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Indie, Noise, Shoegaze… Music

The Vines: Future primitive (2011)

Os voy a contar una de mis pasiones: me encantan las series de televisión. Particularmente las sitcom inteligentes. ¿Por qué os digo ésto? Porque con The Vines está ocurriendo algo que suele ocurrir en muchas de las series que suelo ver: que cíclicamente echan mano de una serie de recursos ya aparecidos previamente en capítulos de otras series de corte semejante. Ésto probablemente ocurra porque muchos de los guionistas sean los mismos, o sencillamente porque “toman prestados” argumentos que han funcionado previamente. The Vines son ya un grupo veterano, van ya por su quinto álbum de estudio, y les está ocurriendo ésto: están comenzando a echar mano de recursos que ya les han funcionado previamente en sus cuatro trabajos anteriores. Ésto no estaría mal si Craig Nicholls, su cabeza pensante no fuera un tipo con verdadero talento para la composición o si fueran The Ramones, que publicaron la tira de discos tirando de temas de tres y cuatro acordes. The Vines ha sido una banda a la que le hemos profesado verdadero cariño y a la que le hemos perdonado estos detalles, pero cuando escribes tu quinto álbum esperas mucho más que una mera reiteración de estilos y de fórmulas que ya conocemos. Es cierto que en este Future primitive, Nicholls ha ampliado algo el espectro, utilizando elementos electrónicos en su música (Outro, Future primitive, S.T.W.), pero la fórmula de la mera adición de elementos Grunge con riffs garajeros o sesenteros junto con medio tiempos comienza a desgastarse. Y todo ello no quiere decir que en Future primitive no haya buenos temas, que los hay: All that you do, Cry, Candy flippin´girl, Gimme love… es sólo que nos suenan demasiado.

The Vines – Future primitive (2011)

“Essentially, the problem lies in that it’s almost as though that Asperger Syndrome has caused him to be so comfortable with the ‘familiar’ that he’s written the same album five times, with varying degrees of success. It’s almost as though he’s trying to perfect the idea of The Vines in recorded form, at the denigration of his obvious talent. For instance, Future Primitive’s first ‘slow’ tune, Leave Me In The Dark, could be off any Vines album – there’s a lot to be said for consistency, but also, conversely, for stagnation and a lack of artistic evolution.
Where Nicholls and The Vines excel is with thrashy pop that hurtles headlong into a wall of classic rock ‘n” roll, with added liberal slashes of punk – see Ride, Outtathaway, Fuck The World etc – here represented by album highlight Gimme Love or the hazy brilliance of S.T.W. That still shines brightly, and remains the band’s finest calling card.
But these generalised romantic platitudes and slacker ‘fuck everybody’ ideals are extremely limited, especially when it’s a band’s fifth album. Band’s such as The Ramones could get away with it, because no one, especially the band themselves, expected or wanted anything further than three chords and pithy lyrics. The Vines, however, have obvious talent, especially in Nicholls – they could be great, but we’re still waiting for them to write a great record.
The problem is, every song, beyond the heaving-riffage of Black Dragon or frantic-scifi-punk fury of Future Primitive leaves you wanting to explore more of the band – for the songs to have some hint of a depth of insight or meaning to them, beyond simply a quick glimpse into Nicholls’ obviously turbulent – and admittedly fascinating – mind.
Even on All That You Do – the best ballad Nicholls has written, and the weirdest.best moment on the record – he’s closed off and he writes in obtuse, and sometimes completely literal, metaphor, which in turn loses all its imbued meaning. It’s like when M.A.S.H. started having episodes where it turned into 24 minutes of waiting for Alan Alda to come up with a one liner – that one liner and all that happens in the lead up to it, suddenly doesn’t mean anything.
Because The Vines still insist on building songs like Weird Animals or Riverview Avenue into such a distinctly ‘Vines’ framework – where a hint of something different is alluded to, but not explored beyond the two minutes of the song – it remains tough for the band to make an emotional attachment. Because when they don’t seem to really want to, the natural instinct is also to resist.
There’s a distance there, where the band themselves almost don’t want to let you in – as though as they’ve matured, they’ve almost become wary of opening themselves too much, to prevent… what exactly? They could be a band for the ages – if we got to know them. After five albums, it still doesn’t feel like we’ve got any insight into The Vines whatsoever. Johnny Lawrence learnt his lesson, you wonder when The Vines will” (beat.com)

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29 junio, 2011 Posted by | The Vines | 1 comentario

Vandervelde: More than you can feel (Single, 2011)

Vandervelde

Vandervelde es el alias bajo el que se oculta David Vandervelde, un chico canadiense especializado en facturar un sonido un tanto anclado a los setenta bajo las premisas de su compatriota Neil Young, pero con un bagaje emocional bastante interesante. Este single es buena prueba de ello. Puedes descargarlo pinchando en el enlace.

Vandervelde – More you can feel (Single, 2011)

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29 junio, 2011 Posted by | Vandervelde | Deja un comentario

Brown Recluse: Panoptic mirror maze (2011)

Panoptic Mirror Maze Cover Art

“Brown Recluse’s origins as a studio experiment evolved quickly into the arena of group performance following the completion of their self-released debut EP, “Black Sunday.” Formerly Brown Recluse Sings, Brown Recluse (a poisonous spider, for the non-North American reader) have continued to challenge themselves over the last 5 years – following the release of “Black Sunday,” Slumberland Records’ release of “The Soft Skin” EP saw the ensemble further refine the baroque-pop flourishes intimated by their earlier output. Dead Format’s gritty cassette-only release of “Selected Hymns (of the Evening Tapestry)” was a rudimentary collection of demonstration recordings, establishing many of the songs that would see fruition in Slumberland’s forthcoming LP “Evening Tapestry.” Growth and exploration are two of the themes explored in “Evening Tapestry,” and the songs have grown considerably – as has the group. Juxtaposing eerie, minor-key psychedelia with their melancholic take on sunshine pop, Brown Recluse sees their most ambitious collection of songs to date. The previous exercises in composition and arrangement culminating in “Evening Tapestry” have also birthed a mini-LP, “Panoptic Mirror Maze,” which the band will be releasing digitally in conjunction with Slumberland Records” (Facebook)

Brown Recluse – Panoptic mirror maze (2011)

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28 junio, 2011 Posted by | Brown Recluse | Deja un comentario

Brown Recluse: Evening tapestry (2011)

Con la música de Brown Recluse ocurre como con los vinos: cuanto más tiempo pasa por ellos, en este caso cuantas más audiciones llevan más agradable se hacen sus escuchas. Si al principio de enfrentarnos con este Evening tapestry nuestra impresión general fue un tanto desdeñosa, he de admitir que con el tiempo esta primera sensación se fue tornando hacia una agradable sensación de encontrarnos ante un disco hecho con mucho cariño y una ternura exquisita con las melodías poppies que en él nos encontramos. Una forma amorosa (y variopinta) de entender el Pop que muchos grupos actuales manifiestan como un deseo de acercarnos a una intimidad desarrollada en forma de canciones. Oyendo cortes como Impressions of a city morning, Hobble to your tomb, Summer showers, Statue garden o Wooden fingers -con ese exquisito aire al Sunny afternoon de los Kinks-; uno no tiene más remedio que claudicar (gustosamente) y quedarse prendado oyendo un buen disco como este Evening tapestry (2011), el debut propiamente dicho de esta banda de Philadelphia.

Brown Recluse – Evening tapestry (2011)

“Evening Tapestry is a cohesive piece of work. By that I mean the tone is very much set by opener ‘Hobble To Your Tomb’. It oozes a youthful innocence, a characteristic which endeared me to the Magic Kids’ debut album from last year, but I just can’t buy into Evening Tapestry with the same enthusiasm. Well, not for its duration anyway. Some of the tracks do conjure some strange images in my head, though. For example, I can quite clearly see ‘Impressions of a City Morning’ playing over some Laurel and Hardy-style slapstick, but with modern, hip teenagers taking up the respective roles. While the intro on ‘Golden Sun’ is very weekend breakfast radio. I shan’t digress any further with such imagery in fear of readers’ casting aspersions.
The album is littered with horns; a feature which has a tendency to split listeners down the middle. Some see it as a cheap way of stirring up glee when, in fact, it has the opposite effect. Personally, I’m a bit partial to a good serving of brass and it helps when it’s employed in all the right areas as it is here. ‘Wooden Fingers’ is a prime case in point. The song floats about carefree before being kicked skyward, first by an uncharacteristically vigorous guitar line and then a perky flute and trumpet combination. Unfortunately, such moments only come in fits and starts but that won’t stop you from wanting to come and experience them every now and then. It’s just that the mood Brown Recluse are trying to inspire doesn’t fill me up all that often, you know?” (thelineofbestfit.com)

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28 junio, 2011 Posted by | Brown Recluse | 1 comentario

Indietracks 2011. An Indiepop Compilation (2011)

Indietracks Compilation 2011 Cover Art

The official compilation of artists playing the Indietracks Festival 2011.
All proceeds from this compilation go to the Midland Railway Trust, who host the Indietracks Festival and without who it wouldn’t exist! We’d like to encourage you to make a donation, however small, in return for downloading these songs.

Huge thanks to the artists for donating their songs!

Compiled by Emma Hall / Mastered by Ian Cowen / Artwork by Andy Hart. © 2011 of this compilation Make Do And Mend Records. The copyright in these sound recordings is owned by the individual artists and/or labels.

www.indietracks.co.uk
www.midlandrailwaycentre.co.uk
www.makedoandmendrecords.co.uk

Indietracks 2011. An Indiepop Compilation (2011) (Download)

27 junio, 2011 Posted by | Mixtape | Deja un comentario

Nos gusta la Música 2.4 Summer 2011

El nuevo recopilatorio de Nos Gusta La Música ya está en la calle, y con él, la selección de los mejores temas de los grupos que han ido apareciendo estos últimos meses en nuestra sección de ¿Conoces a…? Un nuevo recopilatorio que llega ya a su versión 2.4 Summer 2011.

Es esta edición una de las más importantes, ya que gracias a la colaboración del emergente portal musical Mycd.com, y su labor en la promoción de música independiente, la distribución del álbum se realizara directamente desde su web, aportando un grado de profesionalidad y difusión todavía mayor.

Como siempre, el disco se distribuye gratuitamente, por lo que te animamos a que lo compartas con tus contactos, amigos y familiares. Y sobre todo lo disfrutes con la misma pasión e ilusión que ellos, los grupos, los verdaderos artífices, ponen en cada uno de sus temas. De verdad, merece la pena.

“Nos Gusta La Música 2.4 Summer 2011″ está compuesto por las siguientes canciones:

1.Nueva Natasha – Y ya te vas
2.Los Pedales – Me vendiste (la moto)
3.Alberto Azul – Hongo del Congo
4.GxC!-Giovani
5.Plasma – Centellas
6.Toulouse – Todocambia
7. The Yellow Garden – Tiny Smile
8. The Kaos Theory – Moonlight
9.Born54 – By her side
10.A Quiet Man – Taxi (with Sergio Makaroff)
11.Louisiana – Que me Desamor
12.La Bici de Juan – Dias Felices
13. Nessum Dorma – Libres
14.Flashback – Why
15. Tursun Gül – Invierno Mineral
16.Pshycotic Beats – Bumpy Night
17.Solar Plexus – Send And Receive

Nos gusta la música 2.4 Verano 2011 (2011) (Download)

27 junio, 2011 Posted by | Mixtape | 2 comentarios

Los Pasos: Anouschtka / El sueño aquel (Single, 1967)

Hacía algunas semanas que no le dedicábamos el Retro-Visor a la discografía en singles de Los Pasos, como sabéis, uno de  nuestros grupos predilectos de los sesenta en España. Tras tener una cierta repercusión con La Moto, el tema que también habían popularizado Los Bravos, Los Pasos volvieron a la carga con este estupendo Anouschtka, que es uno de los temas más bellos compuestos por el quinteto madrileño. En él podemos apreciar un cierto cambio en el tono musical, ampliando su espectro hacia sonidos más internacionales, con la incorporación del tradicional Kalinka ruso al final del tema. En la canción se narra una bonita historia de amor bajo un prisma un tanto inocente, algo alejada del Moscovit de Los No. Joaquín Torres empleaba, además, su recién adquirida Framus Sorento 5/012, su primera guitarra de doce cuerdas, que es la que aparece en la esquina izquierda de la portada del single. Según contó en Guitarrista.org:
“Esta guitarra traía, como otras Framus de la época, el “organ effect” (un curioso dispositivo para intentar recrear el efecto de un “leslie”). En las fotos, la de Joaquín aparece sin golpeador. Durante la grabación de “Anouschtka” con esta guitarra, ocurrió un detalle curioso: Joaquín grabó la canción con la Framus 12, aunque lo hizo “acústicamente”, delante de un micro. Se hizo la toma, pero se había olvidado de que la tenía enchufada a un ampli Gibson que estaba en otro lugar del estudio, y cuyo sonido por tanto salió registrado de fondo en la grabación. Cuando a continuación hicieron la escucha de la toma, se dieron cuenta de este detalle no buscado, pero se decidió dejarlo. Precisamente existe una grabación de TVE de Los Pasos haciendo “Anouschtka”, en la que puede verse a un jovencísimo Joaquín Torres con su Framus Sorento 5/012″ (guitarristas.org).
Los juegos de voces, marca de la casa, son impecables y emocionantes, y envuelven el tema en un aura realmente interesante.

La cara B del sencillo es El sueño aquel, otro tema de Los Pasos en el que se observa una cierta evolución sonora, ya que bajo unas premisas cercanas al Rythmn´n´Blues se construye un tema que está arreglado con unos metales que previamente no habían aparecido en su música. Sin ser de sus mejores temas, sí que es un complemento ideal para el sencillo.

Los Pasos – Anouschtka / El sueño aquel (Single, 1967)

25 junio, 2011 Posted by | Los Pasos | 3 comentarios

TV Girl​/​Dirty Gold Split Digital 7″ (Single, 2011)

TV Girl/Dirty Gold Split Digital 7" Cover Art

Tv Girl realiza un tema de Dirty Gold (Overboard), con su característico sonido luminoso y Retro-Poppero; mientras que Dirty Gold abordan un cover de Tv Girl (On land), bajándole bastante la intensidad y llevándola a su terreno. Este Split lo puedes conseguir gratuitamente desde el Bandcamp que han abierto para la ocasión.

Tv Girl / Dirty Gold Split Digital 7″ (2011)

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24 junio, 2011 Posted by | Dirty Gold, TV Girl | Deja un comentario

The Bilinda Butchers: Regret, Love, Guilt, Dreams (Ep, 2011)

regret, love, guilt, dreams Cover Art

El dúo angelino The Bilinda Butchers acaba de publicar su Ep de debut. Un disco esperado tras varios singles que, dicho sea de paso, no aparecen por aquí. Un disco cargado de todos los elementos que ya conocíamos de la pareja, acentuados y algo mejor grabados: ambientes, sintetizadores, bases programadas, voces etéreas, melodías impecables y un entorno Dream-Pop adornado con un cierto ambiente Retro-Eighties realmente agradable, envolviendo siempre su música dentro de una ensoñación algo otoñal. Puedes escuchar su disco y bajarlo poniendo tú mismo el precio desde su Bandcamp.

The Bilinda Butchers – Regret, Love, Guilt, Dreams (Ep, 2011)

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24 junio, 2011 Posted by | The Bilinda Butchers | Deja un comentario

Ilsen: Entre sol (Ep, 2011)

ilsen - Entre Sol Cover Art

Ilsen es una banda que nada a favor en aguas que se mecen entre lo  acústico y el Rock más o menos progresivo, de donde vienen las raíces musicales del grupo. Grabado con pocos medios y en domicilios, Entre sol es un disco donde lo íntimo se da la mano con los sentimientos a flor de piel. Puedes descargar el disco desde su Bandcamp o disfrutarlo en su discográfica, La Montanya.

Ilsen – Entre sol (2011)

“De un periodo de dudas en el que varios miembros dejaron el proyecto y donde las fuerzas para continuar estuvieron bajo mínimos, nacen unas canciones que les empujan a seguir y a lanzarse a grabarse ellos mismos. Entre el 2010 y 2011, en sesiones de grabación caseras, lo que empieza como unos sencillos temas acústicos con percusión mínima, se acaban convirtiendo, después de horas de trabajo y aportaciones de nuevos miembros, en una nueva referencia ilseniana a defender con la cabeza bien alta. Grabado en casa del cantante, mezclado y masterizado en casa del teclista, ilsen nos invitan a conocer otro lado de la misma moneda: la cara mas reposada, acústica, delicada y, lo mas importante, la que desdibuja los limites estilísticos hasta situarlos en un lugar en el que la libertad es el vehículo, la emoción su motor y la luz la carretera. Bienvenidos a Entre Sol” (lamontanya.es)

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23 junio, 2011 Posted by | Ilsen | Deja un comentario

Chains of Love: Black hearts (Single, 2011)

El Retro-Pop, el Twee, los muros de sonido, las reverbs, las voces femeninas… todo ese espectro que conformó un estilo como el de las producciones de Phil Spector en los años sesenta es el protagonista en el sonido de Chains of Love, una banda de laboratorio especializada en estas lides. Su último single es este Black hearts, un pildorazo agridulce digno de aparecer en cualquier Retro-Party o en cualquier discografía especializada.

Chains of Love – Black hearts (Single, 2011)

“Chains of Love started when Guitarist Felix Fung, the engineer and owner of Vancouver’s Little Red Sound, hatched a plan to start a girl group with guitarist Clint Lofkrantz. It wasn’t hard to figure out who the girls would be. Nathalia Pizarro, who shares the vocal and lyrical duties of the band, was known as one of the best singers and all around performers on the scene, and with her voice and the harmonic help of Rebecca Marie Law Gray, Felix and Clint knew that they had something truly amazing on their hands. The two had what they call a “memory of that girl group sound” and a free studio on Tuesday afternoons, so they started inviting their friends over to see what they could make of this fortuitous combination. What you have in your headphones is what came of these nostalgic happenings, Spector harmonies, Motown basslines and rich, thumping drums.
What sets Chains of Love apart from their throwback-y, reverb-drenched contemporaries is something in the philosophy behind the band. Chains of Love is truly a passion project—a group of musicians doing nothing what but they love and working as hard as they can at it. Chains started by referencing certain artists such as Gail Harris, Ike & Tina, The Ronnettes, and The Shangri-la’s by using their lo-fi recording styles as a blueprint for what they wanted to create. By combining this with modern, garage rock influenced, modern viewpoint, Chains of love has effectively
bridged the gap between the nostalgic pop sounds of the 60’s with a modern and elegant twist” (soundcloud.com)

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23 junio, 2011 Posted by | Chains of Love | Deja un comentario

Motel Beds: Tarzan sings the blues (2011)

Nuevo material de unos de nuestros pequeños héroes en lo que a Power-Pop se refiere. Motel Beds son un pedazo de banda que factura un Power-Pop bestial, sin ningún tipo de concesiones ni treguas. En TJB están reseñados como uno de los discos del año y este Tarzan sings the blues es adelanto de nuevo material. Esperaremos ansiosos…

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22 junio, 2011 Posted by | Motel Beds | Deja un comentario

The Donkeys: Born with stripes (2011)

La sensación que queda tras escuchar detenidamente este Born with stripes de los angelinos The Donkeys es la de un cierto Deja-Vu sobre diversas músicas que previamente ya has oído pero que por una u otra razón, no has terminado de encajar o de encuadrar convenientemente en tu subconsciente. Sin ser un mal disco, sí que es una obra que transcurre demasiado parsimoniosamente, bastante alejada, eso sí, de cualquier patrón de moda impuesto. Un álbum de Indie-Rock un tanto previsible que transcurre por esos cánones mencionados, salvo por tres o cuatro pildorazos donde el sonido de Garaje y la Psicodelia se hacen con los mandos sonoros. West coast raga y East coast raga, que son como las dos caras de una misma moneda, como el Ying y el Yang de Born with stripes. Dos temazos instrumentales donde el sitar y la sonoridad Psicodélica y ácida son los protagonistas absolutos. Ceiling tan es algo así como un Ragga-Rock al estilo de la Costa Oeste de los años sesenta, como lo hubieran hecho unos Lovin´Spoonful, un tema de largo recorrido instrumental. Algo semejante sucede con Blue stockings, un corte que nos recuerda horrores al sonido del San Francisco de los años sesenta, y que como tal homenaje-tributo-rendición debe quedar. Un disco que no pasará a los anales de la historia de la música, pero que nos deja algunos momentos memorables.

The Donkeys – Born with stripes (2011)

“Like The Donkeys did, when they decided to start playing tunes like their dads were most probably spinning back in the day. I like that; there’s some romanticism in their snug adoption of those musical tropes, and I’m glad they’re not manipulating woodland sounds and releasing on limited run C90, ’cause that’s not what rock’n’roll folk are about. And sure, there are more contemporary influences to be found hiding in nooks and crannies (Pavement, Modest Mouse, Elliott Smith, Sparklehorse, Spoon, Deer Tick, all that crowd), but each element is stripped of any hint of studiousness. Born With Stripes is a springy, psych-rocking compendium of dust-coated Sixties radio highway hits, booming out a convertible Chevy as it cruises across the AZ/CA border.
Much like a larksome cross country road trip, there is the odd occasion where you wish it would hurry up and get to its destination. ’Kaleidoscope’ is a drag of a psych meander, which, four minutes in, will have you wishing it gave up five minutes ago, and when it suddenly cuts out after what seems like a lifetime of “Jupiter’s on the right”s (eh?), you’d be forgiven for failing to disguise a sigh of relief.
But the delightful marginally outweighs the dull. Opener ’Don’t Know Who We Are’ in particular strikes a mellow chord while creating the impression it really doesn’t care whether you’re listening or not. “I’m a cartoon, you’re a book”, says singing drummer Sam Sprague, in a sort of self-deprecating under-the-covers lovesong/lullaby, over a curious, loping guitar line – before smoothly slipping a casual “Give it to me now” in before the chorus strikes. ’I Like The Way You Walk’ picks up the pace a little, repping some inherently piffly lyrical sentiment – “I like the way that you talk / And all the things that you do / You do like honeydew / Those bees are all round you” – that rings honest and sweet, rather than grating.
If you were one of those to be found chinwagging about Lost during fag breaks the last few years, you might recognise The Donkeys as fictional Seventies rockers Geronimo Jackson. (You see, they wanted you to think Geronimo Jackson had some big significance to the storyline, but it was actually just a few California chancers about to see more royalty dollar than the accumulative sales of their debut album hauled in….) It wouldn’t require a great stretch of the imagination to accept that The Donkeys are reformed old hands from that bygone era, and they play the part like purely professional method actors, with frequent success.
Just another chilled, spaghetti western-atmospheric SoCal indie rock venture then? Glad to hear it, keep ’em coming” (drownedinsound.com)

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22 junio, 2011 Posted by | The Donkeys | 1 comentario

The Friend: New Berlin wall (Single, 2011)

@playlist artwork

The Friend son un combo finlandés especializado en facturar una suerte de Indie-Pop bailarín y juguetón, de profundas convicciones hedonistas y cierto maquillaje emocional. Han editado un álbum este 2011 titulado Athletic Girls, del cual se ha extraído este New Berlin wall como uno de sus singles. Puedes descargarlo pinchando en el enlace o visitando su Soundcloud.

The Friend – New Berlin wall (Single, 2011)

“The Friend originates from Turku, Finland, and they play melodic and eloquent indierock music with a purpose of bringing joy and good times to peoples’ lives. The musical essence of the band can be best described with such words as pop, dance, melodic rock and athmospheric tunes. Their debut album Athletic Girls is all of these and more. Though diverse yet it serves a solid entirety.
With many succesful shows played (festivals, major clubs) and even more shows to come, each and every show conveys the same good feeling and sense of having fun that they deliver on their debut album.
The Friend has operated with its current line up ever since 2006 when Antti Siniranta (drums) and Jaakko Kaján joined the band with Mikko M. Koskinen (guitar) and Anders Vuorimaa (guitar/vox). Before their debut album Athletic Girls (2011), The Friend had published an EP Sports (2007) and a single Sparkling in the Rain (2008). Music video for the latter spun on national Music Television’s rotation and this was of good coverage for the band.
Now with their debut album released, their first single off of the new album Athletic Girls called New Berlin Wall has already gained air time on national and local radio stations and got even ranked no.1 on a radio station’s (YleX) most wanted list.
The future is open and bright, the boys will carry on with their sole purpose of having a good time and giving such times to people who share these moments with them, live or on record.
Having fun and not to worry too much, that’s what it’s all about!” (Soundcloud.com)

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21 junio, 2011 Posted by | The Friend | Deja un comentario

The Hussy: Cement Tomb Mind Control (2011)

Cement Tomb Mind Control LP Cover Art

The Hussy es la última sensación del Garage-Rock venida desde Wisconsin. The Hussy son Bobby y Heather Pussy y desconozco si son hermanos o no. Están avalados por Kind Turkey Records (garantía de calidad en Pop-Punk) y por Slow Fizz Records, para quien han grabado este álbum de debut. The Hussy son un dúo incendiario que tan sólo con la fórmula guitarra-batería (ecuación muy repetida desde los tiempos de White Stripes) facturan un sonido realmente brutal, enérgico y altamente vitaminado, más cercanos a los Jon Spencer Blues Explosion que al dúo de Jack White. The Hussy no tienen reparo en subir al máximo el volumen del overdrive para empaquetar una serie de temas son de estructura garajista clásica, aunque lo que realmente engancha y estimula son sus actuaciones en vivo, y no por casualidad la banda tiene un calendario de lo más apretado durante este comienzo de verano.

The Hussy – Cement tomb mind control (2011)

“One of the first things you’ll notice about Cement Tomb Mind Control is how short it is. All of 21 minutes long, the new full-length from Madison’s The Hussy hurries to the finish line. But even at a blinding speed, it’s more than enough time for the album to stick to the brain.
A big reason for the album’s brevity is The Hussy’s quick-witted take on songwriting. Cement Tomb catalogs a series of fast jolts and lightning-bolt production through bursts of activity. In each of the 13 tracks, the duo jumps into the middle of a riff, ransacks it for a few good ideas, and then leaves it alone before anything can go awry. The songs’ meager lengths can be seen as something like self-imposed time limits, because The Hussy’s members’ overzealous attitudes cut both ways—they have a lot they want to cover, but you get the sense they’d spend all day digging through any one sound if given the opportunity.
They must have done all of that legwork beforehand, though, because Cement Tomb is highly informed by a vast array of garage rock styles while staying committed to The Hussy’s urgent and enthusiastic approach. They coast from the brash “I’m Me” to the surf-minded “Sexi Ladi” and the desert-sized scope of “Demon Claus” without sounding trite or out of place. They tie together the sing-song “Pavement” and the motor-heavy “Lymes (New Turk)” with a healthy string of reckless abandon. The wide range of Cement Tomb would be problematic if The Hussy wasn’t too carefree to notice.
It also helps that the two can really play their instruments. Bobby Hussy’s towering guitar lifts Cement Tomb through air and space, while Heather Sawyer’s steam-engine drumming grounds the two on a cohesive path, no matter how meandering it gets.
Despite the torrid pace, Cement Tomb never feels rushed. It bolts everything together with an overbearing sense of playfulness, and if The Hussy wrote a really great garage rock record, then the band is the last to know. But Cement Tomb really is an impressive collection of choice rock ’n’ roll nuggets. It flashes both a wild ambition and a hyperactive means of tackling it, and it needs to be played over and over again—not just because it ends too soon, but because it hardly ever needs to end at all” (avclub.com)

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21 junio, 2011 Posted by | The Hussy | Deja un comentario

Holy Page Compilation 2011

Holy Page Compilation 2011 Cover Art

“It is my pleasure to present to you the 2011 Holy Page Compilation. This compilation represents a journey, a tireless effort in free media. The compilation contains works from over 25 artists from countries all around the globe. Experience everything from noise rock to dance jams to mellowed out ambience. This comp will act as an active fundraiser for Holy Page and will be available on physical cassette on Friday, July 1, 2011. You can pre-order it now! Thank you to those of you who submitted tracks, I am very grateful and hope you enjoy this creation. Turn the lights out in your room and listen to this jam all the ay through and you won’t regret it” (holypabe.tumblr.com)

Holy Page Compilation (2011)

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20 junio, 2011 Posted by | Mixtape | Deja un comentario

Violent Femmes: Hallowed ground (1984)

La continuación lógica -y natural- del excelso disco de debut de Violent Femmes fue este Hallowed ground (1984). Un álbum en el que las obsesiones de Gordon Gano vuelven a salir a la luz en forma de textos obsesivos o temáticas traumáticas, como la de la religión. Musicalmente, Hallowed ground es una continuación formal de su primer álbum. La desnudez instrumental vuelve a ser una constante, así como la influencia del Folk tradicional (I hear the rain, Jesus walking on the water, It´s gonna rain), como de otras músicas de raíces como el Blues más rural y campestre (Country death song); o la de músicos con la categoría ya de clásicos como Lou Reed (Never tell, I know it´s true but I´m sorry to say). No obstante, y como era lógico, en algún corte se aprecian algunos cambios en lo que a concepción de sus temas se refiere, añadiendo instrumentos antes desconocidos para la banda, como es el caso de Hallowed ground, la canción que da título al disco, que se adorna con arreglos de teclados y solos de guitarra que anteriormente la banda tenía vetados. Black girls, en la que se marcan una improvisación con una gran variedad de percusiones e instrumentación de vientos. Sweet misery blues, un corte que aún partiendo de los cánones del Blues, se adentra en el territorio más vodevilesco, para construir un corte muy divertido.
En definitiva, nos encontramos delante de un disco que conjuga a la perfección la diversión y las reflexiones sobre temas más serios. Un álbum que encumbró al trío formado por Gordon Gano, Brian Ritchie y Victor deLorenzo como los trobadores Folk-Punkies irreverentes que eran capaces de deconstruir un género tradicional a la vez que le mostraban sumisión. Muy recomendable.

Violent Femmes – Hallowed ground (1984)

“After the surprise success of their landmark debut, Violent Femmes could have just released another collection of teen-rage punk songs disguised as folk, and coasted into the modern rock spotlight alongside contemporaries like the Modern Lovers and Talking Heads. Instead they made Hallowed Ground, a hellfire-and-brimstone-beaten exorcism that both enraged and enthralled critics and fans alike. Like Roger Waters purging himself of the memories of his father’s death through The Wall and The Final Cut, bandleader Gordon Gano uses the record to expel his love/hate relationship with religion, and the results are alternately breathtaking and terrifying. Contrary to initial public response, Hallowed Ground is not a parody. Gano, the son of a Baptist minister, may wear his faith like a badge of honor, but it’s a badge, not a shield, and what keeps the songs so volatile is the fact that they’re filtered through the eyes, ears, heart, and loins of a teenager. Like the first record, all of the songs on Hallowed Ground were written during Gano‘s high-school years — he was barely in his twenties when it was released — resulting in a perfect rendering of the sweetness and brutality of the postpubescent teen, especially on the album’s centerpiece; a searing indictment of loyalties broken and the snitches that break them, “Never Tell” is the perfect balm for the bloody righteousness of youth, and when Gano screams, “I’ll stand right up in the heart of Hell/I never tell,” it’s hard not to stand right beside him. Christian imagery aside, Hallowed Ground is not as polarizing as some make it out to be. The band explores gothic Appalachian folk and child murder on the banjo-fueled “Country Death Song,” bawdy and bluesy Lou Reed-inflected infatuation on “Sweet Misery Blues,” and nuclear holocaust on the brooding title track, leaving little doubt that this is the same band that penned underground classics like “Gone Daddy Gone” and “Add It Up.” Even the decidedly politically uncorrect “Black Girls,” with its free jazz mid-section that includes everything from jaw harp to the screaming alto sax of John Zorn and the Horns of Dilemma, is full of the same smirk and swagger that made “Blister in the Sun” the soundtrack to so many people’s halcyon days. The Femmes are nothing if not true to themselves, and Hallowed Ground is a testament to their tenacity, courage, and sheer obliviousness to industry ogling. Each track is as naked as it is bursting with ideas, and as the landscape changes, the band changes with it, leaving the listener at a crossroads; with each incantation, growling invective, and honey-whispered promise, they’re forced to either jump off the gospel train or ride it along with them into the mouth of Hell” (allmusicguide.com)

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18 junio, 2011 Posted by | Violent Femmes | Deja un comentario

Best Coast: Gone again (Single, 2011)

Gone again es el regalo que Bethany Cosentino nos tenía preparado para este inicio de verano. Tras su eclosión con su maravilloso disco homónimo de debut, Bethany contraataca con una canción de un corte continuista -como es normal- con su grandioso álbum. Lógicamente, esperamos impacientes nuevo material de los californianos. Por cierto, el single lo regalan desde el portal Adult Swim.

Best Coast – Gone again (Single, 2011)

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17 junio, 2011 Posted by | Best Coast | Deja un comentario

Paper Thick Walls: A thousand novels (2011)

Paper Thick Walls es el nombre de un combo de Chicago que acaba de editar su primer álbum. Su música tiene mucho de la frescura y la sofisticación del Indie-Folk que facturan gentes como Los Campesinos!, Kings of Convenience o Sufjan Stevens (Old wheatered wooden dock, Orange tree, Overgrown). Ello no impide que también se acerquen al Folk más tradicional en temas más pausados como NyQuil, A thousand novels, Desolated places, Portrait, Masters of the sea, Infinite
El concepto general del álbum es que navega más a gusto por las aguas del Folk de siempre, ése que tiene mucho de melancólico y de tonos tristes; ése que ayudó a poner de moda de nuevo Fleet Foxes. Paper Thick Walls son un buen exponente de ese sonido que forma parte del acervo cultural norteamericano y que de vez en cuando vuelve a emocionar los oídos de los adoradores del género.

Paper Thick Walls – A thousand novels (2011)

“Paper Thick Walls presents an elegant mix of deep, reflective, and at times haunting music which captures elements of sound similar to acts like Arcade Fire and Sufjan Stevens.  Their songs quickly caught the attention of sound engineer Mike Hagler (Neko Case, Wilco) who engineered Paper Thick Walls’ debut album “A Thousand Novels” which will be released on May 3, 2011.  To celebrate the release of the record, Paper Thick Walls will play a record release show at Hideout in Chicago on Friday May 6th, with very special guests Derek Nelson & The Musicians.  This past year, Paper Thick Walls was asked to play at several taste maker music festivals including North by Northeast, South by Southwest, and CMJ Music Marathon. 
The harmonies of Kate Schell and Eric Michaels, the lead members and writers of Paper Thick Walls, float beautifully over the indie-folk-pop backing of intricately written string, horn, and percussion parts of a 5 piece band.  This almost orchestral arrangement has a fascinating way of complimenting the profound fictional story lines that Paper Thick Walls portray through their lyrics” (Facebook)

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16 junio, 2011 Posted by | Paper Thick Walls | Deja un comentario

Eastern Phoebes: Wampum (2011)

Wampum Cover Art

El Folk-Pop es el protagonista absoluto de la música de Eastern Phoebes, un combo formado de Long Island formado por Ry Smith, Meg Bayley, Rick Kattermann y Frank Filippo. Un cruce de caminos entre el Folk, el Twee, el Country y el Pop más delicado. Algo así como una mezcla entre Gram Parsons, Donovan, Van Dyke Parks, Neil Young y They Might Be Giants, The Boy Least Likely To. Todas éstas son referencias que ellos mismos han colgado en su Facebook, y a fe que en su música podemos encontrar huellas inconfundibles de todos ellos. Lo puedes comprobar escuchando su último disco, este Wampum, en su Bandcamp. Si te gusta, además, puedes descargarlo gratuita y legalmente.

Eastern Phoebes – Wampum (2011)

“I didn’t write any songs for a month after the album came out. I tried promoting the release in my free time, to the best of my ability without having an actual band with which to play shows. Promotion is an interesting aspect of the ‘music industry,’ but it’s not for me–I’d rather focus on recording more material even if it means no one hears it. It’s more self-satisfying to me.
In mid-April, the songwriting bug bit me, so I fittingly recorded a tune called “I’m Gonna Bite Your Head Off When I’m Done Making Love To You” about the cannibalistic sexual adventures of the female praying mantis. Around the same time, Danny Goodwin, the founder of February Records in Connecticut, got in touch with us about possibly teaming up for a future digital release on his label. I took the writing of that song with his label invitation as a sign, and decided to start work on a new EP immediately.
The name Gypsy Paw was born at five in the morning, shortly after Meg and I moved from our loft apartment to a lakefront cottage the next town over. I was watching a red fox roam around our new backyard just before sunrise, recording its tracks in the mud. I realized that I was like the fox, having just roamed myself, but with girlfriend, pup, and a ton of instruments into a new living situation…recording tracks. I felt like a transient, like a bard, a hermit-turned-hermit crab, ready for a new song shell. 
In the next three weeks before its free release via Bandcamp (June 30th), I will write short anecdotes about the individual songs found on Gypsy Paw, from inspiration to execution. These writings will accompany streaming versions of the songs, to be found on our Soundcloud page as I finish up the mixes. 
I stayed true to all of my vows. This EP is a nomadic tribute to our homemade musical tendencies. We’d like to show you what happens when a song moves around” (gypsipaw.blogspot.com)
 
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16 junio, 2011 Posted by | Eastern Phoebes | Deja un comentario

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