? CD

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“The Perfect English Weather are a husband and wife duo from Brighton, England, whose musical journey began in the late 1980s as part of the indie-chart regulars The Popguns. Perched on a melodic precipice at the frayed edges of indiedom, their “beautiful, slightly melancholic pop” has drawn comparisons to Everything But The Girl and more recently St Etienne. BBC 6 Music Radio seems to agree, with their songs receiving repeated airplay on the Gideon Coe and Steve Lamacq shows.
The new album “Don’t You Wanna Feel The Rain?” is at heart a story of adulthood, with songs meandering around themes of travel and work, family and reminiscence, togetherness and separation. The album’s journey of soundscapes sets out from London City bars through to memories of Ibiza nights, a freezing Warsaw winter and endless air travel, before finally settling in the rivers of Nova Scotia. Reflecting the various locations, situations and characters, the musical styles move in and out of guitar pop, moody electronica and the bare acoustic. The songs’ protagonists may change but the narrative flows consistently throughout, taking the listener through a personal history of estrangement and reunion” (Matinée Recordings)

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5 febrero, 2019 Posted by | The Perfect English Weather | , | Deja un comentario

No Fails – LOS MARCIANOS: Nuevo orden cósmico (Clifford, 2018)

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LOS MARCIANOS  están en pleno proceso de madurez musical y compositiva. Sus presupuestos sonoros son sencillos y directos: Power-Pop de guitarras con grandes dosis de Noise y distorsión y cierto aire de desencanto en sus letras. Vamos, la fórmula infalible del Indie-Rock de toda la vida desde los tiempos de JMC, Pixies o Lemonheads.

“Corren nuevos tiempos para el pop y LOS MARCIANOS se apuntan a contribuir con sus canciones, estribillos, melodías, ruido e historias. Todo ello se puede encontrar en Nuevo Orden Cósmico (Clifford Records, 2018), una nueva entrega en formato 10″ en el que la banda viguesa nos pasea por pasajes un poco más oscuros que en su anterior trabajo, pero sin perder esos estribillos pegadizos tan marcadamente pop y el desenfado tan propio al que nos tienen acostumbrados. Producidos por Carlos Hernández (Los Planetas, Triángulo de Amor Bizarro, Airbag…) LOS MARCIANOS nos cuestan historias universales, envueltas en mágicas melodías y en muros de guitarras que demuestran que la banda se siente cómoda en el noise pop y el shoegaze, y que destina a este Mini-LP a formar parte de las estanterías de fans de Jesus And Mary Chain, The Pains Of Being Pure At Heart, The Cure o Los Planetas” (Ibán Marciano)

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3 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

The Fog – THE STARGAZER LILIES (Graveface Records, Single, 2018)

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Brumas guitarreras y ensoñaciones vocales.

“(…)You are my
You’re my everything
Everything I love
My love
And all I love to hate”


2 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

Luminiscencias – TEEN DAZE: Bioluminiscence (Flora, 2019)

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“Striking a balance between the digital and the natural has always been one of the main purposes of Jamison Isaak’s, Teen Daze project. BIOLUMINESCENCE, the producers’ sixth proper full-length, is perhaps his most cohesive example of this. At times cinematic and atmospheric, and at others pulsing and danceable, the album weaves its way through eight deeply emotional, melodic tracks. For every synthesized noise you hear, there is the sound of a rock hitting water; digital synths are paired with the sound of the Pacific Ocean. This album attempts to find a harmony between those two worlds, and with this in mind, Bioluminescence becomes a very fitting title” (Press)

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1 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

Retro-Futurism – DEERHUNTER: Why hasn´t everything already disappeared? (4AD, 2019)

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El octavo trabajo de DEERHUNTER es otro clásico más de la banda de Bradford Cox, que de nuevo vuelve a epatar con un disco atípico con todas las trazas de convertirse en un youngtimer, en un clásico adelantado a su tiempo (como casi todo lo que llevan editado hasta el momento). 

Un disco de tonos algo desesperanzadores envuelto en un halo sonoro de nostalgia, de instrumentación del Pop más barroco: clavicordios, teclados definitivamente retros, baterías acústicas… Y unas guitarras en un segundísimo plano. Todo esto no hace más que acrecentar la idea de que los de Atlanta fueron unos adelantados a su tiempo y que se empeñan en demostrarlo a cada trabajo que publican.

“How do you describe an album out of time, concerned with the disappearance of culture, of humanity, of nature, of logic and emotion? Why make this album in an era when attention spans have been reduced to next to nothing, and the tactile grains of making music have been further reduced to algorithms and projected playlist placement. Why wake up in the morning? Why hasn’t everything already disappeared? 
Deerhunter’s eighth LP forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across North America. It comes home, restructures itself and goes back to bed to avoid the bad news.
From the opening harpsichord and piano figures of Death in Midsummer, it is impossible to tell where the record came from. Is No One’s Sleeping an outtake of an aborted Kinks recording session in 1977 Berlin with Eno producing? No. That is 4ADnostalgia. If there is one thing Deerhunter are making clear it is that they have exhausted themselves with that toxic concept. 
What they spend their time doing instead is reinventing their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.
The result is as thrilling, haunting, and unpredictable as anything in their roughly 15-year career. 
Deerhunter have made a science fiction album about the present. Is it needed right now? Is it relevant? Perhaps only to a small audience. DADA was a reaction to the horrors of war. Punk was a reaction to the slow and vacant 70’s. Hip Hop was a liberated musical culture that challenged the notions presented wholesale about the African-American experience. What is popular music today a reaction to?” (4AD)

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30 enero, 2019 Posted by | Uncategorized | , | Deja un comentario

On the Hill – BLACK SEA: Disappointed sunset (Burger Records, 2017) / Low Life (Future) (Single, Burger Records, 2018)

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Ambientes fríos, brumas sonoras y muros de guitarras. “Music for driving as fast as you can at 3am

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28 enero, 2019 Posted by | Uncategorized | | Deja un comentario

Hey POP – GLORIA: Hey Gip (Ample Play, Ep, 2018)

album artwork

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GLORIA cerraron el año pasado publicando un nuevo Ep en el que los galos hicieron alarde de nuevo de ese aire Retro tan elegantemente ejecutado y al que tanto partido saben sacar. El mejor corte es Dancehall nº3, en el que la banda es capaz de sacar el mayor partido a su creatividad.

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27 enero, 2019 Posted by | Uncategorized | Deja un comentario

Looking for the light – THE PROPER ORNAMENTS: Song for John Lennon (Single, 2019; Tapete Records)

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Una cierta búsqueda de la luz, una claridad algo mayor en su sonido, incluso un espectro sonoro algo ampliado aparece sugerido en este sencillo de adelanto de los londinenses THE PROPER ORNAMENTS. Su próximo trabajo se publicará el 5 de abril.


25 enero, 2019 Posted by | The Proper Ornaments | Deja un comentario

The Sun is Brithning – ALPACA SPORTS: From Paris with love (Elefant, 2018)

From Paris With Love

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ALPACA SPORTS continúan con el mismo espíritu con el que comenzaron, es decir, con ese POP tan alegre, juguetón y chispeante que preconizaron toda aquella hornada de grupos escandinavos que nos encandilaron a comienzos de la primera década de los dosmil. Teniendo al Jangle-Pop como principal protagonista, el dúo Lisle/Andrea son capaces de edulcorarlo aún más con las gotitas justas de ElectroPop, de Baroque-Pop y de ese intimismo tan especial para hacer del conjunto un disco más que deleitable.

“Grandes melodías, arreglos deliciosos y dulzura en abundancia. Toques disco-soul (“I’ll Do Anything You Want”, “Summer Days”), pop cristalino (“Nobody Cares But Me”), jangle y sunshine pop (“Books I’ve Read”, “A New Boyfriend”), folk preciosista (“Birds”, “Baby What Can I Say?”), THE CURE meets THE SMITHS meets ABBA (“Feel Like Going Home”, “Saddest Girl In The World”), Burt Bacharach se va de fiesta con CAMERA OBSCURA a esa torre tan conocida (“Eiffel Tower”), estribillos inolvidables (“Without You”) e incluso un poco de evocadora melancolía (“Luxembourg Gardens”). En definitiva todo lo que ha hecho que ALPACA SPORTS sean una referencia para los amantes del indie pop a lo ancho y largo de ese mundo que recorren de arriba a abajo una y otra vez.
Su infalibilidad para las melodías y para los arreglos queda una vez más probada. Su facilidad para transmitir optimismo y vitalidad, reconocida. Su inspiración para hacernos viajar más allá, creciendo. Sin parar” (Nota de Prensa, Elefant)

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23 enero, 2019 Posted by | Alpaca Sports | Deja un comentario

Not Silly – DUMB THINGS: Dumb Things (Ep, Bobo Integral, 2019)

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La discográfica madrileña BOBO INTEGRAL acaba de publicar la reedición del álbum de debut de los australianos DUMB THINGS, un trabajo que navega pacíficamente por las aguas del Pop más cristalino con influencias del LoFi, del sonido neoyorquino y del Jangle-Pop. Disco entretenido y de fácil escucha, donde reconoceremos pistas sonoras de Pavement, The Chills o The Feelies. Los chicos no podrían ocultar sus orígenes…

“Bobo Integral is pleased to release the outstanding debut album by the Australian group (from Brisbane, that’s right, like The Go-Betweens) Dumb Things. 10 songs, 28 minutes, without valleys, pure youthful adrenaline. A first album with everything that means, for good. A collection of country-burnt pop songs, scruffy enough to get stopped at the door, but charming enough to talk it’s way in. They will be big” (Press Note)

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21 enero, 2019 Posted by | Dumb Things | Deja un comentario

Guitar Walls of Sound – BURNING HOUSE: Mirror song (Single, 2018) / Tracer (Ep, 2018)

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Beben de la tradición del School-Rock/Shoegaze/Post-Rock. El sonido de BURNING HOUSE es un auténtico trallazo de sonidos de guitarras, de muros de distorsión que harán las delicias del mejor aficionado al género.

” Recalling the wild but awesome fuzz- and feedback-driven noise channeled through the likes of Swervedriver and Jesus & Mary Chain, Southampton’s Burning House produces a fine slice of heavy shoegaze bliss with a talent at walking a fine line between melodicism and an ear-wrenching wall of sound” (Louder Than War)

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21 enero, 2019 Posted by | Burning House | | Deja un comentario

The Warhol: Silver Studio Sessions – Essex Green (2018)


10 enero, 2019 Posted by | The Essex Green | Deja un comentario

Highly emotional – THE ESSEX GREEN: Hardly electronic (Merge, 2018)

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Tras un largo paréntesis de nada menos que doce años, separación física y todos los vaivenes que puedan suceder en tan largo de tiempo, vuelven THE ESSEX GREEN, uno de los grupos más puros de lo que dio en llamarse el Colectivo Elephant6. Su sonido no ha variado en lo fundamental, se mantienen fieles a sus características primarias, fieles a las melodías de siempre y a sus influencias más clásicas. Un perfecto disco de Pop de esos que le salen a Belle and Sebastian de vez en cuando, con acercamientos deliciosamente folkies y arreglos y voces dignos del mejor Charm-Pop. Un imprescindible del año recién finalizado.

“After a long, long break between albums, the Essex Green’s Hardly Electronic kicks off with a song that instantly reminds listeners why the band was so great in its prime. “Sloane Ranger” is classicEssex Green with its loping rhythm, gently strummed guitars, naggingly catchy organ, and above all the voices of Christopher Ziter and Sasha Bell singing the tender lyrics with heartfelt sweetness and woody soul. It’s an auspicious start that the rest of the record follows up on and then some. The time off has done nothing to dim the writing and arranging skills the band had honed to a fine point; if anything, the time off seems to have given them a little more urgency and focus. Hardly Electronicfeels like their overall best-sounding album, with a sonic richness that belies the somewhat fragmented nature of its recording. With members in different parts of the country and in different stages of life, it’s hard to get the band together for weeks at a time to make a record. They definitely found a way around their hurdles and have come up with a rich and full-sounding album that feels like a throwback to the golden age of indie chamber pop, while still feeling smack up to date, as the track “Don’t Leave It in Our Hands,” which has punk energy, shouted vocals, and a desperate political undertone, shows. The interplay between Ziter and Bell‘s vocals is a highlight, the guitar work of Jeff Baron is economically exciting, and the little bits of arrangement magic (the billowing vocal harmonies on “January Says,” the thrilling liftoff on the chorus of “Catatonic,” the cornpone guitar licks on “Bye Bye Crow”) sprinkled throughout the album make for a delightful listen. Even when Bell‘s songs take a dark turn, as they often do, or when the band leans hard into melancholy, the album has a lightness that makes it easy to digest and a joy to get lost in. It’s close to being their best work, if not right there, and it’s certainly a joy to hear Bell‘s enchanting vocals again. Just like it’s a treat to experience the relaxed majesty the band lends to the production and arrangement of its songs; just like it’s truly heartwarming to follow the ups and downs of the moods the band sends through the speakers so gracefully. The Essex Green may the kind of under-the-radar band that could disappear for a decade without too many people wondering where they had gone; one spin of Hardly Electronic is enough to make that seem like a mistake. The record is good enough, and the band skilled enough, that even one year without a new album from them would feel like an eternity” (AllMusic)

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9 enero, 2019 Posted by | The Essex Green | Deja un comentario

In Colours – PAINT: Paint (Mexican Summer, 2018)

Resultado de imagen de paint mexican summer

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“PAINT (guitarist/singer Pedrum Siadatian of Allah-Las), is making his mark with his first, self-titled solo record out today.
 PAINT started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) – fed or led by a certain acid-bitter poetry (Gregory Corso andJohn Lennon) and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer and partner-in-grime in adept cinematic psychedelicist Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio. Now PAINT’s self-titled debut LP has a happily paradoxical finished-but-not-finished-off feel, like Lou Reedand R. Stevie Moore and Julian Cope and Richard Hell, but just the songs that never came out” (Promotional)

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4 enero, 2019 Posted by | Paint | Deja un comentario

Nuding – THE CORAL: Move through the dawn (Ignition Records, 2018)

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Más allá del ejercicio de desnudez sonora y arreglística al que ha sido sometido el sonido de THE CORAL, lo cierto es que la banda británica ya no es lo que fue allá por comienzos de los dos mil. Su épico sonido neopsicodélico ha sido aligerado al punto de quedarnos una pulcra producción en aras de introducirse a nuevos seguidores sin duda más cercanos al Aor de los peores EloFleetwood Mac que a la Psicodelia. Digamos que la esencia permanece, pero el sonido no nos convence en absoluto. Y por cierto: la portada es un espanto.

“After coming back from a hiatus with 2016’s Distance Inbetween, a heavy, guitar-based album that reestablished the band and expanded their sound from their usual ’60s worship to include some sounds from the ’70s, the Coral did what they do best on their next record and made a creative left turn. Released in 2018, Move Through the Dawn gets rid of the furious guitar soloing, the pounding rhythms that felt like they were forged in a foundry, and the free-flowing arrangements that relied on lots of first takes to get a live feel. Instead, most of the record has the carefully constructed feel of an ’80s Jeff Lynne production, with clipped drums, layered acoustic and electric guitars, and sonic touches like Mellotron and super-clean vocal harmonies. The first three songs sound like they could have been on a Traveling Wilburys album; “Eyes Like Pearls” and “Reaching Out for a Friend” have a loose-limbed, good-natured spirit whose warmth isn’t constrained by the boxy production, while “Sweet Release” is a punchy robo-rocker that sounds simple on the surface but has the kind of hook that gets lodged deep in the brain. James Skelly‘s vocals fit well in the updated surroundings; he delivers the songs here just as powerfully as he did on their more folk-psych offerings of the past. He soars over the sweeping tracks like “Strangers in the Hollow” with an almost breathtaking ease, while digging deep for some grit when that’s called for, as on the bouncy “Love or Solution.”
Despite the new tricks the Coral proudly display on the record, they haven’t totally forsaken their old ways, and some of the songs break free just a bit from the (semi) modern studio techniques. The mystical ballad “Eyes of the Moon” has their trademark rootsy ramble and nicely ghostly background sounds, “Outside My Window” heads back to the late ’60s for some murky nocturnal psych, “Stormbreaker” brings the power and AOR-friendly heaviness of Distance back into the mix, and “After the Fair” is a very pretty acoustic ballad that shows the bandmembers at their tenderest, then drenches them in Mellotron for good measure. These non-pop moments help balance the rest of the album’s almost oppressive catchiness and remind the listener that the Coral are a gently weird band who like to stay elusive. They change styles from record to record — sometimes song to song — like some people change their profile pics, but they never lose the qualities, like top-notch songcraft, well-built arrangements, and Skelly‘s voice, that make them a great guitar pop band. They may have done some drastic reshuffling and tried some new things on Move Through the Dawn, but it’s a Coral record at its core and it’s one of their most satisfying, too” (All Music)

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2 enero, 2019 Posted by | The Coral | Deja un comentario

Remembering Simon Love – SIMON LOVE: Sincerely, S. Love x (Tapete Records, 2018)

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Si la pasada semana dábamos cuenta del último trabajo de The Davenports como un estupendo disco de Folk-Pop Barroco en el que se mezclaba una veta acústica con un estupendo trabajo de arreglos y orquestaciones siempre con el buen gusto como principal objetivo, para hablar del último lanzamiento de SIMON LOVE nos gustaría emplear los mismos adjetivos puesto que la línea media del disco intenta incidir en esa tendencia, pero el objetivo final (y me desagrada mucho admitirlo) no lo consigue.
Simon lleva ya un par de trabajos en solitario tras abandonar su proyecto original, THE LOVES, y en ambos discos lo ha intentado, pero el resultado opino que no es el apetecido, pues en ningún momento logra esas notas de buen gusto y acierto en la instrumentación. THE LOVES era un grupo mucho más imaginativo y mezclaba a la perfección la ironía y el buen sabor del mejor POP. Con estos álbumes en solitario, LOVE no termina de arrancar ni de coger el punto a esa nueva dirección que pretende en su música. Eso sí, el vídeoclip de All this kicking around es muy ocurrente…

“If you’re thinking of buying just one magnificent pop disc in 2018, you need look no further: I give you, ladies and gentlemen, SIMON FUCKING LOVE! (“The Ballad Of Simon Love“).
Sincerely, S. Love x” (the kiss is meant to be pronounced) is Simon’s sophomore solo album (his 2015 debut It Seemed Like A Good Idea At The Time was released on the brilliant, now sadly defunct Fortuna Pop label) and it features at least ten hits. Proper pop hits, with ELO harmonies, Spectoresque production, strings and trumpets, the whole shebang. All recorded over the last two years in London, England. Big city pop!” (Promotional)

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31 diciembre, 2018 Posted by | Simon Love | Deja un comentario

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