The JangleBox

Indie, Noise, Shoegaze… Music

Native America: Get well soon (Chinquapin Records, 2013)

Get Well Soon cover art

Con un presupuesto muy ajustado y con la ayuda de los amigos, Native America ha producido un disco llamado Get well soon a comienzos de este año 2013. Los de New Orleans navegan entre las aguas del Lo-Fi-Pop con la soltura con la que lo podrían hacer The Shins en sus primeros tiempos. Pero aderezándolo con gotitas de Surf, de Country, de Shoegaze, de Powerpop
Todo un crisol de estilos convenientemente mixturado para un deleite inmediato y un goce placentero para oídos exigentes.

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“There is a lot to be said when talking about Kickstarter and it seems like everyone has an opinion. The site has its champions and its detractors and depending on who you’re talking to, it seems that each side raises some equally good points. Personally I feel like there is something inky about flat-out asking people for money, but if there is one use of the site that I can see being perfectly legitimate it is funding physical album releases. Releasing digital music is easy. Getting various physical media copies into your listeners hands is a different story, especially if you don’t have a label fronting the money. That’s the spot that New Orleans band Native America found themselves in. Asking for a modest $1,500.00, the band barely squeaked by and met their goal and the result is their debut album Get Well Soon which is now free to run wild. I’m a fairly new listener of theirs, so their Kickstarter project never even registered on my radar. But with a reference from a friend and free download of the album, who am I to refuse? As it turns out Get Well Soon is surprisingly good. The production is excellent and it gives the guys the perfect platform on which to display their songwriting chops of which they have a variety. The album is in a constant state of flux with the guys adopting and an endless amount of influences and weaving them seamlessly into the music. It’s first a foremost a pop album, but they incorporate elements of powerpop, alt-country, surf, and shoegaze with a skillful touch and a gracious helping of happiness. Frankly I’m surprised that more people have caught onto these guys. If you’re fan of anything from The Shins to the poppier moments of Grizzly Bear then you’ll no doubt find something to sink your teeth into here” (cactus-mouth.tumblr.com)

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28 febrero, 2013 Posted by | Native America | Deja un comentario

Father Sculptor: Lowlands (Single, 2013)

Father Sculptor formed in Glasgow in 2012.

‘Fuck the will-they-won’t-they Smiths reunion rumours… [Father Sculptor] mix subtle undertones of religious fervour with darker takes on Marr’s intricate, chiming webs of sound.’ (NME)

‘Shockingly traditional, and startlingly 1984’ (The Guardian)

Featured in the NME, The Guardian and Rolling Stone magazine, Father Sculptor will release their debut EP ‘Faith & Violence’ on IX Hispana Records on Monday 15th April 2013.

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28 febrero, 2013 Posted by | Father Sculptor | Deja un comentario

Milton: The world of silence (2013)

The World of Silence cover art

Milton son una banda alicantina curtida en mil batallas que en este 2013 presenta su último trabajo tras un largo paréntesis y cambios de formación. Su sonido es una especie de mixtura entre el Rock más clásico y endurecido al Post-Grunge o el Noise. En TJB ya conocíamos Allergy attack, que pasa por ser, probablemente, el mejor corte del disco.

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25 febrero, 2013 Posted by | Milton | Deja un comentario

Moduleight: Fuego camina conmigo (Ep, 2013)

“Fuego camina conmigo” supone el primer EP en solitario de Moduleight tras publicar varias remezclas de artistas como Simina Grigoriu (Berlin) Pantoone (Mexico) Cinexin, Stendhal Sindrome o Strange2 & Nev.era.
Como en sus directos,  esta referencia se convierte en un alegato a vivir y sentir de una manera intensa y auténtica, una mezcla entre la energía y la emotividad que nos llevan, a través de sus tres canciones, a una pista de baile cargada de Idm, techno y melodías sintéticas pensada para bailar y sentir” (Press)

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25 febrero, 2013 Posted by | Moduleight | Deja un comentario

Terrible Spaceship: Invaders 1938 (2013)

Invaders 1938 cover art

Nos pilláis el día tonto hoy. Música electrónica (ya os anticipo que para mañana también tendréis otra ración, aunque distinta a ésta) para alegraros el domingo. Bueno más que música electrónica, música hecha con samplers y mucha mucha imaginación. Rindiendo un homenaje a la serie radiofónica de Orson Welles La Guerra de los Mundos, este colectivo de Chicago factura lo que ellos mismos denominan “Ambient synthetic horror pop!“. Y lo cierto es que por momentos suena bastante divertido…

“Terrible Spaceship rediscovers media from the past and resuscitates it into a modern music and video multimedia experience. Utilizing both samples and live instrumentation for its original scores, the band has been described by the Chicago Tribune as “equally influenced by Danny Elfman, Portishead and Orson and H.G. Welles.” (sonicbids.com)

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24 febrero, 2013 Posted by | Terrible Spaceship | Deja un comentario

Soul of Gaia: Two hearts (Single, 2013)

“Sometimes you have to get lost to find your way back!
Do you have the courage to change your course? The courage to stay true to yourself? These were questions that songwriter Sanna Hallgren asked herself after releasing her debut album She played the biggest stages in Stockholm with a 9 piece band but something was bothering her all the time. What was the true soul of her art? Had joy disappeared. Somewhere along the way Sanna found herself lost.
By her mother’s untuned piano she finally faced herself. There she found honesty, vulnerability and a new playfulness in her voice. Out of this Soul of Gaia was born!
All music previously available on streaming services is now gone. The only artifact the reassembles the past are a few records hidden in the attic. Collectables. Soon to be a memory of a long gone past.. This spring will be a storm of feelings, a way to find a new fire, a way to find a new strength.
The first single to be released from a reborn artist is ”Two Hearts”, a duett with producer and artist Dennis Tkačuk Lundkvist (also known as Adventure Of). It is also the first single from the coming EP RE:BIRTH.
”Two Hearts” is a salute to love and courage to peel of every layer until you’ve reached your inner power. It’s about meeting a person to whom you can’t lie to or play game to – it’s about meeting yourself” (Press)

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24 febrero, 2013 Posted by | Soul of Gaia | Deja un comentario

Mad Sneaks: Rótulo (Single, 2013)

Desde Brasil no sólo nos iban a llegar propuestas poligoneras y ultrababeantes, ritmos cálidos o Bossas. Como sabéis, en el país tropical ha florecido una interesante generación Shoegazer y bandas como Mad Sneaks, que se mueven en aguas Post-Grunge. Puedes echarle un oído a un single como este Rótulo, que puedes descargar gratuitamente en el enlace.

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23 febrero, 2013 Posted by | Mad Sneaks | Deja un comentario

My Bloody Valentine: m b v (2013)

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Emoción y Sensibilidad

Si he de ser sincero, os diría que la primera intención que tuve al escuchar el tercer álbum de My Bloody Valentine fue postear un sencillo mensaje: “Sentaos y disfrutad”.
Pero pienso que un disco tan enorme y un regreso tan esperado se merece alguna pequeña y humilde consideración más por mi parte.
Supongo que a estas alturas del partido, todos estaréis al cabo del regreso de las huestes de Kevin Shields. Jamás una banda había sido tan influyente con tan sólo dos discos grandes en el mercado. Una consideración como ésa sólo puede estar en la mano de los grandes. Y MBV lo son. A decir verdad, creo que superan incluso ese status.
Con m b v (2013), Shields lo retoma exactamente donde lo dejó, ni más ni menos. Supongo que espoleado por todas las bandas que han reavivado las llamas del Shoegaze en estos últimos tiempos, Kevin pensó que ya iba siendo hora de rescatar sus grabaciones y poner al día a la legión de amantes de las atmósferas, las distorsiones imposibles, el Noise más sensual y los acordes disonantes. No en vano, MBV son uno de los inventores del género, y tienen todo el derecho a ser los abanderados del mismo.
m b v es pues un discazo. Y no se me ocurre decir mucho más ante la imposibilidad de encontrar adjetivos que no hayan aparecido ya en otras críticas más sesudas. (Casi) todos sus temas son un canto a la belleza, a esa quietud ruidosa que no ha dejado de emocionarnos en estos últimos veinte años y que encuentra su cenit en la primera parte del disco, con la trilogía She found now, Only tomorrow y Who sees you; como afirman en Pitchfork, todo un homenaje a la guitarra, a la que se le exprimen muchas de sus infinitas posibilidades, jugando con esa nebulosa de efectos inesperados y acordes disonantes.
Un disco de notable alto. Me chirrían un poco los dos últimos cortes, la guerrera Nothing is y el corte que cierra el disco: Wonder 2, con su aproximación al experimentalismo y al House, al menos en cuanto a ritmos se refiere. En medio, joyas como New you o If I am mantienen el nivel de este esperadísimo regreso. Emocionante.

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“When can we hear some new material?,” someone asked Kevin Shields in an AOL chat interview published by the San Francisco zine Cool Beans!. “Definitely sometime this year or I’m dead…” he answered, later driving the point home with, “I really am dead if I don’t get my record out this year. Nobody’s threatening me, BTW I just have to.”
That chat took place exactly 16 years ago tomorrow and Kevin Shields is still alive. And now, almost 22 years after My Bloody Valentine’s last album, Loveless, we finally have that record. For those of us whose relationship to music and maybe even the act of hearing has been changed by Loveless, it’s hard to believe. I’d grown comfortable with the idea that there would never be another My Bloody Valentine album. Even as recently as two months ago, I figured it would never happen. “But he said it was mastered,” people said to me. The last time a master of an MBV album was completed it took four years for it to come out. And that was music that had already been released. An alleged master of a new release? Plenty of time to pull the plug. But no, it happened, by surprise, last Saturday night. And many 403 errors later, we finally have this thing on our hard drives. mbv. 2013. This Is Our Bloody Valentine.
Like a few people I know, I was initially afraid to listen, but there was no need to be. My Bloody Valentine have taken the precise toolkit of Loveless– layered Fender Jaguar guitars made woozy through pedals and tremolo, hushed androgynous vocals way down in the mix– and made another album with it, one that is stranger and darker and even harder to pin down. Where Loveless felt effortless, mbv strains, pushing at its boundaries with a sense of pensive gloom. If the guy spending all those years in the studio felt trapped by the experience, like the walls might be closing in and that he was dead if he didn’t finish, the music here reflects it. mbv is an album of density with very little air or light. But it doesn’t forgo the human touches that have made this band so special.
The nine-song mbv can be divided into thirds and the first three-song section, consisting of “She Found Now”, “Only Tomorrow“, and “Who Sees You”, finds Shields exploring the untapped textural possibilities of the guitar. The last several years have been bad ones for the instrument. In independent music circles, the guitar has become synonymous with regression, a symbol used to evoke something from the past. And that might seem at first equally true here, since the tone of Shields’ guitar is so clearly connected to the sounds he pioneered two decades ago. But no one believes more deeply than Kevin Shields in the expressive power of the processed guitar, and the music here turns out to be more about feeling than style.
“She Found Now” is an opener of daring subtlety, a ballad in the vein of “Sometimes” that consists mostly of deep strumming and Shields’ singing in a tone near a whisper. There’s a bit of percussion, a few more layers of distortion, but no announcement of anything earth-shattering or even particularly different. It’s My Bloody Valentine making the kind of noises they invented and perfected. As the chords cycle through in the following “Only Tomorrow”, Shields sets up a situation where the repetition and familiarity lulls you into a kind of trance and small gestures hit with great force. On “Only Tomorrow” that spine-tingling moment is a dead simple screeching high-end refrain that repeats toward the end, while on the following “Who Sees You”, it’s a section halfway through where a rush of trebly chords coats the entire song in another layer of textured fuzz. When it comes to Shields and guitars, the small details do a tremendous amount of work.
The second trio of songs feature the lead vocals of My Bloody Valentine singer/guitarist Bilinda Butcher. The push and pull of her singing next to Shields’ is, along with the wavy “glide guitar” effect, My Bloody Valentine’s other defining characteristic. Their voices are the essence of the the band’s strangely androgynous and non-specific sensuality. “Is This and Yes” is just Butcher’s voice and an unusual organ pattern that hangs in space at the end of the progression and never resolves itself; “New You” is the only track on the record that sounds even remotely like a single, and it shows that Shields’ melodic impulses have not left him.
In another sense, “New You” points out how much has changed since MBV last released a full-length. In 1991, they were still a pop band, the kind that made videos and appeared on magazine covers and were on a fashionable record label. As such, there was at least some pressure for them to fit in, for their music to have context in the popular music landscape. So they released singles and probably hoped they’d become hits. Even if “Soon” had, as Brian Eno stated at the time, set a “new standard,” that didn’t change that fact that it was in fact still pop. But those days are gone. My Bloody Valentine fit in exactly nowhere and the commercial expectations of a release like mbv are minimal. Whatever the cause, mbv is the weirdest album My Bloody Valentine have made by some margin. Some of the record’s otherworldly quality is up to frequency range. There’s very little on this album in the treble range but there’s endless detail in the bass and mid, which makes the record feel more closed in and insular. But some of it is in the arc of the record.
Through the 1990s Kevin Shields often talked about jungle, what it meant to him, and how some of the ideas behind it were making their way into a new My Bloody Valentine album. He was not alone in this, but mixing drum’n’bass’ whooshing walls of percussion with oceanic shoegaze seemed a natural pairing (it was so natural, in fact, that artists like Third Eye Foundation beat Shields to the punch). Whether or not the final three songs on mbv are related to Shields’ experiments of that time, on mbv, where Shields presumably had time to make the drum parts he wanted, it’s clear that he doesn’t really hear percussion the way most of us do. Drums are mostly distant, often muddy, serving as an underpinning or textural contrast to the guitar instead of driving the rhythm on their own. In this sense they mirror the 8-bit snatches of sound caught by crude samplers in the 90s. But since Isn’t Anything, drums have been down on the list of concerns for MBV, which is one way the final third is so surprising and ultimately powerful.
“In Another Way”, another Butcher lead, begins to tilt the balance between noise and melodic beauty as the tempo increases, and by the following instrumental “Nothing Is” the mood has changed considerably. A track of heavy bass drums and pounding guitar, it feels militaristic and even a touch grim, with just faint glimmers of beauty inside the barrage. And then by the final “Wonder 2” the album has become something else. This is MBV’s version of an album-closing “L.A. Blues”-like Stooges freak-out, where they stop worrying about structure and fill every inch of tape with noise. The heavy flanging evokes choppers buzzing overhead, and somehow, through it all, there are wispy voices, buried and being shoved around by the din. It’s a disquieting end. Where Loveless, despite its complexity, sounded as natural as breathing,mbv sounds like the product of great effort, of meticulous work to get every sound in place. And that exertion is especially apparent in the final third, as Shields tries and ultimately succeeds in taking the project somewhere it’s never gone. All this work gives mbv its own quality, simultaneously intimate and detached.
Like its predecessor, mbv feels like an album in part about love, but it approaches the grandest of human emotions from an unusual angle. Kurt Cobain, another iconic songwriter of the 1990s who never got a chance to grow old and figure out how to maintain his creativity in the wake of game-changing masterpieces, had a song called “Aneurysm” and it had a refrain that went, “Love you so much, makes me sick.” That’s how My Bloody Valentine’s deeply destabilizing queasiness, amplified here to a frightening degree, has always struck me: There’s a rush of feeling inside their music so intense it creates a kind of paralysis. Music swirls and moves in and out of phase, voices float by, half memory and half anticipation, and you’re never quite sure how all the parts fit together. You get lost in it, and if you’re wired a certain way that mixture of desire and confusion is easy to map on to the wider world. For 22 years, the only way to get there was through Loveless and its associated EPs; now there’s another path, one many of us never expected to find. That it’s this successful in spite of it all is something we never had a right to expect” (pitchfork.com)

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21 febrero, 2013 Posted by | My Bloody Valentine | Deja un comentario

The Airplanes: The Airplanes (Ep, 2012)

The Airplanes cover art

Encontrarse con pequeñas gemas de Jangle-Pop como este Ep homónimo del grupo de Arkansas es siempre un privilegio. Toparse de bruces con melodías ágiles y nerviosas como las de Paper hearts, Stay o Wasted time es siempre una huida hacia adelante, un tomar aire fresco y evadirse. Su sonido es (como ellos mismos afirman en su Facebook), una nube de influencias diversas que pueden ir desde The Beatles, The Who, The Olivia Tremor Control, Pavement o Elliot Smith.
La mejor prueba para cerciorarte de ello es pasarte por su Bandcamp y descargarte o en cualquier caso disfrutar de su música de un tirón. El Ep está grabado (prácticamente) en directo y sus seis cortes se pasan en menos de un despiste.

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“It’s been a week full of jangle pop bands, and that trend continues today. The Airplanes reflects the writing and recordings of Joshua Vest from Fayetteville, Arkansas. In October, The Airplanes released an EP that reflect their influences, among which are The Beatles, Pavement, Olivia Tremor Control and Elliott Smith.  Think of it as The Beatles with a Garage Rock heart. Expect a second EP here in the coming months from the Airplanes. For now, enjoy and download their debut EP” (thedadada.com)

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19 febrero, 2013 Posted by | The Airplanes | Deja un comentario

John P.R.: Elevator (Single, 2013)

Elevator cover art

Nuevo tema de John P.R., ya sabes esa reencarnación de ese otro alias llamado John Wesley Harding. En esta ocasión algo más irónico e incluso mordaz, este Elevator nos reconforta con el Neo-Folk haciéndolo acompañar de un bonito Vídeo con imágenes de El Chico, de Chaplin.

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18 febrero, 2013 Posted by | John P.R. | Deja un comentario

Milton: The world of silence (Advance, 2013)

“Empieza la cuenta atrás para la publicación del primer disco de Milton. Tras editar en septiembre de 2012 el EP “Allergy Attack”, la nueva referencia discográfica del grupo alicantino llevará por título “The World of Silence” y estará disponible  en formato digital desde el próximo domingo 17 de febrero en su perfil de Bandcamp.
El álbum contendrá once canciones que combinan intensos y enérgicos momentos de noise rock con otros más introspectivos. Los temas han sido grabados en la Sociedad Filarmónica Alteanense, Harbour’s Studio, Lupi’s Basement y La Nave Iguana, mezclados en Westline Studios y masterizados en los estudios Ultramarinos Costa Brava” (Press)

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18 febrero, 2013 Posted by | Milton | Deja un comentario

Good Sport: Pearly gates (Single, 2013)

Pearly Gates b/w I Shot An Arrow cover art

Bajo una capa de cierta tenebrosidad y un halo de misterio aparece este combo llamado Good Sport, un grupo que factura un sonido a medias entre el Grunge, el Post-Punk y el Shoegaze. Vienen de Pittsburgh y este Pearly gates es un temazo.

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17 febrero, 2013 Posted by | Good Sport | Deja un comentario

Josefina Sanner: Do you remember (Single, 2013)

JOSEFINA SANNER | "Do You Remember" (2013)El Pop de Josefina Sanner es algo así como una revisión de viejos clichés clásicos y no por ello menos apreciados. El sonido sesentero, el compromiso musical de los ochenta, y en general un bonito aire Retro, al que contribuyen esos arreglos de cuerda. Do you remember es el sencillo que anticipa su segundo trabajo: These beads of blue, que aparecera este mismo mes y estará cantado en sueco e inglés.

“In spring 2012 released her first compilation albm, entitled ”Sirens”, from which the single “Don’t Stop” rotated on Swedish National Radio and reached the college radio top ten in Sweden, as well as being mentioned on widely acclaimed blogs all over the world. This was followed up in November with new studio album “These Beads Of Blue”, produced by Andreas Dahlbäck (Anna Ternheim, TAW), which came out to critical praise in the Swedish press.
Upsala Nya Tidning said the album was a ”exceptionally good album from the beginning to the end” and awarded it with 4 stars.. Just as impressed were Värmlands Folkblad who said the album was ”Josefina’s strongest so far” – another 4 star review! More fine reviews follow in Gaffa, Joyzine.se, Zero Magazine, Rootstime as well as air play on international stations such as Amazing Radio (UK), Penguin Radio (US) and Radio Compagnie (NL). The single “Clock Stand Still” also found a foot hold on national Swedish Radio P4 during the late days of fall.
This spring we’ll find Josefina working on new material, both sung in Swedish and in English. What it’ll result in time will tell! In the aftermath of the success of last fall we’re releasing on more single from “These Beads Of Blue”. The sprawling “Do You Remember” was one of the tracks that most frequently were mentioned in the media and on February 10th it’s finally out as a single!” (Soundcloud)

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17 febrero, 2013 Posted by | Josefina Sanner | Deja un comentario

The Boy Least Likely To: I keep falling in love with you again (Single, 2013)

The Boy Least Likely To están de vuelta. Y lo hacen a lo grande, regalando un single que hicieron coincidir con el Día de los Enamorados. I keep falling in love with you again es el título de este delicioso tema de Pop de juguete a cargo de Jof y Peter. ¡¡Arrebatadora!!

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16 febrero, 2013 Posted by | The Boy Least LIkely To | 1 comentario

Men of North Country: People of tomorrow (The Visitor Remix, by Markey Funk, 2013

Tremenda Remix de este tema original de Men of North Country. No soy en absoluto amante de las Remixes ni de zarandajas semejantes, pero esta realza y revive el tema original…

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16 febrero, 2013 Posted by | Men of North Country | Deja un comentario

The Fiery Piano: Scene from a science fictional love story (Single, 2013)

The Fiery PianoPara comenzar el año de manera animosa, Birds Will Sing for You nos ofrece otro sencillo de corte dinámico, espíritu positivo y riff pegadizo. Se trata de este Scene from a science fictional love story, un bonito tema de estribillo fácilmente adherente, estética de Pop de juguete y aderezos de samplers y otros artificios. Os adjunto igualmente el álbum en su totalidad, que podéis disfrutar, descargar y compartir desde su Bandcamp.

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The Fiery Piano is homemade sparkling pop music with dusty samples, yet crispy high definition future-quality sound (in stereo), dramatic, kind of big at times, sweetness in the lows (negative Hz), details to discover, layers to peel, DIY, not made to earn more money for old men in new suits who already have enough. Every sound wave has been carefully hand-picked from eco-friendly healthy herbal gardens. Inconvenient frequencies were deliberately reduced in the process to increase comfort, however, exceptions may occur on account of less ideal recording environments (rehearsal spaces, apartments), equipment, HEALTH. You get sick at times, sweeping frequencies as if they were flies invading the screen.
The Fiery Piano is brought to you by Stockholm (SWE) native  Gustaf Montelius, who started the band by releasing a 4-track EP in 2011, called “Sirens EP”.
Favorite stargazer/cosmologist Carl Sagan and his book Cosmos was partially an inspiration for the debut album Second Space (as well as some other things, e.g. spending too much time alone, trying to figure stuff out).
“Second Space” was recorded in 2012 and set for release on January 23rd 2013, post-supposeddoomsday, via the band’s own label Mega Mountain Records. The single “Scene From A Science Fictional Love Story” is out on January 14th! ” (Press)

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16 febrero, 2013 Posted by | The Fiery Piano | Deja un comentario

The History of Apple Pie: Out of view (2013)

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Noise Acaramelado

Tan sólo con observar el furgón de helados de la portada, entiendo que Out of View está concebido como un álbum lleno de concesiones a un pasado no demasiado lejano. The History of Apple Pie son ese quinteto londinense que nos encandiló con un sencillo que en seguida se convirtió en himno: Mallory. Pues bien, de los creadores de Mallory no podíamos esperar nada malo. Un temazo sin concesiones, un himno del Pop-Shoegaze o del Noise más acaramelado. Una melodía pegajosa que no podemos dejar de canturrear uno de esos días tontorrones.
Out of View quizás haya llegado algo tarde con respecto a sus sencillos más conocidos, pero lo cierto es que es un disco lleno de guiños al Noise-Pop de los noventa, a los estribillos molones tipo Breeders-Lush y a ciertas atmósferas ruidosas a lo My Bloody Valentine. Unas líneas maestras marcadas con maestría y que los chicos han sabido aprovechar para facturar un disco que en verdad no inventa, sino que más bien reinterpreta todos aquellos momentos, dotándolos de la dulzura necesaria mezclada convenientemente con unas buenas dosis de distorsión y de ruido a cargo de Jerome Watson-Aslam Ghauri, los encargados de las guitarras. Las composiciones se deben al dúo Watson-Steph Min.
Personalmente, me parece un gran disco de debut, con todos los componentes que pedimos a un grupo que comienza: energía, brío, buenas composiciones y desde luego grandes temas que son el armazón fundamental de este trabajo.
See you, The warrior, Glitch, You´re so cool, Before you reach the end, Tug… son el esqueleto de Out of view, que se apuntala con Mallory y Do it wrong, dos de sus sencillos ya conocidos, aplaudidos y admirados por quien escribe.
Desde luego, el debut de The History of Apple Pie se convertirá, probablemente, en uno de mis discos del año, y seguro que en uno de los vuestros, si lo que os va es el Noise. Si en este 2013 Yuck publican nuevo trabajo, nuestra felicidad será aún mayor…

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“After three sold-out 7″ singles, London quintet “The History of Apple Pie” finally has a proper full-length debut to kick around and it’s titledOut of View and its artwork even looks like something out of the era it apes from. Singer-songwriter Stephanie Min sings with a bubbly, liquified cadence, like a Crystal Pepsi ad that’s on repeat. She’s the actual female vocalist one hears behind Silversun Pickups’ Brian Aubert, only there’s far more conviction in her voice here.
Over triple-pasteurized shoegaze pop, courtesy of guitarist Jerome Watson and bassist Kelly-Lee Owens, Min croons at mid-level, gliding with ease through heavy runners “The Warrior”, “Do It Wrong”, and album highlight “See You”. It’s a cache of catchy flavors, the sort of bubble gum sticky shit that you can’t help but chew repeatedly, and it’s made satisfactory through the brilliant self-production.
As tracks like “Mallory”, “Glitch”, and “I Want More” suggest, there’s an emotionalism that stems from the hooks to the sheen to the teenage melancholia that Min clenches on lyrically. Every phrase gushes with vagaries, but there’s just enough light to see one’s own hands — it’s transmutable. That’s what pop needs and what most pop forgets.
So, while there’s really no need for any more outfits attempting shoegaze — especially with the greying veterans returning to the fold — The History of Apple Pie puts their Keds in the door just before it closes. Seriously, though: “See You” might be the strongest Silversun Pickups song in years and we can only hope there’s at least one song on My Bloody Valentine’s forthcoming effort that’s as good as the dizzying “Long Way to Go”.
Actually, what if they were just called Pie?” (consequenceofsound.net)

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15 febrero, 2013 Posted by | The History of Apple Pie | 1 comentario

The Sufis: Where did she go? (Video-Single, 2012)

La Psicodelia y el Neohippysmo llevado hasta su extremo más creativo…

14 febrero, 2013 Posted by | The Sufis | Deja un comentario

Ummagma: Talk to her (Video-Single, 2012)

El realizador de vanguardia francés Bulle Plexiglass ha realizado este vídeo sobre un tema del dúo Ucranio-Canadiense Ummagma: Talk to her, perteneciente a su primer disco. Ambientes algo claustrofóbicos para la música insinuante de Ummagma. Enjoy it!

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14 febrero, 2013 Posted by | Ummagma | Deja un comentario

Lightships: Fear & doubt (Ep, 2012)

Lightships - Fear & DoubtEnsueños

Grabado con el mismo personal y en las mismas sesiones que su debut: Electric cables (2012)Fear and doubt no es más que la lógica continuación, conceptual y musical de aquel debut en solitario de Gerard Love, el 33% de Teenage Fanclub. Sus temas se mueven en la misma nebulosa Pop etérea rayana al Dream-Pop y a sonido más florido. La calma y un cierto estatismo presiden los cuatro cortes de este disco que bien podrían haber sido incluidas en Electric cables, y de hecho Silver and gold era uno de los temas que se encontraban en él.

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“For those Teenage Fanclub fans who have always held a torch for Gerard Love’s songcraft, his Lightships project holds great potential, allowing his gorgeously dreamy melodies to take centre stage. The four tracks on this EP have the same intoxicating quality of his earlier work, but Lightships eschew Teenage Fanclub’s guitar-heavy sound, opting for a more washed-out, ethereal approach.The end result can sometimes feel slightly lacking in definition, particularly on the reverb-soaked Cavalcade; Lightships are most effective on Silver and Gold, which juxtaposes verses of wispish fragility with a robust, stomping chorus, laced with fuzzy guitars. Love remains one of the most melodically-gifted songwriters around, and as the highpoints here demonstrate, he’s still capable of embellishing his compositions with new ideas” (theskinny.uk.com)

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13 febrero, 2013 Posted by | Lightships | Deja un comentario

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