The JangleBox

Indie, Noise, Shoegaze… Music

Implodes: Marker (Single, 2011)

 

La banda de Chicago Implodes acaba de publicar su primer disco grande: Black earth. Implodes son un grupo de Rock digamos que de atmósferas cargadas, espesas, de desarrollos instrumentales largos. No os confundáis, no son una banda de Post-Rock. Son un grupo Drone que le gusta recrearse en el detalle. Trazas de Psicodelia, de Space-Rock… Mejor escuchas y descargas el tema pinchando en el enlace.

Implodes – Marker (Single, 2011)

“Chicago crew Implodes’ first official full-length Black Earth’s a 43-minute collection of densely atmospheric star-melting guitar scrawl, acoustic interludes, and gentler drone. It’s the kind of heady nighttime psychedelia that has a way of feeling truly space-stretching and mind-altering, like how Flying Saucer Attack could create and then maintain those private shadowy landscapes. At times these songs feels more dire or dirge-like — the beautiful riverside sunset on the cover comes with a woman wielding a knife — but each of the 11 tracks is beautifully melodic. Most are patiently catchy, darkly propulsive. Others oddly upbeat. There’s a fragility even when the lite cascade of “White Window”’s eclipsed by the distorted echo of “Screech Owl” or harsher half-speed sludge of “Song For Fucking Damon II (Trap Door).” It’s pop music buried in shimmering murk and it feels way more refined than a “debut” should sound. It’s a record that gets stronger on repeat listens” (stereogum.com)

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Oír-Hear: Marker (Single, 2011)

22 marzo, 2011 Posted by | Implodes | Deja un comentario

Telekinesis: 12 Desperate straight lines (2011)

Tras el bajón creativo experimentado con su anterior Ep, el fallido Paralell seismic conspiracies (2010), confieso que me detuve ante este nuevo álbum de Telekinesis (aka Michael Benjamin Lerner, y ya sin el signo de admiración en su nombre) con cierta desazón, auténticamente receloso de un cierto retroceso creativo. Lejos del desánimo, con cada tema de este 12 Desperate straight lines, la sensación de estar a gusto conmigo mismo se fue apoderando de mis oídos y mi subconsciente. Escrito y concebido tras una ruptura sentimental, Lerner se encuentra a sí mismo sin pareja y además sin banda. En vez de presentarnos una colección de canciones teñidas de melancolía y sentimentalismo barato, el tipo se saca un disco de la manga en la que las únicas concesiones a los sentimientos menos positivos están en la primera parte del disco. A partir de Car crash, el disco se torna en una colección de temazos del mejor Power-Pop, sin concesiones de ningún tipo. Las melodías se adueñan del álbum, las guitarras se afilan más que nunca (la colaboración del guitarrista Cody Votolato es fundamental), y los temas de Lerner se aferran a la mejor tradición Power-Popera, no sin ciertos elementos de influencia provenientes del Folk-Rock e incluso del Punk-Pop. Otro de los elementos que han ayudado a dar cohesión a este segundo álbum de Telekinesis es la producción de Chris Walla, al igual que en su disco de debut, lo que ha contribuido a darle una cierta sensación continuista, aunque en esta entrega su sonido ciertamente se ha “endurecido” de alguna manera, descubriendo Lerner a los Weezer más macarras (Ask for help, Car crash, Palm of your hand, I got you), siempre partiendo de los presupuestos musicales de un grande del género como como es Matthew Sweet. Otra de las influencias que al menos personalmente aprecio en algún que otro  de los temas del álbum es la del sonido de guitarras cercano al de ciertos grupos de la onda “oscura” de los años ochenta: ello se refleja en los riffs de cortes como Ask for help (un clarísimo préstamo de The Cure hábilmente camuflado) o Car crash. El disco tiene sus puntos débiles (Patterns, Country lane, 50 Ways), que se salen un tanto del patrón claramente establecido del Power-Pop intenso; pero son pequeñas lagunillas en un álbum que no sólo mantiene el nivel compositivo/instrumental del álbum de debut, sino que por momentos, nos atreveríamos a insinuar que incluso lo supera, en tanto que este disco es un trabajo mucho más reflexivo y arreglado que aquél, donde un aura de cierta inocencia post-adolescente era la protagonista en muchos de sus cortes. Juzgad vosotros mismos.

Telekinesis – 12 Desperate straight lanes (2011)

“Talk about a peculiar turn of events. Just last month, I was lamenting the failure of would-be grunge rock revivalists to effectively pick up the threads of the 90s Seattle scene and refashion them into something culturally relevant to this cold, sleek, Steve Jobs-designed dystopia of the twenty-teens. Suddenly, as if in answer to my challenge, what falls into my lap but 12 Desperate Straight Lines. Those astute scholars of indie rock may recall Telekinesis, a.k.a. Michael Benjamin Lerner, from his 2009 self-titled debut, a bright, jangly dose of pure pop charm that, for my tastes, was too cutesy for its own good. But the intervening years, marred by anxiety over the potential sophomore slump, as well as a variety of minor personal crises, have given Lerner a more sober perspective, causing him to dial back some of the preciousness of his previous effort and push his sound into harder-rocking (dare I drop the g-word?) grunge territory. The most satisfying fruits of Lerner’s newfound love of the distortion pedal show up in the album’s middle portion. “Car Crash” does an excellent job of marrying a tuneful chorus of “whoa-oh-ohs” with grunge dynamics, while “Palm of Your Hand” injects a shot of punk energy into his power-pop formula. “Fever Chill” provides a satisfying throwback to the flannel age by bookending a surly slow-build with a fleeting, rough-shod acoustic intro and coda. The only song that really steps over the line is “50 Ways,” Learner’s bitter, Paul Simon-inspired rumination on the inescapability of a lost lover. Banking too heavily on the LOUDquietLOUD shtick, he doesn’t really put enough of his own stamp on it, and the end result is a somewhat bland homage in the vein of Blood Red Shoes. Much more effective are “Please Ask for Help” and “Country Lane,” two songs that manage to channel the lovelorn wistfulness of The Cure better than any other indie band I’ve heard make the attempt in the past year (Blank Dogs, Asobi Seksu — I’m looking in your directions). The primary impetus behind these songs is purportedly the dissolution of the relationship that inspired Telekinesis’ debut, so it’s no surprise that 12 Desperate Lines talks an awful lot about breaking up. Any reflective person with some experience in the dating scene knows that it only takes one person to torpedo a bad relationship, but dismantling one that’s truly meaningful? That’s a job for two. Therefore, any breakup album worth its salt needs to dilute its “bitch-done-me-wrongs” with a healthy dose of introspection. Lerner peppers the album liberally with admissions of his own culpability (”Let’s start all over/ Let’s go back to square one/ I never loved you/ I never loved anyone”; ”I fell fast and/ You fell faster/ It wasn’t true love/ just like that it/ was a disaster”), but for the most part he lacks the depth of insight to really stick his fingers down the throat of love and come up with the kind of squirm-inducing revelations that The Afghan Whigs or Local H (That’s right, Local. Fucking. H.) have done on similar efforts. 12 Desperate Lines takes tried-and-true radio rock tropes and imbues them with enough life to make them feel fresh. The slightly jaded perspective and raucous impulses Lerner brings to the record provides a much-needed counterbalance to the lightness and breeziness of his songwriting style. If this is the kind of work that a bitter breakup elicits from him, then I hope that Mr. Lerner will forgive me for saying that I hope he gets dumped on a regular basis for many years to come” (tinymixtapes.com)

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Telekinesis – Car Crash (Mp3)

22 marzo, 2011 Posted by | Telekinesis | 1 comentario

   

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