The JangleBox

Indie, Noise, Shoegaze… Music

Unknown Mortal Orchestra: II (Jagjaguwar, 2013), Blue Record (Jagjaguwar, 2013)

Uno de los grupos más inclasificables de los últimos tiempos y más influenciados por diversos sonidos, nos ofrecen su segundo trabajo (II, 2013) y una reinterpretación acústica de éste añadiéndole alguna versión como la de Dirty Projectors (Swing lo Magella)

I only started playing the acoustic guitar last year. I’d always preferred the idea that the guitar converts a sound into voltage and then becomes really loud. I thought the acoustic guitar was a little bit too twee for me or something. But after being offered some opportunities to play various acoustic sessions to promote the new record, in situations where it wasn’t possible to record the whole band, I decided to treat it like a challenge to try and play acoustic and not have it be lame. After all I was really into Arthur Lee’s ability with an acoustic and started wondering if I could make it sound convincing. Anyway, after being somewhat forced to develop some skill on the acoustic through these various radio sessions and things like that I decided to record some songs acoustically and release them since people seemed to be liking the way I was doing it. Everything was recorded straight to tape in my basement with a one mic set up” (RUBAN NIELSON, UMO)

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31 enero, 2014 Posted by | Unknown Mortal Orchestra | Deja un comentario

La Luz: It´s alive (Hardly Art, 2013)

La Luz - It's Alive (Cover)

Estas cuatro chicas de Seattle tienen claro de qué van. Son una especie de émulas del mejor Surf-Pop a lo Dick Dale, aderezado con gotitas de Doo-Wop y algo del garaje de comienzos de los sesenta.
Su sonido es claro y limpio. No dan lugar a las grandes melodías ni a los desarrollos instrumentales, pero sí que consiguen una cierta consistencia añeja a base de ganas y de energía surfera.

In Spanish, La Luz means “light” and that’s the perfect thing to evoke when your songs give the illusion of veering in the opposite direction. But lift out most any lyric—which is a good excuse to give a closer listen to the delicate, four-part harmonies that are fast becoming the band’s signature—and you’ll find that the aches and pains of love and loss, of living in a world where no foothold is ever a promise—all this is delivered with a nuanced dose of perfectly timed exhilaration, like the whole thing might just be worth it in the end. It’s Alive is the debut LP from Seattle’s La Luz” (Hardly Art)

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30 enero, 2014 Posted by | La Luz | Deja un comentario

Bubblegum Lemonade: Some like it Pop (Matinée Recordings, 2013)

Bubblegum Lemonade - Some Like It Pop sampler

Como todos sabéis, hablar a estas alturas de Bubblegum Lemonade en TJB no puede resultar una tarea objetiva. Laz McCluskey es un tipo peculiar, un islote en un mar de sonidos que él se resiste a permear. Su música resulta tan cercana y familiar a cualquier buen amante del Pop quizás porque precisamente él es un superviviente. Bubblegum Lemonade lleva ya varios años facturando un sonido absolutamente personal e intransferible. Una mezcla perfecta de varios géneros que pueden ir desde el Jangle Pop hasta el Pop tardo sesentero, el Folk-Rock, algo de la Psicodelia, el C86, los toques más edulcorados de Lou Reed o los Jesus and Mary Chain más melosos. Es decir, todo un saber musical enciclopédico.
Es cierto que en este Some like it Pop Laz ha bajado algo el volumen del distorsionador dando más prestancia a los sonidos más cercanos al Jangle, que son los protagonistas casi absolutos de casi todo el álbum.
Some like it Pop no es más que una evolución de Doubleplusgood (2008) o Sophomore release (2010), en este caso hacia sonidos más puros. Igual que podría haber evolucionado hacia el otro extremo.
Lo cierto es que This is the new normal, Don´t worry Baby, It´s got to be summer, Famous blue anorak, Dead poets make me smile, Have you seen faith, First rule of book club, Falling in love with sad song, Mr. Dreaming bland house… son temas que derriten y enganchan. La capacidad para la melodía y para el jingle adictivo son tremendas. Si a ello le unimos la sencillez y la calidez de cortes como She brings the sunshine o Your Valentine (Takes me back in time)… el resultado sólo puede ser uno: amor por el Pop. Como reza el título del álbum.
Laz: nosotros también amamos al Pop. Espero que tu punto de vista tampoco cambie. Nos seguirás ofreciendo discos sobresalientes.

_______________________________

Lawrence McCluskey loves jangle pop, which is no news to anyone who has heard his work with his project Bubblegum Lemonade (which most of the time is just McCluskey and his home recording setup). But the third Bubblegum Lemonade album, Some Like It Pop, suggests that jangle pop likes McCluskey more and more with each passing year. Stylistically, Some Like It Pop isn’t terribly different than BL’s previous work, which is to say it follows the path of left-of-center pop music from the Byrds through the C-86 era to Teenage Fanclub and Primal Scream, but McCluskey’s myriad obsessions seem better unified into a warm and melodic style of their own in this third go-round. The tunes move more gracefully on Some Like It Pop, and the overall tone is more playful and a bit less self-conscious than it was on BL’s debut. McCluskey is still the principal creative voice on this set, but he does bring in a few friends to add vocal and instrumental flourishes, and the result is an album that sounds and feels more organic and comfortable than what one might expect from Bubblegum Lemonade, even on the tracks that only feature McCluskey. And while Some Like It Pop is a considerable distance from wacky, there’s more easygoing humor to be found on this album, as indicated in song titles like “Famous Blue Anorak,” “Dead Poets Make Me Smile,” and “Mr. Dreaming’s Bland House.” In some respects, Bubblegum Lemonade still sounds as much like a fan’s project as a “real” band, but McCluskey has at least made an album that suggests he’s a promising semipro rather than a hobbyist, and Some Like It Pop is his best and most engaging music to date” (All Music Guide)

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28 enero, 2014 Posted by | Bubblegum Lemonade | Deja un comentario

Las Jóvenes Lechuzas: Jóvenes lechuzas (Fuego Amigo Discos, 2014)

Cinco canciones en vuelo. Una cadencia como detenida y al mismo tiempo en aceleración. Pop de ensueños, espacial, gravitatorio, de entrecasa, o como quieran llamarle o todo a la vez” (Prensa)

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27 enero, 2014 Posted by | Las Jóvenes Lechuzas | Deja un comentario

Temporada de Tormentas: Del ruido y del espacio (Fuego Amigo Discos, 2014)

Las canciones de Temporada de Tormentas transcurren en ese indefinido espacio entre lo que está por estallar y la mismísima explosión. Punk y los lapsus de krautrock, post-rock o noise alumbrado en las calles de Haedo, ruido bah… pero todo a una velocidad distinta” (Prensa)

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27 enero, 2014 Posted by | Temporada de Tormentas | Deja un comentario

Los Días: ¿Cómo evitar coagular? (Single, Fuego Amigo Discos, 2014)

Single de dos canciones en plan bailable. Sintetizadores e introspección. Tal vez sea el último desprendimiento musical de Los Días en solitario, en tanto que el proyecto de Pablo Acosta muta ahora al formato de trío. Para no perder el ritmo” (Prensa)

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27 enero, 2014 Posted by | Los Días | Deja un comentario

Chinese Pyramids: Chinese Pyramids (2013)

LoFi-Folk-Experimental. Un curioso ejercicio llegado desde Canadá.

26 enero, 2014 Posted by | Chinese Pyramids | Deja un comentario

Invisible Days: Fortress/Needles (Single, 2013)

Fortress/Needles cover art

Brooklyn es una de las Mecas sonoras de los últimos tiempos, allí se cuecen infinidad de sonoridades. Invisible Days son un trío de “Noisy Anglophile Pop“. Una buena definición en sí misma: Pop de influencia Shoegaze. A seguirlos…

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26 enero, 2014 Posted by | Invisible Days | Deja un comentario

The Cairo Gangs: Tiny Rebels (Empty Cellar Records, 2013)

Tiny Rebels cover art

Emociones cruzadas

Son las que siento al escuchar este álbum de The Cairo Gangs, el combo de San Francisco que el año pasado editaba Tiny Rebels. Un álbum en el que lo mismo cabe la Psicodelia como el Jangle, con esas guitarras de doce cuerdas presentes en todos los temas. Una especie de Pop Psicodélico pasado por el tamiz del Jangle Pop. Canciones intensas, quizás poco amables, pero desde luego de esas que se dejan disfrutar.

“The sound of this record is what distinguishes it the most from previous works. Each song has the same instrumentation. two electric 12-string guitars, bass, and drums, with many voices often double tracked exciting a gorgeous spring reverberation and cut fiercely onto quarter inch tape. always in the red and fighting for space, the layers are deeply compressed and pulsating, creating an un-ease that fluctuates as if the listener is in a vacuum, pushing and pulling. or a wave pool. when cranked, it sounds as if there is music happening beyond the music. in the abstraction of the guitar sound. in the spacial irrecognition of the tape and reverb. the non-presence of the drums.. the jagged tremoloes.. The Cairo Gang has armed itself well on this record. turn it up loud and let it wash over you like an ocean” (Press)

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25 enero, 2014 Posted by | The Cairo Gang | Deja un comentario

Love Cop: Pop Magick is Real (Gnar Tapes, 2014)

Pop Magick is Real cover art

Last year Gnar Tapes introduced the world to Love Cop; Portland’s best, raddest, darkest, silliest, stoned-est Stoner Goth band in years. Throughout 2013, Love Cop released three (3) cassettes (including one Gnar/Burger Records split), toured the Western US twice (2x), flew to play at the Gnar Tapes SXSW showcase in Austin, TX, and produced five (5) music videos. And with every release, every show, and every video, Love Cop songs and sound seem to get more and more realized. Now with their 1st cassette of 2014 (and 4th cassette for Gnar Tapes, 1st for Lolipop) they prove that sentiment to be truer than ever. Everything you love about Love Cop but presented bigger, brighter, cleaner, and stronger. Love Cop is a duo (Duffy Rongiiland, Phil Salina) who grew up together in Long Island, NY, and while Duffy has been writing and performing music for most of his life, Love Cop is Phil’s first time ever making music in any way. They are both adult men, but play music in an earnest and honest way that only comes with a youthful spirit, and a personal connection that is based on a deep rooted friendship, and an obvious mutual fascination with lo-fi pop music. Bands this prolific and young rarely express their growth and identity as organically and linearly as Love Cop, and “Pop Magick Is Real” is LC’s finest, most focused album yet. Ghosts haunting girls in the shower, sex in the basement, secret messages; Love Cop” (Press)

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25 enero, 2014 Posted by | Love Cop | Deja un comentario

Rhythm Scholar: Give it away (Remix, 2014)

Red Hot Chili Peppers - Give It Away (Rhythm Scholar Dirty Funk Remix)

Nuestro amigo Rhythm Scholar continúa trabajando en diferentes remixes. En TJB hemos dado buena cuenta de muchas de ellas. Y en esta ocasión le toca el turno a un clásico moderno de ésos que todavía te hacen menear la cabeza compulsivamente cuando lo oyes en alguno de los lugares que pinchen buena música.
Con un sabor algo añejo, RS ha impregnado de un aire algo setentero y algo macarra este pedazo de tema. Enjoy it!!

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24 enero, 2014 Posted by | Rhythm Scholar | Deja un comentario

Marc Neubauer: Cowards get what they deserve (Single, 2914)

El último sencillo de Marc Neibauer se llama Cowards get what they deserve. En él Marc nos descubre un lado íntimo, construido en base a arpegios bien armonizados. Para seguidores de Grandaddy, Sunny Day Real Estate… Un precioso sencillo anticipo del que será su álbum de debut: Don´t fall apart, previsto para esta primera mitad de año.

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24 enero, 2014 Posted by | Marc Neibauer | Deja un comentario

Star Horse: Devour (Ep, 2013)

Devour cover art

Desde Suecia no sólo se factura Pop delicado, Jangle o Americana. El Shoegaze es otra de las sonoridades que podemos encontrar en el norte de Europa. Star Horse son una de las bandas con las que podemos deleitarnos y relajar nuestro punto de vista sobre el Shoegaze.

The new release is called Devour. The record starts with a majestic track called “Hope To Feel A Hand”, shaking the established sound up a bit by opening the new EP with a brief passage of pure synth polyphony, a melodic synthesizer hook augmented by delayed stacatto pulses and set against expansive sweeps. The synths are quickly punctuated by sparse booms of percussion, and then cascading guitar chords and chiming melodic guitar counterpoint open the sound up to a practically symphonic level of grandeur before the vocal even starts. An auspicious beginning to a four track set that concludes with “Darkness Is A Color”, a fully reverbed but otherwise relatively stripped-down affair that leans hard on simple power chords and may resonate well with fans of The Jesus and Mary Chain. Devour provides a worthy cap to a strong trilogy of EP releases” (When the Sun Hits)

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23 enero, 2014 Posted by | Star Horse | Deja un comentario

SPC Eco: Sirens and satellites (2013)

Sirens and Satellites cover art

Shoegaze y electrónica, estrellas, sirenas y satélites.

One of their collaborations was the first track that was completed for the release, a spacey delight called “Fallen Stars,” which also happens to open the album. Like several of the songs on the 15 track record, it features crushing, raw guitars that hover over droning but shiny synth, a smooth bass guitar part, and Rose’s ethereal voice, among other sounds (of which there are many).
One of the album’s strongest tracks is the highly addictive, punchy single “Delusional Waste,” which calls to mind early Garbage and Republica. While Rose’s vocals are often buried — sometimes too buried — in the mix of the duo’s post shoegaze post dream pop tunes, the vocals are loud and clear on “Delusional Waste,” which is wonderful because Rose has a beautiful voice that deserves to be heard. In this case, she’s calling someone “a fucking waste of space,” so she isn’t exactly trying to sound beautiful, but she does nevertheless. With a gorgeous voice like hers, it just can’t be helped. She could be reciting a black mass and it would still sound heavenly and precious. That said, “Delusional Waste” calls for some brash attitude and Rose does give off just the right amount of don’t-fuck-with-me vibe. She just happens to sound celestial while she does so.
If you’re a fan of the undead then you’re sure to like the goth rock-tinged “Zombie,” which sounds like a cross between My Bloody Valentine and The Smashing Pumpkins. But dreamier. It’s quite trippy, in fact, and it’s hypnotic tunes like this that make me a little less bothered that Wiki simply refers to this duo as shoegaze” (loveispop.com)

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22 enero, 2014 Posted by | Spc Eco | Deja un comentario

Black Hearted Brother: Stars are our home (Slumberland, 2013)

Black Hearted Brother - (I Don't Mean To) Wonder

Miras Amplias (II)

Los proyectos paralelos, los dúos inesperados, las reuniones de súper grupos… siempre están de moda. Black Hearted Brother son un trío con base en Londres, y está formado por Neil Halstead (Slowdive, Mojave 3), Mark Van Hoen (Seefeel, Locust) y Nick Holton (Holton’s Opulent Oog, Coley Park).
Tal y como hablábamos la semana pasada con el álbum de debut de The Fauns, Black Hearted Brother realizan en este Stars are our home (2013) todo un ejercicio de amplias miras y de retrospectiva sonora. Sus vistazos tienen, de alguna forma, el denominador común del Pop Psicodélico y digamos que “estelar” (If I was here to change your mind, Ufo, Time in the machine, Oh crust…)
Pero en sus viajes interestelares, les da tiempo para encontrarse con el Noise, el Fuzz (I don´t mean to) Wonder, con las miradas de Flaming Lips (This is how it feels), o incluso con flirteos más bailables (My baby just sailed away, Got your love). Aunque al final, a Healstead le tira lo suyo, y dedica espacio en el álbum a esa intimidad Folkie a la que nos tiene últimamente acostumbrados (Look out here they come).
Stars are our home es un disco más que interesante, un auténtico crisol de géneros hábilmente manejados y dirigidos con maestría. Sus miras, como dijimos, son muy amplias, y su techo, las estrellas.

_______________________

“It was Alfred Bester, if I recall correctly, who called ‘the stars my destination’, in his brilliant novel of the same name from 1956. Long considered a libertarian science fiction classic, it’s also notable for featuring one of the very first accounts of synaesthesia in English-language fiction. This might be drawing a particularly long bow, but the title of Black Hearted Brother’s debut, “Stars Are Our Home”, immediately brought Bester’s book to mind – and there’s definitely something of the synaesthesic experience about this album, overflowing with enraptured, glowing textures, flaring white light like magnesium, in consort with brilliant red-blue waves of psychedelia.
Of course, the first thing that might crane your head towards “Stars Are Our Home” is the group’s membership: Neil Halstead, the éminence grise behind Slowdive and Mojave 3; Mark Van Hoen, an original member of Seefeel, subsequently working solo and as Locust; and Nick Holton, the main mover behind Holton’s Opulent Oog, and member of Coley Park, who have released albums on Halstead’s Shady Lane label. They had previously converged on Halstead’s 2001 solo album, “Sleeping On Roads,” though Van Hoen also co-produced Mojave 3’s “Out Of Tune” (1998), “Excuses For Travelers” (2000) and “Spoon & Rafter” (2003), while Holton took up production duties for Halstead’s “Palindrome Hunches” (2012). Van Hoen and Halstead go back much further still, to 1992, when they were in Seefeel and Slowdive respectively: ‘Mark taught Neil much that was electronic and ambient music.’
You could hear that education bearing fruit with Slowdive’s late-period masterpiece, 1995’s “Pygmalion.” In some ways, “Stars Are Our Home” echoes that album’s experimental process, if not the outcome, as Black Hearted Brother are a very different, distinctive beast, often indulging in what Halstead, self-deprecatingly, describes as ‘a lot of very long and indulgent space rawk.’ And indeed, that space-rock drive is writ loud and clear on the album’s opening title track, an instrumental bliss-out that navigates through ocean-tides of FX-drenched guitar. But there’s a lot more to it: ‘The idea was to just make a record that was in some ways “unedited”,’ Halstead continues. ‘To not worry about a particular sound or style, but to just go with the flow. We all make quite focused records individually so, as Mark says, it’s our “guilty pleasures” album.’ That seems about right, except with “Stars Are Our Home,” the outcome is no guilt, all pleasure.
‘Neil and Nick had, I think, started a few months before they asked me to join the party,’ Van Hoen recalls. ‘I think they had a few songs on the go, and needed an extra hand to add a few funny noises and generally add to the chaos – or maybe bring some order to the chaos.’ Van Hoen has picked up on the dialectical nature of “Stars Are Our Home” here, its “order” and its “chaos”: it’s a rich, compelling album full of unexpected twists and turns, at times overloading the sensorium with so much material you’re drenched in noise, but it’ll just as quickly flip back on itself and drift through a glazed-eye, agrarian moment of acoustic melancholy (see the start of “Time In The Machine”, which, as if to prove my point, takes less than a minute to build into a clangorous, droning monster).
So, there’s a whole lot going on in these grooves, and plenty of it’s unexpected, or from unexpected sources. The trio plays fast and loose with what listeners might consider their pre-ordained ‘roles’. ‘Primarily the songs themselves were started either by Nick or Neil individually,’ Van Hoen explains, ‘but then edited, developed and generally messed around with and rendered almost unlistenable by either myself or the others. The roles were not always clear cut. Sometimes Nick would be playing keyboards and synths, and myself guitars.’ Lyrics on the record feel like another texture, another layer: sometimes they’re invocatory chants, sometimes Halstead’s and Holton’s voices are ghosted by electronic manipulation, as on “Oh Crust”. Often there’s more going on than at first glance, and an index of the album’s lyrical concerns runs to ‘romance, sci-fi, places to go on holiday, real UFO abduction, the duality in the meaning of words, lament for the loss of psychedelic freedoms by the masses…’
“Stars Are Our Home” is brave and beautiful, mysterious and resonant. Its experimental edges never forget the importance of the pop moment; the best way to bring people around to your way of hearing is to seduce their ears, and there’s seduction plenty here, pure pop like “Take Heart”, the Other Green World of “I’m Back”, the closing driftwork that is “Look Out Here They Come”. A real head-wrecker of an album. And what does the future hold? The trio speaks as one: ‘Black Hearted Brother will grow and mature into something very sophisticated in the coming years. A kind of comedic-space-rock-dancehall outfit to define a zeitgeist for the 22nd century, if you like.’ Ha, yeah – amen, brothers!” (Press)

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21 enero, 2014 Posted by | Black Hearted Brother | Deja un comentario

Axolotes Mejicanos: Infectados (Elefant, 2013)

Infectados cover art

Los acabo de descubrir gracias a Está Pasando! (thanks), y reconozco que molan un montón. En su nube de tags en Bandcamp puedes encontrar sus principales influencias (nunca una autodescripción fue tan acertada):

elefant records juniper moon linda guilalalos bonsáis papa topo pop vulpes wild balbina alternative pop c86indie pop noise pop sunshine pop

Al mencionar Elefant, muchos de nosotros podremos identificar inmediatamente ciertos sonidos, como en el caso de Axolotes Mejicanos: Twee irónico, instrumentación sencilla, cajas de ritmos y verdadero buen gusto para realizar esos caramelos envenenados marca de la casa. Interesantes.

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20 enero, 2014 Posted by | Axolotes Mexicanos | Deja un comentario

Modo Bélica: Equilibrio (Viaje Infinito, 2013)

Equilibrio cover art

El día1 de Febrero tendrá lugar  en el Velvet Club (Málaga) la presentación de ‘Equilibro’ el nuevo trabajo de la banda Modo Bélica, la cual se dió a conocer en 2011 con una demo homónima autoeditada, gracias a la cual consiguieron un tercer puesto en el III Concurso Ojeando Nuevos Talentos (lo que les llevó a tocar en la edición del festival del 2012 compartiendo cartel con bandas como Second o Love of Lesbian), otro tercer puesto en el I Concurso Wild Weekend para nuevas bandas, y, asimismo, consiguieron colarse en la lista de mejores maquetas del 2012 elaborada por la conocida revista Mondo Sonoro. Ahora regresan con un trabajo más maduro y complejo a todos los niveles. ‘Equilibrio’ conserva los rasgos esenciales que la prensa y los fans han destacado en la banda de Málaga: “Pop rozando el indie mainstream, aunque con un halo que diferencia a la banda de cualquier otra de dicha escena” – Blog musical Monasterio de Cultura. Pero, al mismo tiempo, este nuevo trabajo supone un paso más, tanto en el plano musical (otorgándole un mayor protagonismo a los sintes, la producción y a las letras), como en lo tocante al despliegue de medios. ‘Equilibrio’ incluye seis cortes y sale en edición vinilo y cd en Otoño del 2013 al abrigo del sello Viaje infinito, plataforma creada por la propia banda para editar este trabajo así como otros proyectos futuros. Modo Bélica, convencidos de que su particular sonido merece un hueco en la actual escena indie nacional, da un paso más con la intención de que su música pueda llegar a un público más amplio. En este EP Modo Bélica demuestra que son muchos los colores y tonalidades que componen su paleta de sonidos: indie-rock guitarrero en el tema Perder la fe, reminiscencias noventeras en un tema extenso y complejo como Puedes venir, influencias de su etepa hardcore-emo en El arte de olvidar, pop gótico en Un regalo, pop bailable en Baile retro, e incluso, en esta ocasión, los malagueños se atreven con un tema lento folk rock con pinceladas electrónicas en el tema que da título al disco” (Prensa)

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20 enero, 2014 Posted by | Modo Bélica | Deja un comentario

Slippertails: Walk (Single, Fleeting Youth Records, 2014) / There´s a disturbing trend (Fleeting Youth Records, 2014)

Slippertails- There's A Disturbing Trend cover art

Nick Casertano tiene un concepto del Pop algo canalla. Pop de guitarras llevado hasta el extremo. Una especie de Pixies sobrecargados y algo sobreactuados. Su último sencillo es Walk, y está incluido en su último álbum, recién aparecido.

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19 enero, 2014 Posted by | Slippertails | Deja un comentario

Crashfaster: Further (2013)

further cover art

Sonidos electrónicos basados en tecnologías de los ochenta, vocoders, cercanía al 8bit… Sabéis que soy un absoluto desconocedor de la Música Electrónica, así que os dejo con su nota de prensa…
San Francisco based electronic band crashfaster are born from the ashes of discarded technology. The band have released their sophomore full length “further,” produced by Patrick Brown (Toro Y Moi, The Frail) and engineered by Sean Paulson. Retaining some of the chip music/analog drum machine core from the previous releases, “further” pushes the band’s sound in new directions. The album is available in digital and CD formats with a limited edition vinyl release planned for 2014

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18 enero, 2014 Posted by | Crashfaster | Deja un comentario

The Moas: The Moas (2013)

The Moas cover art

Hay mucho de bueno en este disco de The Moas. Por alguna razón que desconozco, el Shoegaze tiene algo que me atrae mucho, y es un género del que casi nunca me canso de escuchar sus diversas ramificaciones. The Moas son, como bien dicen, una especie de cruce entre Stereolab y Yo la Tengo. Y tienen mucho que ofrecer. Bellos paisajes guitarrísticos, ritmos a medio tiempo y melodías ocultas a la espera de descubrir. Buen disco.

Billowy guitar wafts, zoned vocal hosannas and highway rhythms. Bliss out and grow your hair to this… Pitching their musical tent somewhere between STEREOLAB, YO LA TENGO and a hard place, our gang got quite the way with a melody, a kind word, and a bit of cosmic roar to power the afterburners” (Bandcamp)

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17 enero, 2014 Posted by | The Moas | 1 comentario

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