The JangleBox

Indie, Noise, Shoegaze… Music

Nubes Naranjas – GREGG KOWALSKY: Malibu Dream Sequence (Mexican Summer, Single, 2017)

Resultado de imagen de gregg kowalsky

Aires de Soundtrack envueltos en una amalgama sonora de Dream-Pop.

19 octubre, 2017 Posted by | Gregg Kowalsky | Deja un comentario

Sounds of Sputnik / Ummagma: New born (Split, 2017)

“Russia’s Sounds of Sputnik has released ‘New Born’, their debut album with Ummagma through hallmark U.S. shoegaze label Moon Sounds Records.
The ‘New Born’ LP presents a palette of ethereal guitar, powerful drums, lush bass, and clever guitars, topped off with gossamer female vocals. Sounds of Sputnik paired up with Canadian-Ukrainian dreampop duo Ummagma to co-write, produce, and record this album. Ummagma’s Shauna McLarnon and Alexx Kretov also both contribute stunning vocals.
Rooted in a shared love of melodic dream pop, post-rock and shoegaze, both Sounds of Sputnik and Ummagma bring their own influences from Lush, Curve, Cocteau Twins and My Bloody Valentine, together with Hammock, Jesus & Mary Chain and The Twilight Sad to create briliant “dream noise”.
The ‘New Born’ LP also features contributions by several legendary guests: drummer Graham Bonnar (Swervedriver/ Brian Jonestown Massacre) on ‘Overdrive’, and remixes by Malcolm Holmes (Orchestral Manoeuvres in the Dark), psych rock producer Fran Ashcroft (Damon Albarn, Lords of Acid), Russian producers Morozov and Oleg Mezherovsky, and Brazil’s Mind Movies” (Press)


18 octubre, 2017 Posted by | Sounds of Sputnik, Ummagma | Deja un comentario

Robyn Gibson: The loving (XTC Cover, 2017)

¿A qué dedica el tiempo libre Robyn Gibson cuando su banda (The Junipers) cuando no está con su banda? Pues facturar homenajes sonoros como este The Loving de Andy Patridge/XTC.
Debo deciros que desde hace poco tengo un nuevo héroe en lo que a Jangle-Pop se refiere… 


17 octubre, 2017 Posted by | Robyn Gibson | Deja un comentario

Tarados – CAPITÁN SUNRISE: Confesiones de un tarado emocional (Single, Discos de Kirlian, 2017)

“Confesiones de un tarado emocional”: Es una canción con un ritmo bastante disco, toques electrónicos y guitarreros y con estribillo muy pegadizo. Pop en toda regla. Este tema es una oda a la vida Friki, a la diferencia ensalzada en la sociedad, y parte de una conversación que tuvimos Fernando y yo sobre las taras emocionales que tenemos ó nos hacen creer que tenemos, los sueños escondidos y difíciles, y las barreras que la sociedad y nosotros mismo nos ponemos. Entre todo esto, hay pequeños reductos de felicidad como lo es para mí y para nosotros la web de Fernando “Confesiones tirado en la pista de baile”, un pequeño reducto lleno de cultura popular que como buenos frikis adoramos y que nos sirve para insuflarnos una buena dosis de felicidad necesaria para nuestra vida. Gracias a páginas como ésta el mundo se llena de color más veces, la música en general (emergente, underground, indie, mainstream…POP) cobra protagonismo desde la más absoluta elegancia, amabilidad y humor positivo y además el mimo y el apoyo que nos ha dado Fernando a Capitán Sunrise es impagable. Estamos felices de haber recibido tanto cariño y personalmente feliz de ser su amigo y tener una amistad tan buena como la suya. Lujo absoluto. Gracias de corazón amigo.
Este tema es el primer tema que grabamos la formación actual de Capitán Sunrise, una de las más solidas y compactas que hemos tenido y estamos muy ilusionados” (Delorean/Press)


16 octubre, 2017 Posted by | Capitán Sunrise | Deja un comentario

Agua Nueva – DELOREAN: Kantuz (Single, Elgar, 2017)

La imagen puede contener: 4 personas, texto

“Delorean acaban de estrenar ‘Kantuz’, (single adelanto) y primero de los siete temas que componen ‘Mikel Laboa’, un trabajo que homenajea al cantante vasco del mismo nombre. El disco supone un paso adelante en el afán de experimentación de la banda, en su vocación de trazar nuevos caminos y, por qué no, de explorar nuevas emociones. Se trata pues, de un giro momentáneo en el sonido de Delorean, que en esta ocasión aparcan el indie con matices electrónicos y de baile al que nos tienen acostumbrados para adentrarse en un terreno mucho más personal e introspectivo” (Press)


16 octubre, 2017 Posted by | Delorean | Deja un comentario

Los Angeles Meets London – GIRLPOOL: Powerplant (Anti-, 2017)

Powerplant artwork

Con una base sencilla, en torno al LoFi con influencias más Post-Grunge, GIRPOOL construyen este tremendo Powerplant, un segundo trabajo en el que las californianas reciben y abrazan todo ese amplio espectro de influencias que van desde las Throwing Muses hasta los esbozos más acústicos de Deerhunter, pasando por The Breeders o Lush. Un bonito ejercicio de intimidad adornado con parajes eléctricos y rotundidad (recien estrenada) sección rítmica; así como unas inquietantes y bellísimas voces.

“Under the cover of noise, Tucker and Tividad are more comfortable indulging their poetic inclinations. On Before the World Was Big, they would often pair an abstract scene or turn of phrase with tiny mantras (“Do you feel restless when you realize you’re alive?” goes their best), before peppering the whole thing with their friends’ names or other lyrical tchotchkes. The proper names and loose imagery remain, but now Girlpool’s lyrics feel less tangible out the gate. The text feels more open to interpretation like, “I know I’m the weekend selling Sunday morning” (from “Kiss and Burn”). Clever one-liners still pop—from, “I’ve had crumbs in a bag in my pocket all week,” on “Corner Store” to, “I faked global warming just to get close to you,” on “It Gets More Blue”—but there’s fewer of them, devoid of Girlpool’s more dogmatic or revealing sensibilities early on.
Certainly there’s less pressure now to hang a song on their lyrics alone. Yet the emotion evoked by their spare words is like crystal behind the fingerpicking that shifts to sludgy feedback, piano lines that add cheery bursts, and drums that fill in around a feast of vocal dissonance. Lead single “123” takes hold about a minute in when Tucker and Tividad start shouting their lines, but it’s a slight drum roll that builds up the stunning, swirling tension just beforehand. “Soup” is the album’s best example of a song that wouldn’t have worked nearly as well on Before the World Was Big; it likely would have been little more than deadpan vocals rising slightly over the course of two minutes, before retreating back to a hopeless whisper about how it turns out life can be a lot. But here when they hit the climax, the guitar lines drop out as they shout, “Can you feel it?” Immediately afterward, a surge of distortion basically answers the question.
In obvious ways, Girlpool’s world has gotten bigger with Powerplant. But the thing about growing up is that the overflowing possibility of it all can make you burrow deeper into personal crevasses, forcing you to consider what you really care about. No longer teenagers, Cleo Tucker and Harmony Tividad seem no less overwhelmed by the world, but their methods for coping have changed. Noise can help. So can a little opacity. What Girlpool seem to crave is a moment just to be, together. “Tell me you are here/I hope I’ll find you/Static somewhere,” Cleo and Harmony sing as the album closes, their voices finally in clear harmony” (Pitchfork)

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14 octubre, 2017 Posted by | Girlpool | Deja un comentario

It´s for Kids – REMINGTON SUPER 60: Indie Pop for Kids, Vol. 1 (2017)

Christoffer Schou es el alma mater del proyecto REMINGTON SUPER60, que no es más que la música que le apetece registrar a cada cierto tiempo, realmente muy espaciado. Eso incluye bandas sonoras, comerciales y algún que otro álbum que normalmente abrazaba el Twee-Pop. Con Indie Pop for Kids, Vol.1 nos acerca a un nuevo punto de vista a su música.



12 octubre, 2017 Posted by | Remington Super 60 | Deja un comentario

Freakismo – PILL: Aggresive Advertising, Dull Tools, 2017)

PILL continúan ofreciendo una de las propuestas más libres y acaso más atractiva dentro de ese Freak-Pop que goza de numerosos seguidores. Agressive Advertisings es su tercer trabajo.

“PILL makes a triumphant return to Dull Tools to follow up their phenomenal debut LP “Convenience”, released on Mexican Summer in 2016. Now they are giving the world their third collection of songs, Aggressive Advertising, where the quartet returns to the cassette format of their first EP, with seven new tracks that emphasize the band’s position as one of the most original and captivating bands to come out of New York’s post-Vice evicted DIY scene.
As the city quickly becomes a members-only club for the monied, hostile to the artists and culture that attract them, PILL defiantly answer this crisis in declaring “we take strength where order fails.” Like the Upright Citizens Brigade (another one-quarter-female four piece) said before them: “Our only friend is chaos.” In the case of PILL, chaos is the genderless fifth member.
The mood on Aggressive Advertising ranges from abrasive to laid back, if still on guard. Torres’ voice feels natural when both venomous and velvet. On the groovy “Piña Queen”, she imagines herself as a fruit-enforcing matriarch, cooing “She’ll take the banana and the mango and she’ll make you eat it”, which coming for Veronica I take as a promise, not a threat.
Open wide and swallow, because PILL is back with a new dose” (A. Savage)

11 octubre, 2017 Posted by | Pill | Deja un comentario

Shells – WILDING: Secular music (Friendship Fever, 2017)

“Wilding has roots meandering back to the early 2000s whilst Woody was working on other projects. Standing apart from the homegrown California scene-shifters, the songs he was working on embodied a kind of symphonic noisy bliss that made perfect sense. As he explains; “Wilding has always felt like a different kind of energy to me. There is a darkness there, but it gets delivered in this burst of light and energy. We’re pretty much guaranteed to wind up disappointed, but we can never give up that search for something better inside ourselves. Destroy complacency. These songs shine a light on the dark.”
The five beautifully crafted fuzz-pop songs on the Secular Music EP have dizzyingly varied themes. “Ghost Deer” is an ode to the unknown genius plodding away in the shadows, whereas “Skin Shells” is a slacker-take on Plato’s cave allegory in a two-minute pop song. “Haunted Mouth” is inspired by a tape-recording found by the FBI at the infamous site of the People’s Temple/Jim Jones tragedy and “VCR” was inspired by a My Bloody Valentine song” (Press)

10 octubre, 2017 Posted by | Wilding | Deja un comentario

Paths of Victory – 93MILLIONMILESFROMTHESUN: Victory is Ours (In At The Eye Records, 2017)

Continuando con su prolijidad a la hora de componer y editar álbumes y Ep´s, 93MILLIONMILESFROMTHESUN acaban de publicar este Victory is Ours, un Ep en el que el combo de Doncaster nos plantea un nuevo viaje interestelar a través del mejor Shoegaze de guitarras que vayas a encontrar en el amplísimo ya panorama que abarca el género. La mejor representante de lo que decimos es Kings of the 80´s, un épico trayecto instrumental de dieciséis minutos que nos traslada a territorios del Space-Rock. Con el resto del Ep, 93MMFS inciden en ese Shoegaze de guitarras que les acerca a bandas como Ride o Swervedriver.  Me encantan Forever gone today y When the light has gone. Gran Ep.


6 octubre, 2017 Posted by | 93 Milions Miles from The Sun | Deja un comentario

Espiando – SEE THROUGH DRESSES: Horse of the other world (Tiny Engines, 2017)

Parajes de Indie con trazos electrónicos y sintetizadores añejos, Shoegaze suave y voces susurranes. 

“If End of Days is its rock record, Horse of the Other World, out June 30th, is See Through’s dreamy opus. Recorded in 2016 in two locations — ARC Studios with Ben Brodin (Pile, First Aid Kit, The Good Life) and at the band’s home studio, Little Machine, by Mathew Carroll — it signals a sonic leap into a more ethereal, soundscape-driven aesthetic.
Reverb-drenched and synth-laden, Horse of the Other World blends Carroll and Sara Bertuldo’s masterful mood creation and technical prowess while further exploring the depths of the band’s dynamics. “Pretty Police” mixes sparkle and bounce with brood, while “Violet” cuts sharply via crystalline keys and arpeggiated chords. Bassist Alex Kirts pumps the album’s bleeding heart and drummer Nate Van Fleet is tactical and creative. Their playing shines as the foundation of songs like “Lucy’s Arm” and “Herbivore,” whose climaxes are textbook See Through Dresses” (Press)


5 octubre, 2017 Posted by | See Through Dresses | Deja un comentario

Sonrisitas – THE SMILIES: The Smilies Ep (2017)

No tienen un facebook conocido, ni siquiera demasiada (por no decir ninguna) información en su Bandcamp, Eso sí, a cambio nos ofrecen un sonido tremendo, deudor del mejor Fuzzy-Pop de los noventa (Eugenius, Teenage Fanclub primitivos, Dinosaur Jr. …) Encima, se permiten el lujo de gastar una broma en el último corte recuperando algún sampler de sonidos muy conocidos…
Su Ep se degusta en un suspiro y es un auténtico deleite sonoro para oídos Indies

4 octubre, 2017 Posted by | The Smilies | Deja un comentario

BLACANOVA: Zoe (Vídeo-Single, extraído de La Cabeza, El Genio Equivocado, 2017)

“Zoe” es el segundo adelanto de “La cabeza”, LP que será editado próximamente por El Genio Equivocado. La presentación de este nuevo single viene acompañada por el videoclip protagonizado y coreografiado por la bailarina Silvia Balbín, conocida, entre otros muchos trabajos, por sus creaciones bajo el nombre de Rosa Cerdo. Alberto Almenara, también miembro de Rosa Cerdo, se encarga la edición y montaje del vídeo, compartiendo las labores de cámara y dirección con Raúl Doblado, Inés Olalla, Eduardo Escobar y Paco Arenas (los tres últimos miembros de Blacanova)” (Prensa)



2 octubre, 2017 Posted by | Blacanova | Deja un comentario

ALONDRA GALOPA: No hay marcha atrás (Vídeo-Single, 2017)

“Los granadinos Alondra Galopa estrenan vídeo para “No hay marcha atrás”, uno de los cortes de “Ocaso”, su cuarto álbum. Dirigido por Kike Redondo, responsable de los visuales en directo del dúo, es un viaje de colores psicodélicos por el lado más eléctrico de Juan A. Salinas y Mónica Navarro” (Prensa)


Alondra Galopa (“No hay marcha atrás”, 2017) from Rockdelux on Vimeo.


2 octubre, 2017 Posted by | Alondra Galopa | Deja un comentario

Open to the Sun – THE STARGAZER LILIES: Lost (Graveface, 2017)

LostAunque la propia banda no quiere que LOST (Graveface, 2017) se convierta en su tercer álbum de manera oficial, lo cierto es que es álbum contiene los elementos necesarios y la unidad ideal para ser considerado como tal.
No son STARGAZER LILIES una banda con un gran recorrido temporal, pero su sonido es absolutamente coherente y su trayectoria realmente deliciosa. Navegan a gusto entre las aguas más pausadas del Dream-Gaze aderezando el conjunto con jugosos toques del mejor Fuzz.
LOST es un disco en el que recopilan canciones que se les han ido quedando sin editar por el camino (en la era digital es lo más normal). Graveface Records les ha dado unidad y ha publicado este “tercer” álbum hasta el momento en que la banda quiera dar el paso a descubrirnos nuevos momentos mágicos.

“Lost” is a collection of songs which our public has grown to love over the years but we’ve never released on physical format. We have wanted to release a vinyl album of these songs for some time and are also including new tracks never heard before. This is a special limited edition release (NOT ALBUM #3). We are also hoping to help raise money to continue touring (including infantile stages of the planning of EU in Spring of 2017) and also help fund the remaining recording of album #3″ (Band)

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30 septiembre, 2017 Posted by | The Stargazer Lilies | Deja un comentario

Is or not…? ROME IS NOT A TOWN: I´m in a brand (Startracks, Single, 2017)

Resultado de imagen de rome is not a town i´m in a brand

 ”It’s sorta post-Riot grrrl, post-No Wave, experimental music and completely engaging from beginning to end.”Thurston Moore (Sonic Youth) in NME

… Cuando lo dice éste, que sabe algo del negociado… algo de razón tendrá. Lo cierto es que la banda tiene ese tufillo Sonic Youth mezcladete con un cierto aire Post Grunge bastante interesante. Su debut aparece a finales de este mismo mes. Estaremos atentos.


29 septiembre, 2017 Posted by | Uncategorized | Deja un comentario

Sun shines – THE MAN FROM MANAGRA: Half a century sun (Inner Ear Records, 2017)

Resultado de imagen de the man frommanagra half a century sunAs I began working on this album, I knew I had to put the word ‘Sun’ in the title, as I had decided to make a sunnier, less introvert record than the first Managra album which was recorded almost in total seclusion on a Greek Island during the winter,” says Coti K in a statement to Music Times. “Half a Century Sun has an expanded cast of players and two special guests: Jim White (The Dirty Three, Cat Power) and Blaine L. Reininger (Tuxedomoon). The island and the maritime themes are still there as well as the portrait of the sailor with the pipe, which still haunts this project.” (Coti K. said in a statement about the album)


28 septiembre, 2017 Posted by | The Man From Managra | Deja un comentario

Arquitectura – JANE WEAVER: The architect (Fire Records, Ep, 2017

‘With one eye on the dancefloor and another on those sprawling existential questions’ (The Quietus), ‘The Architect’ sees Jane Weaverevolving with an aero-lite melodicism, the drum heavy vivacious pop song evokes vivid images of early Modernist art, Archigram blue-prints with a rigid back-bone of Eames worthy construction.
Directly inspired by Hilma af Klint’s séances, spiritualism and the science of anthroposophy that formed the artist’s abstract paintings, Weaver finds herself in a transformative state channeling her inner spirituality, it’s place within her music and the cosmos. Shifting perspectives with her meditative vocal explorations and oneiric flow on ‘Code’. Eight-minute psych-popopus ‘Element’ is richly melodic replete with pulsating analogue synths, unrelenting motorik rhythms and incessant beats.
The perfect antidote to those longing for more music since the release of the critically acclaimed ‘Modern Kosmology’, therelease features title track alongside unreleased new tracks and a special remix by Finders Keepers’ Andy Votel” (Press)

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30 Sep: Sensoria Festival, Sheffield, UK
20 Oct: Ramsgate Music Hall, Ramsgate, UK?
21 Oct: Simple Things, Bristol, UK
22 Oct: The Haunt, Brighton, UK?
23 Oct: Arts Centre, Norwich, UK?
25 Oct:?Quarterhouse, Folkestone, UK?
26 Oct: Islington Assembly Hall, London, UK?
28 Oct: Bodega Social Club, Nottingham, UK?
29 Oct: The?Bullingdon, Oxford, UK?
31 Oct:?Brudenell?Social Club, Leeds, UK?
01 Nov:?Sugarmill, Stoke on Trent, UK?
02 Nov: The Cluny, Newcastle, UK?
03 Nov: Trades Club, Hebden Bridge, UK?
04 Nov: Stereo, Glasgow, Scotland?
10 Nov:?Workmans?Club, Dublin, Ireland?
11 Nov: Maple Leaf Club, Belfast, Ireland?
12 Nov: Le Guess Who?, Utrecht, Netherlands
14 Nov:  AB, Brussels, Belgium
16 Nov: Hafen 2, Offenbach, Germany
17 Nov: Privatclub, Berlin, Germany
20 Nov: Cafe V lese, Prague, Czech Republic
21 Nov: Papiersaal, Zurich, Switzerland
24 Nov: Supersonic, Paris, France (free show)
28 Nov: Komedia, Bath, UK
29 Nov: Hare & Hounds, Birmingham, UK
30 Nov: O2 Ritz, Manchester, UK

27 septiembre, 2017 Posted by | Jane Weaver | Deja un comentario

Rage – HOLY YOUTH: Heavy bored (Lolipop Records, 2017)

“Carrying the same angular jab to the solar plexus as much of Birmingham’s recent “underground” output (no surprise considering the former head of Happenin Records is featured on this), Heavy Bored has my guts and ribs aching. The stick has been rudely extracted from the anus, and my quite stiff self — content to sit in relative comfort as the world goes by — is now no longer a victim of ennui. Holy Youth have packed just enough get-up-and-go that we got up and went. To where and why, well…bored is the impetus for creativity. And considering I’m no longer suffering from a downer, I can’t tell you. It all rushed by in a smear of street signs, open roads, and neighborhoods. Browns, greens, browns, reds, blacks, and blues mixing together into a swirl of doing anything but sitting around. Usually the kick in the pants to abandon boredom is to just point yourself in a direction, and Holy Youth have clearly found a way to turn that idea into roguish melodies that mix punk — past, present, and post — into a vehicle to cure what ails your lazy brains and asses. Yeah, the album’s called Heavy Bored, but I assume Holy Youth have done so in an effort to show you the product of ending the disease. There are numerous remedies, but ordering this cassette is the house call needed to give you just enough motivation to make your own way through the sleepy-eyed monuments to our minefield of self-doubt and fatigue” (Tiny Mix Tapes)

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26 septiembre, 2017 Posted by | Holy Youth | Deja un comentario

Hear You – WAXAHATCHEE: Out in the storm (Merge, 2017)

La imagen puede contener: una persona, sentada, niño(a), texto y exterior

El cuarto disco de estudio de Katie Crutchfield se titula Out in the storm (Merge, 2017). Un disco reflexivo, lírico y contemplativo. Un álbum que Katie ha sacado adelante con la ayuda de John Agnello, quien la convenció de grabar el álbum prácticamente en directo con su banda. Ello le otorga un sentido mucho más cercano a su sonido y la sensación de encontrarnos casi cara a cara con la banda.
Sus canciones son construcciones sencillas en su mayor parte, y se mueven a gusto entre las ondas del Folk moderno y el Indie de guitarras. Personalmente, me gusta más cuando pisa el acelerador: 8 Ball, Silver, Brass beam, Hear you, No question

Out In The StormOut in the Storm, Katie Crutchfield’s fourth album as Waxahatchee and the follow-up to her Merge debut Ivy Tripp, is the blazing result of a woman reawakened. Her most autobiographical and honest album to date, Out in the Storm is a self-reflective anchor in the story of both her songwriting and her life.
The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, a producer, recording engineer, and mixer known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. and Sonic Youth. Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date” (Merge Recordings)

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21 septiembre, 2017 Posted by | Waxahatchee | Deja un comentario

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