The JangleBox

Indie, Noise, Shoegaze… Music

Panda Riot: Streetlights and You and Me (from Far and Near-Ep, 2010) + Entrevista/+Interview

TDOA: Apparently, thereʼs a story floating around about Panda Riot and Michael Stipe at the Athens Popfest in 2009. Letʼs hear it!

Brian Cook: Athens is a beautiful little town with a deep musical history. When we played the Athens Popfest we would we bobbing our heads next to Apples in Stereo or we’d go out for a smoke and start talking to someone and realize that they were part of Olivia Tremor Control. Its has a really unpretentious vibe. So getting back to the question, we were in the middle of a 2 week tour and we played a show with Twin Tigers which was really fun. As we were getting ready to play our set someone whispered to us “Michael Stipe is here.” So we played our set and he later came over to our little merch table and bought both of our CDs (She Dares All Things and a CD-R of what was roughly to become the Far and
Near EP) It was really an honor to know he dug our music and to meet him. He hung outside for the next bands set, but we were still way too intimidated to go up and talk to him.

TDOA: Where does the name Panda Riot come from? I imagine a sweet parade of attack pandas.

BC: The name Panda Riot actually came from a friend’s band at the time. They had recently formed and decided on a different name. We were talking to them and they rattled off a list of rejected band names that they didn’t go for and Panda Riot was one of them. On a side note the band name game–where you come up with new band names and
imagine what the band might sound like–is a game we play a lot, especially when stuck in the car on tour (like our friend Christian’s imaginary German electronic band, Sex Ox). Panda Riot just felt like the music we wanted to make. I don’t even think we had written a song at that point.

TDOA: Iʼm sure you guys (and girl!) have been talked to death about your cover of “Paper Planes,” but I just have one question: what was your vision for that song? I mean, you managed to make the catchiest damn song around catchier!

BC: We had never really done a cover before Paper Planes. To us the best covers use the original version as a jumping off point. The Paper Planes song had become so saturated with remixes and covers that we decided if we did it it would have to really be ours. We wanted to really slow it down and take out the club aspect but still make it bouncey. That’s all we had in mind before we made it. The version that you hear on the internet is just from a live session we did with WOXY radio. We have never properly recorded it, but i think the spontaneity of the recording is fine with us.

TDOA: Speaking of girl, Rebecca, whatʼs it like being in a band with two dudes and a drum machine?

RS: Well, now Melissa is in the band so we’re 50/50. That drum machine can be really sexist, though, always shooting down my ideas, telling me I’m too emotional, and yelling at me to bring it beer and chicken wings.

TDOA: Can you talk a bit about the much ballyhooed “shoegaze” scene in Chicago? From whence did it come and do you perceive it as a “movement”?

BC: Well Rebecca and myself (Brian) started out playing as Panda Riot in Philadelphia. When we moved to Chicago we added Justin on bass and later Melissa on aux percussion, which made us dancier and more beat driven. As far as the shoegaze scene in Chicago goes, we weren’t really aware of many bands into that type of music at first. But now we’ve been beginning to hook up with other ‘shoegazey’ bands like Apteka and Sissy Mena. Up until recently, it’s like all of the shoegaze bands have been working in parallel without really connecting. But, we’re hoping to change that.

TDOA: How did you come to use a drum machine rather than a live drummer and are there thoughts of adding a drummer at some point?

BC: We’ve always loved early hip hop like EPMD, Rakim, and things like that. So when we started Panda Riot we new we wanted to have that drum machine feel to it. We didn’t want to be a “rock” band in the traditional sense. We were more excited about making people dance. From time to time we consider adding a live drummer, but we’ve found that programmed drums and live drums don’t really compliment each other the way we’d like them to. That being said, Melissa has added a really nice organic feel to our live
sets. She plays various tambourines, Bells, shakers and the occasional snare which really blends in nicely.

TDOA: Most of the reviews Iʼve seen have called your music dreampop. Do you agree, or is there some combination of genres you think better describes your work?

BC: It doesn’t really matter to us. If people hear aspects of our music and want to label us dreampop or shoegaze that’d fine with us. If you wanted to know what we consider ourselves i guess you could call it swirl-pop.

TDOA: The Motown Glass video is absolutely incredible. Like, best Iʼve seen in a very long time. Where did the concept come from, and who did all the drawing?

RS: Brian and I originally made films together, and we knew we wanted to do a video for one of the tracks from the Far and Near EP. When our first record, she dares all things, came out, we never really had the time to do a proper video for any of the tracks, so there’s just a couple fan-made videos floating around.
We started with the idea of us in front of a green screen with random images behind us.
At the time Brian was working on the cover art for the EP drawing images with a tablet.
BC: It was weird but I hadn’t drawn anything since I was a little kid, but I was really enjoying it. Looking at the cover art we decided to combine it with the idea of the green screen. We went to a fabric store, bought $25 worth of green fabric had everyone come over one day and just filmed ourselves playing. Then I drew all the buildings, trains etc and used Apple’s Motion to composite it.

TDOA: Your Myspace page and Website have different lineups – who exactly is in Panda Riot currently?

BC: Brian (guitars and drum machine), Rebecca (vocals, keys, and guitar), Justin (bass) and Melissa (auxiliary percussion and backing vocals)

TDOA: What do you want TDOA readers to know about Panda Riot? Some good, quirky trivia would be nice!

BC: Hmm…quirky trivia:
– The earliest Panda Riot songs (really pre-Panda Riot songs) can be found in a YouTube video called “Dolphins and Porpoises” that stars our friend Dante and a bunch of paper airplanes (way before the MIA song).
– We have a 0 tolerance policy when it comes to panda imagery
– 50% of the band are getting PhDs (Justin- Psychology, Rebecca- Philosophy)
– We often use a William S. Burroughs style cut-up machine for lyrics.
– Our cat Seymour is the secret dictator of the band.

TDOA: What’s next for the band? Aspirations of signing with Sub Pop, Warners, etc.?

BC: Our plan is to keep putting out EPs as often as we can. We could have put out a full length instead of an EP, but we really enjoy the format of an EP. They are like little novellas. Doing EPs gives us more freedom to experiment and make each one have a distinctive feel. We also recently finished our first film score for a short film called “Apocalypse Story,” which should be hitting the Festival Circuit by mid-summer. We’d love to do more of that in the future as well. I’d say we’re more focused on making music than on getting signed, but if someone approached us and wanted to put out a record we’d be all for it

To learn more about Panda Riot, visit their website here. (Entrevista/Interview: thedumbingofamerica.com)

19 julio, 2010 Posted by | Panda Riot | Deja un comentario

The Kinks: Milk cow blues, When I see that girl of mine (from The Kink Kontroversy, 1965)

18 julio, 2010 Posted by | The Kinks | Deja un comentario

The Kinks: The Kink Kontroversy (1965)

 

El tercer álbum de The Kinks es el protagonista de nuestro Retro-Visor de hoy. Este disco, sin ser uno de los mejores de su discografía, se convirtió en algo así como un álbum de transición entre su primera etapa, en la que prestaron atención a composiciones ajenas, en especial de Rythm´n´Blues; y su etapa de consolidación como una de las mejores bandas del Reino Unido, dando paso a un álbum repleto de composiciones propias (sólo hay una versión). A partir de aquí, The Kinks se convirtieron en uno de los principales baluartes del Pop británico y de alguna manera en cronistas oficiales de la escena musical británica con un  sinfín de canciones de aire costumbrista. The Kink Kontroversy es, entonces, esa especie de álbum de transición. El disco se grabó entre el 23 y el 30 de Octubre de 1965, y se publicó el 26 de Noviembre del mismo año. Pese a su comienzo enérgico, con la versión de Milk cow blues, cantada por Dave, o Gotta get the first plane home, el tercer corte; en la música del grupo se dejaban ver ya nuevos aires. Ese cambio se puede reflejar en la maravillosa Ring the bells, un tema mucho más intimista y delicado, cercano al Pop que se establecería posteriormente. When I see that girl of mine es continuista con esa nueva visión del Pop ya apuntada. I am free es la declaración rollingstoniana de independencia de Dave Davies. Till the end of the day es el mejor tema de la colección: Canción de inmediatez contagiosa y letra desenfadada que muestra la faceta más brillante de compositor de temas intemporales de Ray Davies, genio compositor del siglo veinte. El riff de guitarra tiene mucho de su primer éxito, You really got me, pero éso poco importa, porque tanto una como otra son verdaderos temazos. The world keeps going around es un tema de Pop más arrastrado y señal de que el sonido de The Kinks ha cambiado. I´m on an island es el clásico tema de Ray con esa pizca de humor satírico y cargado de mala leche, en esta ocasión hablando de la soledad. Con temas como éste construirían posteriormente obras como The Kinks are The Village Green preservation society, álbum de 1968 y una de sus obras cumbre. Where all the good times gone es otro gran tema con un estribillo de esos imposibles de olvidar. It´s too late es de las más flojitas del disco, pero poseee la curiosidad de que tiene a Shel Talmy, el productor del disco, a la guitarra, y a Ray a los mandos de la mesa de mezclas. What´s in store for me y You can´t win son temas algo menores y no aportan demasiado a la colección. The Kink Kontroversy se convierte, pues, en el disco de transición a las obras mayores del grupo, quienes a partir de aquí se convertirían en una banda de álbumes, y no sólo de canciones o singles, como hasta ahora había venido sucediéndoles.

The Kinks – The Kink Kontroversy (1965)

“Before you proceed any further, ask yourself why you are reading this. Surely, the important thing is not to read about, but to listen to, the LP? It is because you are attracted by the look of the four young men enticing you to sample some KINKS KONTROVERSY? Or is it because you hope that by reading something on the back of an album cover, it will make you desperately want to buy what is inside?
Maybe you are simply hung up on the Kinks. If you are, then you are wasting valuable listening time reading what is, after all, only the designer’s fill-in on the back. And, you should really be gazing, enraptured, at the photograph of Ray, Dave, Pete and Mick on the other side.
Should you be idly browsing through a stack of LP sleeves without the slightest intention of buying anything, read on. It will help absorb a few brief seconds of your life. And who knows, your curiosity might even be sufficiently aroused for you to want to hear this LP.
For the uninitiated–and it is conceivable that there may be one or two people around who still aren’t hip–the Kinks compromise two brothers, Ray and Dave Davies; a bassist by the name of Peter Quaife, and a drummer, Mick Avory. They are four seperate identities and four conflicting personalities. Yet, somehow, they gell with a magnetism and force that has made them not only one of the country’s most consistent groups, but gathered them hordes of followers throughout Germany, Scandinavia, France and America as well.
Ray, is one of England’s most enlightened songwriters. His lyrics are very simple, to the point of being basic. They mask the complex character that evolves them.
Dave’s main preoccupation is the diverse pursuit of happiness. But, he too, swings between the extremes of frustration, elation and black boredom.
Peter Quaife is everybody’s friend. Rarely upset, he regards being a Kink infinitely preferable to being a commercial artist–his former occupation.
Mick Avory is at his happiest when he is drumming. He says little, and drums a great deal.
But enough is enough. Now is the fatal moment of decision. Take out the LP, listen and buy. You won’t be disappointed. You never are with the Kontroversial Kinks”
(Michael Aldred, Contraportada del álbum)

The Kinks Unofficial Page

17 julio, 2010 Posted by | The Kinks | Deja un comentario

Panda Riot: Far and Near (Ep, 2010)

 

La música de Panda Riot es algo así como un caramelo envenenado, es la misma fórmula utilizada por gentes como The Pains of Being Pure at Heart o School of Seven Bells, con ligeros retoques: voces angelicales, bases sonoras profundas, teclados más o menos envolventes, ruidismo y distorsiones a tutti-plen para acompañar las melodías perfectas perpetradas por estas dos parejas de Chicago, que añaden ritmos secuenciados en todos sus temas. Una fórmula que no es nueva, ciertamente, pero que lleva funcionando desde los buenos tiempos de Cocteau Twins o My Bloody Valentine. Los seguidores del sonido Shoegaze estamos de verdadera enhorabuena desde hace tiempo, y vamos a seguir estándolo, a tenor de los buenos discos con los que nos vamos encontrando últimamente. Éste segundo lanzamiento de Panda Riot no es una excepción, y tiene todos los componentes que adoramos en el género, ciertamente. Motown glass, Julie in time, Streetlights and you and me, Parallax, When you said/When I said, 16 Seconds son temas que no deberías perderte, como buen devorador de Shoegaze que seguro que eres.

Panda Riot – Far and Near (Ep, 2010)

Panda Riot, a four-piece out of Chicago (well, technically a five-piece – they consider the drum machine a member…), recently released their latest EP, Far & Near, and it’s some sunny (I know, as if you needed MORE sun) dream pop, closely aligning itself with the sound of much-hyped School of Seven Bells.
The delicate, chilling voice of lead singer Rebecca Scott holds down the ethereal fort and weaves in and out of consciousness along with each song. We tend to exaggerate the word “dreamy” when discussing music these days, but I’m currently looking out the window of a train and my imagination has instantly sprung to life. It’s kinda hard to type coherently, actually. So, just listen with me”
(
knoxroad.com)

MySpace / Cómpralo-Get it

16 julio, 2010 Posted by | Panda Riot | 1 comentario

Jay Bennett: Kicking at the perfumed air (2010)

La obra póstuma de Jay Bennett, el Wilco que Jeff Tweedy no pudo soportar, es Kicking at the perfumed air (2010), una colección de maquetas y de material que Bennett fue compilando durante sus últimos días y que dan forma a un disco personal, grabado casi integramente por el propio guitarrista y productor y que es un ejercicio de pura Americana, sin demasiados arreglos, intimista y autenticamente personal. Una especie de mixtura entre Elvis Costello, Nick Lowe y el Neil Young menos temperamental. Disco de medios tiempos y nulas estridencias, pareciera que Bennett quisiera despedirse con un álbum para no hacer demasiado ruido pero lleno de buenas e intemporales canciones (Mirror ball, Hotel song, Invitation, Second last call, Beer…) Pinchando en el enlace de descarga, puedes encontrar también su link a la página de su fundación, en la que puedes hacer una donación para contribuir al desarrollo musical y educativo.

Jay Bennett – Kicking at the perfumed air (2010)

“Most people are familiar with Jay Bennett for his tenure in Wilco—from that very first show in the basement of Cicero’s in St. Louis (under the moniker Black Shampoo) to his dismissal from the band in August 2001. What not as many are aware of are his musical accomplishments before and after. Prior to being asked to join Wilco, Jay had been on a major label with Titanic Love Affair, was a member of the criminally underrated country combo Steve Pride & His Blood Kin (who had shared bills with the likes of Uncle Tupelo and The Jayhawks), and had toured with and/or played on records of countless artists, including Tommy Keene, Billy Joe Shaver, Allison Moorer, and Jellyfish.
To fans, Jay Bennett was a master melodicist, artful arranger, exceptional engineer, and mesmerizing multi-instrumentalist. To me, Jay was all of those things, but he was also just Jay. He was the guy who would replace the brakes on my car because it was cheaper than taking it to the mechanic. And he was the friend who began making an album with me in 1994 because it seemed like something to do—and, for me, it was cheaper than therapy. The fruits of those labors would see the light of day in 2002, when Jay and I released The Palace at 4 am (Part 1) with Undertow Records. The tours for that album at times played like a foul-mouthed Smothers Brothers for the new millennium, and when we’d finally grown weary of the sound of our own banter, we would eventually get around to what drew us together in the first place: playing songs we wanted to sing. Specific tales of those tours will eventually be shared, but the best part was that it introduced us to many new friends.
Jay followed Palace with two more releases for Undertow in 2004: Bigger Than Blue and The Beloved Enemy, far more sparse and intimate efforts than our all-bells-and-whistles-on-deck debut. These albums were primarily recorded at Jay’s Chicago studio: Pieholden Suite Sound. As his collaborations with David Vandervelde intensified, Jay began the work on what would become his 2006 release for Ryko, The Magnificent Defeat. Prior to the mixing and mastering stages of that album, Jay returned to his de facto home of Urbana, Illinois, bringing his Pieholden Suite Sound with him. With the help of friends and hired guns, Jay turned a gutted storefront into the studio of his dreams (O, what I wouldn’t have given to have the meticulously organized patch bay he included in his new studio back when we were making our recordings).
It was in the new Pieholden studio that Jay produced Whatever Happened I Apologize (2007) for Rock Proper. Eschewing the usual channels of music distribution, Jay decided to put this album out for free as a high-quality download. Sadly, and unexpectedly, it would be the final album Jay would release during his lifetime. At the time of his death in May 2009, Jay was in the final stages of completing Kicking at the Perfumed Air. It is a Herculean task to attempt to “finish” an album in someone’s absence. The album as it stands is indeed a collaborative effort of monumental proportion, brought together by folks whom Jay would trust to do the job. Between Jay’s notes, emails, and conversations as recalled by his friends (which, as you might imagine, contained equal measure of complement and contradiction), Kicking at the Perfumed Air represents, if not the album Jay had intended to share, most certainly an album of which he would be proud.
Hopefully, in the weeks and months that follow, we will uncover even more of Jay’s musical legacy to share. For now, we hope you will enjoy Kicking at the Perfumed Air”  (
rockproper.com)

MySpace / Descarga gratuita-Free download / Jay Bennett Foundation

14 julio, 2010 Posted by | Jay Bennett | Deja un comentario

Craft Spells: The fog rose high (Single, 2010; del álbum Idle Labor)

Craft Spells son un dúo Californiano formado por Justin Vallesteros y Frankie Soto que factura un Dream-Pop con reminiscencias de la música electrónica de los ochenta. Acaban de publicar su álbum de debut, Idle Labor (2010), y regalan su primer single en descarga gratuita, The fog rose high, una bonita canción que tiene indudables huellas neworderianas y que tiene un aire a The Metric Mile, ya reseñados en The JangleBox. El single es realmente bueno, y el resto del disco va en una línea parecida.

Craft Spells – The fog rose high (Single, 2010)

“Happy to welcome California’s CRAFT SPELLS across the threshold of these pages and hopefully it’ll be the first of many calls if Justin Vallesteros keep churning out charming, blurry downer-pop doozies such as “The Fog Rose High.” Now, some of this will be familar to you. The far-off, water-skimming guitar tones that entwine themselves around the jam’s tinny, insistent heartbeat and that stoned, detached drawl made up most of our Summer listening sustenance. This is an altogether more reflective, introspective affair though – Vallesteros’ distance sounding more a product of genuine despair than cool nihilism as his lonesome croon struggles to keep warm underneath chilling (not chilled anymore), crystalline keys. If we are at the beach now, all the babes are hiding from Winter. We’re alone and it is cold in its beauty” (transparentblog.com)

MySpace / Descarga gratuita-Free download

14 julio, 2010 Posted by | Craft Spells | Deja un comentario

Hexicon: The blossom highs (2010)

Hexicon es una de esas bandas cándidas que da gusto oír en un momento relajado de nuestras vidas. A medio camino entre Fanfarlo, The Shins, Belle and Sebastian o Fleet Foxes; Hexicon navega sutilmente con un relax delicado entre canciones vaporosas que tienen mucho de Folk (Country, Something beneath the starsIreland, Follow the herd) como de Pop (Well done, Annie Oh, Dawn came to save us, She plays games, Blood in your eyes, Still here). Prueba de ello es que dos de sus miembros simultanean su estancia en Hexicon con Allo Darlin´, una banda de orientación más Pop-hedonista, y otros colaboran con gentes como Darren Hayman. Una de las bandas abanderadas del movimiento del Buenrollismo que han aparecido en ambas orillas del Atlántico últimamente.

Hexicon – The Blossom Highs (2010)

“Having absorbed everyone in a wave of dreamy, velvety pop and impressive falsetto harmonies which of course, recalled none other than Mr Brian Wilson and his good friends, The Beach Boys, things instantly turned a little darker when guitar was swapped to Lap steel and French horn disregarded in favour of a good old synth – transporting us somewhere between middle America and the moon” (Ica)
“A nice variant of indiepop, complete with french horn and lap steel and other cutesy instruments…definitely something to watch out for” (Central european music journal)
 
MySpace / Cómpralo-Get it
 


13 julio, 2010 Posted by | Hexicon | Deja un comentario

Motion City Soundtrack: Cut your hair (2010)

Motion City Soundtrack son una de esas bandas norteamericanas que graban para una major especializadas en facturar un sonido de tendencias Neo-Punk asequible para post-adolescentes o para jóvenes poco exigentes con la música. No obstante, han tenido un hueco para realizar una cover de Cut your hair, de nuestros admirados Pavement, que no he podido por menos que incluirla en The JangleBox, porque me parece una auténtica gozada, ya que suena como si las huestes de Stephen Malkmus estuvieran en un estudio de radio tocando con guitarras acústicas. Como siempre, este pequeño regalo lo puedes disfrutar gracias a la gente de RCRD-LBL.

Motion City Soundtrack – Cut your hair (2010)

“Considering the pants-wetting hullabaloo surrounding their current reunion tour, Pavement’s cultural relevance (and recognition, for that matter) is at an all time high. Even still, their fans aren’t exactly young. Which is why this cover of their biggest hit by younger-fan-having synth-pop juggernaut Motion City Soundtrack is awesome–maybe some of these kids will go out and buy Slanted Enchanted or Crooked Rain. Isn’t that what these things are for? To turn people onto stuff you’ve always loved? At least, we hope it is” (rcrd-lbl)

MySpaceDescarga gratuita-Free download

Oír/Hear – Cut your hair

13 julio, 2010 Posted by | Motion City Soundtrack | Deja un comentario

The Drums: Let´s go surfing (The Raveonettes ReMix,2010)

Todavía no le hemos podido hincar el diente al disco de debut de The Drums (qué poco tiempo tenemos para degustar buena música!!) y circulan por internet multitud de remezclas de algunos de sus temas. Ésta en particular me ha encantado. Está realizada nada menos que por The Raveonettes, y como no podía ser de otra forma, el sonido de la banda se amplía hasta los twangs de guitarras característicos de los daneses y la distorsión más agria. Una versión más que especial que podéis descargar gratuitamente gracias a la gente de RCRDL-LBL.

The Drums – Let´s go surfing (The Raveonettes ReMix, 2010)

 “Jonathan and Jacob met each other at summer camp when they were children. they’ve been best friends ever since (except for a five year period when they hated each other). They’ve both had successful musical careers individually, but this is the first time they’ve sat down and written songs together. “We’ve always wanted to make music together, but distance and violence has always stopped us.”
“We’d been planning on starting a new band together for a while. Jon was living in New York and I was living in Florida. He said the music scene was better in NYC and I said the surfing was better down here so Jon moved to Florida and we started The Drums.”
“We just wanted to start a band that sounded like The Wake.” say The Drums, “We heard their song ‘Pale Spectre’ and went crazy! Maybe our music didn’t turn out sounding too much like The Wake but we’re really just like everybody else, chasing that perfect pop song. And that’s not so bad right?”
Not so bad indeed! The Drums have a sound that pulls together years of obvious influence by the Factory records sound and a sudden fascination with 50’s surf culture. A combination that maybe doesn’t seem logical, but when you hear it you’ll know you need it, you’ve gotta have it and it’s what has always been missing. Now The Drums are hard at work on their first record, which is bound to be an instant classic!
(
rcrdlbl.com)

MySpace / Descarga gratuita-Free download

12 julio, 2010 Posted by | The Drums | Deja un comentario

Tame Impala: Jeremy´s Storm (Accoustic Free-Mp3)

Pequeño regalito hoy desde The JangleBox para todos los que os gustó el debut de Tame Impala. Una versión en directo de su Jeremy´s Storm, el instrumental de su álbum InnerSpeaker realizado en una emisora de radio, donde el sonido de la intimidad de la psicodelia de Tame Impala no puede sonar mejor…

Tame Impala – Jeremy´s Storm (Accoustic Free-Mp3)

MySpace / Descarga gratuita-Free download

12 julio, 2010 Posted by | Tame Impala | Deja un comentario

The Young Veins: Take a Vacation! (from Take a Vacation!, 2010)

Aunque el primer single de Take a Vacation! ha sido Change, el mejor tema de la colección es Take a Vacation!, un temazo de ascendencia Byrds, con esa majestuosa guitarra de doce cuerdas como protagonista.

12 julio, 2010 Posted by | The Young Veins | Deja un comentario

ESPAÑA, Campeona del Mundo!!

12 julio, 2010 Posted by | España | Deja un comentario

Kaka de Luxe: La Tentación/Rosario/Toca el pito/Viva el metro/Entrevista

Fragmentos de la actuación en 1983 en la Edad de Oro, de Paloma Chamorro, convertidos en iconos y en banda de culto, cinco años después de su disolución, y con sus egos absolutamente separados, como se denota en fragmentos de la actuación y en la posterior entrevista. Hasta tal punto llega esa indiferencia que Olvido y Nacho renegaron completamente de Kaka de Luxe, tomándosela como un divertimento de juventud.

11 julio, 2010 Posted by | Kaka de Luxe | Deja un comentario

Kaka de Luxe: Las canciones malditas (1983)

El post de este fin de semana del Retro-Visor está dedicado a Kaka de Luxe, la banda seminal de la movida madrileña. Un grupo que más que una impronta musical, lo que nos dejó fue una actitud más que personal y la semilla de lo que fue el movimiento iniciado en Madrid a finales de los ochenta. El grupo lo crearon Fernando Márquez “El Zurdo” y una jovencísima Olvido Gara (aka Alaska). Atraídos por la estética Post-Punk e influenciados por la Nueva-Ola, se movieron para reclutar a Nacho Canut, Carlos Berlanga, Enrique Sierra y Manolo Campoamor, además del batería Pablo Martínez. Esta reunión de talentos fue el germen de su nacimiento y el detonador para su disolución, porque sus campos creativos eran variados, desde la creación literaria (Márquez, Campoamor), estética (Berlanga, Canut) a la musical (Sierra -que en realidad era el único que sabía tocar-, y una dubitativa Gara). Su actitud fue absolutamente rompedora en una escena adocenada entre cantautores y grupos progresivos y pseudo-hippies, ya que se presentaban con descaro sin saber apenas tocar y con una pose más que provocativa, importada directamente de los grupos punkies del Reino Unido. Rápidamente fueron avizados por Jesús Ordovás y se presentaron al concurso de Rock Villa de Madrid, donde quedaron en un segundo y polémico lugar. Consiguieron algo parecido a un contrato en el sello del Mariscal Romero Chapa Discos, editando el Ep Kaka de Luxe (1978), con Rosario, Toca el pito, Viva el metro y La pluma eléctrica como sus temas. Disco absolutamente revolucionario no por su nivel musical, sino por lo rompedor de su propuesta. Tras diversas llamadas a filas entre sus componentes, el grupo recluta a Bernardo Bonezzi e incluso a Enrique Urquijo, Carlos Entrena, Juan Luis Lozano y Javier Hamilton, pero el final de la banda estaba cerca, y en el mismo 1978 se produce la desbandada. Postumamente, Zafiro llegó a editarles el Maxi Kaka de Luxe (1982), con el Ep anterior más Pero que público más tonto tengo y el primer single oficial de Paraíso. Y ya en 1983 se publica en una filial de Zafiro su único disco grande, Las canciones malditas (El fantasma del paraíso, 1983), ya enmedio de la Movida y con Kaka convertidos, cinco años después, en toda una banda de culto a la española y reivindicados por toda la modernidad de entonces, quienes personalizadas en Paloma Chamorro, tuvo el gesto de reclutarlos para una actuación antológica en el mítico programa televisivo La Edad de Oro en 1983. Vistos y oídos en este 2010, Kaka de Luxe se presentan como una banda más que interesante, y de ellos diríamos que serían una interesante propuesta Lo-Fi con unas letras arriesgadas y más que ingeniosas. No obstante, le prestamos oídos a gentes tan interesantes como Harlem o Beach Fossils, que matarían por temas antológicos como Rosario, La alegría de vivir, Viva el metro, La pluma eléctrica, Pero que público más tonto tengo, Pondré mil voltios en tu lengua, Pero me aburro o La tentación.

Kaka de Luxe – Las canciones malditas (1983)

“Entre el bullicio contracultural efervescente de El Rastro de Madrid, la prensa marginal de LaCochu enclavada en Augusto Figueroa y los ecos de las nuevas tendencias londinenses, Olvido Gara, pronto conocida como Alaska, y Fernando Márquez El Zurdo, entran en contacto con Enrique Sierra a través de La Liviandad del Imperdible, fanzine de corte futurista e intelectualoide que habían creado casi con la excusa de formar un grupo. De hecho, inicialmente serviría para dar nombre y alma a un proyecto del que pronto se escindirían para virar hacia posturas más banales y rompedoras que eran las que realmente les interesaban.
Así, tras la ruptura, y sumergidos en primitivas emulaciones ramoncinescas, Alaska y El Zurdo reclutan para la causa a Nacho Canut y Carlos Berlanga, que tenían un puesto de discos en El Rastro. Después de varios ensayos, y tras descartar varios nombres como Shit de Luxe, se bautiza a la banda como Kaka de Luxe (inicialmente con Olvido y Enrique a las guitarras, Nacho al bajo, El Zurdo a la voz y Carlos a los coros), a pesar de carecer aún de batería y de que, a excepción de Enrique, procedente del grupo heavy (si, si, él lo que quería era tocar) Vibraciones, ninguno de los demás integrantes sabía apenas tocar ni cantar. De hecho, según se dice, cuando Nacho Canut compra el bajo es al mismo tiempo que busca unas lecciones básicas, pues tocaba esa misma tarde.
La formación se amplía al poco tiempo con la incorporación de Manolo Campoamor, también procedente de la prensa marginal (el fanzine Alucinio y otros tebeos con Ceesepe y La Cascorro Factory), que ya había conocido la escena punk en el extranjero y había conectando rápidamente con ella. Entra como segunda voz, consiguiéndose una primera actuación con batería de prestado en People, un pub de Argüelles.
Esta no pasa desapercibida del todo para los medios, y algunos como Interviú lanzan feroces críticas (que acompañarían a la banda en su corta vida) en absoluto justas a tenor del ritmo de vida llevado, relacionadas con la procedencia bien de la mayoría de sus integrantes. Se responde con irreverencia e insolencia, con un Nacho Canut que comenzaba a destacar en este aspecto.
Se decide incorporar a Pablo Martínez a la batería, más por imperiosa necesidad que por afinidad de caracteres y gustos.
Entretanto, la banda se vuelca en la autopromoción en el fanzine, ayudándose del talento creativo de Carlos, Manolo y El Zurdo, y ofreciendo una mezcolanza de noticias de revistas inglesas, letras de canciones, especiales de bandas y otro material gráfico de Don Martin, Eguillor, Crumb y Sheldon, además del propio.
La publicación llega a alcanzar cierta relevancia y, junto a la venta de discos, ropa usada y otros enseres en un tenderete en El Rastro, supone el sustento principal que permite a la banda seguir creciendo.
Continúan los conciertos, adoptando cada vez una estética y una actitud más provocadora, con el traje de plástico transparente de Manolo que dejaba ver su tanga atigrado, la estética punk de Olvido y Nacho, el esnobismo elegante de Carlos, el modelo espacial de Enrique y el aire brit de El Zurdo con su excéntrica manía de tirar objetos diversos al público, tales como libros o aviones de papel.
Así, y empujados por un ya por entonces conocido Jesús Ordovás, quien fascinado por el surgir de ese algo diferente y vanguardista que se estaba gestando les dedica frecuentes elogios en la publicación Disco-Express, Kaka firma una especie de contrato (todos los integrantes eran menores de edad) con el sello Chapa del
Mariscal Romero, del cual saldría un EP antológico (por su significado), “Kaka de Luxe”(Chapa, 1978), grabado en la más absoluta precariedad de medios.
Sin embargo, el futuro del grupo de la banda no era tan prometedor como cabría suponer.
En 1978, Enrique Sierra y Nacho Canut son llamados a filas. Esto, junto a las grandes diferencias ideológicas y musicales que iban surgiendo, el inesperado y polémico segundo puesto en el Villa de Madrid (en detrimento del
Wyoming y El Reverendo), la ausencia de dinero y la decepción de la producción en Chapa, no ayuda a quitarse de encima la sensación de fracaso que asfixiaba a varios de los componentes.
Javier Hamilton, en contacto con la banda haciendo una fugaz labor de management, empieza a planificar un futuro sin Sierra y Canut, y acaba ingresando en el grupo como corista, junto con Juan Luis Lozano, Carlos Entrena y su hermano Sergio Entrena, quienes habían conocido el grupo de la compañera de clase de la hermana de Juan Luis y desde ese momento se habían hecho asiduos a los ensayos mientras bebían cerveza.
Con la marcha al cuartel de Nacho y Enrique y la entrada provisional como guitarra de Bernardo Bonezzi, el único que aún conservó la ilusión en un Kaka agonizante, se producen una serie de movimientos que intuyen lo que a la postre depararía. El Zurdo, descontento con la evolución glam que el grupo estaba adquiriendo, sale y crea
Paraíso, se echa a Pablo, el batería, con el cual nunca se había conectado y se incorporan Javier Urquijo a la guitarra y su hermano Enrique Urquijo al bajo durante una temporada.
La realidad es que cada vez se ensaya menos y en noviembre de 1978 se decide disolver oficialmente la banda. La disolución deja durante un mes al nuevo ente sin nombre hasta que es bautizado como
Alaska y los Pegamoides.
Y precisamente casi coincidiendo con el final de esta otra banda, que llegó a adquirir una reseñable presencia comercial, Zafiro editaría un curioso maxi, “Kaka de Luxe” (Zafiro, 1982), en el cual se recogían las canciones del primer EP, más “Pero que público más tonto tengo”, y las dos del único single de Paraíso en activo.
No sería hasta el 17 de mayo de 1983, en el estreno en TVE de La Edad de Oro de Paloma Chamorro, que, como favor personal, se reunirían de nuevo, pudiéndose comprobar el distanciamiento tanto en lo musical como en lo personal en todos ellos. Además, este reencuentro de Kaka de Luxe y sus sucesores no llegaba precisamente en el mejor momento, justo después del fallecimiento de Eduardo Benavente.
En este mismo año, la industria editaba el único LP de Kaka, “Las Canciones Malditas” (El Fantasma del Paraíso, 1983), de la mano de El Fantasma del Paraíso, un sello independiente nacido dentro de la CFE (Compañía Fonográfica Española, subsidiaria de Zafiro) y que recogía tanto las canciones del EP como las de maquetas y directos que nadie supo (ni pudo) aprovechar en su momento”
(
lafonoteca.net)

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10 julio, 2010 Posted by | Kaka de Luxe | Deja un comentario

The Young Veins: Take a Vacation! (2010)

 

La pareja creativa del combo The Young Veins (Ryan Ross y John Walker) tiene un pasado digamos que “prescindible” como músicos de un proyecto post-adolescente llamado Panic! at the Disco. Para redimirse han formado esta nueva banda y han variado ciento ochenta grados sus gustos y preferencias musicales, dando rienda suelta a su creatividad en forma de canciones con un cierto aire Retro e influencias sesenteras. The Young Veins es el nombre del grupo, y sus canciones ¡vaya si son una gran manera de redimirse! Por cierto, ese mismo cambio estilístico también parece que ha afectado a The Like, cuya líder Z Berg mantiene una relación sentimental con Ryan Ross. Cotilleos aparte, lo cierto es que Take a Vacation (2010) es un pedazo de disco en sí mismo, de principio a final, casi sin desperdicio. Dese sus primeros acordes uno se da cuenta de que California está presente en su sonido, con evocaciones nostálgicas a sus playas y su cálido ambiente: Change, Take a Vacation!, Cape town; estos tres temas conforman el mejor comienzo de disco que hayamos oído en mucho tiempo: melodías impecables, guitarras de doce cuerdas, coros angelicales… Algo así como un disco de The Beach Boys ejecutado por Moby Grape. El nivel no baja con Maybe I will, maybe I won´t, un tema de ascendencia más británica-mediados-sesenta, con voces impresionantes. Young veins (Die tonight) mantiene el tipo, como buen número de Power-Pop. Everyone but you nos evoca al mejor McCartney. The other girl comparte el nombre con un tema de The Beatles, y con éstos los confundiríamos si no leyéramos los créditos del disco. Dangerous blues es un tema que sobra claramente, tanto por su pobre nivel como por su estilo en el álbum. Defiance y Lie to the truth son medios tiempos que no desmerecen al Power-Pop exhibido hasta el momento en el resto de la colección. Para acabar, Heart of mine, precioso tema de rasgos intimistas e instrumentación Folkie acompañada con guitarra de doce cuerdas. Comenzamos con The Beach Boys y terminamos con The Byrds. ¿Existe una mejor manera de homenajear a los años sesenta en un disco de Pop americano? Recomendadísimo.

The Young Veins – Take a Vacation (2010)

“Some people never change / They just stay the same way”. So goes the chorus of the Young Veins’ first single, “Change”. And they know firsthand. Only a couple years ago, vocalists/guitarists Ryan Ross and Jon Walker were filling arenas and throbbing teenage girls’ hearts as members of Panic! at the Disco, inspiring future generations of emo bands to up the eyeliner, layer on the electro, and kick the ridiculously verbose, hormonal poetry into new levels of “love it or loathe it” divisiveness.
“Change”, it seems, was necessary—at least for Ross and Walker, who boldly split from their barely blossoming, highly successful gig, opting to explore a simpler, heavily backward-looking approach with a punctuation-free name. Take a Vacation!, the band’s first album, brings back the exclamation point and puts it to good use. This is a set of enthusiastic, contagiously old-fashioned tunes that authentically references surf rock, garage rock, and the British Invasion with equal vigor and exists refreshingly outside of current popular music’s trend-setting radar.
The sound shouldn’t come as a complete surprise. The seeds of this transition were planted on Panic!‘s last album, 2008’s Pretty. Odd., where the annoying, overlong song titles were shelved, and the warbly, Patrick Stump-on-coke undulations of vocalist Brendan Urie were drastically toned down. Most strikingly, the band embraced a bold, colorful sound replete with orchestras, glorious harmonies, and an emphasis on live instrumentation. It was an overtly nostalgic and refreshingly naive Beatles tribute that came out of left-field and actually managed to score some critical praise, but not every Panic! member was on board for Retro Round 2.0, and the camp split into two factions, with drummer Spencer Smith and vocalist/heartthrob Brendan Urie staying to re-ignite the initial Disco flame and record a new album.
Like Pretty. Odd. before it, Take a Vacation! has obvious influences, and identifying them as the album churns along is half the fun—you’ll hear the Beatles, the Byrds, the Beach Boys, the Zombies, and the Kinks, sometimes all in the course of one track. However, the production from Alex Greenwald (Phantom Planet) and Rob Mathes (Lou Reed, Panic!‘s Pretty. Odd.) differs from their previous work, feeling trim and direct, never flowery or ornate.
The previously mentioned “Change” blares out of the gate with creamy spikes of vintage guitar and the streetwise warning: “She was acting pretty / Thought she owned the city / Someone should have told her pretty ain’t a job”. Like the entirety of Vacation!‘s breezy, 29-minute running length, it’s endlessly listenable and works best when you turn off the logic switch and ride the feel good vibes.
The press release is proud to note the use of “impressive vintage gear” like Wurlitzers and harmoniums, but the guitars—ringing twelve-string plucks, bluesy power chords, sunny acoustic strums—are the instruments that smack you ‘cross the face. That chiming tone in “Cape Town” is prime Beatles, with a descending riff that unsubtly evokes “Please Please Me”. Speaking of the Fab Four, Ross does a great McCartney impression on “The Other Girl”, which catches that mid-period Beatles ballad vibe so accurately, it’s pretty much impossible to stop figuring out which track it most closely resembles (my initial response: “And I Love Her”). You’d call them out on plagiarism if they weren’t such entertaining thieves.
This could all be one big joke, a series of winking allusions, a glorified tribute album. A better guess is that it’s simply the work of a band too concerned with having a good time to even think about being original. You can call it whatever you want, but a good time is a good time in my book. Same for a good pop song. The Young Veins remember that, at the end of the day, musicians are entertainers, and entertainers are (like it or not) salesmen.
“What can we do to get you to ‘take a vacation’ today?”
(
popmatters.com)

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9 julio, 2010 Posted by | The Young Veins | 3 comentarios

Kristin Hersh: Coals (Single, 2010)

 

Kristin Hersh está de vuelta. Y lo hace a lo grande, con un nuevo disco, Crooked, un álbum que verá la luz de manera tradicional, de manera digital junto con llaves para acceder no sólo al contenido musical, sino también a vídeos, comentarios de audio, chats, enlaces, etc.) y acompañado con un libro. La canción que ha escogido la ex-Throwing Muses es este Coals, un gran tema, de ritmo machacón a lo Neil Young acompañando a las guitarras siempre afiladas de la Hersh que se entremezclan con guitarras acústicas que le dan el complemento más dulcificador. La voz de Kristin tiene algo de ese carbón al que hace referencia el título del tema, en el sentido de desgarrada.

Kristin Hersh – Coals (Single, 2010)

“Kristin Hersh has an interesting mix of projects going on. First, her upcoming studio album Crooked will see release both digitally and as a hardcover book. The book will contain artwork, lyrics, and essays, along with download keys to get the album and exclusive content (videos, audio commentary, web chats, etc) online. It’s a creative model she’s been working with for a while — Hersh is the co-founder of CASH Music, a nonprofit that finds alternative ways to release music. (I first learned about them when they ran the Deerhoof “Fresh Born” covers project.) CASH Music was essential to Crooked as well. According to her bio, Crooked started as a series of demos that she put up on her CASH Music site and allowed listeners to comment on, remix, cover, etc. She kept their comments and feedback in mind while refining her songs. “Coals” is one of the resulting tracks. The riff does much of the work here, grinding the song forward (a distorted bass organ provides additional grind). The engine here is cool, impassive, stoic, and so Hersh matches it with her voice, which has a little bit of coal dust on it too. There are some Throwing Muses demos on her website too, so it looks like she’ll be doing something similar for the Muses album, due next year. Her other band, 50 Ft Wave, also just completed an EP. She’s also got her memoirs (titled Paradoxical Undressing) come out this summer and four (!) home-schooled sons. Her memoir should come with a wanted ad for a personal assistant” (stereogum.com)

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8 julio, 2010 Posted by | Kristin Hersh | Deja un comentario

Jonny Rumble: JR (2010)

 

Jonny Rumble es una agrupación de Chicago especializada en facturar sonidos más o menos tradicionales a lo que desde hace un tiempo conocemos como Americana. Música intensa de raíces, realizada con instrumentos tradicionales y típicos del Rock, producción austera y desde luego, honestidad (Cox road, BRZRKR, To foolishness). Pero también son capaces de reescribirse con otros ritmos (Courtney´s basement, Opporunities) e incluso acercarse al Psico-Pop (Victim of the time, Stumped). Variedad de ritmos, intensidad lírica,  buena interpretación… elementos válidos todos ellos para hacer de Jonny Rumble una banda interesante, que no va a cambiar el mundo ni el concepto de la música tradicional norteamericana, pero que seguro que pueden alegrar los reproductores de muchos oyentes/lectores. Puedes descargar su álbum de forma legal desde la plataforma que los distribuye, pinchando aquí, y además, puedes colaborar con la banda comprando su álbum en vinilo desde aquí.

Jonny Rumble – JR (2010)

“Over the past few years Chicago-based four piece Jonny Rumble have established themselves as a genuinely rocking, talented band that’s always worth a listen, and their new LP, JR, just might be their strongest to date. The album follows up their 2008 full-length, Almost Dead, and includes a more diverse, accessible set of songs that reflect growth in both songwriting and performance.
Part of JR’s appeal is that its musical style is nearly impossible to categorize, yet the record plays out with a cohesive sound and vision. The band serve up everything from punky power pop (“Courtney’s Basement”) to trippy, mellow psych pop (“Stumped”) to gentle, acoustic alt-country (“Toe the Line”), but there is a focused energy and vibe throughout that keeps the collection from sounding disjointed. That said, the more upbeat, pop-oriented tracks such as the jangly “Handgun Blues” and the aforementioned “Courtney’s Basement” grabbed my attention the fastest and just might be the band’s strongest suit.
Lyrically, much of the material seems to deal with the unrest and frustrations of modern life from the underdog’s point of view. “While people slowly get ahead of you/They’re filling up their pockets, you’re only burning fuel,” reflects vocalist and guitarist Brian Webb in rocker “Opportunities,” for example. In the driving, aggressive “BRZRKR,” biting observations of “all the kiddies on the street in their tight-fit clothes” who would “all be better off dead” drive the discontentment home. And if anything can be inferred from long
list of misfortunes that have struck the band over the past few years – including a string of destructive hurricanes that forced them to relocate, unjust jail time, a stolen van, lost teeth and other bloody injuries – the record’s sentiments are well-founded.
By their very nature Jonny Rumble are one of those greatly relatable bands that any true fan of rock and roll would find it tough not to root for, and as JR proves, they are more than worthy of being championed”
(
windycityrock.net)

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Oír/Hear – Stumped

Oír/Hear – Victim of the times

8 julio, 2010 Posted by | Jonny Rumble | Deja un comentario

The JangleBox con la selección española: Estamos en la final !!

8 julio, 2010 Posted by | España | Deja un comentario

Neverever: Angelic Swells (2010)

 

Neverever es una formación californiana con una inclinación bastante obsesiva por el Pop de chicas de los años sesenta. Esta base la  mezclan con elementos nuevaoleros del tipo Blondie-Suzi Quatro y digamos que lo aderezan todo con ligeros toques de Dream-Pop. Algo así como la fórmula empleada por The School, pero con una visión menos puesta al día, más Retro, en todos los sentidos, pero no menos interesante ni hedonista, por supuesto. Su disco es bastante aprovechable en tanto que aún recordando numerosos estilos anteriores, bien puede pasar por ser un perfecto ejercicio de estilo aplicado a los tiempos que corren, donde saltamos de gustos y estilos con enorme facilidad. Han trabajado, además, con Jeff Ehrenberg (No Age, Beck, Peter Case…), quien ha colaborado a aportarle todo ese aire Retro al disco, imagen que se refuerza con el homenaje a The Plimsouls y su Now.

Neverever – Angelic Swells (2010)

“Jihae and Wallace Meek are a couple with a keen ear for POP who’ve travelled the world together in search of the perfect tune. Having met in Glasgow while Ms. Meek was the singer for pop phenoms The Royal We and Mr. Meek helmed the excellent Bricolage, they eventually relocated to LA to soak in the sunny vibes and pop history. Surrounded by stacks of dusty 45s, crack musicians and dinette counters lined with hopefuls and has-beens, they set about on the next stage in their musical journey. Neverever is their new band, a tough group with a flair for echoey three minute symphonies, marrying classic pop melodies with punk-informed crunch and glam-infused 70s stomp.
Angelic Swells is the their debut album, and it’s a remarkable effort that takes in 50s rock ‘n roll, 60s girl-group sounds, the 70s glam heyday of Slade and Suzi Quatro and 80s power-pop on its way to creating a bang-up-to-date idea of what pop should sound like in 2010. It’s a timeless sound: fuzzy riffs, pounding rhythms and tales of teenage love and lust. In other words – classic POP. From the epic, widescreen opener of “Here Is Always Somewhere Else” to the breathless tale of adolescent sexual awkwardness that is “Coconut Shampoo” to the slow-dance swoon of “16th Wonder,” every tune could be a lost hit echoing from a crackly AM radio. Not that there’s anything lo-fi happening here; the band worked hard with Jeff Ehrenberg at famed LA studio Infrasonic (No Age, Beck, Peter Case) to give Angelic Swells that warm, technicolor sound that marks so many great records.
First single (under the name The Champagne Socialists) “Blue Genes” is here in freshly recorded form, its catchy guitar riff and rama-lama drums literally jump from the speakers and head straight for your feet, sure to pack the dancefloor and get you hand-clapping along with the chorus. “Young Runways” and “Teardrop Tattoo” go for a Shadow Morton vibe, updated slices of girl-group goodness that re-imagine the Shangri Las as they might have sounded playing at CBGBs in 1976: brilliant power-pop for the ‘00s with nods to Blondie and Shop Assistants along the way. The power-pop connection is made explicit by Neverever’s cover of The Plimsoul’s “Now,” which fits in so well with the rest of the songs that you’d think it was an original. The albums end with a bang with “Underwater Ballet,” two and a half minutes of glorious pop stomp that accelerates to a cacophonous finale.
Neverever know their pop history, but they also know how to write great songs and Angelic Swells provides ample evidence of that. It is a an ambitious, iconoclastic record packed with rambunctious riffs, rumbling drums, ear-nagging melodies and, most of all, timeless tunes”
(
slumberlandrecords.com)

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7 julio, 2010 Posted by | Neverever | 1 comentario

The Boombox Hearts: Gold (2010)

 

The Boombox Hearts es una banda de Dinamarca que nos hizo llegar su música amablemente vía mail. Lo cierto es que más allá de agradecer su gesto, The Boombox Hearts tienen visos de tener un poso musical interesante. Están preparando un Ep para este otoño, y este Gold es un adelanto. Pop melancólico, letras un tanto sombrías y una influencia de gentes como Arab Strap en su música que ellos mismos emparentan con Mazzy Star o Chris Isaak. A la espera de futuras noticias, te quedas con Gold, una canción más que interesante que además puedes descargar gratuitamente, junto con otras de su repertorio pinchando aquí.

The Boombox Hearts – Gold (2010)

“In these times and days, where bands have to work incredible hard to earn a breakthrough and even harder to make a living from their music, breakups are inevitable. But still I couldn’t help being a tiny bit sad, when Oliver North Boy Choir decided to call it quits earlier this year, as I had fallen quite in love with the band’s dreamy electronic pop music universe.
Now two of the three band members are back writing and recording songs, as Ivan and Mikkel have launched the first of two new band constellations,
The Boombox Hearts, where Ivan writes the songs, sings and plays the guitar, and Mikkel takes care of the bass. Regarding the second constellation we’ll have to wait a few more months before any songs will be put out, but accordingly roles will be reversed (Mikkel in charge of writing, singing etc. and Ivan playing the bass) and the lyrics will be in Danish, which I personally think could be very, very interesting. Obviously it needs to be mentioned that both constellations will (and already) feature several other band members, which is especially evident on the track Torquay # one, where a young lady named Ida (that’s all the info I’ve got) does the singing.
The first two tracks published by
The Boombox Hearts are lo-fi and stripped down demos, but nonetheless quite intriguing and definitely promising that even greater things are in the making. Off the record (and very hush, hush) I’ve had the privilege to listen to a few earlier demos, and I guarantee that I’m not making this “great stuff in the making” up just to be nice.
The band claims to be playing a mix of 60ies pop, melancholic lo-fi, country and indie (and say they are sorry, if they don’t), and though I’m not really sure whether they actually do (the lo-fi part aside) or don’t, I’m definitely sure that I like it! (
hitsinthecar)

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Oír/Hear – Gold

5 julio, 2010 Posted by | The Boombox Hearts | Deja un comentario

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