The JangleBox

Indie, Noise, Shoegaze… Music

Gasoline – LAVA DIVERS: Plush (Midsummer Madness, 2017)

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Seguro que si hablamos con LAVA DIVERS sobre sus influencias, éstos se decidirían rápidamente por mencionar a gentes como Superchunk, Dinosaur Jr., Pixies o a los Sonic Youth menos experimentales y más rockistas.
Pues ésto es lo que te vas a encontrar en el debut de los brasileños LAVA DIVERS, una banda que tiene mucho que ver con el Fuzz, el Grunge y con las canciones inmediatas. Todo un pequeño descubrimiento de esos que nos brindan sellos como Midsummer Madness.

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21 junio, 2018 Posted by | Lava Divers | Deja un comentario

Making Time – CELÉSTICA: Jugando con el tiempo (Single, 2018)

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“Jugando con el tiempo”, segundo de los cuatro singles que Celéstica publicará a lo largo de 2018, nos muestra al grupo madrileño en plenitud de facultades. La base rítmica, contenida pero sólida, nos arrulla de camino a un estribillo inolvidable en el que el unísono de Sol y Juan Sebastián –al que se suma, en esta ocasión, la cantante leonesa Nadia Álvarez– vuelve a pellizcar cerca del corazón. Hábil combinación de cristal y vapor, admirable ejercicio de sutileza, la nueva canción de Celéstica es un preclaro ejemplo de composición e interpretación. Las guitarras, teclados y voces subrayan en su justa medida el leve crescendo que desarrolla su inteligente estructura. Y el texto –tan sencillo y tan bien expresado– encaja a la perfección y desborda ventrículos y aurículas” (Prensa)

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18 junio, 2018 Posted by | Celéstica | Deja un comentario

Descansos – SLOGAN: Slogan (Ep, 2018)

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Pop delicado, intimista y de raigambre Drem-Pop. Vienen de Zaragoza, se toman esto de la música con calma y publican este nuevo y cuarto Ep tras un paréntesis de cuatro años.

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18 junio, 2018 Posted by | Slogan | Deja un comentario

Transition – DUCKTAILS: New dream (New Images Limited, Single, 2018)

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No vamos a repasar de nuevo la eterna cantinela de si el combo de Matt Mondanile combina a su banda matriz Real Estate o no. Esa cuestión está ya demasiado trillada. Hoy por hoy DUCKTAILS es un proyecto estable y asentado que ha seguido su camino más allá del de aquellos. Sólidamente establecidos en una suerte de Pop de ensueño con guiños a un Dream asequible, Mondanile publica este sencillo de tres temas con una interesante pieza instrumental que lo cierra. Transición…

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16 junio, 2018 Posted by | Ducktails | Deja un comentario

Retro-Synths – ST. ETIENNE: Home counties (Heavenly, 2017)

Home Counties

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“The members of Saint Etienne began work on their ninth album with a basic concept in mind of paying tribute to the suburbs of London where the trio spent their formative years. Titled Home Counties, the album was recorded quickly with producer Shawn Lee and a room full of vintage gear and instruments. Thanks to that, the record Home Counties most resembles in their discography is Good Humor, but where that album exuded a cool Scandinavian sheen, this one is warm and inviting. Lee‘s production doesn’t lean on machines, though they are certainly present. Instead, Sarah Cracknell‘s unfailingly cozy vocals are surrounded by guitars, vocal harmonies, and old keyboards in arrangements that take in swinging ’60s sounds, sparkling ’90s pop, and even a few that wouldn’t sound out of place on 2017 pop radio, especially the Richard X-co-produced, ELO-quoting “Out of My Mind.” Throw in some lightly bouncy Belle and Sebastian-style indie pop (“Train Drivers in Eyeliner”), wonderfully cheesy disco (“Dive”), stomping Northern soul (“Underneath the Apple Tree”), and melancholy baroque pop (“Take It All In”), and it makes for the band’s most varied-sounding album and, even more than Good Humor, feels like the result of a working band getting together in the studio to play together, even though it is mostly Lee providing the sounds. Like their last album, Words and Music by Saint Etienne, and to be honest, music of their catalog, Home Counties can be achingly nostalgic, and many of the songs have a sepia-toned sadness about them. Unlike on Words, the sound here usually matches the feeling, and it makes for the band’s most emotionally affecting album. They are never going to be the type of group to spill blood in their lyrics, but songs like “What Kind of World” and “After Hebden” have a deep impact. Combining tear-stained words with sweet-as-pie melodies has been a trick the trio have pulled off with ease over their long career, and their skill hasn’t deserted them yet. Even the catchy, lighthearted songs like “Magpie Eyes” have a melancholy core; so do the more modern-sounding tracks like the icy synth pop-informed “Heather.” It’s rare that a band is good for a couple years, even more so if able to keep it going for a decade. With Home Counties, Pete Wiggs, Bob Stanley, and Sarah Cracknell have been making beautiful, fun, and deceptively tricky music for almost 30 years without a noticeable dip in quality. In fact, one could argue that this album is the work of a band at the top of its game. It may not be flashy like their early work, experimental like some of their mid-period albums, or punchy like Words and Music, but the album takes in elements of everything they’ve done along the way and repurposes it in a lovely, extremely satisfying fashion” (All Music)

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14 junio, 2018 Posted by | St. Etienne | Deja un comentario

RetroSoundz: THE JACK CADES: Music for children (Dirty Water Records, 2018)

The Jack Cades image

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THE JACK CADES son una banda británica muy novel, si bien su sonido es decididamente Retro. Suenan algo así a como lo hacían los primeros Kinks, Rolling Stones, Standells, 13th. Floor Elevators… ¿Su sonido? Un garaje muy intenso, con ciertos aderezos Rythm´n´Blues o del Punk más primigenio. Una banda decididamente intensa que apuesta por los cortes breves y el contagio sonoro inmediato.

“The Jack Cades is a mix of a shared passion for inspirational sounds such as 1960s Garage bands, Snotty Punk from the 1970s, Sun-kissed sweaty Rhythm n’ Blues, and a lot of inspirational people” (Press Notes)

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12 junio, 2018 Posted by | The Jack Cades | Deja un comentario

BIRDPEOPLE: Flesh and bone (Single, 2018)

“We wanted to build a utopia out of all this riff raff, and somehow this became our way of makingmusic feel like it mattered again. Using hardware synths makes played parts irrevocable, it limits and hinders – a paradoxical deliverance. There were times when we couldn’t communicate except through the sounds we made; sometimes we were like a harmonious hive mind.”
The nom de guerre Birdpeople was solemnly adapted after work on the EP was concluded. It’s meant to convey the impression of a family, or, rather,  a cult. That was what the trio felt they had become during the process. Birds, ever present in the band’s lyrics, became their spirit animals” (Press Notes)

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10 junio, 2018 Posted by | Birdpeople | Deja un comentario

Contagios – KATIE ELLEN: Cowgirl Blues (Lauren Records, 2017)

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El pasado miércoles le prestábamos atención a la música de Frankie Cosmos reseñando su último lanzamiento. Se trata de un disco fruto de la evolución natural desde sus primeras grabaciones de dormitorio hasta plasmar sus canciones en un estudio. Digo todo ésto porque como todo fenómeno, éste siempre tiene sus vasos comunicantes, y permea a buena parte de la escena del momento. El Indie-LoFi tiene sus seguidores, y a la sombra de un determinado artista de referencia suelen surgir músicos que lo acompañan. KATIE ELLEN es un trío de New York que en esencia factura un sonido semejante al de Greta Kline y su banda, o al de otras muchas chicas que se dedican al Indie. Este Cowgirl Blues es un disco aceptable, con canciones remarcables pero que tampoco llegan a un nivel de emoción tan alto que incite a escucharlo sin pausas. Aún así, no está exento de emociones y lirismo suficiente como para prestarle atención.

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9 junio, 2018 Posted by | Katie Allen | Deja un comentario

Birthdays´presents – KODY NIELSON: Birthday Suite (Flying Nun, 2018)

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“Birthday Suite is an energetic, elaborate set of instrumental arrangements comprised of drums, bass guitar, strings, electric piano and synthesizer. A concise and challenging experimentation, Birthday Suite takes ques from everything from the baroque to Afrobeat, Jazz Fusion, Psychedelic Rock and offbeat explorational sounds while maintaining a commitment to classic songcraft and musicianship.
Songs like Bic’s Birthday – sees baroque melodies skating with graceful aplomb over funky drum beats, calling to mind Wendy Carlos or CAN, while Ruban’s Birthday is a short, sharp composition melding psychedelic string arrangements with swirling drums and organ. 
With Birthday Suite, Nielson yet again shows his constant ability to agitate and explore his own boundaries and cements his position as one of the most urgent and interesting characters in New Zealand’s music history” (Press Notes)

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8 junio, 2018 Posted by | Kody Nielson | Deja un comentario

Being Alive – FRANKIE COSMOS: Vessel (SubPop, 2018)

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Greta Kline también se hace mayor. Sus primeros trabajos rezumaban ese completo aire a LoFi neoyorquino tan característico que, aunque en Vessel también continúa siendo el principal protagonista, se nota que hay algo más. Un grado de madurez que en sus primeras grabaciones en Bandcamp no había. Su espíritu continúa siendo post-adoslescente e incluso muchas de las motivaciones que se reflejan en las letras son las mismas. Aún así, el resultado final tiene algo de distinto, su banda de acompañamiento es más estable, y ese LoFi ya es resultado de una producción; ahora bien: Vessel no deja de ser un disco de notable.

“While Frankie Cosmos architect Greta Kline had been touring with a backing band and recording with guest musicians for a few years before tracking 2018’s Vessel, it’s her first album to be released officially as a band. It’s also the former bedroom project’s debut for Sub Pop Records. These details seem to go hand in hand on Vessel, her most assertive-sounding set to date. It follows two other studio-made label releases that in turn followed dozens of home-recorded, self-released collections starting when Kline was in her teens. Approaching her mid-twenties here, she still affects with candid observation, open affection, self-doubt, and self-consciousness, but lyrics reveal moments of self-reliance as well. “When the heart gets too tender/Return it to the sender/Be more centered” precedes the band’s entrance over a minute into the opener, “Caramelize.” It’s as if the drums, bass, and keyboards are helping to strengthen her resolve. The rest of the song continues in kind, as Klinepasses through sparer moments of sentimentality and full-band determination. As on the prior studio albums, Kline‘s warm, half-spoken vocals and breathy high notes are balanced in the mix, always discernable even on punky entries like “Cafeteria” and “Being Alive.” The latter was previously released in demo form and performed live for some time before it was finally recorded for the album. In theVessel version, some of her bandmembers take turns singing on the track, namely keyboardistLauren Martin and bassist David Maine, along with guest vocalist Anna McClellan. On a collection full of memorable tunes, it’s an especially impactful one that uses thrashing drums, winding vocal harmonies, and shared sentiment to sweeten the message that, even when times are tough, being here “matters quite a bit.” The record’s emotional honesty seems to extend to false starts, count-offs, and studio laughter that also make the final edit. While the band’s involvement, particularly more active drums, help the sound lean forward, Frankie Cosmos‘ essential musical qualities remain: hooky melodies, a disarming lyrical style, and impressive efficiency (Vessel‘s 18 tracks clock in at 33 minutes)” (All Music)

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6 junio, 2018 Posted by | Frankie Cosmos | Deja un comentario

Benditos Accidentes – KIKI D´AKÍ: Kiki D´Akí (Nuevos Medios, 1984)

Kiki D'Aki

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Allá por 1984 el panorama del Pop en castellano seguía ofreciendo auténticas perlas de autenticidad y de creatividad como este único álbum que MªJosé Serrano “Jose” nos regaló de la mano entre otros de Fernando Márquez “El Zurdo”, quien le compuso los temas más brillantes. Algo así como un “Accidente“, ya que su trayectoria fue tan corta como lo fue la de su banda de origen: Las Chinas. Auténticos rayos fugaces ambos, este disco perdura como un bonito oasis como el retratado en “Dr.Livingston

“(…)Las únicas cinco canciones que publicó durante 1983 y 1984 prometían disfrutar con una suerte de deliciosa vocalista pop a la española y a lo años ochenta. Con su compositor de cabecera, incluso, el muy inspirado Fernando Márquez “El Zurdo”, que le regaló las cinco golosinas que recogió este único maxi (antes había salido un single con ‘La ciudad y tú’ y ‘Accidente’, también incluidas aquí). Golosinas cargadas de los habituales referentes en la obra del Zurdo: la desesperanza, la soledad, los amores frustrados y los deliciosos aromas pop franceses.
Aunque una excesiva carga de programaciones afea un tanto la producción, no logra empañar las maravillosas maneras vocales de Jose, con esa excitante y elegante indiferencia con la que recita unas canciones atemporales (¡qué listo fue “El Zurdo” y que bien trabaja cuando de hacer canciones a mujeres se trata!), brillantes en su sencillez pop y diseñadas como un guante para su intérprete.
Desgraciadamente, Jose se olvidó pronto de Kiki d’Akí y optó por ejercer de bibliotecaria a tiempo completo. Hasta en esto fue elegante y consecuente: qué mejor oficio podía uno imaginar para alguien que cantaba, como si no fuera con ella, cosas como: “Puedo pasar casi dos siglos sin ti / y volver a las andadas / nuestros lazos no se entienden aquí / porque aquí no entienden nada” (“Unidad de destino”). O ese canto a los “accidentes” de pareja (cuando entra un tercero, vaya): “Es una tormenta en una bola de cristal / es ese tornado / que limpia el polvo en tu hogar. / Es el tonto incendio / de un bistec a medio hacer / es el gris naufragio / de una tacita de té. / Accidentes tan pequeños / no me pueden afectar jamás” (“Accidente”).
Un disco tan breve como encantador y sugerente que, afortunadamente, fue recuperado en CD” (Efe Eme)

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4 junio, 2018 Posted by | Kiki D´Akí, Las Chinas | Deja un comentario

Stardust Memories – VV.AA.: LA CONTRA OLA (Bongo Joe Records, 2018)

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Pues como casi siempre, ha tenido que ser una discográfica extranjera quien se encargara de recopilar, organizar y dignificar la música influenciada por el Post-Punk o el Synthwave y que permanece quizás algo olvidada en el caso de muchas de las bandas menos obvias que aparecen en la recopilación, tales como Tres, Esplendor Geométrico, La Fura dels Baus, Lavabos Iturriaga, Diseño Corbusier, Oviformia SCI, Línea Vienesa… Más los más conocidos como Zombies, Derribos Arias o Aviador Dro. Todo un lujo.

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4 junio, 2018 Posted by | Derribos Arias, VV.AA., Zombies | Deja un comentario

Canvas – AIRIEL: Molten young lovers (Shelflife, 2017)

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Corrientes Emo-Shoegazers transitan este segundo trabajo de la banda de Chicago AIRIEL.

Airiel aren’t the most prolific band in the world, but when they do release something, it tends to be big and ambitious. Molten Young Lovers is only the Chicago-based dream pop group’s second proper full-length since forming in the late ’90s, and that doesn’t include a four-part series of Winks & KissesEPs, each of which contains an epic track hovering around the ten-minute mark. Like 2007’s The Battle of Sealand, Molten Young Lovers is about an hour long, and with the exception of one slower, chorus-free mood piece (“Mind Furnace”), the songs are expansive and anthemic, expressing big emotions and filling the sonic canvas with vast, enveloping washes of sound and busy, propulsive drums. While the overall sound of the group seems chiefly influenced by British groups like Kitchens of Distinction, Ride, Swervedriver, and most likely the Stone Roses, Jeremy Wrenn‘s wistful lyrics and vocal style also bring to mind Bob Mould (in most of his many iterations), and songs like “You Sweet Talker” are a seamless mesh of British and American indie rock sensibilities. On tracks like the opener, “This Is Permanent,” Airiel construct a heavy, voluminous wall of blown-out guitar feedback, but they don’t let it overpower the rhythm section, and certainly not the heart-on-sleeve lyrics, which seem just as likely to resonate with fans of the 2010s emo revival as with lovers of indie pop and shoegaze. Apart from the more urgent, driving tracks, there are plenty of sad, sparkling ones, such as the heart-crushing sway of “Song of You” and the downcast drift-disco of “Cloudburst.” Perhaps best of all is “Sharron Apple,” a splash of ecstatic pop that peaks with a drawn-out “I love you” chorus. Airielhave never shied away from romanticism, but Molten Young Lovers seems like their most direct, passionate statement yet” (All Music)

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3 junio, 2018 Posted by | Airiel | Deja un comentario

Pimples – CAR SEAT HEADREST: Twin fantasy (Matador, 2018)

Twin Fantasy

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Para la edición de su segundo trabajo, a Will Toledo se le ocurrió la idea de revisitar y regrabar un disco grabado en su portátil cuando tenía 19 años, en el que se abordaban por igual temas universales que afectan a cualquier post-adolescente. Bien dotado lírica y musicalmente, Will Toledo pergañó un disco que confirma el sonido, a medias LoFi y Neo-folkie, si bien renunciando a buena parte de la crudeza de su primer trabajo; ofreciendo un sonido más claro y directo. Los temas, que en su mayoría rehúyen del estereotipo del Pop más comercial, conforman un cancionero homogéneo y coherente. Buen trabajo de confirmación. 
Te gustará si te van Replacements, Pavement, Strokes, Nada Surf

“Sometimes an artist has to go through more than one draft to get the desired result. Sometimes time and opportunity allow someone to have a new perspective on an older work. Sometimes the thing that didn’t work the first time works better the second time. In a very real sense, all of these things do and don’t apply to the revised 2018 edition of Car Seat Headrest‘s album Twin Fantasy. CSH top kick Will Toledo initially wrote the songs for Twin Fantasy in his late teens, and he created a home-recorded version on his laptop that he released digitally in 2011. However, Toledo later declared that he never felt it was a completed work, and in 2016, with access to a professional recording studio and the help of a full band, he re-recorded the song cycle in a manner better suiting the ambitions of the project. In both versions, Twin Fantasy is a concept album about a teenage love affair between two boys that, not unlike CSH‘s 2016 breakthrough, Teens of Denial, offers a painfully accurate portrait of young-adult attraction that feels powerfully heartfelt without ignoring the terribly awkward perspective of his protagonists. Toledo has said that the songs drew from personal experience, and in both versions,Twin Fantasy hits an emotional bull’s-eye, making sense of the intensity of young love as well as the mingled joy and confusion of making your way through a complex web of feelings without a convenient guidebook. In Matador’s 2018 reissue of Twin Fantasy, both the 2011 original and the 2016 remake are included, and they’re more similar than one might expect despite the differences in production, arrangements, and intensity. The 2011 recording is, as one would expect, relatively lo-fi, with the layers of guitars often pushed into the red and muddying the sound, but despite the relatively sloppy technique, the performances’ passion and force are truly compelling. The 2016 remake is certainly more polished, though it’s not truly slick, and it feels like a more mature work, which manifests itself in different ways. The arrangements are tighter and better executed, the audio is strong enough to suit the music and its dynamics, and Toledo‘s performances are more measured but also more nuanced, as if he has a better understanding of this story from a distance of a few years. Either way, Twin Fantasy leaves no doubt that Toledo is a strikingly gifted and thoughtful songwriter, who also has a firm grasp of how to make his material work in the studio and isn’t afraid to think on a grand scale” (All Music)

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1 junio, 2018 Posted by | Car Seat Headrest | Deja un comentario

Mentos – PEACH KELLI POP: Gentle Leader (Mint Records, 2018)

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Recién salido del horno, el cuarto álbum de la banda de Allie Hanlon:PEACH KELLI POP, es una evolución más en el Punk-Pop-Melódico de su banda. Un breve trabajo de diez cortes de esos que se pasan sin pensarlo, jalonado por auténticas delicias como Hello Kittie Knife, Honey, Quiet, la irresistible Black magic, o ese precioso acercamiento Jangle que es King size. Un disco más que disfrutable y de impacto inmediato.  

“After working with other people for the first time on Peach Kelli Pop‘s third album Peach Kelli Pop III, the band’s leader Allie Hanlon did the same thing on 2018’s Gentle Leader. With her live band and a few ringers on hand to contribute, Hanlon delivers the best-sounding and most diverse entry in thePKP catalog. With a mix of jumped-up punk pop gems, strummy midtempo tracks that dial down the noise, and even a couple of ballads, the album mixes the rough with the smooth in perfect fashion as both Hanlon‘s songwriting and vocals have taken a measurable leap forward. After the first two songs, the romping “Hello Kitty Knife” and a lovely cover of the Marine Girls‘ “Honey,” it’s clear right away that this is the best PKP album yet. Hanlon‘s vocals are assured and the harmonies are blindingly bright, the backing band brings the songs to sparkling life, and the production (by Hanlon and Roland Cosio) is simple and strong. The rest of the album reinforces this initial impression as one killer song after another flashes past. Buzzing, hooky rockers that spring out of the speakers like spooked cats (“Black Magic,” “Black Cat 13”), restrained ballads with subtle synths (“Parasomnia,” “Quiet”), jangling indie pop that would make Cub proud to call them labelmates (“King Size”), and loads of peppy punk delights (especially the bittersweet “Cherry [That’s Not Her Real Name]”) that all come together to make this brief album a tiny treasure that makes good on all the promise past Peach Kelli Popalbums have shown. With a little help from her friends, a little more polish on the sound, and some great songs, Gentle Leader makes the case once and for all that Peach Kelli Pop aren’t a novelty band: They’re worthy heirs to the Shonen Knife and Cub heritage Hanlon is so clearly devoted to” (All Music)

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29 mayo, 2018 Posted by | Peach Kelli Pop | Deja un comentario

Fwends – FLAMING LIPS: With a little help from my fwends (Bella Union, 2014)

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Cuando THE FLAMING LIPS se acercaron a una de las obras cumbres del POP (con mayúsculas) de todos los tiempos, resultó interesante comprobar como un monumento de la Psicodelia tomaba forma en unos de los máximos exponentes de esta corriente en el Pop contemporáneo. El resultado final quizás fuese más ambicioso que arriesgado, pero el intento es interesante y tiene su encanto…

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28 mayo, 2018 Posted by | The Beatles, The Flaming Lips | Deja un comentario

Doing my way – CRYSTAL EYES: The female imagination (Shake! Records, 2017)

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Surgida como el proyecto de Erin Jenkins, Crystal Eyes es una banda canadiense que cabalga a lomos del Indie-Pop con solista femenina y decierta producción de Pop-Psicodélico que en los noventa y dos mil contó con numerosas aportaciones brillantes. Su primer disco es un buen trabajo jalonado de cortes más que interesantes como My Way.

“Her forte is dreampop, and we get generous helpings of it, including the beautiful “From Me to You/From You to Me” with its somewhat odd ‘90s shoegaze backing. But the mix is entertaining, as you get a country twang with the psych pop of “High Moon” and self-harmonized vocals on the bouncy beach garage number “Already Gone”. The reverb-induced ’50s nostalgia is so weirdly intense on “Say Something” that it gets David Lynchian, in a really great way.
If you weren’t convinced that this is Jenkins’ personal project then the closing track will close the deal. “The Female Imagination” finds her accompanied only by clean guitar strumming and swelling strings, highlighting the intimacy of her voice, which is a particularly engaging combination of her whisper and her stronger singing voice. Unfortunately, it all ends on a rather sad note as Jenkins softly states: “I don’t worry about the future/Because I can’t remember the past/All I know is that you left me then/And I know love don’t last” (Ride the Tempo)

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25 mayo, 2018 Posted by | Crystal Eyes | Deja un comentario

NO JOY/SONIC BOOM: No Joy/Sonic Boom (Joyful Noise Recordings, 2017)

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NO JOY han evolucionado su sonido sin dudas, desde el Noise-Gaze seminal de su primer trabajo hasta este Ep compartido con el gurú de la neopsicodelia SONIC BOOM han recorrido un camino jalonado por una cierta experimentación no exenta de riesgos. Este disco a medias he de reconocer que me resulta aburrido por cuanto no me va mucho la electrónica, y aquí hay mucha. Pero no dejo de reconocer que el experimento es arriesgado y valiente.

“After the shoegaze band No Joy got off the road touring for their 2015 album, More Faithful, bandleader Jasamine White-Gluz wanted to try something different. She was acquainted with Sonic Boom (aka Pete Kember of Spacemen 3 and Spectrum fame, not to mention his long career as a sound structurist and producer), and the pair began exchanging messages — and then ideas — for songs through the wires. The four-song EP No Joy/Sonic Boom that came from their collaboration is a feast of vintage synths, cooing vocals, warped beats, and barely any guitar. The songs White-Gluz sent to Kember were meant to be played by a full band, but he twisted them into electronic weirdness that ebbs and flows, thumps and wobbles, hums and shimmers in turn. Leadoff track “Obsession” is the fullest realization of their pairing; White-Gluz‘s sampled vocals float over thumping beats and super-fat synth bass, while the sequenced synths burble and beep in nicely melodic fashion. It rolls along like this, creating a mood not unlike euphoria in the listener, then suddenly shifts gears into a subaquatic drone for a bit as the song peacefully doubles back on itself. A few minutes of that and it bursts back into life, throwing beams of sunshine out of the speakers and into the air, before winding to a close after 11 minutes of brilliance. It’s quite an achievement, possibly the most uplifting thing Kember has been associated with. The other three tracks are closer to what one might expect from the duo. “Slorb” is a slow-motion dream of a song, with White-Gluz‘s heavenly vocals the focal point and some jagged synth lines cutting through the slumber; “Triangle Probably” pairs thundering, almost industrial, drums with droning synths; and “Teenage Panic” sounds like a No Joy song turned inside out, then looped and chopped randomly before being reassembled. It also features some of the only recognizable guitar playing on the EP. No Joy/Sonic Boom is a delightful collaboration where both parties were unafraid to try new things, and this spirit of exploration led them to make something truly exciting and rewarding” (All Music)

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24 mayo, 2018 Posted by | No Joy, Sonic Boom | Deja un comentario

Out of Time – DAWN LANDES: What will I Do (Yep Roc, Single, 2018)

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Parece mentira que Yep Roc pueda grabar artistas Country-Folk, pero más increíble resulta aún que este género tenga tantos adeptos cuando aparentemente no está para nada de moda (preguntad si no en ciertas zonas de Usa…)
El caso es que DAWN LANDES es una buena representante del género y presentará álbum para este verano. Esta preciosa baladita es su adelanto.

“Meet Me At The River is Landes’ self-described “Nashville record,” and she has assured its pedigree by enlisting the production skills of Fred Foster, the Country Music Hall of Fame member who played a pivotal role in the careers of Dolly Parton, Roy Orbison, and Kris Kristofferson. Two years ago, Landes reached out to Foster, and a four-hour visit to his Nashville home convinced both they were musical kindred spirits. With roots in both Louisville, Kentucky, and Branson, Missouri, Landes has been attracting ardent fans and critical acclaim since entering New York’s music scene in 2000″ (Press)

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23 mayo, 2018 Posted by | Dawn Landes | Deja un comentario

Dreaming Candies – SEAPONY: Be here again (Hardly Art, 2017)

La imagen puede contener: una persona, árbol, cielo, exterior y naturaleza

#TheJangleBox #DescubreTheJangleBox #NovedadesTheJangleBox

SEAPONY es otra de esas bandas que nos siguen encantando con el paso de los años. Debutaron en 2011 y siete años después, continúan ofreciéndonos auténticas delicias de Dream-Pop absolutamente arrebatadoras. El disco por el que The Pains of Being Pure at Heart soñaría por seguir facturando. El formato: el Ep, el idóneo para dar rienda suelta a seis temas sin ningún desperdicio que podrían pugnar perfectamente por ser singles ideales para la banda sonora diaria de nuestros días más plúmbeos. Seguro que SEAPONY te revitalizarían.

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22 mayo, 2018 Posted by | Seapony | Deja un comentario

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