The JangleBox

Indie, Noise, Shoegaze… Music

Sophovolution – DIIV: Is the Is Are (2016)

Aligerando algo de lastre Shoegazer (error), y centrando algó más el punto de interés en el Pop más Janglie se presenta este segundo trabajo de DIIV: Is the Is Are (2016). Un disco quizás menos epatante que su debut pero que no pierde el interés, si acaso en la excesiva duración del mismo: diecisiete cortes pueden hacerse algo largos. 

“Is the Is Are, the highly-anticipated sophomore release from Brooklyn-based DIIV, is an album years and many personal struggles in the making for it’s architect, Zachary Cole Smith. Recorded and mixed in various locations in Brooklyn, it showcases everything you know and love about DIIV, and many things you did not, all with an added nuance and depth. It is a 17-song, double-album statement intended to resonate with its audience in much the same way that Bad Moon Rising or Tago Mago has for Smith himself.
An extension and deepening of the musical ideas first expressed on 2012’s critically-lauded Oshin, Is the Is Are yields a multiplicity of textures, lyrical themes, and moods. It is a more diverse world than Oshin, with different parameters and ideals. Dark and honest to a fault, the new songs are dynamic, loud, quiet, sad; they are songs that hiss and snarl; songs that, as Smith wrote recently, represent “the real me.” Smith’s vocals, too, are much closer to the foreground, layered legibly on top of tidal waves of shimmering guitar and melodic bass weaving in and out, leaving a distinct and indelible imprint” (Press)

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11 diciembre, 2016 Posted by | Diiv | Deja un comentario

Evolución POP – THE MINDERS: Into the river (Space Cassette, 2016)

Mucho tiempo ha pasado ya desde los primeros sencillos de The Minders con Robert Schneider y Hillary Sidney en la formación. Bastante desde que publicaron su maravillosa obra maestra de debut: Hooray for Tuesday. Time has gone… y The Minders han evolucionado hasta un Pop más barroco que antaño, donde se acercaban más al Power-Pop. Algunos arreglos de cuerda sublimes adornan los momentos álgidos de este Into the river. Desgraciadamente, será un disco que no tendrá ningún tipo de transcendencia mediática y ni siquiera estará entre lo mejor de su discografía, pero aún así, su sexto trabajo (y el primero en diez años) tiene elementos de sobra para que le prestemos atención.

“Into the River is the Minder’s fourth full length studio album, and the band’s first release in ten years. The eleven tracks featured here were engineered and produced by Larry Crane (Tape Op/ Jackpot studio fame) the production incorporates a varied array of songs some accompanied with string arrangements. At first listen, Into the River plays like a concept record. Two versions of the title track appear on the record -strategically placed as bookends on both sides of the album; however, each version is uniquely different, so much so that at first listen they appear to be two different songs.
Into the River picks up where the band left off from its last release (Bright Guilty World, Future Farmer 2006). Crane’s expert engineering and producing hands are in evidence with lush string arrangements that help paint a deep emotional back drop to the song craft that has become The Minder’s trade mark. Into the River is the most ambitious studio effort by The Minders, and it is on this record that the band has arrived with their best album to date. Please sit back and enjoy!” (Press)


10 diciembre, 2016 Posted by | The Minders | Deja un comentario

El Legado – TBTCI Loves TFC (TBTCI Records, 2016)

En esa maraña de iniciales del título del post nos encontramos con dieciséis versiones de otras tantas canciones de nuestros protagonistas del último post: los escoceses de Bellshill TEENAGE FANCLUB. Un proyecto liderado por Renato Malizia, autor del blog decano The Blog That Celebrates Itself, quien ideó una sección de discos. Una de sus últimas ediciones fue este TBTCI Loves TFC.


9 diciembre, 2016 Posted by | Teenage Fanclub | Deja un comentario

Teenage Fanclub son Eternos – TFC: Here (PeMa, 2016)

Me gusta el último disco de Teenage Fanclub. Mejor dicho: me gusta MUCHO el último disco de Teenage Fanclub. En realidad, casi todo lo que hacen o han hecho me gusta mucho. Siempre he disfrutado con ellos. Los descubrí al comienzo de los noventa. Me han acompañado en la mejor época de mi vida y nunca podría dejarlos de lado. Siempre han facturado buenos discos, con muy pocos altibajos. En los últimos tiempos pensé que quizás iba a perderlos, que habían puesto el piloto automático y que igual ya nada sería igual. Pero no. HERE es un discazo. Un gran trabajo, un gran ejemplo de disco lleno de canciones redondas a los que los de Glasgow nos tenían acostumbrados (qué pena que en los últimos tiempos se prodiguen poco en el estudio); una obra de absoluta madurez preñada de optimismo, de esa espontaneidad algo ingenua que siempre les ha caracterizado (Here se abre con una clara declaración de intenciones: I´m in love). Una obra intemporal que puedes estar oyendo una y otra vez sin temor a cansarte: “I’m alive, one more day, yeah, I’m alive”.
Divididos a partes iguales, los cuatro temas que firman cada uno de sus componentes originales son fácilmente reconocibles por los que les seguimos desde hace tanto tiempo, aunque en este disco, los cortes de Raymond tienden quizás a un cierto escapismo astral que le da un aire muy etéreo a ciertas partes del álbum. Los temas de Norman son realmente increíbles, y rayan a esa altura memorable, y los de Gerry son, como de costumbre, quizás los más melódicos y fácilmente reconocibles por sus armonías perfectas.
Here es el décimo trabajo de Teenage Fanclub, una ocasión perfecta para celebrar ese número tan redondo y tan simbólico. Un álbum de diez que nos muestra a unos TFC en el que probablemente sea su momento cumbre tras sus inmensos legados de los años noventa.

“Like a single-word mantra, Teenage Fanclub‘s tenth studio album, 2016’s Here, is a ruminative, inward-looking album of folk-inflected beauty. Once the ’90s poster children for grungy sweet, ’70s-style rock melodicism, the Scottish outfit centered on singer/songwriters Norman Blake, Gerard Love, and Raymond McGinley has aged into a bittersweet, poetically nuanced entity as connected to its roots as a gorgeously gnarled oak on a stark hillside. Produced by the band in France and at McGinley‘s home in Glasgow, Here has a soft, organic quality that feels unfussed with. Of course, that easygoing vibe belies some obvious craftsmanship, as tracks like the brightly engaging “Live in the Moment” and the sweeping “The Darkest Part of the Night” feature horn and string flourishes. Primarily, the focus onHere, as with most of TFC‘s albums, is the band’s warm vocals and guitar-based hooks that somehow manage to get pleasantly stuck in your head for days. Closing in on 30 years together, “the Fannies” are the Ents of the power pop world. Like Tolkien‘s talking trees, TFC are slow-moving musical giants who come together roughly every five years to craft a set of well-honed songs rife with lyricism, sunlight, and, as in the case of Here, a transcendental sadness. It’s a melancholy accent the band carries throughout much of the album. On the starry-eyed “I Have Nothing More to Say,” Love sings, “Clear me a space, I’m in need of isolation, a warm dark bed to ease my strain.” However, rather than coming off as negative or starkly depressive, the band strike a tone of humble gratitude. On “Hold On,”McGinley sings,”Wake up, I’m alive, one more day, yeah, I’m alive.” Later, he punctuates the affirmation with the deceptively unassuming observation, “I don’t hear much fanfare for the common man these days.” Teenage Fanclub have built a career writing fanfares for the common man and Here is rife with them. These are heartfelt anthems about the transformative nature of everyday love and how a sunny day or sparkling melody can restore your faith in humanity. As Blake sings on the opening “I’m in Love,” “There is pain in this world, I can see it in your eyes, and it’s so hard to stay alive at the edge of the night/ But it feels good when you’re next to me, that’s enough, that’s enough.” Ultimately, forTeenage Fanclub fans longing to live in that transformative pop moment, Here should be more than enough” (All Music)

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7 diciembre, 2016 Posted by | Teenage Fanclub | Deja un comentario

Intimismo en casa – HIBERNALES: Tu casa es mi casa (Single, El Genio Equivocado, 2016)

Intimismo para no salir de casa, bajo una luz tenue y poniendo el pickup a volumen moderado. Adelanto del nuevo trabajo de Hibernales, a publicar en breve.

“El tema fue grabado en su ‘home studio’ con el primer ampli y la primera guitarra deEloy, y esto no es casualidad, haciendo de esta canción un paradigma. Las pequeñas cosas que te hacen sonreír en la vida son, habitualmente, detalles que pasan desapercibidos. Uno los valora más cuando los tiene lejos. Se trata pues de una bonita canción que pretende ensalzar esos detalles. Destellos cotidianos que vienen y van en el resto de canciones del disco” (Prensa)

5 diciembre, 2016 Posted by | Uncategorized | Deja un comentario

Amber Arcades: Fading lines (Heavenly Records, 2016)

El debut de la holandesa Annelotte de Graaf, aka. Amber Arcades, se titula Fading Lanes. Un bonito álbum que adolece de una cierta regularidad en su línea sonora. Lo mismo nos encontramos con piezas del mejor Shoegaze que con cortes más cercanos al Dream-Pop más reverberante.

“What could have been a vanity project on par with a crummy self-published novel instead turned out to be something quite good. Good enough that Heavenly Records even decided to sign Amber Arcades and release the album. De Graaf spent her money wisely in hiring Greenberg to produce. His straightforward approach suits her music well, giving her dreamy songs a solid base that keeps them from drifting away. The band provides crack musical backing too, with chiming guitars, chunky basslines, and propulsive drums that drive the faster songs and help the slower ones hit the right Stereolab-jamming-with-Broadcast note. The real star, despite all the surrounding drama, is de Graaf and the songs she wrote. Roughly divided 50/50 between dream pop lullabies and motor-driven modern guitar pop, the songs fit together like reverb-coated puzzle pieces. Her sweetly unschooled vocals float through the simply hypnotic backing tracks, never sounding lost in the mix but never overpowering either. The best songs are those with a little bit of kick, like the swirling psych pop title track, or those that forgo the guitar-heavy approach for something a little more space age pop-sounding, like “Perpetuum Mobile.” Best of the record’s many highlights is the motorik synth pop song “Turning Light,” which stretches out over seven minutes of glimmering synths and has one of her sweetest vocal melodies. She proves adept at so many styles within her chosen niche on Fading Lines that her next album could go in any of four or five directions and sound very good. Or it could sound exactly the same and be well worth everyone’s time. Hopefully de Graaf won’t have to finance that second record, but even if for some weird reason Heavenly dropped out of the picture, it’s certain that many other labels would be only too happy to have someone this talented on their roster” (All Music)


December 2 The Bataclan w/ Nada Surf, Paris, FR

December 3 Cap Caval w/ Nada Surf, Penmarch, FR

December 4 La Nef w/ Nada Surf, Angouleme, FR

December 10 Freeze Festival, Leeuwarden, NL

January 11 Eurosonic, Groningen, NL

January 18 Oslo, London, UK

January 19 The Harley, Sheffield, UK

January 22 The Trades Club w/ Temples, Hebden Bridge, UK

February 9 One Of A Million Festival, Baden, CH

4 diciembre, 2016 Posted by | Amber Arcades | Deja un comentario

Greetings from Pepperland – The Junipers: Red Bouquet Fair (2016)

The Junipers son uno de esos extraños casos de bandas que no cuentan con el respaldo popular o el reconocimiento mayoritario de crítica y público, aunque su calidad musical es absolutamente irrefutable y sus composiciones son absolutamente sobresalientes.
The Junipers imageRed Bouquet Fair (2016) es su tercer disco. Una obra absolutamente intemporal de Pop de alto quilataje: Baroque Pop con las dosis adecuadas de lisergia y Psicodelia. Unos arreglos absolutamente sutiles y una producción sencillamente prodigiosa. Que no os deje llevar el aspecto aparentemente retro de su música. Olivia Tremor Control hicieron algo parecido en los noventa y fueron unos grandes tótems de la escena independiente. The Junipers, aunque sean de Leicester, se merecen algo más que una Premier League…

“The Junipers, for those who haven’t been paying attention, are one of this decade’s most important, unheralded guitar pop bands. Their previous album “Paint the Ground” is one of my favourites of the last few years. I’d previously thought of it as one of those rare, perfect pop records, but it can’t quite have been as this new album is even better. While “Paint the Ground” had a lovely pastoral tinge, “Red Bouquet Fair” is much more of a classic pop album, with songs that reach back to the sixties for inspiration without sounding tied to that decade or overly reverential. It’s obvious that these guys have fantastic record collections, but in no way do these songs sound like an attempt to replicate the music from those collections.
There are strong hooks on every single one of these songs, and these lads sure do know their way around a harmony; check out the lush vocal layering on “Summer Queen”. Absolutely stunning. Elsewhere, they use period embellishments sparingly for maximum effect. Particularly effective is the 12 string guitar solo on “Like a Merry Go Round”, while the sitar led “Her Come The Winds” is a marvelous psych-pop gem. And don’t get me started on the amazing kaleidoscopic psychedelia of “Burning Pages”.
And while classic harmony and psych-pop are the most obvious touchstones here, other influences rear their heads; “When the Bird Has Flown” is a lovely, moody choral harmony piece ala Midlake or the Fleet Foxes, while “Dig Me Up” brings to mind some of the brit-pop sounds of the mid nineties which have aged more gracefully than others.
Apart from the extremely solid songcraft, and those luscious harmonies, the main secret to “Red Bouquet Fair”s success is in the arrangements and production. It’s all beautifully layered, with imaginative touches that create a distinctive sound for the band, while preventing any of the songs sounding samey. Or to put it in a simpler fashion, it’s obvious that these songs are all the work of the same band, but each is a fresh creation which distinguishes itself from its predecessors.
It’s the sort of album which should make you a little bit angry at the injustices of the world. Paradoxically, I’d also imagine that it’s pretty much impossible to remain angry while listening to “Red Bouquet Fair”.  This should by all rights be a major label release with constant airplay and household name status for the band, and had the Junipers been around to release this 50, 40 or even 20 years ago, that may well have been the case, but we don’t currently live in a world where what the Junipers have to offer is in vogue with the masses. For us lucky few though, it’s a comforting, magical experience. Absolutely wonderful” (The Active Listener)


2 diciembre, 2016 Posted by | The Junipers | Deja un comentario

Caramelos de lluvia – THE PERFECT ENGLISH WEATHER: The sweetes felling (From Isobar Blues, Matinée Recordings, 2016)

Caramelos Janglies para días de lluvia como los que nos plantea el Perfecto Tiempo Inglés. Precioso nombre para este prometedor dúo de composiciones Pop con aspiraciones a melodías perfectas.

“The Perfect English Weather are Simon and Wendy Pickles, a duo from Brighton taking time out from The Popguns to create an enchanting collection of odes to overcast afternoons in seaside cafes, conversations with cats, and weekend adventures to cancelled Morrissey concerts.
Their debut album, ‘Isobar Blues’, was originally intended to be a short set of simple acoustic recordings, but as so often it does, one thing lead to another and they couldn’t help turning some of these vignettes into full-on electric guitar pop. The result is a flurry of guitars, words and melodies that stay with you all day … as their signature song ‘English Weather’ so dreamily reminds us. Mixing a little heartache with healthy dose of humour, this is an album for daydreamers to get lost inside, painting hazy glimpses of everyday life, always with half an eye on the skies and those prevailing south westerlies” (Press)


1 diciembre, 2016 Posted by | The Perfect English Weather | Deja un comentario

Urgencias – THE FEATURES: City scenes (Video-Single, 2016)

“Drawing from the likes of Public Image Ltd, Wire, the emerging New York no-wave movement and Town’s passion for late period Beatles, the Features offered a far more experimental and jagged sound than most of their peers and were instantly popular, drawing strong crowds at the assorted hall gigs that were increasingly regular weekend events in the city”


30 noviembre, 2016 Posted by | Features | Deja un comentario

Incombustibles – HALF JAPANESE: Attack of the giant leeches (Fire Records, Single, 2016)

Así como si tal cosa, Jad Fair, a sus sesenta añazos, continúa dando clases de vitalidad a base de guitarrazos y enérgicos compases de Pop aliñado con la actitud más proto-punk.
Attack of the giant leeches es el adelanto del que será el primer trabajo de Half Japanese en catorce años, a publicar a comienzos del próximo año.

“With Jad Fair at the helm for over four decades, the highly revered Half Japanese still remain “the ultimate expression of punk’s dictum that rock should be accessible to anyone who wanted to pick up an instrument and play” (AllMusic)


29 noviembre, 2016 Posted by | Jad Fair | Deja un comentario

Nubes de Guitarras – Vestidos: Vestidos (Emma´s House Records, 2016)

Cantan en español, usan una gruesa capa de guitarras como parapeto de unas canciones absolutamente deliciosas e intensas, y practican un Shoegaze de manual a la vieja usanza. Son de la República Dominicana y graban para una disquera mejicana. Se llaman Vestidos, y éste es su debut.


28 noviembre, 2016 Posted by | Vestidos | Deja un comentario

Baile y Acción – LES SUEQUES: Res (Single, El Genio Equivocado, 2016)

Pop enérgico y de sabor añejo. Les Sueques editan nuevo trabajo a comienzos del próximo año y éste es su adelanto.

“Con Res os avanzamos lo que será nuestro tercer álbum Moviment. Grabado en los Hermitage Work Studios de Londres, es una reivindicación de qué y cómo somos: desplazamiento y relación; nervio y contundencia. ¡1,2,3 Baile y acción!” (Prensa)


28 noviembre, 2016 Posted by | Les Sueques | Deja un comentario

Historias de Cama – BED: Klickitat (Bug Hunt, 2016)

El trío de Portland Bed (maldito nombre para rastrear por internet…) realizan un Slowfi que cautiva a las primeras escuchas. Su tratamiento sonoro es lo bastante epatante como para llamar la atención de los oídos indies más inquietos.

Bed spent the last year and a half releasing a steady stream of singles and videos, gradually creeping into a steady existence. Recent live appearances include prominent appearances at Treefort Music Fest and David Music Fest, as well as shows up and down the northern west coast in support of bands such as Sylvan Esso, R.Ring, Diet Cig and Telekinesis.
In 2016 the band will be releasing a five track 12″ Ep via Portland Indie label Bug Hunt (as well as their debut full-lenght record, wich they are currently recording with producer Larry Crane at Jackpot Recording Studio, in Portland” (Press)


27 noviembre, 2016 Posted by | Bed | Deja un comentario

Historias de la Vida – BOB MOULD: Patch the sky (Merge, 2016)

Patch the Sky parece que es el álbum encargado de cerrar la trilogía de la intronspección de Bob Mould. Entre 2012 y 2016, el ya cincuentón líder de Hüsker Dü y Sugar nos ofrece una visión real y auténtica de su trayectoria vital a través de las pérdidas de su padre, madre y de su situación actual, agarrado a la existencia (Hold on). Un álbum que, sin descubrirnos nada especialmente nuevo en el universo sonoro de Mould (ni falta que nos hace), sí que incide en esa áspera visión del Pop-Punk y de las melodías firmadas por uno de los grandes gurús del Indie de guitarras de las últimas décadas.

“On Patch the Sky Mould seems to be at peace, if not with the world at large, at least in regards to the way he can best address it. He may always be one of rock and roll’s great contrarians—angry, angsty, and loud—but after nearly 35 years of making records, he no longer seems determined to be kicking against his own strengths. In fact, he’s finally embracing them. “I’m a really good rhythm guitar player, a fair vocalist, and a pretty simple songwriter,” Mould recently told the New York Times. “Now that I’ve come to accept that, it’s much easier to work with.” To that end, Patch the Sky has a remarkable sense of clarity—playing like a record that is less concerned with reinventing the wheel as opposed to simply refining it.
“Can I find some truth within the noise?” Mould asks on opening track “Voices in My Head.” It’s a question that the rest of Patch the Sky answers with a resounding yes. The best tracks on the record are the most furiously full-throttled, many of which threaten to drown out Mould’s voice entirely. “The End of Things” lets fly with one of the best riffs Mould has written in a decade, bashed out with the kind of stupid raw enthusiasm that brings to mind the best of his Sugar output back in the ’90s. Similarly, tracks like “Daddy’s Favorite,”  “Pray For Rain,” and “Hands Are tied” (a punked out rave up that revs up and explodes in under two minutes) all provide the gleeful no-nonsense squall of the world’s most amped garage band.
Joined by drummer Jon Wurster and bassist Jason Narducy, Mould seems to be having a genuinely good time here, even when the subject matter veers directly (and somewhat predictably, for Mould) into apocalyptic territory (“Lucifer and God”) or tries to unpack frazzled relationships (“You Say You”). Mould still sounds best when he’s articulating anger at a high volume, and Patch the Sky succeeds largely because these songs sound as if they were hardwired to raw nerves. It’s only when the songs slow down slightly (“Hold On,” “Black Confetti”) that they start to feel like a generic slog.
While he might never be able to duplicate the desperate urgency of his iconic punk rock past, Mould more than makes up with it in terms of sheer intensity. At 55, Mould has managed to do a bit of everything, his career having come full circle several times over. His voice—an odd, atonal yelp—still sounds the most absolutely right when paired with overdriven guitars. “I keep searching, hoping, waiting for the sun that always shines so bright on everyone,” he sings on album closer “Monument” providing a little light amid the dissonance. The songs here aren’t necessarily breaking new ground stylistically, but that really isn’t what matters. At this point, Mould clearly has nothing left to prove” (Pitchfork)


25 noviembre, 2016 Posted by | Bob Mould | Deja un comentario

Jet Black & Dead Horse One – Split Single (2016)

Contundente sencillo compartido a pachas entre dos bandas con ciertos rasgos en común: algo más tendentes al Neo-Grunge la primera y un sonido más próximo al Neo-Psych la segunda. La cassette es absolutamente epatante.


24 noviembre, 2016 Posted by | Dead Horse One, Jet Black | Deja un comentario

Clases Nocturnas – NIGHT SCHOOL: Blush (Graveface Records, 2016)

Coge algunos éxitos de grupos de chicas de los sesenta. Añádeles un bajo y guitarras muy distorsionados y una pizca de voces angelicales y ésa será la fórmula del debut en largo del trío de Oakland Night School. Una Girl-Band de inspiración clásica y sonidos contemporáneos.

“They began working on songs in the vein of 60’s bands such as The Crystals, The Shirelles and The Shangri-las with heavy distortion and reverb on guitars. The two began to work on their debut EP Heart Beat and recorded it in the spring of 2014. After the recording of Heart Beat, Baylie’s friend Cheyenne Avant, who had been living in Los Angeles, moved back up to Oakland and completed the band playing bass. Heart Beat was released in October of 2014 following a split EP with fellow label mates Dott entitled Carousel. Night School shared the stage with acts such as Best Coast, Whirr and Creepoid in 2015.
Night School’s debut full-length Blush is due out June 17th, 2016 with tour dates sprinkled around the release. Blush draws on influences such as 90’s era Weezer and the Beach Boys. The record features fuzzy guitars and twinkly leads paired with soft, reverb-heavy vocals and complex harmonies” (Press)


23 noviembre, 2016 Posted by | Night School | Deja un comentario

Popforce – TIBET: Above the moon (Alcopop!, 2016)

Hacía tiempo que no posteábamos un disco sencillamente de Pop, en este caso con fuerte influencia del Power-Pop y del Indie más tradicional. Pues aquí están Tibet con su Above the moon. Un disco quizás sin demasiadas pretensiones, pero con el gancho y la energía suficiente para hacer pasar un buen rato.


22 noviembre, 2016 Posted by | Tibet | Deja un comentario

Turbulencias Sentimentales – LECCIONES DE VUELO: Caza (2016)

foto de LECCIONES DE VUELOLos madrileños Lecciones de Vuelo han dado un paso más adelante en todos los aspectos con este Caza (2016). Su segundo trabajo es, formalmente, el primero con la formación ampliada a sexteto. El primero grabado en un estudio profesional (aunque continúan con la fórmula de la autoedición), Ha sido grabado, mezclado y producido por Guille Mostaza en Álamo Shock y masterizado por Estanislao Elorza en Doctor Master; y es el paso adelante en madurez que toda banda suele ofrecer normalmente en su segundo disco.

Caza nos ofrece el florecimiento a nivel de letras de la banda: un disco en el que las turbulencias sentimentales o personales están a la orden del día. Pero también hay una maduración a nivel sonoro. Además de sonar mejor, LDV nos ofrecen un mayor espectro sonoro, ampliando éste hacia sintes, arreglos que en su sencillez, quizás antes no aparecían, y en general un tono más brillante en todo su conjunto.
Musicalmente hablando, las influencias de Lecciones sí que pasan por ser las mismas: el Pop de guitarras de toda la vida, influidos quizás por cierta huella del Pop de los ochenta e incluso por momentos de la Nueva Ola de finales de los setenta.
Caza es, probablemente, el álbum que confirmará a Lecciones de Vuelo ya no como una de las revelaciones del Pop de la década, sino como una banda plenamente consolidada.


21 noviembre, 2016 Posted by | Lecciones de Vuelo | Deja un comentario

Dream Baby Dream – ULTRA MATERIAL: Double date (Black Wire Records, 2016)

Un juego de parejas, un juego de dúos. Así es la música de Ultra Material. Dos parejas de amigos deciden unir sus fuerzas para dar forma a este bello ejercicio de Dream-Pop con influencias claramente Kraut.

“Ultra Material are Sarah Deasy (vox/bass), Nick Skepper (guitar/vox), Zuzana Kovar (synthesizer), and Matthew Deasy (drums) from Brisbane, Australia. The two couples had been friends for years from playing shows together in Do The Robot and Sunshine State, and decided to join together to create a concentrated affair of longing, roads, and dreams dipped in a wash of sound. A simple joy turned into a transcendent haze of electric light, their first self titled EP was launched on cassette in August 2015 withDouble Date, their full length album, set to be released on vinyl in early May 2016 through Black Wire Records” (Press)


20 noviembre, 2016 Posted by | Ultra Material | Deja un comentario

Retro View – HIGH HILLS: Illusion (2016)

Pocos datos son los que disponemos de este combo de Montreal que factura una suerte de Psycho-Pop de raigambre surfera y aromas inevitablemente añejos…

19 noviembre, 2016 Posted by | High Hills | Deja un comentario

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