The JangleBox

Indie, Noise, Shoegaze… Music

Pure X: Pleasure (2011)

Los tejanos Pure X anteriormente conocidos como Pure Ecstasy, por necesidades meramente comerciales tuvieron que cambiar su nombre a Pure X ya que existía otro grupo de San Francisco con la misma denominación ya registrada. Una vez solventada la cuestión, Pure X editan su disco de debut, un álbum algo difícil de encasillar, aunque completamente adecuado a los tiempos que corren. Digo ésto porque su música tiene algo de Lo-Fi, en tanto que sus instrumentaciones no son demasiado elaboradas. Tiene algo de Chillwave, en tanto que muchas de sus melodías podrían sonar relajadamente en el pórtico de tu casa. Y tiene algo de Shoegaze, en tanto que contiene muchos elementos fácilmente reconocibles del género, aunque con ciertas reservas. Es un disco de distorsiones y reverberaciones radicales, aunque al oírlo nadie diría que son unos discípulos claros de la Cadena de Jesús y María, por ejemplo, ya que Pleasure suena muy distorsionado, aunque más bien parezca una versión a menos revoluciones de cualquier disco de los hermanos Reid. Ninguno de los diez cortes que componen Pleasure tiene un ritmo alto ni tan siquiera unas melodías demasiado dignas de mención, son más bien como repeticiones reiterativas de un mismo riff de guitarra llevado hasta la extenuación. Un disco interesante, en tanto que mezcla de estilos pero que le falta algo de la chispa brillante de muchos compañeros de género.

Pure X – Pleasure (2011)

“After a few scattered 7″s, Pure Ecstasy decided to up and change their name to Pure X for their debut full-length. But Pure X are hardly suffering from a personality crisis– a San Francisco cover band already had the former handle copyrighted, so the abbreviation occurred out of necessity. For those of us who heard something special in loose, wandering tracks like 2009 B-side “You’re in It Now” or “Voices” a year later, nearly everything on Pleasure will feel like a welcome distillation of the elements that made those songs sound promising. In turn, the band’s new moniker should seem completely fitting: No longer just a kick-around project from three Austin dudes, Pure X have become the refined and elemental version of their former selves.
Fans of those early singles don’t need to worry too much. Pure X remain very much attached to their singular style. Jesse Jenkins’ bass still sounds peanut-butter sticky, while Nate Grace’s guitars showcase pond-ripple textures and Mideast-tinged tones one moment and hemorrhage syrupy feedback the next. Like grunge for beachcombers or shoegaze for people happy to be alive, Pleasure is all about texture and patience, stretched to ensure maximum zoneage. Anything MDMA-related about the moniker is a total misnomer– this sounds like music made by people who mainline Benadryl.
Sure, the album’s blown-out guitars, dusky shoreline vibes, and drug-sick crawl can seem awfully familiar. But Pure X aren’t just coasting on shaggy fumes. For one, this is a terrific-sounding record, built for headphones and high volume. Recorded live with no overdubs, everything emulsifies beatifically while a disorienting quality still looms, like riding in a four-door on the freeway with only the back left window down.
Pure X also set themselves apart by both honoring their influences and recombining them in interesting ways. Opener “Heavy Air” sounds like a chopped ‘n’ screwed Real Estate, while the new version of “Voices” suggests My Bloody Valentine channeling the Everly Brothers. After all, these songs owe a lot to the starry-eyed romantic ballads of the late 1950s and early 60s. Instead of harnessing the rebel cool of that era, Pure X get lost in the simplicity and slow-burn daydreaminess, stoking these characteristics with uniquely visceral reverb and a zonked tunefulness that impart a vaporous sensuality.
But the most defining and pleasurable thing about Pleasure is the guitars– impressive for a record that doesn’t care about show-off guitar shit at all. Grace lets his pedals do most of the talking, gracefully sussing out emotional detail with subtle melody while still creating memorable moments, like the cheap firework burnout at the end of “Half Here”. Pure X may not be breaking new ground, but as far as deadbeat summer vibes done right go, Pleasure is one killer drag” (

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14 septiembre, 2011 Posted by | Pure X | 1 comentario

Son of the Sun: Almost not there (Ep, 2011)

Almost Not There Cover Art

Uno de los adjetivos más oídos al leer alguna opinión sobre Son of the Sun es la de revivalistas. No les falta razón en tanto que su música no aporta nada esencialmente nuevo a ningún tipo de escena, aunque no creo que éso les importe. Su sonido es demasiado pulcro, aseado y algo plano. Ningún tipo de aspereza asoma por ninguno de sus temas, producidos con mimo y con rigor. El tema más destacado es el que abre la colección, As far as Lucy, animoso corte de esencias garajeras que parece presagiar algo que posteriormente no nos vamos a encontrar. Para amantes de The Black Crowes, Kings of Leon, The Black Keys, Wilco, o Jet.

Son of the Sun – Almost not there (Ep, 2011)

“Son of the Sun, a five-piece from Buffalo, NY have produced an excellent EP infused with vintage effects, minimalist arrangements and sincere songwriting. The musical aesthetic throughout Almost Not There maintains a level of consistency from song to song, creating a streamlined experience rather than a collection of tracks thrown together under one name.
In addition to their well-conceived retro sound, Son of the Sun plays with dissonance and harmony, a theme that can be heard both literally and figuratively in the music throughout the record (major and minor tonalities intermingling in “As Far As Lucy” or a slow, more morose song such as “Fruit Jar” injected with a buoyant bridge). This is also expressed lyrically in “10,000” as singer Zak Ward proclaims “I wanna lay down, I wanna record my dissonance” over upbeat music in the background. This juxtaposition creates an experience that stirs disparate emotions in the listener.
The arrangements are also kept to a minimum, though they produce strong and variant moods in each song. An important contributor to this is the sincerity of the lyrics, and Ward performs them dynamically with strength, vulnerability and candor.
Almost Not There provides a snapshot of a band that has a well developed sound and thoughtfully crafted songs, prompting the notion that contrary to the title of their EP, Son of the Sun has arrived” (

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14 septiembre, 2011 Posted by | Son of the Sun | Deja un comentario


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