The JangleBox

Indie, Noise, Shoegaze… Music

Wated – THE JAZZ BUTCHER: The Wasted Years (Fire Records, 2017)

“In the early ‘80s, Dave Barker was checking master vinyl copies of classical recordings for glitches – they don’t make jobs like that anymore. In his spare time he discovered innovative souls struggling to make music and welcomed them to his Glass Records label. The roll call included Teenage Fanclub, Spacemen 3, The Pastels and The Jazz Butcher.
The ‘Butcher’ delivered a gaggle of albums and many 45s for Glass from 1983 to 1986, the jacket notes on the dusty tome that recalls this period mentions Randall And Hopkirk (Deceased), Thatcher, DIY post-punk, LSD, surrealist cabaret, The Velvet Underground, a bottle of Cointreau or two, the Amstrad 7090 and Ronco’s ‘Black Magic’ compilation. All that led to the ‘The Wasted Years’: Four albums, many visions…
‘Bath Of Bacon’ was an experiment in sound, conjoining that Ronco platter to Todd Rundgren, a guitar from Wes Montgomery’s cupboard and mentions of imaginary monsters set to some funky chops. “The sound of a few mates failing to take note that they’ve an LP to make!” claims the JB site. It’s pop meets bluesy scat with plenty of deadpan irony – a theme that will recur.
‘A Scandal In Bohemia’ took a “competent little rock band” with a bassist who’d served time in Bauhaus into a world chorused by multi-track vocals and bathroom ambience. “A top-shelf diamond of a record that is filled with excellent, memorable songs.” (All Music).
‘Sex And Travel’ offered a broadening perspective. Competence and European travel beget a narrative akin to an impressionistic cold war spy movie, a “mess of styles” that became coherent. “A great album,” muses All Music before comparing JB mainman Pat Fish to Ray Davies circa 1969. It’s an “accidental” concept album prone to fleeting melancholy.
‘Distressed Gentlefolk’, ahead of the original band’s demise through “fatigue and liquor” was the Butcher’s stab at making their “greatest album ever”. “A beautifully romantic record of soft rock ballads and jazzy torch songs,” enthused Trouser Press. There’s a folky edge scratching away beside the inevitable romp through pop music’s historical lineage.
Four albums, then. The ‘80s recast at an ironic party of malcontents. Indie pop as a soundtrack. Songs that shouldn’t fit together – but do. ‘Wasted Years’? Yeah, really” (Press)

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23 agosto, 2017 Posted by | The Jazz Butcher | Deja un comentario

Avocet Revisited – Earth Recordings (Shared Ep, 2017)

‘Avocet Revisited” is a four track EP, commissioned by Earth recordings as a companion piece to Bert Jansch’s 1979 avian-themed masterstroke ‘Avocet’. Again drawing inspiration from the resplendence of birds native to British waters (Bert himself was a keen ornithologist), Earth invited this quartet of artists to each choose a species that particularly speaks to them, and base a track around it. The results have been universally graceful, evocative, and majestic – much like the creatures themselves. 
Drifting low and gliding high, the flight patterns of this gull-like creature are echoed in Edwyn Collins and Carwyn Ellis’s paean to the bird that spends most of its life airborne. Part waltz, part lullaby, ‘Fulmar’ is exquisite in its simplicity, with Carwyn’s elegant arrangements providing the perfect foil for Edwyn’s unmistakeable intonation.
The opening of Modern Studies’ track – the call of the Curlew itself – is as recognisable as the looping feathered frame of its namesake. Perfectly showcasing the handsome orchestral arrangements that have become the group’s signature style, there is a lightness of touch here that evokes Virginia Astley’s ‘From Gardens Where We Feel Secure’.
Another Scottish resident, both artist and avian. Unmistakably Alasdair Roberts, ‘Goosander’ is at once refined and somewhat feral; Alasdair’s picking supplemented by sighing organ drones and spartan electric guitar. 
Golden Plover
Playing us out, Trembling Bells’ contribution has a Harvest feel – the last days of summer invoked by the warm refrain and gentle orchestration found on ‘Golden Plover’. In another lifetime, this song – infused with the sounds of yesteryear – could very easily have made it onto the Wicker Man soundtrack… which should tell you all you need to know. A pagan hymn reimagined for the Scarfolk era! The band is joined by Callum Calderwood (violin), Rory Haye (vocals), Andrew Pattie (vocals) and Belle & Sebastian’s Stevie Jackson (12 string guitar)

22 agosto, 2017 Posted by | VV.AA. | Deja un comentario

Desvíos – ESCUELAS PÍAS: Pequeñas desviaciones (El Genio Equivocado, 2017)

Pequeñas Desviaciones’ reúne las cuatro composiciones que quedaron fuera de su primera referencia en el sello El Genio Equivocado. “No las consideramos descartes, ni siquiera caras b, simplemente no formaron parte del disco por motivos de duración y estilo”. Con ‘Pequeñas Desviaciones’ el grupo cierra su primer ciclo vital y ya se prepara para un nuevo periodo de composición y grabación. “Nos daba mucha pena que estas canciones se quedasen perdidas en tierra de nadie. Ahora que estamos trabajando en material nuevo, queríamos partir de cero y darle su lugar a estos temas que formaron parte de la creación del anterior LP”. Escuelas Pías comenzará a grabar su segundo larga duración a finales de año en los míticos estudios La Mina de Raúl Pérez.
Pequeñas Desviaciones’ está grabado y producido por la propia banda, masterizado por Mario G. Alberni (Kadifornia Mastering) (Nota de Prensa)


21 agosto, 2017 Posted by | Escuelas Pías | Deja un comentario

Teach Us – THE RADIO Dept.: Teach me to forget (Labrador, 2017)

20 agosto, 2017 Posted by | The Radio Dept. | Deja un comentario

Emoshuns – SPIRAL STAIRS: Doris & The Daggers (Domino, 2017)

Doris & the Daggers

Hay ciertas emociones al oír el segundo trabajo de Scott Kannberg, aunque nadie se espere encontrarse con demasiados trazos de su época Pavement. Incluso ni siquiera con la de su correligionario Malkmus. Si acaso en cortes como EmoshunsDundee man, Doris and The Daggers
Este segundo disco tiene guiños ochenteros (Dance -Cry wolf-, …) y otras en las que directamente se le va un poco el concepto e incluso introduce en la producción arreglos de metales que, la verdad, no tienen demasiado sentido. Personalmente, prefiero la vertiente más guitarrera. ¿Posición conservadora? Pues sí. Adoro a Pavement, y cualquier cosa que suene a ellos es música celestial para mis oídos.

“Recorded with a host of indie rock stars, including members of Broken Social Scene and the National, Doris & the Daggers is settled in an appealing way. Kannberg eases into a collection of classicist guitar pop that recalls vintage ’80s college rock from New Zealand and Australia, but also bears some resemblance to the sharp, knowing pop of Kelley Stoltz, who functioned as a part-time collaborator on the record. Guitars may be at the center of Doris & the Daggers but Spiral Stairs doesn’t walk a narrow path. He anchors “No Comparison” with disco rhythms, the opener “Dance (Cry Wolf)” feels like a vague tribute to either David Bowie or Echo & the Bunnymen, horns grace “The Unconditional,” and the title track is a phased rush of noise that recallsPavement pulling pranks. Nevertheless, the heart of the album is in those ringing riffs and winding guitar chords, songs that feel like middle-aged updates of “Date with Ikea” and “Passat Dream,” and that’s highly appealing. Kannberg seems comfortable in his skin, happy to reconnect with his roots but never desperately scrambling after the past, and that makes for a quite charming record” (All Music)

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18 agosto, 2017 Posted by | Spiral Stairs | Deja un comentario

Looking to Yesterday – THE BEVIS FROND: Son of Walter (Re-Issue, Fire Records, 2017)

“The release of this work signals a resurgent appreciation for the noodly psychedelia of which this Brit is the master,” claimed the beautifully named Jennie Ruggles in Addicted To Noise. “Guitar fans will eat this album up,” Calendar, a magazine in the US argued and Pulse! Magazine reckoned: “’Son Of Walter’ offers new recruits a generous and reasonably representative introduction both to Saloman’s deeply ingrained mastery of ‘60s-vintage idioms and to the humanity and tunefulness that sets him apart from less imaginative retro-formalists. 
Ah, retro formalists, we love them” (Press Note)


17 agosto, 2017 Posted by | The Bevis Frond | Deja un comentario

Paisajes y Figuras – THE STARGAZER LILIES: Door to the sun (Graveface Records, 2016)

Door to the Sun

Con este Door to the sun, THE STARGAZER LILIES consiguieron llegar a una pequeña cumbre: a la emoción de lograr la cima del Shoegaze más emocional, ambiental y psicodélico que podamos encontrar en nuestros días. Todo un manual sobre cómo emocionarnos a base de languidez sensual, densidad sonora, voces susurrantes y distorsiones diabólicas. 
Un grandísimo monumento al Shoegaze que tiene su continuidad en este año en curso.

“Ex-Soundpool brain trust Kim Field and John “Cep” Ceparano return with Door to the Sun, their second offering under the Stargazer Lilies banner. As first heard on 2013’s We Are the Dreamers, their particular brand of shoegaze is as murky as a bog filled with expired psychedelics. If anything, the rays of kaleidoscopic sun that shone through the emptier spaces of their debut are fewer and farther between on their follow-up. With Los Angeles-based drummer Tammy Hirata now onboard, the sound they deliver is massive, extremely dense, and frequently difficult. Slowly exhaling its hot breath is opener “Golden Key,” one of the album’s more structured and accessible tracks. Ceparano‘s lonesome squalls of ambient guitar tone wail like a wayward wind as Field‘s airy and mostly unintelligible voice dances across the top like a tumbleweed. Comprised of eight fairly lengthy tracks,Door to the Sun is a highly cerebral set where tumult and anxiety share quarters with — and usually dominate — their cousin radiance. “Drive” feels like a four-minute slow-motion car wreck where shards of harmonic beauty spill out of its shattered windows. A heavy layer of menace rolls like tank treads underneath the oddly sweet vocal melodies of “When with You” suggesting hidden powers and motives. “Personal Autumn” — whose title seems like it must have been generated by a dream pop/shoegaze song algorithm — contains some distant verses mostly blanketed by a harsh pastiche of what could be heavily-treated leaf blowers and rotting Hal Blaine drum patterns. Aside from the underlying impression of threat that seems to pervade nearly every song, Door to the Sun plays out like a fairly standard, if exceedingly heavy shoegaze album. Hearing or understanding the Lilies‘ lyrics is out of the question, as is any real semblance of standard pop structure, but in the parlance of one of rock’s vaguer subgenres, it seems like they’ve succeeded” (All Music)


16 agosto, 2017 Posted by | The Stargazer Lilies | Deja un comentario

Tacones Lejanos – RODES ROLLING: Young Adult (Ep, 2017)

Una de esas historias que de vez en cuando rellenan los informativos veraniegos: una chica vagabunda que da el golpe con un disco de debut y que con este segundo Ep se presenta de nuevo con un disco bello, melancólico y en cierto modo conceptual, donde se repasa la época de la vida en que se pasa de los amores adolescentes a la madurez emocional. 
El entorno sonoro: impecable instrumentación orientada al Folk-Pop con tendencias Dream, producción justa y un verdadero buen gusto musical. Quizás desentona en el conjunto algo el último corte, pero en realidad es un gran Ep.


15 agosto, 2017 Posted by | Rodes Rollins | Deja un comentario

Back to Yesterday – BONGLEY DEAD: Undici (2017)

Bongley Dead son un combo italiano especializado en revitalizar sonoridades muy muy  noventeras. A casi todos nos suenan sus guitarrazos y sus ritmos, pero seguro que también a casi todos nos van a venir muy bien esas puestas al día.


13 agosto, 2017 Posted by | Bongley Dead | Deja un comentario

Love (Beach) – WILDHONEY: Horror movie (Slumberland, 2016)

Para nada deberían haber titulado Horror Movie a este precioso sencillo los chicos de Baltimore WILDHONEY. Precioso Fuzzy adornado con guitarras saltarinas y hooks acelerados que te enganchan a la primera.

12 agosto, 2017 Posted by | Wildhoney | Deja un comentario

ARTEfactos – ULRIKA SPACEK: Modern English Decoration (Tough Love Records, 2017)

Partiendo de presupuestos sencillos, estos alemanes afincados en Londres van por su segundo artefacto sonoro: Modern English Decoration es un álbum de Fuzz-Shoegaze imbuido por lo mejor de la Neo-Psicodelia y otras hierbas como el Kraut. Altamente recomendable…

“Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio. “This record was made in various rooms in our house, predominantly in the living room. Every part of the album reflects this, from the title to the setting of the lyrics. Doing everything ourselves is not just necessary: it’s important to us, as it allows us to truly create our own world”. While there’s an element of domesticity to the album’s creation, the themes that drive the songs are anything but, reflecting an all-too-common sense of mid-twenties alienation and anxiety, alongside the comforts/burdens of self-awareness.
Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia. But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so – a 45 minute commitment, a surrender”


11 agosto, 2017 Posted by | Ulrika Spacek | Deja un comentario

Electro-Psycho – AL LOVER: NEUicide ! (Single, 2016)

‘NEUicide!’ consists of two tracks that swirl menacingly around two repetitive droning ‘SUICIDE’ notes as the incessantly rhythmic percussive ‘NEU’ beat drives headlong into a turbulent world of boundless electronica, kraut rock & hypnotic modern day psychedelia. Its sprawling synth swells are addictive, rising and falling like a small wooden boat fighting a huge storm laden sea swell and coupled with those broken samples, cascading synth lines & swirling reverberating drones makes for an epic modern day sonic adventure” (The Primal Blog)


10 agosto, 2017 Posted by | Al Lover | Deja un comentario

Lapping – TRISTEN: Sneaker waves (Modern Outsider, 2017)

Sneaker Waves abounds in toothsome melodies and glistening layers of guitar and synth. (Tristen and her husband/collaborator Buddy Hughen handle nearly everything but the rhythm section and orchestral accompaniment.) Her voice is a willowy instrument, and she uses it confidingly, the demureness of her vocal attack beckoning listeners into intimate range. But it’s not softness that she’s delivering; she bears quietly lacerating witness to vulnerability” (


9 agosto, 2017 Posted by | Tristen | Deja un comentario

Collapses – CURELIGHT WOUNDS: Salted hour (Ep, 2016)

‘Wearing The Strings’ opens up with its title track, gloriously held within a turbulent maelstrom of angry noise and driving melodious bass frequencies. ‘Wearing The Strings’ weaves and soars effortlessly through layers of screaming feedback and pounding drums as its vocals swim through a deep dark sea of lo-fi brilliance. Up next, (the very punk like) ‘Sail It Away’ is awash in reverberation as its brilliant bass line undulates between the soaring guitars and the pounding drums whilst all the while being straddled by a repetitious vocal progression.‘Sail It Away’ is absolutely magnificent and probably my favourite track on this entire release.
The EP’s penultimate track is a work of art. ‘Salted Hour’ drives headlong into the sonic ether on a skittish percussive pattern brilliantly underscored by weaving post-punk inspired bass frequencies and a raging cacophony of thunderous reverberation. Again, the lo-fi vocals cut an unwavering wedge through proceedings as the swirling accompanying guitars perform whammy bar theatrics as they unleash a wave of beautiful noise. The final track on this impressive release is ‘All In Red’. A melodious affair filled with snaking bass lines and addictive lead guitar progressions that weave in and out of that sublime vocal take with ease. Reminiscent at times to early ‘Cure’ or Boston’s own ‘Swirlies’, ‘All In Red’ is a fitting ending to a bloody marvellous EP’ (The Primal Blog)


8 agosto, 2017 Posted by | Curelight Wounds | Deja un comentario

Stereo Party – THE SURFIN´BURRITOS: The Surfin´Burritos (2017)

Como podréis leer en el extracto de la entrevista que acompaña a estas líneas, la música de The Surfin´Burritos es todo un compendio de lo más enérgico que ha ido apareciendo en la escena musical y popular en los últimos cuarenta años. Un trabajo madurado con el tiempo, con muchos directos y que ha ido tomando forma hasta conformar un corpus homogéneo que te puede sonar a un viaje Retro, pero que más bien es un trayecto por lo mejorcito del Pop y el Rock de las últimas décadas, grabado con apariencia de directo y sensación de verdad.

“Para mí hay dos pilares fundamentales, entre mis referencias: primero fueron los Beatles, desde muy pequeño, y el otro fueron los Ramones, ya de adolescente (quienes, de hecho, tienen muchísimas raíces beatlianas). Y a partir de ambos, todo lo que se pueda poner alrededor. Porque a mí me atraen muchos estilos distintos, pero ni se tiene la capacidad de tocarlos todos, ni sería coherente intercalar de repente una bossa nova, ¡por ejemplo!
Luego también caes en etapas en las que escuchas mucho a una banda en concreto. A mí me dio por los Beach Boys y por Rockpile, que fueron un supergrupo relativamente desconocido de finales de los setenta, integrado por Nick Lowe y Dave Edmunds, y con muchas influencias de los sesenta. En el fondo, y por mucho que a algunos les cueste admitirlo, todos acabamos influenciándonos de las mismas grandes bandas del siglo XX.
Nos movemos sobre todo alrededor de los 1950s, 1960s, algo de los 1970s e incluso de principios de los 1980s, ¿por qué no? La new wave, con Blondie, Pretenders, y muchas agrupaciones que recuperaban la brevedad y los estribillos resultones, con toques sesenteros. Y, de hecho, escuchamos mucho material actual; ¡lo que pasa es que también se basan en las mismas raíces! Richard Hawley es uno que recomiendo muchísimo; hace cosa de 5 años, puso de moda las baladas de tipo Cash y Orbison. Kurt Baker es otro, un americano que vive en Madrid y que parece un Elvis Costello jovencito” (Entrevista a Daniel Antebi, aparecida en Muzikalia)


7 agosto, 2017 Posted by | The Surfin Burritos | Deja un comentario

Airs – THE LOVELY INTANGIBLES: Air and numbers (2016)

Resultado de imagen de the lovely intangibles air and numbers

Los neoyorquinos THE LOVELY INTANGIBLES continúan con su fórmula de mezclar reverbs y ambientes para dar forma a un ameno disco que aunque pierde un poco de fuelle con respecto a su debut, les continúa situando en una buena situación en el panorama del Ambient y el Dream-Pop más fronterizo.

“The Lovely Intangibles expand upon musical themes set forth by The Lost Patrol, but take the music into breezier skies. Guitars still cascade with endless flutter into the reverb-drenched void while heart-stopping bass and synthesized soundscapes envelop you” (Press Note)


6 agosto, 2017 Posted by | The Lovely Intangibles | Deja un comentario

Fuzzy Pastiche – THE BLACK UNDERGROUND: I am the noise (2017)

La fórmula de Biba Ost continúa siendo la misma: una cierta reiteración de patrones de sobras conocidos como el Noise mezclado con la pesadez de ciertas facetas de TJMC y una pose un tanto oscura. Vamos: lo que muchos conocen como Pastiche. No obstante, resulta bastante entretenido de escuchar.


5 agosto, 2017 Posted by | The Black Underground | Deja un comentario

Fuzzy Atacks – DREAM RIMMY: Landslide (Single, 2016) / Heavy (Ep, 2017)

“The Band create a shimmering wall of noise, filled with swirling melodious frequencies and immense reverberating instrumentation all topped off with a sublime vocal attack. ‘Landslide’ swoons with impressive vocalisations, circumnavigated by swirling synth lines, steadying drum patterns and layered reverb drenched guitars who’s lead licks purr as they wind their way around the entire piece and soar impressively into the ether with blissful aplomb” (Primal Music Blog)


4 agosto, 2017 Posted by | Dream Rimmy | Deja un comentario

Discharge – PETAL HEAD: In my head dreams melt (Ep, Dead Broke Records, 2016)

Petal Head son todo un trallazo de Power-Pop y adrenalina guitarrística.


3 agosto, 2017 Posted by | Petal Head | Deja un comentario

In memoriam – ARIEL PINK: Dedicated to Bobby Jameson (Mexican Summer, 2017)


Another weekend y Time to LIve son los avances al nuevo trabajo de Ariel Pink que se titulará Dedicated to Bobby Jameson, y que aparecerá el próximo mes de Septiembre.

“Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15.
The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.”
Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability”

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2 agosto, 2017 Posted by | Ariel Pink | Deja un comentario

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