The JangleBox

Indie, Noise, Shoegaze… Music

We´re not afraid – QUEEN OF JEANS: If you´re not afraid, I´m not afraid (Topshelf Records, 2019)

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No son más que juegos de palabras los de la introducción. QUEEN OF JEANS son una banda de Filadelfia de esa hornada de nuevas bandas / solistas especializadas en canciones íntimas, de dormitorio, de sentimientos a flor de piel protagonizadas por voces femeninas algo quebradizas pero no exentas de personalidad. 
QUEEN OF JEANS se mueven muy a gusto en este contexto, y en este nuevo trabajo, mezclan perfectamente esos ecos de Fairport Convention con la nueva sensibilidad Pop milenial.

“After releasing a dreamy, catchy debut EP steeped in retro influences like surf and psych-rock as well as later dream pop, Queen of Jeans refined their sound without significantly changing their style on their first album, 2018’s Dig Yourself. A year later, they take another step toward more streamlined structures on the still hooky and sweetly trippy If You’re Not Afraid, I’m Not Afraid. It represents a first-time collaboration with producer Will Yip (the Menzingers, Mannequin Pussy, Petal). Filled with yearning lyrics that veer between discontented, hopeful, and resigned, all delivered by main songwriterMiriam Devora‘s lucid, classic pop vocals, it’s a mostly lively, churning set with echoing guitar progressions and full rock drums. Extra touches in play include horns at the end of the rousing breakup song “All the Same” (“One day we’ll all be friends/’Cause this heart will yearn to mend”). Elsewhere, “Take It All Away” features strings, and “Bloomed” establishes rumbling guitar textures alongside its yelping vocal line. Among exceptions to the lush bounce of these and other tracks are the sparse, lullaby-like “Rum Cheeks,” a drumless song with spectral vocal harmonies, and the more measured, mid-tempo “Not a Minute Too Soon,” whose chorus nonetheless offers up one of the album’s strongest earworms. “Take It All Away,” a power ballad in 6/8 time, closes the album on a melancholy note. While some fans may miss the looser garage character of the band’s earliest recordings, many will take heart in the fact that If You’re Not Afraid, I’m Not Afraid delivers a consistently solid set of pop songs, a sympathetic protagonist, and a sound that still echoes with reflections of their beloved 20th century inspirations” (All Music)

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16 octubre, 2019 Posted by | Queen of Jeans | Deja un comentario

Piloto Automático – SLOWNESS: Berths (SchoolKids Records, 2019)

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El cuarto trabajo de SLOWNESS es un disco que no tiene la frescura de ese Shoegaze-Drone Pop tan elegante de los anteriores. Berths es un trabajo más visceral, más incisivo, de esos que parecen paridos en sesiones solitarias a altas horas de la madrugada, con el piloto automático puesto, lo cual redunda en una cierta reiteración que esta vez no contribuye con nada especialmente interesante, Hay momentos cálidos (Sand & Stone), pero otros que no les aporta absolutamente nada (Breathe). 
Un mini Lp que en TJB no celebramos tan gozosamente como ninguno de sus tres anteriores álbumes, para nuestra desgracia, pues SLOWNESS continúan siendo unos de nuestros clásicos “olvidados” a reivindicar en un precioso rincón de la industria discográfica.

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14 octubre, 2019 Posted by | Slowness | Deja un comentario

It´s not a Surprise – SEBADOH: Act Surprised (Fire, 2019)

act surprised

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Pues SEBADOH protagonizan este 2019 un nuevo regreso. Aunque, si somos realistas, las huestes de LOU BARLOW nunca se han ido del todo. Sus numerosos proyectos paralelos les permiten ocupar su tiempo en otras cosas, pero la banda matriz vuelve a publicar otro de esos trabajos que les reconectan, como siempre, con sus seguidores que desde los noventa les vamos adorando un poquito más a cada disco.
Act Surprised supone un regreso a sus tiempos de Bakesale o Harmacy, un disco más directo y grueso, donde no se atisba ni una sola concesión a ningún tipo de artilugio que emita sonidos sintetizados o ritmos programados. Un trabajo compuesto en la parte de Barlow tras una ruptura emocional y en el lado de Rowestein que incluso suaviza su tradicional visión más iracunda del Pop eléctrico de SEBADOH. Estarán en España en breve, y seguro que será un buen momento para comprobar su excelente estado de forma actual.

“It’s fairly remarkable that Sebadoh still has a trademark sound, given how much they’ve changed over the years. Lou Barlow‘s days as a nerdy, introspective guy playing with a four-track cassette machine are ancient history in 2019, the year they released Act Surprised, but to this day that’s what many folks think of first when they hear the group’s name. The 2010s edition of SebadohBarlow on guitar,Jason Loewenstein on bass, and drummer Bob D’Amico — has matured into a tight and confident rock band with an impressive amount of muscle, but there’s just enough skittery play in the guitar lines and the right amount of angst in Barlow‘s vocals that even this relatively chops-intensive and high-fidelity version of Sebadoh carries a germ of the satisfying chaos of their earliest work. Arriving six years after 2013’s Defend Yourself, Act Surprised melodically recalls the band’s mid-’90s salad days of 1994’s Bakesale and 1996’s Harmacy, with plenty of tunefulness and hooks running counter to the emotional awkwardness. But the performances are significantly brawnier in 2019; D’Amico hits a lot harder than Eric Gaffney or Bob Fay did in Sebadoh‘s earlier incarnations, and that has encouragedBarlow and Loewenstein to turn it up and rock out a bit. Justin Pizzoferrato‘s engineering sounds a bit buzzy in the low end, but the highs are clear, bright, and punchy, adding considerably to the impact of the performances, and though this is a long, long way from the resin-infused thunder of Dinosaur Jr., cuts like “Follow the Breath,” “Phantom,” and “Stunned” suggest Barlow is at long last bringing more of what he’s learned in his other band into Sebadoh. Emotionally, Act Surprised feels just likeSebadoh, but if you ever wished they’d make an album that would sound big, loud, and suitable for blasting on your car stereo, this is a sure step in that direction” (All Music)

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30 septiembre, 2019 Posted by | Sebadoh | Deja un comentario

LUNA is on fire – LUNA: Postscripts (Ep, Double Feauture Records, 2019)

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LUNA no se están quietos. Aunque no lo parezca, la banda de DAN WAREHAM se mantiene inquieta y productiva, y para celebrar la inminente gira que inician en octubre, han preparado un Ep digital, con algunas versiones y remezclas/retoques de temas antiguos.
Algunos incluso los mejoran (Inside your heart/The Monochrome Set), otros son rendiciones muy personales (Lonesome Cowboy Bill/Velvet Underground, California Blue/Roy Orbison). Material de primera para una banda encantadora.

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23 septiembre, 2019 Posted by | Luna | Deja un comentario

Marañas – SWERVEDRIVER: Future Ruins (Rock Action Records, 2019)

Resultado de imagen de swervedriver future ruins

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La intensidad que encontramos en I wasn´t born to lose you (2015) la volvemos a hallar en este nuevo trabajo de los “científicos de las guitarras” como les denomina All Music. Desde luego que es un buen apelativo. Swervedriver son especialistas precisamente en eso, en entretejer esa maraña de arpegios, de hooks y riffs que termina enganchando a cualquier amante del Shoegaze.
Quizás sea éste un disco más sesudo, algo más sentimental, pero no cabe duda de que no defrauda en ningún momento a los fieles de la banda de Oxford.

“Oxford guitar scientists Swervedriver weren’t always the first name to come up in a conversation about ’90s shoegaze, but they were responsible for some of the more inspired sounds to come out of the era, with an ear for the meeting of jangle and noise that bested even the most decorated shoegaze groups. After a lengthy hiatus, the band re-formed in 2008 and offered up the bright and beaming I Wasn’t Born to Lose You in 2015, their first new material in over 15 years. Sixth album Future Ruinscontinues the renewed and awakened character of its predecessor, but finds the band sounding more at home in their reunited state. Swervedriver‘s early material was moody, vaporous guitar rock that felt like watching patches of heat lightning on a drive through the desert. That spirit is very much in tact here, if updated to reflect 30 years of experience and life lived. The grungy album opener “Mary Winter” stacks layers of contrasting guitar tones and drifts between keys in singer Adam Franklin‘s signature approach to off-kilter melodies. Other up-tempo tracks like “Spiked Flower” and “The Lonely Crowd Fades in the Air” highlight Franklin‘s gift for melancholy harmonies and unexpected songwriting turns. There’s an underlying theme of apocalypse running throughout Future Ruins, and it can be difficult to pinpoint if the dystopic collapse gestured at across many of the songs is societal or emotional. The dreamy pop of “Good Times Are So Hard to Follow” skips its gentle melody over lyrics about the end of a love affair before drowning the entire thing in a blanket of fuzz. The album tempers its moments of warm, familiar pop with experiments in dissonance that feel new to the Swervedriver sound. The mid-tempo title track comes on like a cavernous slowcore anthem, but soon introduces clanging processed notes that clash with more subdued tones. The push-pull instrumentation mirrors the song’s lyrics, which again paint a picture of dismal end times. “Everybody’s Going Somewhere and No-One’s Going Anywhere” plods along with jagged echo effects, haunted bells, and a distant spoken narrative hidden under the interlocking lines of electric piano and disruptive guitar outbursts. The ten tracks here are less optimistic than the last album, but also less temperamental than the band’s younger days. The songs feel removed from needing to fit into any overarching identity and take risks that wouldn’t happen if Swervedriver was trying to reinvent themselves or re-create a time long passed. Where I Wasn’t Born to Lose You was electric with the excitement of Swervedriver‘s rebirth,Future Ruins is the sound of a band that’s happy to be back and ready to get down to the business of pushing their sound forward” (All Music)

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15 septiembre, 2019 Posted by | Swervedriver | Deja un comentario

ALLAH LAS: Polar Onion (Mexican Summer, Single, 2019)

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“Polar Onion” takes us through the inevitable lows one encounters on a long journey, as Miles Michaud laments, “drown in the sea, I fill my cup – but it’s not enough” – a caricature of the lonesome cowboy seeking and occasionally glimpsing enlightenment. Commenting on the inspiration for the track, Michaud reveals that Polar Onion revolves around “the creeping paranoia that comes along with creating something that is inevitably valued based on the opinions of others” (Press)

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13 septiembre, 2019 Posted by | Allah-Las | Deja un comentario

VERSUS: Ex Voto (Ernst Jenning Records, 2019)

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“A lot of the songs are about escape, maybe to another dimension or an alternate universe,” Richard concedes. He singles out “Moon Palace” in which Toups sings “I wanted something more/What’s on the other side of the door?,” the existential lyrics belying the song’s saccharine melody. “University” offers the hushed assurance that “paradise [was] lost but we are alive,” echoing Richard’s escape trope. “Atmosphere” has Toups desperately pleading “Did you find the clue I left for you?/Will you realize it was all true?” before whispering with disarming intimacy, “Have you ever felt that way before?/Someone just behind your door?”
The electro-ballad “Baby Green” pairs with “Mummified” at the album’s center and emotional fulcrum, and is the crown jewel, one of the finest songs the band have ever written. Inspired by the Lars Von Trier’s Melancholia, “the plot device is the rogue asteroid destroying your world,” Richard explains, “‘swallow[ing] the earth and everything in it.’ But in the end it’s okay, because she has to live her own life, and learn by living, without you or anyone. No matter how painful it is to lose her, her journey, happy or tragic, will be a beautiful one. And I’d wait forever for another glimpse of that beauty.” This newfound faith updates the disenchanted darkness that’s long imbued Versus’ music, an unexpected deluge of oxytocin from a man who in 2010 said, “Well I’m just a dark person, and I get more nihilistic the older I get.”
That may still be the case, but the nihilism is leavened now by an element of hope, more urgent than ever in these dark times. Versus haven’t gone shiny and happy on us, but they’ve matured and embraced themes of mortality and the passage of time with resigned dignity. Creation, the concept of god, and human-ness are all invoked on the metronomic, pulsating track “Re-Animator,” perhaps the most unabashed song the band have ever written, and an appropriate finale to an exhilarating journey.
“Does the story end the way you want it to?,” Baluyut asks on Ex Voto’s opening volley “Gravity,” easily the most anthemic song on the album. It’s also the record’s leitmotif, as there aren’t any simple answers offered here. Yet, in their embrace of spirituality, compassion, and exploration, Versus have never sounded so comfortable on their strange, beautiful, and uncertain path. And nearly 30 years since their inception, they’ve provided us with an album that could just as easily serve as an entry point into their beguiling world, or a brand new favorite for a long-time fan on the remarkable achievement they’ve offered us on Ex Voto” (Bandcamp Note)

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11 septiembre, 2019 Posted by | Versus | Deja un comentario

VANISHING TWIN: You are not an island (VideoSingle, Fire Records, 2019)

Evidentemente, este tema tiene tintes de Pop retrofuturista, pero a mí me suena muchísimo a la forma de componer y a las canciones de David Crosby con The Byrds y en su primera época en solitario. Preciosa canción, no obstante.

Europe Dates:
21 Sep: Lévitation Festival, Angers, France
22 Sep: BAM Festival, Barcelona, Spain
10 Oct: Deaf & Hard of Hearing Centre, Oxford, UK
11 Oct: Glorious Traces, The Glad Café, Glasgow, UK
12 Oct: Lost Map All-dayer, Bellfield, Edinburgh, UK
20 Nov: Paradiso, Amsterdam, Netherlands
22 Nov: Festival Invisible, Brest, France
27 Nov: Bad Bonn, Düdingen, Germany
28 Nov: Import Export, Münich, Germany
29 Nov: Kantine am Berghain, Berlin, Germany
30 Nov: Ideal Bar, Copenhagen, Denmark
01 Dec : Aalhaus, Hamburg, Germany
04 Dec: Biko Club, Milan, Italy
05 Dec: Cinema Zenith, Perugia, Italy
06 Dec: Astro Club, Pordenone, Italy
07 Dec: Covo Club, Bologna, Italy
14 Dec: Outer Limits Showcase, Studio 9294, London, UK
28 Jan: The Cube, Bristol, UK
12 Feb: Portland Arms, Cambridge, UK

“London band tilts its psychedelic pop toward a utopian future” Pitchfork 

“A marvel of psych-pop futurism” Bandcamp 

“The Age of Immunology is, simply, a masterpiece” The Line Of Best Fit 

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9 septiembre, 2019 Posted by | Vanishing Twin | Deja un comentario

Hey Major: The Station (Video-Single, Indica Records, 2019)

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“This song is an introspective track describing a moment between two people and what they could have been, but knowing deep inside that they will never be. It’s a journey of change and enlightenment through love stories, struggles, encounters and wishes for humanity. That was the inspiration” (Press Promotional)

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7 septiembre, 2019 Posted by | Hey Major | Deja un comentario

FROG: Count Bateman (Tapewormies, 2019)

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‘Count Bateman’ is the fourth release from Frog, the acclaimed cult Wyrd-Americana Indie band from Queens, NYC. Their music has found over one million streams on Spotify, they’ve received support from the BBC, GoldFlakePaint, NPR Music, DIY Mag, CLASH, TLOBF, The Skinny, London in Stereo, The Alternative, The Grey Estates, Various Small Flames and many more.
On their latest eclectic and emotional outing, there’s hints of the Carole King’s ‘70s pop, Jonathan Richman’s earnest eccentricity, Ned Doheny’s white boy funk, Greg Dulli’s lust, the Meat Puppets’ bastardized Americana and the wild wit and narrow self-control of The Silver Jews” (Press Notes)

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5 septiembre, 2019 Posted by | Frog | Deja un comentario

COLLEEN GREEN: Blink 182´s Dude Ranch as played by Colleen Green (Hardly Art, 2019)

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Yo no sé qué pensarán en su discográfica, pero este experimento de reproducir un álbum entero de Blind 182 en el bajo es, cuanto menos, raruno raruno. Además, el resultado final no es para nada alentador. Pero bueno, supongo que a sus fieles les encantará. Aquí queda el enlace…

“I don’t remember where or when I got the idea to cover my favorite album of all time. Tbh, I don’t remember much of 2011. All I know is that sometime about 7/8 years ago, I decided that I was going to cover Blink 182’s “Dude Ranch” in its entirety…on bass. I borrowed a short scale from my friend Sandy Vu and gave myself 2 weeks to complete the project. 13 days later as I was applying the finishing touches, my computer started acting funny. I thought to myself, “Gee, I sure hope my computer doesn’t crash.” 14 days later, my computer crashed. I had no back ups because I always fly by the seat of my pants! I tried to recover my work to no avail. I was heartbroken, so much so that I was unable to revisit the project in earnest until October 2018. Today I can say with much pride, happiness, and relief that “Blink 182’s Dude Ranch as played by Colleen Green” is finally real and ready to be enjoyed by fans of Colleen Green and/or Blink 182. This was truly a labor of love and I hope that those fans can recognize and appreciate that. And to the band who has influenced me and my life in so many ways: Thank you” (Bandcamp Promotional Notes)

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3 septiembre, 2019 Posted by | Colleen Green | Deja un comentario

THE HANNAH BARBERAS: Dial H for Hannah Barberas (Fake Fir, 2019)

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Sólamente por ese nombre, creo que ya merecen la atención. Un grupo de lo que en los ochenta algunos llamaron, no sin cierta carga de mala baba: Happy Pop. Un combo festivo, sí, pero que hacen de ese hedonismo bandera y que crean una serie de pequeños himnos Pop como The sound of happiness o It´s not over for the heartache. Divertidos.

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1 septiembre, 2019 Posted by | The Hannah Barberas | Deja un comentario

Man on the Moon – DARREN HAYMAN: 12 Astronauts (Wiaiwya, 2019)

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“Among the many tributes commemorating the 50th anniversary of the historic Apollo moon landing,Darren Hayman‘s whimsical pop song cycle 12 Astronauts stands out as a true curiosity. During his prolific career, the English songwriter has applied his imagination to a range of eccentric subjects, dedicating full albums to Anglocentric concepts like Britain’s open-air swimming pools (Lido), Thankful Villages (Volumes 1-3), and the 17th century Essex Witch Trials (The Violence). While the gaping frontier of space travel might seem like a significantly broader theme by Hayman‘s usual standards, he manages to zoom in on the finer points of interest concerning the 12 men who have stood on the moon, devoting a single song of historical fiction to each of them. It seems the gentle-voiced indie pop auteur who loves trains, English history, and will paint a watercolor portrait of your dog for a reasonable commission is also a lifelong space aficionado.
Meticulously researched and brimming with melody and color, 12 Astronauts sees Hayman stepping away from the bucolic folk tone of his last few outings to create one of his most engaging releases in years. Through his unique lens, one of humankind’s greatest achievements is refracted to instead focus on human elements like Neil Armstrong‘s reluctant celebrity (“Spaceman No More”), Buzz Aldrin‘s alcoholism and rocky marriage (“Low Orbit”), and Pete Conrad’s preflight anxieties back in the NASA enclave where most of the astronauts’ families lived (“Timber Cove”). From its detailed production to its unusual narratives on a familiar subject, 12 Astronauts is a creative triumph forHayman and a deeply listenable set that honors the men, flaws and all, who risked their lives in the advancement of science and human capability” (All Music)

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30 agosto, 2019 Posted by | Uncategorized | Deja un comentario

REV REV REV: One illusion is very much like another (From ‘Kykeon’, Advanced; Fuzz Club Records, 2019)

Pre-Order: Rev Rev Rev - Kykeon,Vinyl,Fuzz Club - Fuzz Club

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Distorsiones chirriantes evocadoras de los mejores noventa, guitarras abrasivas y densas, Noise de primera, sentimientos oscuros para este nuevo trabajo de los italianos REV REV REV, que aparecerá en Septiembre. El adelanto es tremendo…

“The new album, produced by James Aparicio (Spiritualized, Cult Of Dom Keller, Dead Vibrations), marks also their signing on cult indie psych label Fuzz Club. First single ‘Clutching the blade’, out last March and coinciding with their SXSW participation, was received very well on psych / shoegaze webzines and beyond.
“Kykeon” was a psychedelic drink made up of several ingredients, consumed during Eleusinian Mysteries, a set of rites, ceremonies and experiences held in the ancient Greece. Rev Rev Rev’s Kykeon is murky, ritualistic drone-rock including trance-like drumming, fuzzy reverberated guitars, tons of feedback and abrasive atonal sounds. But also Loveless-esque shoegaze sound with Laura Iacuzio’s shadowy, ethereal vocals emerging through all-consuming walls-of-noise.
A certain sense of danger and losing control runs throughout the album – but the package also includes a flight into deep space amid the stars” (Promo Sleeve)

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28 agosto, 2019 Posted by | Rev Rev Rev | Deja un comentario

UMMAGMA: Compass (2019)

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“Comprised of 12 tracks with a bonus track (‘Bouquet’) offered for the digital version, ‘Compass’ is beguiling in its post-genre nature. This is an album of grace and change, of familiarity and exploration, of emotion and euphoria, of sky-scraping cinematic highs and intimate and intriguing lows. This is the sound of a band allowing themselves to jump creative divides, to kick down musical barriers, and rip up the rule book or perhaps just ignore the fact that there ever was one in the first place.
This album follows on the trail of their ‘LCD’ EP with Robin Guthrie (Cocteau Twins) and Dean Garcia (Curve), and ‘Winter Tale’ EP with 4AD dreampop pioneer A.R.Kane. Both of these were released in 2017 to critical acclaim.
They say you can tell a lot about someone by the company that they keep, and the same holds true for a band. Ummagma’s collaborations speak volumes. Apart from these three dreampop-shoegaze icons, they’ve worked with Orchestral Manoeuvres in the Dark’s Malcolm Holmes, Swervedriver’s Graham Bonnar, and nudisco kingpinAlexander Robotnick. They’ve also collaborated with Beauty in Chaos, a project that involves members of The Cure, The Mission, Ministry, The Offspring, Bauhaus, A Flock of Seagulls, Cheap Trick, Ice-T andVan Halen, among others.
This forward thinking collection of songs is not bound to fad nor fashion, time or place. Every shimmering dreamscape found here is balanced with more robust and driven grooves, sometimes even within the same song. ‘Otherwise’ projects a drifting, woozy platform through which they thread reggae infusions and delicate distant Spanish guitars into something sultry and solid yet ethereal and chameleon-like. ‘Galicticon’ hints at Vangelis-inspired soundtracks,‘LCD’ is a strident rock urge, warped and woven with strange musical motifs and gorgeous glitches, and ‘Bouquet’ is an otherworldly slice of balladry.” (Press)

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26 agosto, 2019 Posted by | Ummagma | Deja un comentario

RANCHO RELAXO: Doom (Trout as Lubrication Records, 2019)

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Un año después y otro álbum (en este caso un Ep) de los noruegos RANCHO RELAXO. He de reconocer que si sus primeras grabaciones me engancharon bastante más, con este Doom no termino de cogerle el gusto a la cosa. Quizás porque ya me suene demasiado reflexivo y oscuro, quizás porque The Brian Jonestown Massacre sólo hay unos. Lo cierto es que este Doom se hace demasiada bola, al menos si no quieres acercarte a un estado de ánimo demasiado sombrío. Las instrumentaciones son solventes y el ambiente general algo grandilocuente, pero en el fondo, hay algo que no termina de epatar.

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24 agosto, 2019 Posted by | Rancho Relaxo | Deja un comentario

THE PROCTORS: Letters to the girl (Shelflife Records, Ep, 2019)

A long and a flourish life to JANGLE POP !! 

“Letters To The Girl is destined to become an future guitar pop classic. It’s coated in sunbathed jangly guitars, an incredibly catchy chorus, and Gavin and Margaret’s lovely whispy boy-girl vocals. Their Byrds-esque melodic guitar lines create a love affair with each listen. The B-side Footsteps is a glorious pop song filled with layers of synth and guitars that recalls some of Northern Picture Library’s foundest moments” (Shelflife)

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22 agosto, 2019 Posted by | The Proctors | Deja un comentario

THE ROYAL LANDSCAPING SOCIETY: Clean (Single, Matinée Recordings, 2019)

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“Spanish duo The Royal Landscaping Society has released 16 songs on respected international labels in the past five years and to celebrate their arrival on the Matinée roster we are releasing a special compilation of their music called ‘Means of Production’ in advance of an exclusive new 7” single later this year. Following the initial album preview ‘Goodbye’ in May, ‘Clean’ is another immaculate dose of crystalline electronic indiepop that should appeal to fans of Sarah Records bands Brighter and The Field Mice in particular. The digital single also features an ace cover of ‘I Love You More’ by K Records superstar duo The Softies. The ‘Means of Production’ album is scheduled for release later this summer!” (Matinée Recordings)

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20 agosto, 2019 Posted by | The Royal Landscaping Society | Deja un comentario

THE POPGUNS: Carrying the Fire (Ep, Matinée Recordings, 2019)

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“Borrowing its title from Apollo 11 astronaut Michael Collins’ autobiography, the ‘Carrying the Fire’ EP from English legends The Popguns is a space operetta that imagines a higher intelligence welcoming humans into space with advice to put their faith into reason if they want to succeed.
It begins with a piano prelude before the guitar-rock title track ‘Carrying The Fire’ erupts with barely controlled power. The higher intelligence wonders ‘What Do You Seek?’ before orbit is established and the ‘Laws Of Motion’ narrated by the very distinguished David Brand plays to a hypnotic backdrop of electronica. The operetta finishes on a light-hearted note with an acoustic bar-room sing-along ‘Drop Me Off In The Ocean’ which compares the return journey to your basic Friday evening commute home whilst looking forward to a beer in the bar.
‘Carrying The Fire’ and ‘Laws Of Motion’ also appear on the WIAIWYA compilation CD ‘The Moon And Back’ celebrating the 50th anniversary of the first moon landing” (Matineé Recordings)

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18 agosto, 2019 Posted by | The Popguns | Deja un comentario

DIIV: Skin game (Advanced Single, Captured Tracks, 2019)

DIIV nos avanzan su nuevo trabajo que aparecerá en octubre con este soberbio sencillo de ecos shoegazers titulado Skin Game. Si el resto del álbum es tan intensamente rico como este corte, estaremos de nuevo de enhorabuena.

“A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” According to Cole, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends as the vitriolic lyrics. Offering a dynamic denouement, the seven-minute “Acheron” flows through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis.
Even after the final strains of distortion ring out on Deceiver, these four musicians will continue to evolve. “We’re still going,” Cole leaves off. “Hopefully we’ll be doing this for a long time.”
Ultimately, DIIV’s rebirth is a hard-earned and well-deserved new beginning” (Press)

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16 agosto, 2019 Posted by | Diiv | Deja un comentario

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