The JangleBox

Indie, Noise, Shoegaze… Music

Company of Selves: Presidential Model (Fleeting Youth, Single, 2015)

“Laced in elegant guitar plucks, woozy piano, and swirling undercurrents of various instruments, is a story about a woman beginning to awake from a world of mind-controlled imprisonment. Lead singer/multi-instrumentalist Christopher Hoffman softly sings the story with subtle yet stunning backup vocals from Christina Courtin” (Press)

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4 septiembre, 2015 Posted by | Company of Selves | Deja un comentario

Pond: Man it feels like space again (Caroline, 2015)

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Si hay algo malo para la carrera musical de Pond es haber estado siempre a la sombra de su banda “hermana” Tame Impala, que les ha restado reconocimiento y hasta cierto grado de popularidad a no ser a nivel más Indie.
En este ya ¡sexto! trabajo de los australianos, personalmente pienso que si los Impala han caído en picado en cuanto a su creatividad, Pond parece que han querido seguirles en esa espiral negativa, facturando un álbum en el que se dejan llevar por los medios tiempos, por las baladas estelares, por ese Rock-Espacial preñado de influencias Psicodélico-Glamourosas que personalmente, cada vez me sorprende menos.

“Pond’s previous albums changed shape with each release, the constant being a fondness for the traditional tools of rock, but Man It Feels Like Space Again leans heavier on synths and dance rhythms, a reflection of them becoming staples of summer festivals like St. Jerome’s Laneway. They’ve mostly chucked the Zeppelin/Hendrix riffs of earlier songs like “Giant Tortoise” and Justin Hawkins posturing, going softer on the glam goofiness and stonerisms and feeling less like parody as a result. They won’t be chasing Flume on Future Classic any time soon (then again, who knows? They already share a label with Cut Copy), but these tracks seem more likely to incite mass writhing than a sea of banging heads and waving lighters. Sure it’s got sneering commenters limp-lobbing potshots like “That drummer is too good for this band” on live videos as Jay Watson sticks to a basic beat, but it’s all in pursuit of that aforementioned ethos, quaint as it seems, of reaching people. If accessibility comes at the cost of satisfying the need for some to feel discerning, so be it.
But there’s still plenty recognizable here, the pedals and effects boards stacking up like the inside of a hoarders den. “Holding Out for You” is a stomping stadium rock ballad, acoustic singalong “Medicine Hat” remembers some of the stripped back tracks on Beard, Wives, Denim, and “Outside Is the Right Side” does a psych-funk strut over its refrain, straightforward enough to slip snugly into King Gizzard‘s catalog (and we’re about due for a new Gizz record; it’s been nearly three months.) That the album’s halves pivot on a track called “Heroic Shart” should tell you all you need to know about any accusations of maturing.
Members of the band have winkingly referred to their records forming a conceptual rock star career trajectory: Frond was the auspicious breakthrough, Beard, Wives, Denim their return-to-roots, and Hobo Rocket the fattened bombast of music industry fossils. The analogy breaks down with Man It Feels Like Space Again, though. That a band in the mold they’re imagining might put out an album this fun on their sixth go-round seems unimaginable. Even in their repeated defiance of having anything to prove, Pond still scramble with the passion and irreverence of underdogs” (Pitchfork)

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3 septiembre, 2015 Posted by | Pond | Deja un comentario

Jonas Carping: The last approval (Single, 2015)

La peculiar voz de Jonas Carping y el tono épico de sus temas conforman este nuevo sencillo titulado The last aproval, anticipo del que será su nuevo trabajo: Coctails & Gasoline, que aparecerá en Octubre.

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2 septiembre, 2015 Posted by | Jonas Carping | Deja un comentario

Augustus, TJB August Compilation (2015)

El Mixtape más veraniego de The JangleBox se llama Augustus. Es una recopilación con numeroso material sonoro a cargo mayoritariamente de nuevas bandas como Ultimate Painting, La Cerca, La Casa al Mare, All Dogs… e incluso alguna versioncilla que seguramente os gustará…

1 septiembre, 2015 Posted by | Mixtape | Deja un comentario

My Cruel Goro: My Cruel Goro (Ep, 2015)

En la encrucijada Ramoniano-Strokiana aparece un combo extraño pues está formado por gentes italo-islandesas. Curiosa mezcla para un sonido clásico.

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1 septiembre, 2015 Posted by | My Cruel Goro | Deja un comentario

Reina Republicana: El Despertar (Limbo Starr, 2015)

“El despertar” (Limbo Starr, 2015), segundo álbum de los pamploneses REINA REPUBLICANA, ha sido gestado de una manera intensa con la firme intención de ampliar las fronteras del reino republicano hacia sonidos más psicodélicos con destellos kraut y dream pop, siempre dentro de los cauces que ya mostraron en su homónimo álbum de debut: melodías pop con aristas convertidas en caramelos envenenados.
El álbum ha sido grabado y producido por Hans Krüger y Jon Aguirrezabalaga, y mezclado por Joaquín Pizarro en Red Led (Madrid).
Sus diez canciones son la selección y depuración de un repertorio en el que, tomando como referencia los sonidos y bandas que les han movido y fascinado, han definido un sonido propio que a su vez los emparenta con sus ídolos. En el disco hay guiños a Broadcast y Stereolab, Sonic Boom o Tame Impala, My Bloody Valentine y The Jesus and Mary Chain; incluso a los mejores Strokes. Grupos y artistas que a su vez siguieron el mismo proceso y así hasta el infinito; asimilando e interpretando la influencia de una manera personal. En “El despertar” las guitarras suenan presentes y a veces muy distorsionadas, los sintetizadores juegan un papel principal, la voz de Maite ocupa un espacio más etéreo y las bases han sido trabajadas para sonar con personalidad y alma; teniendo también su espacio la electrónica.
Las letras son esenciales, y para ello han contado con la colaboración de amigos y compañeros (admirados igualmente) como Sebas Puente de Tachenko o el “experto” Manu Ferrón, que firma las dos que abren el disco, incluyendo el primer single extraído (“Ahora que hace bueno”) y que ayudan a definir un disco que, desde su título, evocador y esperanzador, nos propone un nuevo y mejor renacer, sin olvidar donde estamos ni de donde venimos, pero con cabida para la evasión y el hedonismo” (Prensa)

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31 agosto, 2015 Posted by | Reina Republicana | Deja un comentario

Wipe: Wipe (Ep, 2015)

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Otro de esos intrigantes proyectos de Bedroom-Pop que nos llega desde los Usa y que de alguna forma nos desconcierta puesto que apenas aparecen informaciones ni datos sobre la música de este chico del que se dice que llega de una ciudad de Michigan. 
Su sonido se mueve plácidamente y a gusto entre el Dream-Gaze y las influencias electrónicas. Un Ep más que disfrutable.

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30 agosto, 2015 Posted by | Wipe | Deja un comentario

Morels: Lemonseeds (Ep, 2015)

Indie arrastrado, sensación de melancolía generalizada, un tono vital algo gris y un tono plácidamente noventero. 

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29 agosto, 2015 Posted by | Morels | Deja un comentario

A Place to Bury Strangers: Transfixiation (Dead Oceans, 2015)

A Place To Bury Strangers vuelven a sacar todo el arsenal de pedaleras de distorsión, de artilugios y de juguetes chirriantes para dar forma al que es su cuarto trabajo. Un álbum que no epata al igual que sus predecesores: han perdido ese efecto sorpresa de sus primeros discos y ciertamente, se pierden en un piélago de distorsión algo crepitante que no ofrece demasiadas insinuaciones para adentrarse en su música a aquel que no esté demasiado familiarizado en el género…

“It’s not a huge shift from 2012’s relatively streamlined Worship, which itself wasn’t a huge shift from its predecessor Exploding Head. APTBS’ progress has been incremental over the years, so Transfixiation derives much of its success from being compared to their 2007 breakthrough— those who have been following since A Place to Bury Strangers can recognize the band’s evolution and justify their own investment. Those who are coming intoTransfixiation blind might just hear a notable band boasting a currently rare commitment to an ’80s kind of noise-rock rather than the ’90s iterations of shoegaze, goth, or industrial that’s more prominent in 2015.
Then again, APTBS’ progress as a band only serves to expose the underlying one-dimensionality of their actual songwriting. This is a style of music rarely lauded for its lyrics in general, let alone its topical range—it’s probably too much to ask for a political A Place to Bury Strangers song or a tripartite prog epic, or a gooey love note just to shake things up. But for a band whose songs so frequently draw on the depths of despair, incapacitating depression, and occasional kink for inspiration, the grousing of Transfixiation feels perfunctory. However admirable “Filling the Void”, “I’m So Clean” and “Love High” are for their sonic formalism, the songs themselves are like fortune cookies filled with quotes from latter day Trent Reznor or the @sosadtoday Twitter feed.
Case in point, “Deeper”—a generous reading would frame it as a devastating parody. An accurate reading would frame it as the six-minute nadir of APTBS’ fourth album. The chorus goes, “Deeper, deeper, deeper still/ Deeper than the deepest well,” which isn’t the funniest part only because Ackermann adopts a Christian Bale-as-Batman baritone to taunt, “if you fuck with me, you’re gonna burn” right before it. Occasionally, APTBS traffic in a speedfreak roadhouse blues that recall a mondo distorted version of Suicide; conversely, “Deeper” is the first song ever to be conceivably inspired by Rollins Band’s legendary high comic cover of“Ghost Rider”. If The Crow: 2037 ends up getting a release, “Deeper” would do well to soundtrack the rain-soaked resurrection of whoever that year’s version of Edward Furlong happens to be.
But zone out from “Deeper” and, combined with its instrumental successor “Lower Zone”,Transfixiation is capable sludge-goth ambience. Regardless of its issues, it never distracts from intimating the same old points: Ackermann makes expensive guitar pedals and the band plays with a ferocity that will make theirs the only show you’ll want to see for the next month—and due to its ear-splitting volume, maybe the only show you’ll physically be able to hear for a month. So whenever the temptation to lend a closer ear to Transfixiation arises, you should know better by now” (Pitchfork)

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28 agosto, 2015 Posted by | A Place to Bury Strangers | Deja un comentario

Tomorrows Tulips: When (Burger Records, 2015)

Tomorrows Tulips: When

Tomorrow Tulips son algo así como el culmen de la experiencia LoFi llevada al límite rozando con influencias que podrían ir desde Pavement a la Velvet Underground, a la vez que componen temas sobre temáticas mundanas o utilizando un sentido del humor bastante personal. Aunque el disco en su totalidad resulta un tanto árido, tiene momentos destacados…

“The opening track, “Baby,” is one of the obvious exceptions to this tendency, but it’s quickly followed by “Surplus Store,” which is, essentially, a character study in song form. The character: that guy who shops at the surplus store that gives the song the name. You know the one I’m talking about. His life hasn’t worked out the way he wanted it to so far, and he might be dangerous, but at the same time he might just be kind of upset and thrifty. “He’s a dirtbag revolutionary,” Tomorrows Tulips sing, and while it’s not an approving portrait, it is a sympathetic one. And that sympathy sets off a thread of social criticism that runs throughout the breadth of the record. When is a product of this particular moment in American politics, economics and culture just as much as the band’s members are, and When doesn’t shy away from addressing that reality now and then.
“Laying in the Sun,” veers back towards romance, or at least into the neighborhood of romance, taking aim at what is either love lost or lost love (the distinction is never made quit clear). “Don’t you look good laying in the sun? / How come you won’t come along / when I’m the guy that wants to see you / have fun?” the singer asks, and it’s not at first clear whether or not he’s just perving on some random sunbather, but the eventual suffix to a few verses of lamentation is, “like when we were young,” and the addition adds a sense of yearning. That sense is intensified when the lyrics end significantly before the song does, and are instead replaced by a semi-baroque use of strings. The added violin to the tail end of the track, which starts as scruffy and energetic as the rest of the record, gives the song a stateliness that provides an interesting counterpoint to the general tenor of the record.
“Favorite Episode” is one of the more experimental tracks on the album, a slow-moving behemoth of layered sounds, starting with the long slow drip of water into a cool puddle and then building into a long, lazy instrumental section before stopping short for a two second pause directly in the middle of the song, and coming back with a faster tempo, the distorted sound of the violin, and a brief stanza or so highlighting or perhaps inserting the absurdity of the way we consume media (“season finale on / the weather channel / your favorite episode is on / where the sun never shines,”) before trailing off in a final forty seconds of off-key strumming and picking out individual notes.
Other highlights of the album include “I Lay In My Bed,” which is a piece of slacker-pop almost as poignantly universal to anyone in the world who loves their bed as “I’m Only Sleeping,” and “Glued To You,” which reads like a direct and conscious response to The Velvet Underground’s “I’m Sticking With You,” right down to the slow-steady beat and murmured, indistinct and uncanny backing vocals which could have come straight out of the build-up (but not the climax) of a very low-budget horror movie. The oblique menace is supported by the way it’s unclear whether the breathy chorus line “Stay glued to you” is a threat or a promise, and is fulfilled when the song smashes to a stop in sudden silence.
Essentially, When is sunny, lo-fi garage-rock at its finest, and an endlessly entertaining listen” (In Your Speakers)

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27 agosto, 2015 Posted by | Tomorrows Tulips | Deja un comentario

Low Litas: Low Litas (2014)

Con un nombre como éste, era impensable que no desviara mi atención hacia el disco de debut de este trío de Tulsa. Un trabajo que (sinceramente) tampoco nos va a descubrir nada nuevo: mucho Noise, mucho guitarreo Grunge a lo Veruca Salt, pero una cierta escasez de temas redondos o construidos con esmero. Más fuego de artificio que munición real.

“It’s an album predicated on love and vulnerability; lust, hostility and melancholy are all swirled into one maelstrom of guitar fuzz and piercing lyrics. Larsen and Pitchlynn stand virtually invincible together, ready to quell, conquer and overcome each and every trouble the two should face, hand in hand and note for note.
It’s possible to write such songs with strangers or friends, but it’s much easier when the bonds run deeper, as heard in standouts like “So Sure,” “Leave the Rest” and “Knocked Up Cheerleader.” They — and the bulk of the self-titled record’s offerings — aim for the likes of My Bloody Valentine, Pixies and Slowdive and succeed because of the fervent passion and desire at the core of it all. It’s the opposite of hollow gestures; these are densely real and emotional cuts that play like deep, late-night conversations about the possibilities of life and love.
Opener “Busted” is a little lankier and tonally stale, at least in comparison to the strong string of nine songs to follow. “Closer” is a little awkward at first, too, before quickly finding its footing and eventually contributing some of the biggest moments of the record as a whole. “Go On,” however, is Low Litas at their very best: ’90s college- rock guitar twitches collide with a towering shoegaze composition in a way that suggests the band will thrive well beyond state borders.
“Go On” is followed by the quiet, acoustic-based refrain (and album closer) “Delores,” a pairing that becomes a literal demonstration of what and who Low Litas are, unmasking a tough, confident strata of noise to reveal the sweetly sensitive soul at its center” (Oklahoma Gazette)

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26 agosto, 2015 Posted by | Low Litas | Deja un comentario

Twerps: Range anxiety (Merge, 2015)

Tomando de aquí y de allí, del C86, del Kiwi-Rock, de la inspiración del Pop de los 80 y bandas como The Go Betweens, Rem, The Pastels o The Magnetic Fields, la banda aussie Twerps han publicado su segundo álbum: Range anxiety, un precioso disco de Jangle-Pop en el que la sensibilidad de los australianos está presente en cada corte.

“That neither Frawley nor co-vocalist Julia Macfarlane have their shit together is hardly to their detriment. So there’s a distinct comic element during “Back to You” when Frawley expresses envy at someone out there sipping iced tea and living free. At no point does Frawley seem bothered by any pressing obligation, but his foil does not share the constant incapacitation as a result of the girl who keeps walking out of his life. “It all keeps coming back to you,” Frawley sings on a chorus that could pass for the main sentiment on over half of Range Anxiety and one that finds a comfort in the predictability of despair—it’s a toast of the one beer that becomes the “one too many.”
Still, Range Anxiety goes by in an instant, makes minimal demands, and is remarkably enjoyable for its simple pleasures. It may not have the heft to move you, but it’s gentle and never unwelcome. Classic jangle-rock hooks lodge in your head without taking up much space. The lyrics are simple expressions of feelings and there is a song called “Simple Feelings”. The bulk of the record consists of post-breakup laments delivered with an insouciance that can be confused with cheer; they could just as easily find themselves on a mix prepared for a future crush.
It all comes so naturally to Twerps that Range Anxiety could be considered effortless as a pejorative, which is why “I Don’t Mind” is not only their best song to date, but also their most important. As the first proper track on Range Anxiety and one of two tracks over five minutes, it towers over the proceedings. It’s a committed and extroverted song about not caring about the outside world, one that evokes big bands like the Velvet Underground andU2, a song that simmers rather than pops and fizzes, that plays Frawley and Macfarlane’s voices for contrast when they otherwise conspire to share the same shrugging views on social demands.
Range Anxiety could use more of the emotional ballast provided by “I Don’t Mind”, even if it doesn’t necessarily need it. Some will hear the album as perfectly breezy, others might consider it featherweight. But this isn’t entirely the fault of Twerps—they just don’t have much of a desire to present their music as autobiography. Hook-for-hook and chime-for-chime, it matches up with the most recent work of Real Estate and Mac DeMarco, 2014’s kings of college quad indie. But while Atlas and Salad Days made a point to stress their reckoning with parenthood, aging, the demands of art and other adult topics, Twerps all but admit Range Anxiety was inspired by a rock’n’roll, on-the-dole lifestyle that leaves vast gaps for drinking and alone time. Which is what a lot of people grappling with family and work pine for anyway, and the predictability and reliability of Range Anxiety just means it’s always there when you need it” (Pitchfork)

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25 agosto, 2015 Posted by | Twerps | Deja un comentario

Seven Tin Stars: Goodbye stars (daylight is coming) (2015)

SEVEN TIN STARSCaleidoscopio, viaje, mezcolanza… varias palabras se nos pueden venir a la mente tras escuchar el sonido de esta banda gijonesa. Un bonito paseo por lo mejor del Dreamgaze en temazos como el que da título: Goodbye stars, en el que se mezclan por igual phasers y distorsiones creando una ambientación mágica o el que se nos propone en Skyline to reorder. Los teclados que cierran Heart and thorn, que al escucharlos nos retrotraen a épocas de melotrones mágicos. O ese maravilloso Pyscho-Trip titulado Summer of ´42/Beach house. Ensoñación made in Spain.

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24 agosto, 2015 Posted by | Seven Tin Stars | Deja un comentario

Space Daze: Capture a thing (2015)

El Bedroom-Pop llevado a otra dimensión, más cercana al Pop Barroco o al Pop más delicado, con rasgos auténticamente sublimes.

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23 agosto, 2015 Posted by | Space Daze | Deja un comentario

Kingdom of The Holy Sun: Getting higher (Single, 2015)

“Referring to their music as Psychedelic Shamanistic Madness, Seattle’s Kingdom of the Holy Sun have carved out a sound steeped in vintage garage sensibility. Building upon their past releases, with The Return of the Sun Kings, the band has achieved a uniquely rich organic connection with each instrument an essential ingredient in achieving a majestic internal coherence. Today’s featured song, “Getting Higher”, is the album’s midpoint and a full-bodied THC-induced workout. Carried rhythmically with its head nodding backbeat, the track quickly opens up to a wall of tasty phychedelic sound, dipped in a drastic elements while keeping a consistent melodic heart. Breaking the surface in hazy string drenched sunshine, the loving bite of guitars and laissez faire vocals keep the track invigoratingly fresh and full of yesteryear wonder, like a stoned teenage memory” (Press)

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22 agosto, 2015 Posted by | Kingdom of the Holy Sun | Deja un comentario

Exiles: Dawn Patrol (Single, Beautiful Strange, 2015)

Una fresca sensación de Jangle fusionada con ecos Shoegazers y reverberaciones propias de las mejores producciones del género. Anticipo de un Ep que aparecerá en la peor época del año para los lanzamientos discográficos: a finales de Agosto.

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21 agosto, 2015 Posted by | Exiles | Deja un comentario

Beach Day: Native echoes (Kanine Records, 2014)

Beach Day decidieron continuar la fórmula que les dio resultados en su primer trabajo: un indudable sabor a Retro-Pop, esos pequeños muros de sonido acompañados de esas voces y coros propias del Girl-Pop y un inconfundible aroma a añejo. Mientras que dicha fórmula continúe funcionando, por qué no seguir con ella…

“After releasing an impressive debut, 2013’s Trip Trap Attack, that fused garage punk energy, girl group melodrama, and plenty of classic pop songcraft, Beach Day returned a mere year later with another fun and frolicsome album. Native Echoes doesn’t fool around much with the formula; the songs are still pretty simple, Kimmy Drake‘s strong vocals are still the focal point, and Jim Diamond‘s production adds a little bit of sweetening around the edges without turning the songs syrupy. The record may lack the raw energy of the first, but it makes up for it with better arrangements and a more focused approach. And some great songs. The first three are complete knockouts; the stormy pop of “All My Friends Were Punks,” the lilting girl group swagger of “Don’t Call Me on the Phone,” and the melancholy swoon of “BFF’s” are impossible to ignore, especially if you like your pop with runny mascara and big old hooks. The rest of the album has plenty of highlights too, the swaying prom rocker “The Lucky One” and the surfy, organ-filled “Fades Away” being the most notable. The starkly beautiful ballad “Lost Girl” is a beautiful feature for Drake‘s lovely voice too, showing that she could probably sing some “real” music if the garage pop lark doesn’t work out. On these tracks the duo of Drake and Skyler Black really seem to have a firm grasp on all the elements of making really good pop music. Unfortunately, the album is weakened by a few really duff-sounding songs that keep it from being the great leap forward it could have been. There’s really not much excuse for adding a song as rudimentary and silly as “I’m Just Messin’ Around” or as filler-y as the short surf instrumental “Gnarly Waves.” Subtract these two songs and bump up the fidelity of the album’s last song, “How Do You Sleep at Night,” and the album would have been a killer. As it is, Native Echoes is another fun-filled, slightly flawed garage pop album that shows lots of promise and almost delivers on it” (All Music)

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20 agosto, 2015 Posted by | Beach Day | Deja un comentario

Them Vibes: Mamma´s gotta secret (Single, 2015)

Si he de ser sincero, tengo que confesaros, que el riff inicial de este Mamma´s gotta secret me sonó en seguida al de Last train to Clarksville, y éso siempre es bueno. Aunque el tema no tiene nada que ver con aquél, este sencillo de Them Vibes tiene personalidad suficiente y energía Pop como para resultar arrebatador desde su comienzo.

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20 agosto, 2015 Posted by | Them Vibes | Deja un comentario

Swervedriver: I wasn´t born to lose you (Cobraside, 2015)

Time Capsule Trips

Ante un disco de la magnitud de I wasn´t born to lose you (Cobraside, 2015), sencillamente, me quedo con pocas palabras. Emoción, quizás sea el vocablo con el que resumir un trabajo tan majestuoso, tan enorme, tan pulcro, tan genial… Llevo varias semanas escuchándolo y no encuentro nunca el momento adecuado para compartiros mi opinión sobre él. Tengo temor a no ser justo y a no saber encontrar las palabras adecuadas para hablar sobre su grandeza.
Podría deciros que Swervedriver han vuelto tras diecisiete años y lo han retomado prácticamente en el mismo lugar en el que lo dejaron. Como dice mi amigo Carlos de Discos Pensados: “mirando atrás con la vista hacia delante” 
Podría deciros que Swervedriver han conseguido lo que pocos: llegar a un punto de plenitud y madurez tras varios años de silencio, enseñando el camino a bandas como Cheatahs, que beben directamente de sus aguas, de sus guitarras imperiales, de sus distorsiones, de sus riffs inmaculados…
Pues bien, todo ello sale a la luz en I wasn´t born to lose you. Para quienes hemos hecho (o intentado hacer) música es muy difícil facturar temas como Deep wound, Autodidact, Last rites, Setting sun, For a day like tomorrow, English subtitles, Everso
No hay puntos débiles en este disco inmenso. Sólamente emoción, viajes, distorsión, melodías tremendas, un sentido de la musicalidad absolutamente epatante… 
El mejor disco de lo que va de año, sin duda, esta cápsula del tiempo en forma de canciones.

“The reunited four-piece has been playing together again for nearly seven years, and that time shows in the taut rhythms and zippering guitar from founding members Adam Franklin and Jimmy Hartridge. Opener “Autodidact” puts that wizardry on immediate display, the two guitarists sounding like rotating bandsaws at some points and crystalline raindrops at others. The woozy, punchy “Red Queen Arms Race” puts more bass into their blunt fuzz, as Franklin’s vocals get sucked through a black hole and pushed back out the other side along with a distorted blues solo. The elegiac “I Wonder?” pushes a by-the-book shoegaze structure, but the quartet clearly knows how to make hay even in this somewhat faded sunshine.
Rather than fit a grand reunion narrative with their return, Swervedriver sound refreshed yet uncertain what to do next — and they’re alright with that. I Wasn’t Born to Lose Youlikely won’t replace any fan’s favorite Swervedriver album, but much like the entire shoegaze revival, it’s an organic, heartfelt piece meant for those fans as much as the musicians making it” (Consequence of Sound)

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US Late Summer Tour Dates

Late Summer US Tour
08/29 Denver, CO – National Western (Riot Fest) (changed from the 28th)
** cancelled ** 08/29 Omaha, NE – Reverb Lounge ** cancelled **
08/30 Kansas City, MO – Record Bar
08/31 Columbia, MO – Rose Music Hall
09/01 Louisville, KY – Headliners Music Hall
09/02 Columbus, OH – Skully’s Music Diner
09/03 Pittsburgh, PA – Club Cafe
09/04 Baltimore, MD – Ottobar
09/05 New York, NY – Bowery Ballroom
09/06 Cambridge, MA – The Sinclair
09/08 Buffalo, NY – Waiting Room
09/09 Cleveland, OH – Grog Shop
09/10 Ann Arbor, MI – Bling Pig
09/12 Chicago, IL – Douglas Park (Riot Fest)
09/13 Chicago, IL – Bottom Lounge
09/14 Nashville, TN – Exit/In
09/15 Asheville, NC – The Mothlight
09/16 Athens, GA – 40 Watt Club
09/17 Birmingham, AL – Saturn
09/18 New Orleans, LA – House Of Blues – The Parish
09/19 San Antonio, TX – Paper Tiger
09/20 Houston, TX – House of Blues – Bronze
09/21 Austin, TX – The Parish
09/23 Phoenix, AZ – Valley Bar
09/24 Las Vegas, NV – TBD (due to Bunkhouse closure)
09/25 Costa Mesa, CA – Maison
09/26 Pioneertown, CA – Pappy and Harriets (Desert Stars Festival)
09/27 Santa Barbara, CA – Velvet Jones
09/28 San Diego, CA – Casbah
10/01 Honolulu, HI – The Replublik

Japan in Fall

10/6 Osaka – SOMA
10/7 Nagoya – APOLLO BASE
10/8 Tokyo – DUO MUSIC EXCHANGE
10/10 Sapporo – SPIRITUAL LOUNGE

18 agosto, 2015 Posted by | Swervedriver | Deja un comentario

Lost Tapes: Lost in You (Box Bedroom Records, Ep, 2015)

Una bonita mixtura de C86, Pop, Psicodelia, Shoegaze, Noise… hacen de este dúo Valenciano-Catalán una de las propuestas más interesantes del panorama Indie patrio de los últimos tiempos.

“Lost Tapes es un nuevo grupo que desde la más absoluta independencia ha conseguido que sus canciones se publiquen en diferentes singles y recopilatorios en sellos internacionales como Candy Twist Records (Holanda), EardrumsPop (Noruega), Beko Disques (Francia), Cloudberry Records (USA) o Box Bedroom Rebels (UK). 
Su claro carácter internacional les ha llevado a actuar en salas y festivales de Inglaterra, Alemania, Dinamarca y EEUU (allí llevan más de 20 conciertos, incluyendo festivales como el Popfest de NY, Slingshot de Athens o SXSW de Austin). Han colaborado con el grupo japonés Wallflower, y una de sus canciones sonará en la próxima película francesa de Sébastien Petretti.
En junio se edita el disco “We thought it was ok at the time”, que reunirá las mejores canciones publicadas hasta el momento, en el sello Shelflife (que descubrió a Radio Dept a los americanos).
En los próximos meses encaran la expansión definitiva de su sonido junto al productor Nacho Marco, con el que grabarán su primer disco oficial ya para Mushroom Pillow.
Nacho Marco, capo de Loudeast Records, tiene una gran trayectoria como DJ y productor. Muy reconocido en el ámbito del techno y el house, sus lanzamientos para sellos de todo el mundo han sido referente de Laurent Garnier, Faithless o Francois K” (Mushroom Pillows)

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17 agosto, 2015 Posted by | Lost Tapes | Deja un comentario

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