The JangleBox

Indie, Noise, Shoegaze… Music

Gwenno: Y Dydd Olaf (Post/Pop Records2015)

Y Dydd Olaf cover art

Una suerte de sonido Retro-Futurista, mezcla de Dream-Pop, Kraut y el Pop vanguardista de Stereolab. El sonido de Gwenno (ex The Pipettes) es una bonita amalgama de esas diversas influencias que dan como resultado un disco notable que fluye con gran naturalidad. Grabado para el pequeño sello londinense Post/Pop Records. Toda una delicia.


“In a period of governmental and cultural revolution, former Pipettes front-woman, GWENNO, releases a political concept album inspired by an obscure 1970s Welsh language sci-fi novel, subtly disguised as a blissful kraut-pop record.
Taking its cue, and title, from Owain Owain’s 1976 novel about a dystopian future where the robots have taken over and are busily turning the human race into clones through the use of medication, Y DYDD OLAF blends big themes (including patriarchal society, government-funded media propaganda, cultural control, technology, isolation and the importance of, and threat to minority languages), great tunes, and a real sense of revolution to produce a powerful, politically-charged concept album.
Y DYDD OLAF is a political, feminist, brilliantly executed record; and although this particular revolution might not be televised, it certainly will have a great soundtrack”
(peski.co.uk)

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26 mayo, 2015 Posted by | Gwenno | Deja un comentario

El Lado Oscuro de La Broca: Beta (El Genio Equivocado, 2015)

Cierto grado de oscuridad obsesiva en la música de El Lado Oscuro de La Broca hacen de esta banda de Zamora una propuesta interesante, una banda a descubrir que nos presenta el sello El Genio Equivocado. 


“Grabado, mezclado, masterizado  y producido por Carlos Hernández en el Studio B de Madrid, “Beta” recopila en 9 temas directos la atmósfera creada por sus potentes y ruidosas guitarras, marca de la casa, en los que el volumen y la contundencia acompañan a unas melodías muy bien trabajadas y unas letras que se confunden entre lo onírico y lo absurdo.  Su sonido es compacto y personal, a medio camino entre el post-punk, el shoegaze y el noise, con influencias como El Columpio AsesinoMogwai My Bloody Valentine.  
El Lado Oscuro de la Broca nacía a mediados de 2008 y en la actualidad está formada por César Serrano (Batería), Juan Alfonso (Guitarra y voz), Rubén Casas (Guitarra), Roberto Rodrigo (Bajo) y Roger Soto (Sintetizadores). Tras una serie de EPs que fueron subiendo en su bandcamp, el sello barcelonés El Genio Equivocado se fija en ellos y decide sacarles un trabajo que se financia el grupo mediante crowdfunding. 
Beta” es un trabajo de una solidez asombrosa, con temas extraordinariamente melódicos y elaborados sin perder un ápice de fuerza bruta, bien grabado y bien ejecutado, un conjunto que les confiere un aura a priori de grupo experimentado cuando en realidad nos encontramos ante el disco debut de la banda” (Prensa)

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25 mayo, 2015 Posted by | El Lado Oscuro de La Broca | Deja un comentario

Hernán Martínez: Fuera de Foco (Fuego Amigo Discos, 2015)

Me llama la atención la frase con la que comienza la nota de prensa de Hernán Martínez:

“Más preocupado por hacer buenas canciones que por ganar público, Hernán Martínez, viene desplegando un recorrido que se plasma en un estilo que no pierde vigencia y se enriquece con el paso del tiempo”

Hoy por hoy, la mayor parte de los artistas y músicos no se afanan por “ganar público” o ni siquiera por ganar demasiado dinero con la música. Así de tristes son los tiempos que vivimos.
En ese panorama, el bonaerense Hernán Martínez asoma la cabeza de nuevo con Fuera de Foco, un disco de Pop que, a fuerza de intemporal, mantiene un encanto de las baterías secuenciadas, de los sintes analógicos, de las guitarras con muchos efectos. 
“Un plan pop perfecto, entre sintetizadores magneticfieldescos y reposo de intimidad yolatenguista, pero pensado y sentido en la nueva era” (¿Y por qué no melodías raydaviesistas?). Estas bonitas palabras pertenecen a Fernando Graneros, alma mater de Fuego Amigo Discos, la disquera que se encarga de editar pequeñas joyitas como ésta.

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25 mayo, 2015 Posted by | Hernán Martínez | Deja un comentario

Caviare Days: Like me (Single, 2015)

Caviare Days started out in Brooklyn with sisters Lina and Maja Westin, but has since grown into a steady five piece band with Timmy Grim on the drums, Boris Grubesic on the guitar and Marcus Arborelius on the keys and synthesizer bass.
After being received well in London (BBC Introducing), touring and recording in Germany, a widely noticed collaboration with Ebbot Lundberg of The Soundtrack Of Our Lives and a Nordic tour with said legendary rock band, Caviare Days are now back with even more experience and creative confidence than before.
The upcoming EP Like Me is produced by Gordon Raphael (The Strokes, Regina Spektor) and Mats Björke (Mando Diao) and mastered at Abbey Road Studios in London. The new production captures Caviare Days’ live sound and brings to mind the eclectic mix of genres of the 90’s. The lyrics are a mix of simple phrases and surreal crypticism, and through these the band explores themes like being comfortably numb, war like love and self-centredness.While the name of the band hints at the decadence of the 20’s á la Gatsby, Caviare Days considers time to be nonlinear and throws themselves seamlessly between the past and the present.

24 mayo, 2015 Posted by | Caviare Days | Deja un comentario

Mission of Burma: That´s when I reach for my revolver (Reissue, Fire Records, 2015)

“In July Fire Records will be releasing Mission Of Burma debuts ‘Vs’ (LP) and ‘Signals, Calls and Marches’ (EP) as part of the Fire Archive reissue series. Providing a retrospective of their early years, Mission Of Burma have remained one of the world’s most influential post-punk bands. 
Originally released in 1981 ‘Signals, Calls and Marches’ is an explosive and hard hitting EP with post-punk, hard core and leftfield sensibilities. The accomplished debut offers up instant classics, ‘That’s When I Reach For My Revolver’ and ‘Academy Fight Song’ which had a raw immediacy that resonated with their fans and the punk movement. Their anthemic rock, complex arrangements and intelligent lyricism stood them apart and proved them to be a powerful force from the offset” (Press)

23 mayo, 2015 Posted by | Mission of Burma | Deja un comentario

Absolutely Free: Absolutely Free (Lefse Records, 2014)

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Estos canadienses que han tomado su nombre de un disco de Frank Zappa, en mi criterio han podido hacer un disco absolutamente delicioso de Pop fumado y fumable (Pop Psicodélico, para entendernos), pero según qué momentos, deciden tirar por el camino de la electrónica y es cuando desvarían hasta decir basta. Evidentemente, me quedo con la primera faceta (Striped light, Beneath the air, Window of time, My dim age) antes que con la segunda (Burred lens, Earth II, Vision´s, Spiral jetty). Además, ese cambio estilístico coincide más bien con la segunda mitad del disco, con lo que te la puedes ahorrar sin remordimientos…


“(…) Where the group’s early singles favored extended ambient intros, impulsive structural shifts, and blown-out finales, the songs on Absolutely Free tend to patiently linger on a single idea and see how it naturally evolves. Singing drummer Matt King’s vocals are also less of a driving force here; rather than lead the charge, he seems more willing to let his existential ruminations reverberate out into the cosmos. But while the band have reined in some of the volatility that made those introductory singles so exhilarating, there’s a cool consistency and newfound accessibility to Absolutely Free that makes it an easy, enchanting front-to-back listen, the songs locking together to form a smoothly contoured album arc. Even the most chaotic elements—like the spinning-radio-dial dissonance woven through the opening reverie “Window of Time”—eventually fuse into the album’s steady wavelength. That’s not to suggest Absolutely Free aren’t still shooting for the moon; they’ve simply activated the cruise control so that they can better savor the trip and enjoy the view.
These are the sort of songs that oh-so subtly build a snowball into an icy boulder: the sleigh-belled, drum-thumping pop of “Beneath the Air” and “Striped Light” initially suggest the sequel to Andorra that Caribou never made, before gradually adding layer upon layer of counter-melodies and textural disorder to shatter any ’60s-retro illusions. “Burred Lens” works itself up into a pink-smoked synthphony as engrossing as anything on The Terror; “Earth II”—presumably a nod to the 1971 sci-fi flick, not thenamesake doom-metal masterpiece—is the sort of deep-space kosmiche-rock odyssey that they’ll be blasting on the Orion in 2025 when cruising for other intelligent life in the universe.
However, the closing eight-minute epic “Spiral Jetty” suggests Absolutely Free’s newly holistic aesthetic is already being subjected to a deconstructive rethink, with a jagged drum beat that cuts through the song’s glass-dome synth sheen and seemingly liberates the band from the more conventional song structures they imposed on themselves for much of the record. After all, DD/MM/YYYY decided to break up the moment they felt their unpredictably spastic, instrument-swapping art-core attack was becoming a routine unto itself; don’t be surprised if the greater focus in effect on Absolutely Free is simply a means for the band to identify the peripheries yet to be explored” (Pitchfork)

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22 mayo, 2015 Posted by | Uncategorized | Deja un comentario

Les Big Byrd: I woke up in a dream (Single, A Recordings, 2015)

Un sencillo realmente impresionante: ambientación sesentera, instrumentación acorde, teclados obsesivos, moogs, guitarras de doce cuerdas… todo un arsenal de gran Retro-Pop para alimentar oídos exigentes.

Many considered Sweden’s Les Big Byrd’s album “They Worshipped Cats”, one of the top debuts of 2014. An album filled with poems of time-space continum read through vocoders, beautifully melancholic melodies, cosmic clouds of filtered string machines, motoric Krautrock drums, 12-string guitars, creamy moogs and heavy tape echoes. Following the release the band played high profile shows such as Denmark’s Roskilde Festival, Sweden’s Way Out West and Liverpool Psych Fest, also adding support tour dates with band such as The Brian Jonestown Massacreand Goat.
This spring sees the band, which features Joakim Åhlund (Caesars, Teddybears) and Frans Johansson (Fireside), releasing two (!) new EP:s, as well as doing shows in the US and UK (including an apperance at The Great Escape Festival). 

21 mayo, 2015 Posted by | Les Big Byrd | Deja un comentario

Sea Pinks: Dreaming tracks (CF Records, 2015)

Aunque no lo parezca por la frescura de su sonido, Dreaming Tracks es el cuarto álbum de Sea Pinks, una banda de Belfast que bien podría pasar por tener su base de operaciones en California: Pop florido, Retro-Pop, Pop de guitarras, Jangle-Pop… un bonito abanico de influencias y de géneros que le otorga un cierto eclecticismo a este trabajo, lo cual no le resta ni un ápice de interés.


“Two years on from the widely admired Freak Waves (Lake Superior, A Pattern Recognition), Sea Pinks return with their fourth album, and first to be recorded in a studio with full band, Dreaming Tracks. From the opening cello drone of Dream Happening to epiphanic closer Invisible Lines this a record about disorientation, ambivalence, and the overlapping of past, present and future that can happen in dream states as well as in waking life. It’s also the band’s most ambitious and accomplished record yet, a synesthetic whirl of sound and colour shot through with a rich seam of melancholy, underscored by the addition of cello on six of it’s ten songs.
The easy eclecticism hinted at on previous records comes into full flower here, with each new track distinct from the last yet flowing seamlessly into the next. Throughout the sound is warm and bright with chiming guitars, buoyant drums and languid, fluid bass interwoven with wintry cello, taking in bedsit baroque (Art Imitating Life, Waiting For You…), psych pop (Dream Happening, Meat & Drink), dreamy country (Not Belonging), nature noir (Magpies Eyes), various hybrids of all of the above, and more. Recorded at Start Together studio in Belfast, it’s the first Sea Pinks LP to feature the full band line up of Davey Agnew (drums) and Steven Henry (bass) along with founder singer/guitarist Neil Brogan and cellist Jonny Agnew” (Press)

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20 mayo, 2015 Posted by | Sea Pinks | Deja un comentario

Charles Howl: I love you 47 (Ample Play, Single, 2015)

Otro adelanto del que sin duda va a ser uno de mis discos del 2015: el debut de Charles Howl, que se titulará Sir Vices. Está editado por el siempre interesante sello Ample Play Records.

Marc Riley thinks they are ‘Sonic attack with soul,’ and we think their debut album ‘Sir Vices’ is top ranking.  ‘I love you 47′ is the free track from it, but we could have chosen any track to stage the quality of it.

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19 mayo, 2015 Posted by | Charles Howl | Deja un comentario

Close Lobsters: A prophecy (Fire Records, Single-Reissue, 2015)

“As one of Fire’s earliest signings, Close Lobsters stormed up the indie charts with their unique melodic jangle pop and skewed world-view. Their debut “Going To Heaven To See If It Rains” announced the band with a top ten bang, and they never looked back. By the release of their first full length “Foxheads Stalk This Land”, produced by John Rivers (Love and Rockets, Felt), they were finding early backing from all of the music papers, as well as Rolling Stone and American college radio. Global touring and a more aggressive stance, lyrically and musically, would make the Phil Vinall (Radiohead, Elastica) produced follow up “Headache Rhetoric” a bigger success and signalled an interesting direction for the future. However, soon after the band would cease recording” (Fire Records)

19 mayo, 2015 Posted by | Close Lobsters | Deja un comentario

Detergente Líquido: Ponte en lo peor. Llámame el lunes (Discosdelrollo, 2015)

El debut en largo de los gaditanos Detergente Líquido se llama Ponte en lo peor. Llámame el lunes (Discosdelrollo, 2015), un álbum donde prima el lirismo urbano, diario y naif de la banda. Unas letras absolutamente ingeniosas que son la base de la mayor parte de los temas. 
Musicalmente, Detergente Líquido suenan un poco a mucho y un un poco a nada: desde Los NikisLos Planetas hasta Alaska y Pegamoides. Pop de toda la vida, guiñitos al baile y a los juguetes electrónicos; eso sí, siempre manteniéndose al margen de (como decía la vieja canción) “modas y modismos”.
Discosdelrollo continúa elaborando ediciones limitadas de todas sus referencias convirtiéndolas en piezas de coleccionista y haciéndolas aún más recomendables.


“Casi dos años después del sorprendente EP “Las obras de la catedral” (Discosdelrollo, 2013), la banda Detergente Líquido saca a la luz su primer trabajo de larga duración titulado “Ponte en lo peor. Llámame el lunes”. Frescura y pop hasta hacer espuma. Disponible en todas las plataformas digitales desde el 30 de Enero.
Once cortes en los que sigue presente la inmediatez y la frescura heredada directamente de los pioneros del indie patrio.Melodías pegajosas, guitarras brillantes y sugerentes bases rítmicas, pero -por encima de todo- destacan unas letras sobre las que, en realidad, pivotan las canciones. La verdadera razón de ser de las mismas.

La capacidad del grupo de observar la realidad cotidiana, dotarla de retazos de epopeya urbana y de plasmarla en fragmentos de poesía pop confiere a las canciones de “Ponte en lo peor. Llámame el lunes” un halo de universalidad e intemporalidad del que resultará muy difícil escapar al oyente.
Y Detergente Líquido consigue todo esto huyendo, como siempre, de las modas y las tendencias imperantes, y aplicando, simplemente, las teorías del pop de manual: estrofas, estribillos, arreglos certeros, intensidad o relajación en los momentos adecuados” (Prensa)

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18 mayo, 2015 Posted by | Detergente Líquido | Deja un comentario

Paisana: Paisana (Demo, 2015)

PAISANA image

“Tres flequillos haciendo ruido” que se juntan entre los locales de Pandoras Vox y Rock Palace para ensayar y pasar el rato, como buenas paisanas. Y cuando les preguntan qué hacen… pues les cuesta clasificarse, para ellas todo sale de lo casual y de la mezcla de sus gustos.
Sus tres componentes: Ceci, Inés y Sonia, reparten su tiempo con otras bandas (Veins n Bones, Jygüer y Lo Negro) y proyectos.
Hasta el momento han tocado cuatro veces y grabado tres canciones. Y están muy orgullosas porque uno de sus temas forma parte del segundo volumen del recopilatorio Hits With Tits.

Este viernes 15 en Madrid tienes una cita con ellas en Screamin’ Party Vol.X: Medicine Boy (psicodelia, Sudáfrica) + Paisana (post punk, Madrid) (Prensa)

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18 mayo, 2015 Posted by | Paisana | Deja un comentario

The Airplanes: Young (Single, 2014)

The Airplanes son un grupo de Arkansas quienes, desde la modestia del DIY, facturan un sonido algo añejo, preñado de influencias clásicas que van desde el Pop o el Surf-Pop hasta huellas más cercanas en el tiempo y que tienen que ver con bandas de los noventa como Pavement o Teenage Fanclub.

“The Airplanes are a band formed in Fayetteville, AR in 2014, consisting of Joshua Vest (guitar, lead vocals), Andrew Donovan (guitar, backing vocals), Joel Paul (bass, backing vocals), and Rob Storms (drums, backing vocals). The Airplanes strive for pop perfection, crafting noisy, harmony infused songs—a sound focused on the simplistic strength of the three minute pop song” (Facebook)

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17 mayo, 2015 Posted by | The Airplanes | Deja un comentario

The Thin Bloods: Twin tumors, Vol.2 (Rubber Brothers Records, 2014)

El último trabajo de The Thin Bloods es este chirriante Twin Tumors, Vol. 2. Un artefacto de sonido árido, grabado en pocas tomas y sin demasiado esmero en la producción, lo que no le impide poseer un cierto encanto de Pop indie noventero.

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16 mayo, 2015 Posted by | The Thin Bloods | Deja un comentario

Built to Spill: Untethered moon (Warner, 2015)

Hace poco leía por blogs musicales que Built to Spill sacaban nuevo disco: Untethered moon (Warner, 2015). Toda una sorpresa para quien escribe, en tanto que les había seguido la pista en sus primeros tiempos ( Perfect from Now OnKeep It Like a Secret…) pero se la perdí tras aquellos discos. Y si por algo se podían caracterizar BTS era quizás por su falta de intensidad, lo que paliaban con su dominio casi perfecto del LoFi, tan en boga por entonces.
Y la sorpresa llega con Untethered moon, un trabajo preñado de intensidad y de guitarras que van algo más allá de la mera distorsión: When I´m blind es una sinfonía Noise muy del estilo de sus compañeros de generación Yo La Tengo. Un álbum que es algo así como un cruce de caminos entre la crudeza de Neil Young & Crazy Horse y el lirismo intenso de Rem. Minutajes extendidos y temas que, aun sin encontrar el estribillo perfecto ni la melodía más musical, empatizan en seguida en el oído del oyente desinhibido. A disfrutarlo…


“(…) Still, the familiarity of Built to Spill is a balm, and hearing Martsch fiddle with his main melodic ideas is like visiting cousins: everyone’s older, no one’s much different, someone’s hair is longer or shorter, someone’s brought a different girlfriend. Martsch is still messing around with unexpected ways to fit together guitar rock songs—on “All Our Songs”, everything drops out for him to play a little three-note figure surrounded by silence, and then he brings the band back in with a pedal stomp. “Living Zoo” works an extended lyrical metaphor (“Being a human/ Being an animal, too”), as the tempo quickens and drags, the guitars twirling overhead like multicolored kites.
There are new moments and darker colors here if you listen closely for them. “On the Way” feels like a song form Martsch has never tried, with female backup singers, a walking bass line, and a cloudy sense of menace. The loosely dub-inflected “C.R.E.B.” (Martsch was threatening a Built to Spill reggae album for a while last decade) is pained and even a little bleak, a welcome reminder that there are shadowy spots in the bright open spaces of his music. “I never meant to forget you/ I always forget people I really love/ If I haven’t seen them for a long time/ And I haven’t seen you for a long time,” he sings, a moment where you can hear and feel some internalized regrets and emotions surface.
In general, the higher the emotional stakes, the better Martsch gets; you sense that he could jam out a passable Built to Spill album in a few weeks if he wanted to (and that’s exactly what it seemed like he did with 2001’s Ancient Melodies of the Future and 2005’s You In Reverse). There is even some audible self-deprecation creeping into his song titles: On There Is No Enemy, he offered us “another nowhere lullaby” (“Nowhere Lullaby”) and onUntethered Moon he gives us “All Our Songs” and the shruggingly titled “Some Other Song”. On “Another Day”, he frets over “an obsolescence no one would plan.” It sounds like a world-beating talent recognizing his own limitations, deciding whether or not to make something good or something great. There will always be flickers of the latter on Built to Spill’s albums, and if there are only four or five them here, they are bright enough to reassure that Martsch is probably not going anywhere, and that he’ll continue to grace us, every once in a while, with his unassuming, inscrutable presence” (Pitchfork)

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15 mayo, 2015 Posted by | Built to Spill | Deja un comentario

Robert Pollard: Take me to Yolita (Fire Records, Single, 2014)

“Neither snow nor rain nor heat nor gloom of night stays Robert Pollard from the swift completion of his latest brilliant record. Faulty Superheroes jets off Pollard’s vinyl-grooved runway like the prototype for some new super-sonic power pop fighter jet, and at this point in his career is anyone surprised that the twelve tracks on his latest effort are uniformly awesome? The answer is no. Exactly no one is surprised. The biggest thing Pollard has to contend is his own miraculously consistent greatness. That he rarely if ever stumbles is some kind of marvel, and perhaps implies superpowers of his own. If you see what we did there” (Press)

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14 mayo, 2015 Posted by | Robert Pollard | Deja un comentario

The Love Intangibles: Tomorrow is never (Single, 2015)

The Lovely Intangibles son uno de esos combos de naturaleza algo esquiva, difíciles de rastrearles una pista por las redes sociales pero que nos dejan un sonido fácilmente caracterizable: una especie de Folk-Pop tañido de esa altivez que da la elegancia natural y la sotisficación. Debutan este verano y éste es otro de los sencillos que han ido editando en los últimos tiempos. 

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13 mayo, 2015 Posted by | The Lovely Intangibles | Deja un comentario

The New Pornographers: Brill Bruisers (Matador, 2014)

New-pornographers

Que The New Pornographers son un grupo que hace un Pop feliz y brillante ya lo conocíamos. Brill Bruisers no es más que la confirmación de ello.

“The evolution of New Pornographers hasn’t been measured by changes in their core sound so much as in energy level, with a discography that can essentially be plotted alongside a DJ console’s BPM lever. And since their 2005 masterwork Twin Cinema—an album that perfectly balanced their formative power-pop freneticism with loftier, widescreened ambitions—that lever has been gradually sliding down, with Challengers from 2007 and Together from 2010 emphasizing more patiently paced set pieces that tiptoed the fine line between gracefully decompressing and killing the buzz altogether. But even if such gambles cost them a few ADD-addled admirers along the way, you get the sense the New Pornographers would soldier on at their own leisurely clip even if no one was listening. Because, for the principals involved, the New Pornographers are less a band than a holiday resort, “a vacation from rock’n’roll music, inside rock’n’roll music,” as resident siren Neko Case once put it. And boy, do they ever need it now. Since the release of Together, the band’s principal songwriters have experienced the highest of highs and lowest of lows: Dan Bejar produced his most immaculate, universally acclaimedDestroyer album to date with Kaputt; conversely, bandleader A.C. Newman and Case eachreleased sobering, uncharacteristically introspective solo records written in the aftermath of deaths in their respective families. So if the previous two New Pornographers records sometimes had a procedural air about them (with each vocalist checking in to collect their three-song rations), the vim and vigor of Brill Bruisers forcefully reasserts just how important and therapeutic the enterprise is to all involved. And that album title is brilliantly apropos for both the song-factory connotations and intimations of violence: here, the New Pornographers resemble not so much a supergroup as a gang, wielding hooks like shivs, guitar riffs like machine guns, and synths like laser beams. The opening title track isn’t just a blown-out bubblegum pop song made from a box full of Bazooka Joes—it’s a swarming, instantly thrusting you into a dizzying flurry of “bo-ba-ba-bo” harmonies coming at you from all sides. The steady beat of latter-day New Pornographers may remain, but it’s delivered with the force of a body check. While greatly indebted to pop movements of the past—from ’60s psychedelia to ’70s glam to ’80s new wave—the New Pornographers have never felt like a purely retro exercise, their best songs too jacked-up and exuberant to lapse into studious classicism. But Brill Bruisers feels like their most contemporary recording to date, and a great deal of credit for that lies with the person who, historically, has been the one least likely to be mentioned in a New Pornographers review— Blaine Thurier—and fellow keyboardist Kathryn Calder. In contrast to Together’s cello-dramatic sound, Brill Bruisers foregrounds their playing, not to opportunistically recast the band as au courant synth-pop, but to restore the forward momentum that was in scarcer supply on recent records, from the starbursts that propel Case’s daydreamy turn on “Champions of Red Wine” to the zippy oscillations that power Bejar’s triumphant “War on the East Coast” to the meaty tones that lend the authoritative march of “Backstairs” (the band’s most imposing rocker to date) a little extra spring in its goosestep. Thurier and Calder’s elevated roles speak to the more integrated teamwork in effect on Brill Bruisers; while tracklists on past records could be easily segregated by singer, there’s a greater degree of vocal trade-offs and harmonic interplay that heightens the communal, celebratory sense of occasion. And with the Fleetwood Mac attack of “Fantasy Fools”, the delirious “Dancehall Domine”, and Tommy-sized closer “You Tell Me Where”, the New Pornographers deliver the sort of pure pop head rush they haven’t unleashed in years. (Bejar is an especially feisty mood, hurtling himself into his trio of heart-racing contributions like a drunk who’s just found out the wedding he’s at has an open bar—all the while, in true contrarian fashion, showing up to the New Pornographers’ most modernist album yet with a batch of songs that require harmonica solos.) As ever, the exact meaning of the songs are evasive, but their ascendant arcs readily cast them as underdog anthems for whatever great challenge you face. Within such a maximalist context (not to mention a bulky 13-song tracklist), acoustic-tempered, middle-geared songs like “Marching Orders” and “Wide Eyes” can’t help but pale next to the aforementioned showstoppers. But Brill Bruisers’ most revelatory, parameter-expanding songs are actually the most stripped-down: Calder’s quick-hit “Another Drug Deal of the Heart” serves the same reprieving function here that Tobin Sprout’s minute-long melodic morsels did on Guided by Voices’ classic mid-’90s records, while Newman’s “Hi-Rise”—boasting a circular harmony assembled from clipped vocal tics—imagines what the posthumous, animatronic line-up of his band will sound like at a 22nd-century intergalactic tiki-bar residency. As legend has it, when recording the New Pornographers’ 2000 debut,Mass Romantic, Newman’s primary instruction to Case was to “sing like a robot”; with the futurist sound of Brill Bruisers, the whole band embraces a more electric version of itself—bulked-up in chrome-plated armor, firing on all cylinders, and ready to steamroll anything in its path” (Pitchfork)

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12 mayo, 2015 Posted by | The New Pornographers | Deja un comentario

Homeless: Cuando éramos Punk-Rockers (Vídeo-Single, 2015)

Homeless presentan “Cuando éramos punk rockers”, tema extraido del LP “La ciencia lo sabe” editado por Discosdelrollo y grabado en el estudio Grabaciones Sumergidas bajo la producción de Juan Antonio Mateos.
El videoclip ha sido dirigido por Félix García y encarnan los papeles Ronda Madera y Fernando Velázquez.

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11 mayo, 2015 Posted by | Homeless | Deja un comentario

The Bat Pajamas: Wrong house (Fleeting Youth Records, Single, 2015)

“Wrong House” is a scuzzy affair, built with tinny shreds of guitar and muffled vocals that change from troubled howls to blood-curdling screams in a matter of seconds. The song highlights their grungy, dark, and disheveled punk rock they dub “Witch Punk.” 

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9 mayo, 2015 Posted by | The Bat Pajamas | Deja un comentario

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