The JangleBox

Indie, Noise, Shoegaze… Music

No Bodies: No Bodies (2014)

No Bodies s/t cover art

Esencias Psicodélicas

Uno de los mejores Ep´s del año pasado lo editaron este combo llamado No Bodies, del que poco sabemos realmente. Tan sólo que publicaron su Cassette para Poncho Records, una compañía con base en Halifax, Nova Scotia, Canadá. 
¿Su sonido? Pues algo así como una aproximación Psicodélica a ciertos sonidos oscuros de los sesenta, en los que incluiría tanto la propia Psicodelia como el Garaje, el Raga o el Folk-Rock. Su forma de actualizarlo: acercándolo al Rock alternativo noventero. Muy muy interesantes. Os dejo con una entrevista aparecida en la publicación digital It´s Psychedelic, Baby:

Who are No Bodies?
Craig: James, Justin, Keith and me (Craig).

Where are you coming from?
Craig: Halifax, Nova Scotia.

You released an album on cassette, that I’m currently digging so much on Poncho Records from Halifax, Canada. What’s the story behind making this album?
Craig: It was recorded with James and Craig. We wanted to do a psych influenced band so we each wrote some songs and recorded them at the echo chamber which is a recording studio that James works at as an engineer. We weren’t sure what would come out of the recording, but it turned out pleasant enough and we were happy.

Where do your influences come from?
Craig: Well, for me I like melodic stuff like The Kinks, Flying Burrito Bros, Byrds, Jefferson Airplane but also other older bands like Morgen, 13th Floor Elevators, Pink Floyd, etc. the usual stuff that people like.

How is the local scene in your city? Are you involved with it? Any bands you would like to recommend?
Craig: Our scene is fantastic. Lots of great bands. Walrus, Shadow Folk, Best Fiends, Saffrons, Moon and many, many others.

I do a lot of booking and am fairly involved with the band scene.
Where did you record the album and what can you tell us about the recording process?
Craig: James can tell you about that more.

We just went to the studio late at night and tried to feel good.
James: We recorded it at Echo Chamber Audio in Halifax, NS. I work there as a part time engineer. We took a very experimental and relaxed approach to recording. Some songs were done with a single mic planted in the room recording both drums and guitar for a very live feel. Other songs we done with more modern techniques, recording each instrument individually with multiple microphones.
Do you all like to record?
No Bodies: Love it.

What gear was used?
James: We used a lot of different microphones to shape the sound. Anything I could find in the mic closet that I hadn’t used yet and was curious to hear. Hardly any condensers, mostly ribbons and dynamics for a darker/softer tone. Analogue and digital delays and spring reverbs. An ’70s MCI console for the front end. All recorded to a computer!

How about the cover artwork?
Craig: Wanted a picture for the bandcamp so searched public domain images. I thought the picture was a good fit for the music, as pretentious as that might sound.

How many copies were made?
Craig: 60 I think.

Do you have any new material?
Craig: Yup. A song hastily recorded for a comp on Poncho Records. A fair amount of other songs waiting to be recorded.

Does anything else exist? Were you in any other bands before this?
Craig: James and I have played in a lot of other bands before. Playing all sorts of different kinds of music.

Do you do any concerts or have a plan for the future?
Craig: I would like to record more. We probably will play house shows once and awhile. I suppose we will probably play different places if people ask us.

Lately there is a nice vinyl and cassette comeback and I myself am fucking crazy vinyl head and when I got your cassette it was really special feeling listening to it on tape deck. What’s your opinion about vinyl comeback and do you own a collection?
Craig: I have a huge vinyl collection. I love vinyl and I would love to have “No Bodies” on a record some day. I love everything about records, they create a special feeling for me which isn’t comparable to any other medium.

Poncho Records seems to be a really cool underground record company, that has been releasing some really rad stuff. How did you come in contact?
Craig: After we recorded the EP we were looking for someone to release it. I was a big fan of Walrus and it seemed they had their own label with Poncho. I thought our songs fit well with theirs so I asked Justin if he would be interested in doing something with it. Luckily he was.

What would you say are your songs about?
Craig: My songs on the EP are meant to be eerie. (Hopefully) Pretty melodies and song structures but with darker themes. Exploring concepts that have troubled me and giving that discomfort validity and purpose through “art”.

James: I try to make them ambiguous as possible. I like to think I’m creating a mood with a song rather than telling a story.
Well, thanks for taking your time guys. Would you like to share anything else with It’s Psychedelic Baby Magazine?
Craig: We are happy that you would take the time to interview us and have an interest in our band.

Poncho Records

27 marzo, 2015 Posted by | No Bodies | Deja un comentario

Jad Fair & Danielson: Solid Gold Heart (Sounds Familyre, 2014)

cover art

“If you can overlook these flaws, Solid Gold Heart is, well, solid. Anyone who listens to this record is in for a treat: an uplifting, life-affirming experience. “Grab and hold on to the brightness” goes Fair at one point, and that’s pretty much the manifesto of the entire album. This is just pure pop, full of peppy gems that’ll put a smile on your face and a spring in your step. It’s hard to hate something that is so positive and uptempo, and, as far as it goes here, the fruits of this shared labour of love yield largely great results. It makes you wonder what those other three albums are going to sound like, but if one thing’s for sure, if they’re anywhere nearly as good as this one, Fair fans are going to be in for a real treat. Solid Gold Heart glitters and pulsates with goofy and infectious energy, and pretty much doesn’t make a frown be your umbrella. This is an album of happiness, of fighting for the powers of righteousness, and diving into some mom’s homemade apple pie. Still having a bad day? Let Jad Fair and Danielson lift your spirits. This is resolutely the most heartwarming and sweet album you’re going to hear all year, and one thing still remains, and that is Jad Fair is still the coolest man in indie rock”

25 marzo, 2015 Posted by | Danielson, Jad Fair | Deja un comentario

Tv Girl: French Exit (2014)

French Exit cover art

French Connection

Tv Girl ha pasado, en estos cinco últimos años, a convertirse en un sencillo proyecto de Bedroom-Pop y samplers que publicaba sus propios sencillos y Ep´s a algo más consolidado, llegando a publicar el año pasado este French Exit, el que fue su álbum de debut. En TJB me atrevería a asegurar que fuimos uno de los primeros blogs que les dio cancha en España. Su sonido no ha ido cambiando mucho con el paso del tiempo: Pop sencillo, toques de Tropicalia, sabores filo-europeos, delicadeza y un sutil aderezo de un fino sentido del humor presente en muchos de sus temas.
Doce cortes a cual más tierno, sincero y delicado. Disfrutable cien por cien.
Si deseas una copia digital, lo puedes hacer gratuitamente desde su Bandcamp, aunque la edición en vinilo ha sido editada de nuevo en plástico de colores.

“French Exit is TV Girl’s debut album. Depending on how you look at it. 12 songs about lost lust, too much love and not enough”

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24 marzo, 2015 Posted by | TV Girl | Deja un comentario

Jygüer: Armonía / Elche (Single, 2015)

Garaje-Pop, armonías desenfadadas y trazos de Psicodelia. Banda novel que llega desde Madrid y han contado con colaboraciones de Jorge Explosión.

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23 marzo, 2015 Posted by | Jygüer | Deja un comentario

Blacanova: La soga (El Genio Equivocado, Single, 2015)

Los sevillanos Blacanova vuelven a la carga en este 2015, quizás algo más claustrofóbicos, con La soga, el sencillo que sirve de adelanto a Regiones devastadas, su próximo álbum en El Genio Equivocado.

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23 marzo, 2015 Posted by | Blacanova | Deja un comentario

Belle and Sebastian: Girls in peacetime want to dance (Matador, 2015)

Girls In Peacetime Want to Dance

Para el regreso de Belle and Sebastian, a casi todos los que en algún momento hemos sentido empatía por la banda de Stuart Murdoch, casi nos da un ataque cuando oímos cortes como The party line o Enter Sylvia Plath. Porque lo que nos encontrábamos era algo muy distinto a lo que todos esperábamos de una banda tan consolidada como BAS. Quizás y posiblemente por éso, Stuart haya decidido que ya iba siendo hora de girar un poco el timón y variar algo su tradicional óptica musical, adoptando nuevas actitudes y ampliando sus horizontes sonoros. 
Supongo que ésto formará parte de un plan para no convertirse en una mera autorepetición de clichés y transformarse en una sombra de sí mismos. A fin de cuentas, la mayor parte de las bandas que han sido algo en el mundo de la música, han experimentado una evolución a lo largo de los años.
Todo ésto viene a cuento para comentar que, aunque valoro positivamente su evolución sonora, entiendo que a Belle and Sebastian no le sientan nada bien los acercamientos al Disco ni al Europop. Evidentemente, les dejan en evidencia en seguida los ritmos bailables, los truquitos de sintetizadores y demás zarandajas.
Afortunadamente, en un disco como Girls in peacetime want to dance, no todo es, ni mucho menos, baile. Ahí están Ever had a little faith?, Nobody´s empire, Allie, The cat with the cream, The everlasting muse… para devolvernos a unos BAS mucho más cercanos a la imagen que de ellos todos guardamos en nuestro subconsciente.
Os dejo algunas palabras que otros han dicho sobre el álbum…


“On Girls in Peacetime Want to Dance, they’ve added a new wrinkle by writing an album that attempts to be pop qua pop, filled with synthesizers and dance grooves to coax their once notoriously-staid live crowds to cut a rug. Even the artwork is different: This is their first cover that doesn’t use a monochromatic photographic still that directly references the Smiths, their emotional forerunner. The band hired outside producer Ben H. Allen III (Animal Collective, Washed Out) to punch up their sound, and he encouraged them to take more chances. The band is confident enough to step into pro forma P-funk on “The Party Line” and polka singalong on “The Everlasting Muse” without losing their penchant for bookishness: “The Power of Three” name drops Sherlock Holmes and Moriarty, while the jaunty “Play for Today” mixes in chants of “author! author!” as Murdoch and Dee Dee Penny of Dum Dum Girls trade harmonies.
“Enter Sylvia Plath” combines both worlds, with a brittle rhythmic backbone giving the band their first song that you might—might—hear in a club. “The Cat With the Cream” and “Ever Had a Little Faith?” are both classic Sebastian, softly spoken songs where Murdoch reminisces for rainy days and childhood wonder. The piano line that kicks in during the latter’s outro is a pleasant little melody that accentuates Murdoch’s ear for nostalgic detail. So does “Nobody’s Empire”, which Murdoch wasn’t lying about. It’s a nakedly autobiographical song that’s verbose even by their standards, with Murdoch spitting rapid-fire verses over a sleepy melody before letting loose with what passes for a scream in the Sebastian-verse, which is a place filled with indoor voices.
In an interview with the Daily Beast, Murdoch said he would’ve loved to be “a young Carole King,” working in the Brill Building where so many of pop’s yesteryear hits were written. “I see no reason why that music can’t be possible again, but I look around and don’t see it,” he said. “Sophisticated, nuanced, melodious pop music, that sweeps you away.” That Murdoch’s shining ideal of pop harkens back to a half-century ago goes hand-in-hand with a lot of the band’s dandier affectations, as does his casual dismissiveness of today’s comparatively hedonistic Top 40. It’s also strange because, to many long time listeners, the band already took their shot at writing a pop album with 2003’s Dear Catastrophe Waitress and 2006’s The Life Pursuit, where they churned out romantic hook-loaded singalongs like “I’m a Cuckoo” and “The Blues Are Still Blue”, both of which are catchier and more memorable than anything on Girls in Peacetime Want to Dance. 
Besides, Murdoch is surely trifling if he doesn’t think sweeping, sophisticated pop has a place on the charts: Adele and Sam Smith are two singers who’ve carved their niche by singing right to your parents. A flippant comment to Pitchfork about how listeners would rather lose themselves in Nina Simone than Beyoncé shows not just a flagrant misunderstanding of how people listen to Beyoncé, but to the artists they love. He means well, but it faintly stinks of snobbery that’s gotten other indie acts in trouble when they’ve tried to explain their theory of pop with, well, a lot of theory. Tom Krell of How to Dress Well raised hackles when he told Pitchfork he wanted to be “pop, but not populist.” But what’s wrong with trying to appeal to as many people as possible? 
Girls in Peacetime Want to Dance reminds me of another recent attempt from a high-profile indie band to change directions. Arcade Fire surprised fans with the Caribbean-influenced Reflektor, their attempt at writing a looser, more playful album. They sort of looked like a bunch of dorks, but it didn’t matter. Eventually, everyone learns what children and merengue instructors know to be true: Dancing is fun, regardless of how well you move your hips.
Look at the video of the band cutting through “I’m a Cuckoo” from the 2013 Pitchfork Music Festival. Murdoch hams it up, casting flirtatious looks from side-to-side, dropping to his knees like Elvis. At one point, he loses the guitar, because you can’t dance while holding a guitar. He’s having fun. And if fun is what he wants to have after 19 years and nine albums anointing them as kings of coyness and crossed arms—it’s hard to begrudge that.
And, who knows: Maybe this is the album to teach someone about fun. If not, it’s still a perfectly respectable hour of Northern soul-influenced pop, even if it’s difficult not to hear the intention behind every song. (Or to shake the feeling that a band like Cut Copy is much better at this shambling soul revue style of music.) One of Murdoch’s imaginary women instructs him to “be popular, play pop, and you will win my love” on “The Everlasting Muse”, which sounds like noble inspiration but ends up falling short. You don’t win anyone by simply playing a pop song, or by deciding to be pop. It takes something else, something that can’t be explained by a mission statement. For a band so well-loved for writing from their heart, it sounds like they got stuck in their head” (Pitchfork)

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20 marzo, 2015 Posted by | Belle and Sebastian | Deja un comentario

Idlewild: Everything ever written (2015)

Everything Ever Written

El séptimo trabajo de los escoceses Idlewild nos presenta a una banda absolutamente más reflexiva y macerada y madurada con el tiempo. Sin un sencillo claro al que agarrarse (si acaso la brillante Collect yourself, que abre el set), Everything ever written suena más a epitafio y despedida que a otra cosa. Con la influencia de un estilo con claras muestras de desgaste, el último disco de Idlewild no es precisamente una obra que pasará a los anales del Pop. Amantes de los últimos Rem o Wilco podrán tener ratos de disfrute. Instigadores sonoros u oídos más inquietos, mejor manteneos alejados.


“Everything Ever Written is, then, a genre-traversing, surprising, melodic, poetic, anthemic record with heart, smarts and soul. It may not recapture the Fugazi-fuelled fire of their youths; it may not scale the obviously commercial heights of their mid-period – but it certainly lays to rest any ideas of a band lost to complacency or confusion. The focus is there, the execution is there. It’s a record that delivers, satisfies, challenges and is occasionally sublime. So now, go back to the opening sentence of this review and replace ‘were once’ with a simple ‘are’ (Drowned in Sound)

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19 marzo, 2015 Posted by | Idlewild | Deja un comentario

Kramies: The fate that never favored us (Hidden Shoal Recordings, Single, 2015)

Si hay algo que se le puede pedir a una mañana soleada es una canción como ésta: evocadora, relajada, calmada y absolutamente arrebatadora. Un waltz preñado de Space-Rock. Me suena a los Notorious Byrd Brothers, me recuerda a los Mercury Rev realmente interesantes.
Un sencillo realmente espectacular. Un pequeño trocito de dulzura empaquetada en formato sencillo. El responsable es Kramies (aka. Kramies Windt), el cantautor afincado en Colorado. Jason Lytle ha producido el tema, el cual, por cierto, está disponible para su descarga gratuita.

“Ahead of his forthcoming French tour, dream-pop troubadour Kramies has dropped another gorgeous track produced by Jason Lytle (Grandaddy). ‘The Fate That Never Favored Us’ is a lilting, swaying cosmic waltz, delicately built around melancholy acoustic guitar and eerie synths, through which Kramies weaves his languid vocals. As with so much of his music, Kramies delivers soundtracks to moments rather than mere songs” (Press)

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18 marzo, 2015 Posted by | Kramies | Deja un comentario

Wish: Wish (Hand Drawn Dracula, 2015)

Wish es el resultado de varios años por parte de Kyle Conolly componiendo temas y estructurando éstos en un álbum dándole forma. Lo interesante del invento es que el mismo fue grabado, registrado y mezclado en un tiempo récord, manteniendo una frescura innegable. Lo menos bueno es que verdaderamente, Wish tiene el pequeño lastre de no tener un estilo claro y definido, aunque en ello muchos podrán ver un signo de interés y de curiosidad.


“WISH is a collection of songs spawned from the mind of 23 year old Kyle Connolly. Having accumulated a wealth of material in the past few years while recording and performing in Milk Lines, Breeze, and Beliefs, Kyle assembled a line-up of musicians and began recording several volumes of his own work at Toronto’s Candle Recording Studio. Joining Kyle are Peter Gosling (Decades, Lobby) on drums, Emily Bitze (Milk Lines) on bass, and long time friend/musical collaborator Josh Korody (Beliefs, Breeze) on guitar. 
WISH was produced, mixed, and mastered by Josh Korody and Connolly. Recorded in just two days, the spontaneous feel and energy of their psychedelic dream pop sound calls to mind Sonic Youth, Lou Reed, Pavement, Neu!, and Meat Puppets. In the past year WISH have shared the stage and the retro sensibilities of King Khan & The Shrines, Ought, Crystal Stilts, and The Dandy Warhols” (Press)

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18 marzo, 2015 Posted by | Wish | Deja un comentario

Stetsasonic: Talkin´all that jazz (Rhythm Scholar Funksonic Remix, 2015)

Este clásico del Hip Hop-Funky de 1988 ha recibido el tratamiento rítmico de Rhythm Scholar: Jazz, Funk, Disco!! ¡Nuestro amigo el todoterreno RS se atreve con todo…!

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17 marzo, 2015 Posted by | Rhythm Scholar | Deja un comentario

Homeless: La ciencia lo sabe (Discos del Rollo, 2015)

La ciencia lo sabe cover art
Himnos para corear como Hooligans y medios tiempos ruidosos que te contraerán las vísceras. Nueve canciones de pop intenso y guitarrero para bailar de principio a fin.
“La ciencia lo sabe” es el fruto de casi una década de alquimia entre el noise y el jangle pop. Grabado al alimón entre los estudios Grabaciones Sumergidas y La Factoría Dalton y producido por Juan Antonio Mateos y Diego Pozo, será editado por el sello Discosdelrollo. Estará disponible en todas las plataformas digitales y podrá adquirirse en formato físico, y en una edición limitada fabricada a mano, como es costumbre en el sello gaditano.
PORTADA: El arte de la portada se inspira en aquellas que contenían vinilos de Jazz de Columbia Records. Es un diseño de Félix García (Discosdelrollo), sobre una fotografía obra de Blanca Viñas, conocida ya en el mundo de la música por sus trabajos para La Fonoteca Barcelona, o para las portadas y carteles de otros artistas como Sr Chinarro. Es la fotógrafa que mejor retrata esta generación musical, combinando lo analógico con las técnicas más innovadoras, despertando sensaciones con sus fotos…que de eso trata el arte.
TRACKLIST: 1. Y hasta fuimos campeones (single) / 2. El coloso en llamas / 3. Como las sombras (single) / 4. Ni en un millón de años / 5. Cuando éramos punk rockers / 6. Omaha / 7. John & Yoko / 8. Betablocker / 9. Mejor me matas

HOMELESS
El grupo había colgado las guitarras en el 2010 tras haber parido tres epés: “Teoría de la conspiración” (2006), “Defendiendo el flanco débil” (2007) y “La mala suerte” (2008). Estas grabaciones les habían servido para ser declarados Mejor grupo Indie-Rock en los premios PopEye2008 y participar en recopilatorios del sello Bon Vivant. En 2013 publicaron su cuarto EP, “Sinestesia” (Discosdelrollo), tras varios años de silencio y con una renovada formación para presentarlo en vivo. La prensa acogió con los brazos abiertos el EP y en 2014 pasaron por Monkey Week, FIB,Planetademos… Tienen un potente y cuidado directo en el que despliegan toda su artillería de pop guitarrero e intenso que recuerda a The Church, Teenage Fanclub o Lemonheads. Su primer LP “La ciencia lo sabe” (Discosdelrollo, 2015) consta de nueve temas en castellano y ha sido grabado entre los estudios Grabaciones Sumergidas (El Pto. de Santa María) y La Factoría Dalton (San Fernando) bajo la producción de Diego Pozo y Juan Antonio Mateos.
La formación actual de la banda es:
Diego Pozo (Voz y Guitarra) / Pedro Misas (Batería) / Juan Antonio Mateos (Guitarra) / Tamara Díaz (Bajo) / Félix García (Guitarra y teclados). (Prensa)
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16 marzo, 2015 Posted by | Homeless | Deja un comentario

El Lado Oscuro de La Broca: Meseta (Vídeo-Single, El Genio Equivocado, 2015)

Tras “Los líderes africanos”, tema elegido hace unas semanas por El Lado Oscuro de la Broca para adelantar su álbum de debut titulado “Beta“, nos llega un nuevo tema y videoclip de un disco que se publicará en marzo de 2015 y que editará El Genio Equivocado. Este debut en formato largo fue grabado y producido por Carlos Hernándezen el Studio B de Madrid.
“Meseta”, que así se llama el nuevo single, viene acompañado también por un curioso vídeo, realizado por uno de los componentes de la banda, Rubén Casas Barrigón. ​El vídeo está grabado con cámaras Handycam de los 90 y es un homenaje al medium de los pintores muertos Luiz Antonio Gasparetto, interpretado para la ocasión por Ramón Enríquez. Se trata de un remake del programa número 13 de En Busca del Misterio y fue grabado en La Sala de Cura en Zamora. La banda agradece a Íker Jiménez por la inspiración. El vídeo lo puedes ver en la web de Radio 3, en el blog de Capitán Demo, donde se ha estrenado el tema.La banda de Zamora nacía a mediados de 2008 y en la actualidad está formada por Cesar Serrano (Batería), Juan Alfonso (Guitarra y voz), Rubén Casas (Guitarra), Roberto Rodrigo(Bajo) y Roger Soto (Sintetizadores). Su sonido es compacto y personal, a medio camino entre el post-punk, el shoegaze y el noise, con influencias como El Columpio Asesino, Mogwai o My bloody Valentine. En sus directos mantienen una atmósfera creada a partir de potentes y ruidosas guitarras, en los que el volumen y la contundencia acompañan a unas letras que se confunden entre lo onírico y lo absurdo. Han tocado en el Sonorama 2012, Microsonidos 2013 (12yMedio), Festival El Subterráneo (Sala Costello), Festival Tomavistas y en salas de Salamanca, Madrid, Barcelona, Zaragoza, Guadalajara, Murcia, Pamplona, Valladolid…

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16 marzo, 2015 Posted by | El Lado Oscuro de La Broca | Deja un comentario

Revolution, The Shoegaze Revival (Ear to Ear Records, 2015)

Revolution - The Shoegaze Revival cover art

Que el Shoegaze volvió a resurgir hace unos años es un hecho contrastado. Como también lo es que el género goza de una salud incluso mejor que a finales de los ochenta, cuando iluminados como Ride o My Bloody Valentine descubrieron una nueva manera de distorsionar las guitarras, de tocar el cielo del Dream y de mostrarnos una forma de hacer las cosas que desde luego, aún hoy permanece absolutamente vigente.
El sello Ear to Ear Records se hace eco de ello, y ha producido esta tremenda recopilación donde aparecen algunas de las mejores (aunque no siempre las más conocidas) bandas del panorama.


Cataclysmic times, it’s often said, produces great art. So does diversity. The modern day musical landscape is in a constant state of change with its many scenes recreating themselves into something interestingly new. This equally applies to the shoegaze genre. Beautiful Noise is still being made and it’s sounding from all four corners of the globe. 

2014 was a great year for shoegaze fans, with news surrounding the reformation of bands like Slowdive, Swervedriver, Ride and Medicine. 2015 is primed to be just as interesting and we are kicking it off by presenting the new breed, who are writing the next chapter in shoegaze. In the wake of the reformation of these ‘first wave’ shoegaze bands, we have amalgamated underground artists from all over the world, who are virtually united under one revolutionary flag – that of a shoegaze revival.

“Revolution – The Shoegaze Revival” is an epic, truly international 30-track compilation comprised of outstanding original material. Such bands have set the stage for shoegaze pioneers’ return to today’s scene by upholding their wall of sound and painting it with breathtaking colour. Some of these bands are also ‘first wave’ but have remained underground, while some are newbies – the ‘second wave’ of shoegaze.
Curated by UK label Ear to Ear Records and Indonesian label Gerpfast Kolektif, this compilation features 30 bands from 16 countries, covering 5 of the 6 inhabited continents. Each was selected purely on the basis of their dynamic sound, without any consideration of geographic preference, label affiliation, popularity ranking or hype. Without even one throwaway or filler track, these are all ‘keepers’.
This is not a shoegaze tribute album to MBV or Slowdive, or even The Beatles. There is simply so much greatness to the new wave of shoegaze that we’re focusing on original tracks, which showcase the immense talent of the featured bands. For some, this album may be the best shoegaze soundtrack they’ll encounter in 2015. At minimum, this will serve as a fantastic introduction to these new sounds and happily tide existing shoegaze fans over for quite some time.

Creation Records co-founder Joe Foster (also noted for producing My Bloody Valentine, Primal Scream, and Jesus & Mary Chain) is also throwing hissupport behing this initiative, stating “This is a new comp with the best of the world shoegaze/magical psychpoppy’s REBIRTH…. Ear To Ear Records are a new Welsh/Canadian label in the spirit of Creation and 4AD and just as obsessed as that! Why do I refer to rebirth instead of revival? In contrast, a *rebirth* in the same period gave us such bands as The Cramps, Primal Scream and Cocteau Twins – what a range!! And such a huge and wide world of music…this is exactly what is happening again in a new and unexpected way! 30 bands from 16 countries worldwide…an unprecedented spread of hope and art“. 
Members of Swervedriver, Slowdive, The Brian Jonestown Massacre, Swallow [4AD Records], Strata Florida [Saint Marie Records] and The Telescopes [Creation Records] have also expressed their support, as well as renowned British producer Fran Ashcroft (Damon Albarn, Lords of Acid). We are hopeful that this compilation will help move this genre beyond being “The Scene That Celebrates Itself” to one that is also celebrated by others…  

FEATURED BANDS:     //orangenoise (Pakistan) / Sounds of Sputnik (Russia) /The Yours (Hong Kong) / Trementina (Chile) / Ummagma (Canada-Ukraine) /Digilite (Indonesia) / Jaguwar (Germany) / Stellarscope (USA) / Spool (Japan) /Wozniak (Scotland) / Ether Feels (Japan) / Hideous Towns (Australia) / Lights That Change (Wales, UK) / Damascus (Indonesia) / Weird. (Italy) / Hermetic Delight (France) / Rev Rev Rev (Italy) / The Evening Primrose (Hong Kong) /Stella Diana (Italy) / Seaside (Indonesia) / Blood Lips (UK) / Magao (Japan) /Clustersun (Italy) / Duelectrum (Brazil) / Intenna (Indonesia) / Robsongs (Brazil) / Slow Motion Picture (USA) / Thud (Hong Kong) / Sharesprings (Indonesia) /Puna (Peru)

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15 marzo, 2015 Posted by | VV.AA. | 1 Comentario

Colleen Green: I want to grow up (Hardly Art, 2014)

El segundo trabajo de la californiana Colleen Green nos muestra, efectivamente, a una Colleen mucho más madura, probablemente a todos los niveles, no tan sólo el musical: el álbum ya se abre con un trallazo de Pop de guitarras punzantes y espíritu noventero: I want to grow up, el corte que da título al álbum.
En el disco, además, nos vamos a encontrar con una evolución lógica de su sonido: del intimismo Noise de su primer trabajo, en éste nos toparemos con una banda hecha, fruto de la colaboración de amigos como Jake Orrall (Jeff the Brotherhood). Los temas están mucho más elaborados, mucho más horneados y sin duda saboreados. Aunque por momentos nos encontremos con las cajitas de ritmo y el minimalismo sonoro más cercao a momentos anteriores (Deeper than love, Whatever I want).
Las influencias sonoras que más fácilmente podría reconocer son las del Pop de guitarras de los noventa, el Punk vía Ramones, y aquel movimiento de las College Radios (Black Babies, Rem, Pixies, Breeders…).
Tv y Pay attention son los dos pilares en los que I want to grow up se sustenta: dos cortes impresionantes en los que resumir todo ésto de lo que hablo: Intensidad, mensajes sencillos y efectivos, guitarrazos y melodías adictivas. Things that are bad for me, Wild one, I want to grow up, Some people, Grind my teeth son las acompañantes idóneas.
Porque ése es otra de las grandes bazas de Colleen: su capacidad de sintetizar elementos claves a la hora de construir preciosas canciones Pop. El resultado era, consecuentemente, un trabajo como I want to grow up, un disco que a fuerza de sencillo, se deja querer con extrema facilidad.


“Green’s got a knack for songwriting. While the Ramones taught us all that we only need a few chords to make an endless number of perfect pop songs, most bands that have followed that model to the letter don’t have the ear for hooks, structure, or wordplay that their heroes did. Green does. She is also extremely effective at manipulating the studio to get the hidden depths of her seemingly simple songs—the sharks, jellyfish and other prehistoric monsters beneath the sunny surface of the beach waves—to become evident.
“Deeper Than Love”, for instance, is an existential meditation on the human capacity for connection and disconnection. Driven by heavily processed bass, a metronomic drum machine, and a twinkling, haunting guitar melody, Green’s soft voice, doubled, asks persistently: “Will I find a love that lasts as long as my life or will I die before ever becoming a wife? And I’m wondering if I’m even the marrying kind. How can I give you my life when I know you’re just gonna die?” It is intensely claustrophobic, the kind of stream of mundane self-reflective horror that we all run away from by tapping at our phones or flipping channels. Then it turns in on itself, Green’s voice nearly a whisper as she recounts the reasons she holds potential partners at arm’s length: “‘Cause I’m shitty and I’m lame and I’m dumb and I’m a bore/ And once you get to know me you won’t like me anymore.” The coda, repeated, a shiver in the spine, guitar and synth spiraling around it: “Further than fantasy, deeper than love ever could be.” The fear of intimacy triumphs over the fear of death.
Green isn’t complacent to just identify her problems and stare them calmly in the face, though. On the title track and the twin stars that are “Things That Are Bad For Me (Part 1)” and “Things That Are Bad For Me (Part 2)”, she rhetorically kicks herself in the butt to take responsibility for her actions, whether that be getting on a proper schedule or getting away from a boyfriend who brings out the worst in her, despite her acknowledgment that her anxiety drives her bad behavior. She doesn’t just want to grow up—she is growing up, and she’s doing it in elegantly wry, acerbic, hooky pop style. Her blasé delivery might seem impenetrable at first, but there is warmth and wit to her work that rewards those who are patient enough to hear its message” (Pitchfork)

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13 marzo, 2015 Posted by | Colleen Green | Deja un comentario

Emma Kupa: Home cinema (Wiaiwya Records, 2015)

Home Cinema cover art
“Home Cinema is a mini album; six songs of spritely jangle-folk-indie-country, about family, death, drink problems, holocaust survivors and communism.
Home Cinema is a succinct, catchy and honest record; it feels like Emma is entrusting you with her closest family secrets, but – damn her – she’s putting them to a tune so infectious there’s nothing you can do to keep them to yourself. Home Cinema features six earworms about members of Emma’s family:“Katie was my grandmother’s cousin who I struck up a friendship with and visited before she died; she had very blue eyes. Charlie was my grandad and a handsome Jewish communist. ‘There Will Come A Day’ is about my mum; she is the serious looking twin on the record’s cover. Her mother (on the far left) died when she was 5.”

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12 marzo, 2015 Posted by | Emma Kupa | Deja un comentario

The Stevens: Thirsty eye (Chapter Music, Single, 2014)

Con ese innegable sabor a Power-Pop setentero, The Stevens nos presentaron este Thirsty eye, un tremendo single aparecido el pasado verano.

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12 marzo, 2015 Posted by | The Stevens | Deja un comentario

Mumblr: Full of Snakes (Fleeting Youth, 2014)

Desde Texas, además de propuestas automovilísticas y de algunas de las mejores bandas de Shoegaze, también nos llegan otras como las que nos propone el sello Fleeting Youth. Se trata de Mumblr, una divertida banda de Pop con influencias tanto del LoFi como del Noise más descarado.

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11 marzo, 2015 Posted by | Mumblr | Deja un comentario

Charles Howl: Going Down With a Hi (Ample Play Records, Single, 2015)

Taken from the debut album ‘Sir Vices’ out 16th March 2015

11 marzo, 2015 Posted by | Charles Howl | Deja un comentario

Reina Republicana: Ahora que hace bueno (Vídeo-Single, Limbo Starr, 2015)

Primer vídeoclip de El despertar (Limbo Starr, 2015). Realizado por Roar! Música Israel Medina y Reina Republicana, letra de Manu Ferrón.

19 de marzo. Almería Madchester Club 21:30 hrs
20 de marzo. Granada Discos Bora-Bora 13:30 hrs (showcase electro-acústico)
20 de marzo. Granada @Polaroid 21:30 hrs.

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9 marzo, 2015 Posted by | Reina Republicana | Deja un comentario

Battleships: In time (Pavement Records, Single, 2015)

“The UK sounding, Melbourne loving, Sydney based, musical outlet of Sunshine Coast singer and songwriter Jordan Sturdee returns to begin 2015 with a new single. Out from relative hiding, after months of writing and collecting of thoughts, Battleships is ready to show off its first offering in quite a little while.
In Time follows on from successful and critically acclaimed past releases; In Retrospect (2012), Your Words (2012), Coming Back to You (2012), To You (ep –2012), As You’d Begun (2013), Take Your Rest (2013), and You Can’t Change It (2014).
Boasting some fantastic music to its name already, Battleships extends on the exploration of the emotive and powerful. Drawing on thoughtful lyrics, delicate tones and expressive instrumentation, Battleships seeks to relate, con- vey and understand life, making music that will hopefully mean something amongst the white noise of our world” (Press)

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8 marzo, 2015 Posted by | Battleships | Deja un comentario

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