The JangleBox

Indie, Noise, Shoegaze… Music

Beck: Morning Phase (Capitol, 2014)

Cover for Morning Phase

Quise realizar una crítica más o menos objetiva del último trabajo de Beck para esta entrada. Muchos esperan constantemente el nuevo Odelay. Que el californiano siga epatando con su música, con sus experimentes electrónicos o con su mezcla de Folk, Pop y demás elementos de su antigua batidora.
Morning Phase es evidentemente, una continuación (lógica) a Sea Change, su álbum acústico de 2002. Pero he aquí que acabo de encontrar una reseña de uno que realmente puede entender de ésto y puede encontrar un auténtico significado a la música actual de Beck. Hablo de Lou Barlow. Éstas son sus reflexiones:

I don’t know if jealousy is the right way to describe how I feel about Beck.  He does, however, remind me of my own shortcomings.  I don’t know if I covet what he has, in the dark, Biblical sense, but I do wish I had a functioning studio (and an assistant or two) in my garden.
But, y’know, we all make choices, and my choices, for whatever reason, have led me in tight, anxious circles that are reflected in my music, which is, as a consequence, rarely as expansive as Mr. Beck’s. So, first off, when listening to Beck I have to overcome this flood of mixed feelings — I have to put myself aside for awhile.
I’ve listened to Morning Phase first thing in the morning for a week.  My first impression: Sea Change 2. The opening slow symphonic whooshes recall the harmonic palette of that record, so the songs, at first, only trigger memories of “The Golden Age” and “Lost Cause.”  Sea Change was a record that drove me crazy. Why? It was too fucking good, that’s why.  In 2002 (the year of its release) I was picking up the pieces from some disaster in my life and not making my masterpiece. Meanwhile, by all accounts, Beck was.
But, also, Sea Change felt both too good and not good enough. Does saying “not good enough” speak to a personal and perhaps petty inability to be truly absorbed by it, or were the textures and words not conspiring in an emotional tidal wave, commanding my full attention and bringing me to the edge of openly weeping?  I didn’t know, so I revisited the album.
And you know what? Time has definitely brought us together, Sea Change and I.  It’s not making me cry, but it’s amazing.  There’s far more going on stylistically than the atmospheric folk that characterizes its best-known (to me, anyway) songs. “Paper Tiger,” for one, is another of Beck’s perfect beasts, a masterful mix of a dozen styles and flat-out gorgeous.
So: Morning Phase. From the opening splat of the snare, my white guy comfort zone is massaged by its steady plod.  (Think Neil Young’s Harvest.)  Morning Phase keeps that pace throughout.  Turns out it’s not actually Sea Change 2 but it does further explore the tantalizing Gordon Lightfoot feel of “The Golden Age” and the more Neil-like songs on that album. In a literal sense, it’s “cosmic American music.”  And “cosmic American music” is the ultimate aspiration of a songwriter such as I.  First used to describe Gram Parsons and his International Submarine Band back in the mid ’60s (by Gram himself, I think),  it’s country music readdressed and spread across the sky, modernized. Beck’s country music is warm and psychedelic, familiar and challenging. I suspect Gram himself would have been knocked out by it.
The new Beck record is an exploration into just one side of his musical persona, of course. He’s probably on to his next “phase” by now. But, at heart, he is a fucking great folk singer (his first handful of records demonstrate that) and by extension a great cosmic American artist. I’ve seen him do jaw-dropping recreations of Hank Williams and Elliott Smith in a live setting. He was part of the “anti-folk” movement in NYC back in the early ’90s and his off-the-cuff  songs from that era are still among my Beck favorites (“Steve Threw Up,” “Fume,” etc.).  The songs on Morning Phase are meticulously crafted and laid their eggs in my brain quickly. The memories of “Golden Age” are giving way to “Say Goodbye” and I suspect that, in time, the whole album will unveil its gifts. But, as with Sea Change, it’ll probably take me another 10 years before I can properly give Morning Phase its due.  The strange thing is that, though I’ve listened to Morning Phase several times, I still don’t know what the words we use to say goodbye are. His voice is front and center, as it should be, but I have a hard time following the lyrics.
I’m still puzzling over why I can’t engage with his music on an emotional level. I thought for a second that maybe new music can’t make me cry but then I got a link to a new Low song on Facebook (I like FB for that reason, people posting favorite songs, etc.) and “Just Make It Stop,” from last year’s The Invisible Way, has me tearing up by the second verse.  Low explores a similar vein as Morning Phase without the prowess of Beck’s players or the awesome scope of his vision, but still, it hits me were I live.  There is an urgency to Low that comes through in even their most glacial music. By contrast, Beck is so firmly in control that when he’s at the wheel I curl up in the back seat and drift off.   Low has me up and looking around, anxious and aware as we, possibly, plunge off a cliff.

The thing that I equate most with Beck is  generosity.  He uses all the resources he has to make the most interesting music he can. After starting this piece, I headed out to the garage and started recording again.  Beck reaches and so should I” (The Talkhouse)

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27 febrero, 2014 Posted by | Beck | Deja un comentario

Aheadphonehome: Dream reverb (LoFly, 2014)

dream reverb cover art

Aheadphonehome es una formación australiana que acaba de publicar su segundo trabajo discográfico desde aquel In the static (2007). El grupo ha dado forma a un disco que pasa de sonidos descaradamente LoFi´s (Hunters complete) a una segunda parte del mismo en el que su música da un giro radical hacia posturas mucho más cercanas a la experimentación y a sonidos algo más arriesgados (Wilderness tips).

Aunque tampoco les disgusta pasar rozando el Kraut (Donward runs), o el Post-Rock (Think music, Levelling). Una propuesta interesante de la que puedes disfrutar tecleando el precio que consideres oportuno. Un ejercicio musical en el que puedes encontrar una buena parte de la expansión del Pop en un sólo trabajo.

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26 febrero, 2014 Posted by | Aheadphonehome | Deja un comentario

Ringo Deathstarr: God´s dream (Club AC30, 2014)

Ringo Deathstarr - Flower Power (from GODS DREAM 2013.12.18 ON SALE)

El último trabajo de los tejanos Ringo Deathstarr es un tanto errático. Primero porque es un trabajo editado primeramente en Japón y sin fecha aún de edición en Europa y resto del mundo.
Segundo, porque ya desde las primeras escuchas, la impresión que me produce es la de un disco más bien surgido tras la reunión de material diverso e incluso de descartes. No quiero pecar de injusto con un grupo que realmente me gusta, pero God´s Dream es un álbum que no me llama demasiado la atención. Han invitado a músicos como Adam Franklin (Swervedriver) para colaborar en Nowhere o a Jeff Schroeder (Smashing Pumpkins) para Chainsaw morning. Y precisamente la influencia de la banda de Billy Corgan es una de las que me vino a la cabeza tras escuchar Gods dream. Y también precisamente la megalomanía que les condujo a su fin. Espero que RD no caiga en ese mismo error, ahora que ya han conseguido sonar en parte a aquellos…


Austin shoegazers Ringo Deathstarr have released their new mini album ‘Gods Dream’ in Japan viaVinyl Junkie. Hardcore fans will want to pick up the Japanese version as it includes bonus tracks (‘Romantic Comedy’, ‘Frisbee’ and ‘Convertible’). The rest of us need to sit tight til the global release date next month, coupled with fresh tour news. The first single ‘Flower Power‘ impressed and the rest of the EP doesn’t disappoint. Guest guitarists Adam Franklin (Swervedriver) and Jeff Schroeder (The Smashing Pumpkins) add their talent to the diverse collection of songs. ‘Gods Dream’ keeps you guessing, with ambient lullabies (‘Shut Your Eyes’) contrasted with bold rock numbers and the borderline industrial ‘Nowhere’. Without a doubt, this release includes some of Ringo Deathstarr’s best work. Take a listen to the dreamy title track featuring Alex Gehring on vocals, backed by some brilliant guitar tones” (Sounds Better with Reverb)

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25 febrero, 2014 Posted by | Ringo Deathstarr | Deja un comentario

Burrito Panza: Una familia desestructurada (El Genio Equivocado, 2014)

Burrito Panza - Una familia desestructurada

Burrito Panza volvían a dar señales de vida a finales del 2013 con un primer adelanto del que sería su nuevo LP. Fue el tema titulado “Un riesgo necesario” el que daba el pistoletazo de salida a las nuevas canciones de los albaceteños. Tras un debut fascinante titulado “Solo y mal acompañado”, editado en 2011 por El Genio Equivocado, llega el turno al segundo asalto, al que han titulado “Una familia desestructurada”, trabajo que editarán oficialmente el 24 de febrero de 2014. Tras estrenar a principios de este 2014 otro de los temas, “El paciente tranquilo”, nueva muestra de lo que prometía ser un LP lleno de canciones enormes, llega ahora el LP completo, que puedes escuchar en la web de Rockdelux. Y sí, es enorme.
El álbum, que representa un salto cualitativo importante, fue grabado y mezclado durante el mes de agosto de 2013 en los estudios de Paco Loco en el Puerto de Santa María y colaboraron en su realizaciónIsabel León (Is), Joaquin PascualSamuel CuevasPablo Errea (Edwin Moses), Paco LocoMuni CamónMaría Jesús Trives y Laura MartinezPaco Loco ha sido el productor y Ana Cuevas ha realizado el art-work del disco.
Burrito Panza son Carlos CuevasJosé Manuel Mora y Carlos Flan, y en este segundo trabajo se incorpora Rafa Caballero. La formación original cuenta con miembros de grupos tan importantes dentro de la historia del pop-rock nacional como Surfin’ BichosMercrominaTravolta y Alienistas deFernando Alfaro. Con todo, a pesar de que la sombra de todos esos grandes grupos es alargada, el devenir del grupo se desvincula con este disco definitivamente de la sempiterna comparación con los clásicos albaceteños. “Una familia desestructura” representa la confirmación y la concepción de un universo propio, un ente particular dispuesto no ya a alcanzar un puesto relevante entre los grandes de Albacete, sino también entre las grandes del pop-rock nacional. Canciones las hay, ahora es cuestión de tiempo” (Prensa)

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24 febrero, 2014 Posted by | Burrito Panza | Deja un comentario

Muñeco: Triscaidecafobia (El Genio Equivocado, Single, 2014)

“Con “Triscaidecafobia“, el grupo anticipa algunas de las texturas y sonidos que podremos encontrar en lo que será su primer larga duración: la combinación de psicodelia, pasajes ambientales y música de baile.
Triscaidecafobia” es un viaje donde la psicodelia de su primera parte deja paso a una segunda cuyo sonido podría ser el de una fiesta rave en Venus, con lugareños sudorosos alzando los tentáculos a la luz del sol poniente mientras un maestro de ceremonias repite como un mantra la palabra mágica: triscaidecafobia” (Prensa)


24 febrero, 2014 Posted by | Muñeco | Deja un comentario

Power Pyramid: Insomnia (Nice People Records, 2014)

Insomnia EP cover art

Segundo trabajo discográfico de estos Shoegazers de Oklahoma. Con Insomnia, Power Pyramid ahondan un poco más en las sonoridades más Noise de la banda, dotándola de algo más de profundidad en su sonido. Puedes escucharlo en su Bandcamp y comprarlo desde aquí.

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22 febrero, 2014 Posted by | Power Pyramid | Deja un comentario

Power Pyramid: The God Drums (2013)

The God Drums cover art

Los clásicos loops de guitarra del Shoegaze, las bases rítmicas secuenciadas, las guitarras distorsionadas, las voces etéreas… son los ingredientes principales de la música de este combo de Oklahoma.

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22 febrero, 2014 Posted by | Power Pyramid | Deja un comentario

Mascot Fight: Abscond and Hey Presto! (Cassette County, 2013)

Abscond And Hey Presto! cover art

Si hace un par de semanas hablábamos del último lanzamiento de Stephen Malkmus, es de justicia acordarse hoy de Mascot Fight. Los británicos son un perfecto ejemplo de lo que es hoy en día una banda Indie. Gracias a la autogestión consiguen una verdadera independencia a todos los niveles, incluidos comercial y artístico.
En este segundo trabajo, MF han conseguido dar una vuelta de tuerca a su Indie-Pop alegre e irónico. Su música tiene tanto de LoFi como de C86 como de Punk-Pop. Sus letras son desenfadadas y sus temas de tres minutos son la banda sonora ideal para alegrar el día de cualquier oficinista aburrido tras una mesa de escritorio.
Abscond and Hey Presto! no les va a hacer ricos, pero sí que enriquecerá nuestros reproductores y nuestros oídos.

All c86 jangle and Belle and Sebastian feyness, this four-piece from Derby / Newcastle like to keep things neat yet full of noisy power. Like the band’s name, their silly titles conjure up a sense of fun – ‘In The Mouth a Dessert’ is a Pavement homage in name only, though sharing some of their ragged lo-fi-nesse, while ‘title track’ Vanuatu is kind of Camera Obscurish in its wide-eyed optimism.
Lyrically they’re not laugh-out-loud, more just wry and wittily clever – “That mistake that cost your life is one that you do not make twice” a choice couplet, among many – if you like your pop that at once doesn’t take itself too seriously but which has a knowing intelligence about it, then look no further” /(Is This Music?)

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21 febrero, 2014 Posted by | Mascot Fight | Deja un comentario

Hehfu: Junk heart / The security of insecurity (Single, 2013)

Junk Heart cover art

El último sencillo de los galeses Hehfu es este Junk heart / The security of insecurity. Todo una declaración de amor por el Indie-LoFi guitarrero. Dos temas potentes para llevarse a los oídos, grabados para Bleeding Gold Records.

Junk Heart was recorded in Cardiff’s Sound Space Studios and is taken from the Welsh four piece’s, up and coming third album which will be out later this year. Showcasing a more dynamic, mature sound but holding on to their noise pop roots, HEHFU’s next batch of fuzzy pop gems promises to be their best yet” (Press)

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21 febrero, 2014 Posted by | Hehfu | Deja un comentario

Math and Physics Club: Our hearts beat out loud (Matinée Recordings, 2013)

Math and Physics Club - Our Hearts Beat Out Loud sampler‘Our Hearts Beat Out Loud’ is the third studio album from our favorite North American pop stars Math and Physics Club, and their first since 2010’s sparkling ‘I Shouldn’t Look As Good As I Do’ LP.
The new ten song collection is the band’s most dynamic to date, confidently expanding their palette of subtle, literate pop and sprinkling it with hints of country, dub, distortion, and Graceland.
Ethan Jones, the band’s bass player and resident multi-instrumentalist, co-produced the album with Bob Schwenkler at Olympia’s fabled Dub Narcotic Studio. Their goal was to make an old fashioned album with two sides, taking advantage of the studio’s vintage analog equipment to get away from the sound of digital perfection and instead sound like a band playing together in a room.
With Charles already living in Olympia, and James and Ethan having deep connections there as well, Dub Narcotic was a natural fit, not to mention being ground zero for the legendary K Records. It was a perfect atmosphere for the band to relax and capture some of the feel of their early EPs.
The first single, ‘Long Drag,’ is surprisingly groovy with its schoolyard beat and staccato handclaps. The song was originally recorded as a straight-ahead rocker, but after playing a cut-up dub version for some friends the band decided to keep it.
More surprises follow with ‘We’re Not Lost,’ a brooding anthem to teenage heartache with its angular guitars and snap-tight drumming. Meanwhile, ‘My Crooked Arms’ strips away the drums and bass to reveal an emotional core of raw lyrics and guitars, accented beautifully by cello.
For you vinyl aficionados, side two opens with ‘We Didn’t Run From Anyone,’ a country-leaning ballad about love on the rocks (what else?), with Ethan’s gentle fingerpicking and breezy organ setting the scene.
The album closes with a dramatic one-two punch. ‘That’s What Love Is’ is a classic jangly rocker that’s sure to please the most ardent anoraks with its shades of Brighter, while the album’s final surprise, ‘Road Carry Me Home,’ is a lovely piano and cello driven heartbreaker” (Press)

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20 febrero, 2014 Posted by | Math and Physics Club | Deja un comentario

Shake Some Action!: Catch the sun (Satellite 451 Records, 2014)

Catch The Sun cover art

Con ese nombre, es lógico que algo bueno salga de sus guitarras. Una vez hecha esta premisa personal, acercarte a la música de Shake Some Action! es algo natural, algo que debes hacer sabiendo lo que te vas a encontrar: Power-Pop, Jangle-Pop y básicamente sonidos no demasiado distorsionados.
Ahora bien, los de Seattle han evolucionado en este segundo trabajo y se han dejado por el camino parte de esa visceralidad powerpopera de la que hacían gala en su primer disco: Full fathom five (2013). Ahora los temas son algo más calmados, se detienen algo más en los detalles y les da tiempo a sacar a relucir más detalles que entonces, aunque (y ése es un detalle a mejorar) el disco en general adolece de ese gran sencillo con estribillo contundente, como es propio del género.
En cualquier caso, se trata de un trabajo de calidad y al que puedes dar una oportunidad oyéndolo desde su Bandcamp y adquiriéndolo a precio de saldo.

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19 febrero, 2014 Posted by | Shake Some Action! | Deja un comentario

Shake Some Action!: Full Fathom Five (2013)

Full Fathom Five cover art

This band just keeps getting better! Rickenbacker 12-string riffs are literally busting out on every track. “Rivers of My Mind” takes top honors as my “Song of the Month,” but it just nosed out several of the other tracks on this disc. Full Fathom Five is an early contender for 2013 Top Ten honors” (Pop Geek Heaven)

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19 febrero, 2014 Posted by | Shake Some Action! | Deja un comentario

Sauna: Cheap date (Burger Records, 2013)

Cheap Date cover art

A Sauna les conocemos desde sus comienzos. Han pasado dos años desde su sencillo de debut, y en este tiempo han tenido oportunidad de dominar algo mejor su técnica, de mejorar sus calidades como músicos, y de publicar un álbum de debut, este Cheap date, con el que los de Denver han subido un pequeño escalón para colocarse como un grupo de Glam-Pop con ciertos aires surferos, kitsch y por qué no decirlo, algo petardos en algunos momentos.
Su música es algo así como un Twee algo descarado: 

Born from toxic sludge leaked from the Beach Boys’ amps

Me ahorraré cualquier tipo de comentarios sobre esa especie de Burt Reynolds en porretas que ilustra su horripilante portada…

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18 febrero, 2014 Posted by | Uncategorized | Deja un comentario

Amor de Tokyo: Mentiras (Single, 2014)

“Entre el pop sin tontería, el indie-sensación, el post-rock y la canción demoledora…”
Mentiras es el adelanto del nuevo disco de Amor de Tokyo, que verá la luz el próximo 26 de Febrero.


17 febrero, 2014 Posted by | Amor de Tokyo | Deja un comentario

Alpaca Sports: Just like Johnny Marr (Video-Single, 2014)

Los suecos Alpaca Sports están a punto de editar el que será su álbum de debut: Sealed with a kiss, que aparecerá a finales de este mismo mes de Febrero. Su último adelanto es este delicioso corte de Twee-Folk llamado Just like Johnny Marr. Toda una declaración de intenciones…


16 febrero, 2014 Posted by | Alpaca Sports | Deja un comentario

Wild Eyes: Lose your head / Beneath your skin (Single, 2013)

Lose Your Head cover art

Los angelinos Wild Eyes pasan su tiempo “Recording sonic sounds for your listening pleasure“. Intención absolutamente loable si el resultado final es como este Lose your head/ Beneath your skin, su último single, dos tremendos dardos absolutamente envenenados del mejor Fuzzy-Noise-Pop. Más que disfrutable.


15 febrero, 2014 Posted by | Wild Eyes | Deja un comentario

Ghost Wave: Ages (Flying Nun, 2013)

Ages cover art

Grabar bajo el amparo de un sello mítico como Flying Nun parece que te da cierto halo de calidad. En el caso de Ghost Wave, esta premisa se cumple. Los neozelandeses han publicado un álbum de debut absolutamente epatante. Un trabajo donde Psicodelia, Rock-Ácido, Pop lisérgico y Kraut se dan la mano en todo momento.
Un disco repleto de guitarras jangle, de riffs llenos de vida, de largos desarrollos propios de otra época.

The Ghost Wave sound finds itself somewhere between the Flying Nun bands of the 80s, the British explosion of the 1960s and the wayfaring dubs of Lee “Scratch” Perry…”

“Ghost Waves´debut album, Ages, spins like a time machine caught in endless loops, sandwiching the liberating freedoms of the ’60s and the hazy psychedelic rock of Flying Nun Record’s ’80s catalog to manifest a lush rock ‘n’ roll force. While their first showing proves to appeal enough for a surface-level listen, it fails to pursue past that base enjoyment.
In an effort to make their retro-leaning rock relevant to today’s standards, Ghost Wave drives their instruments through distortion recalling modern, noisy psychedelia like Deerhunter, penning groovy jams that could last for hours. Frontman Matthew Paul leads the band to ”react to the change” as he coasts with a natural, laid-back rock demeanor and occassional sassy vocal punctuation. The band follows with a dominant forefront of distortion and a perseverance to reshape the leading melodies in unity. This is especially evident in “Bootlegs”, as they trade off between full-band ruckus and string-exclusive headbanging.
“Arkestra” serves as the centerpiece of Ages, an instrumental stratosphere of psychedelic warps, its dynamics fluidly shifting to intermittently excite and calm the ears. The album is loaded with a mastery of structure and instrumentation, but the band comes up short in breaking this stagnancy, the tracks too easily blending into each other in a forgettable wash” (

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14 febrero, 2014 Posted by | Ghost Wave | Deja un comentario

Mikal Cronin: MCII (Merge, 2013)

La batidora musical de Mikal Cronin se puso de nuevo en marcha en 2013 para facturar este MCII, un gran disco repleto de melodías absolutamente arrebatadoras y mezcla de estilos diversos: Folk-Pop, Countryside, LoFi, Pop… todo un crisol sonoro resumido en un solo trabajo. Una obra ejemplar que resume la trayectoria impecable de este nuevo… ¿krooner eléctrico?, ¿O cantautor moderno? ¿O frontman ecléctico?

Do I shout it out?/ Do I let it go?/ Do I even know what I’m waiting for?/ No, I want it now/ Do I need it, though?” Throughout MCII, Mikal Cronin gets in these ruts. His lyrics are delivered as someone who’s never fully sure of his next move and who’s completely unclear about his ambitions. He’s sure that he’s in love, but he keeps letting it slip away. Somehow, he keeps mucking up his day-to-day communication. It never used to be like this. He keeps talking about how time is getting away from him, which might be his way of acknowledging a crisis about getting older, though it’s just as likely that he’s accidentally spending hours clicking on YouTube videos. He wonders if he’s wrong. (He doesn’t think so.) He consistently has good intentions, but he’s inadvertently prone to choking on the follow-through. He sums up his turmoil pretty well in “See It My Way”: “I hear the song– I wanna sing along with you/ But when I try I’m out of tune/ I turn and walk away.” It’s a sweet and snappy sentiment from someone who’s ultimately out of sync. This is Cronin’s pop poetry for the aloof.
So it’s somewhat ironic that MCII is also his most fully realized, beautifully arranged, and well-crafted work to date. Since he’s spent the past year shredding for the masses in the Ty Segall Band, it’s easy to forget that he recently earned his B.F.A. in Music and learned how to compose for different instruments. He rightly noted that his education came in handy for hisMerge debut, which subs out some of the psych freakouts from his first album for string arrangements. K. Dylan Edrich, who recently contributed strings to Thee Oh Sees‘ most recent two albums, lends her talents to a handful of songs, from the plaintive violin solo on “Peace of Mind” to the frantic viola on “Change”.
One of the most impressive things about MCII is how Cronin balances “power” and “pop”. He makes the “pop” part of the equation look effortless– in 10 songs, he offers 10 solid, catchy melodies. When it comes to “power,” he’s much more conservative than he’s ever been before– especially when you consider Slaughterhouse. There are entirely acoustic songs here that pretty well prove that he doesn’t need to rely on punk rock sludge. So when the tender stuff is over and he steps on the fuzz pedal, the effects are extremely satisfying.
Album closer “Piano Mantra”, for example, begins with a particularly fragile-sounding Cronin singing “I’m tired, I’m sick, I’m broke up.” Edrich’s strings are quietly introduced, then an acoustic guitar and some drums, and finally at the end, a feedback screech ushers in a distorted electric guitar. It doesn’t even take center stage or threaten to become the main attraction– it just adds a sturdy, noisy spine to Cronin’s formerly delicate ballad. Everything– strings, fuzz, slide guitar, etc.– is purposefully and carefully implemented. He uses the more muscular sounds to offset his bubblegum jangle, and while he did ask Ty Segall to lend a hand on the album, he only brought him on board for two guitar solos. Neither are very flashy– they’re well-placed bursts of power that complement the melody.
There’s one moment in particular that puts to rest any notion that Cronin is just a glorified garage sideman: “Don’t Let Me Go”, the only track Cronin recorded entirely by himself at home. It’s just him, his acoustic guitar, and his voice singing both the melody and harmony. With that skeletal structure, he loses the “I’m not sure what’s next or why I act like this” tone and gets straight to the point. He pleads for the person he loves to give him another shot. “You’re all I know,” he sings in his falsetto. It’s the most direct, vulnerable statement he’s ever made, and in an album otherwise packed with uncertainty, it’s powerful.
Cronin has said that his first favorite album was Nirvana’s In Utero– a record noisily recorded with Steve Albini before the band went to R.E.M./Katrina and the Waves producer Scott Litt to soften a couple of the album’s songs. There’s a loose analogy at play here– Cronin recorded MCII with Eric “King Riff” Bauer at his Bay Area shred factory, Bauer Mansion. Later, he had the album mixed and mastered at Berkeley’s hallowed Fantasy Studios. (Cronin has admitted that he got the idea from Segall, who worked in those same two studios for Twins.) The outcome is a great sounding album that sits nicely between the poles of “fuzz war” and “cooing balladeer.” Cronin has proved with this album that, like Cobain before him, he’s so much more than a longhair with a fuzz pedal. He’s an excellent pop craftsman who knows how to turn the power up for maximum effect” (Pitchfork)

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13 febrero, 2014 Posted by | Mikal Cronin | Deja un comentario

The Plastic Pals: The final remedy (Single, Polythene Records, 2014)

Unos viejos amigos, The Plastic Pals, llegados desde Suecia, nos ofrecen nuevo sencillo para este comienzo de curso. The final remedy continúa en su línea de Americana revitalizada, de toques Power-Pop y de reminiscencias ochenteras a lo Jason & The Scorchers. Un bonito tema.


13 febrero, 2014 Posted by | The Plastic Pals | Deja un comentario

Flyying Colours: Flyying Colours (Shelflife, 2014)


Gotas de Agua

Partiendo de la premisa de que no nos vamos a encontrar sonidos novedosos en este Ep de debut de los australianos, los chicos sí que os pueden garantizar que vamos a encontrar mucha emoción e intensidad en su sonido.
Los más recalcitrantes me reprocharán precisamente éso, que suenan a Shoegaze de manual, pero Flyying Colours tienen ese no sé qué, esa intensidad que me encanta encontrarme en temas como Wavygravy, Bugs, Like you said, She leavesShoegaze, Madchester y Post-Punk se dan la mano en este Ep que fluye en tus oídos con la rapidez de las gotas de agua que caen en tu ventana en una tarde de lluvia. Muy recomendable. Por cierto, Shelflifle y Club AC30 van a reeditar este Ep de 2013 en Usa y el Reino Unido respectivamente en este comienzo de año.
Gracias a nuestro amigo y ojeador Campos.


True to their name, Flyying Colours unashamedly display their influences in this debut: tone bending MBV/Swervedriver guitars, Ride’s bass hooks and the familiar soft hush of early 90s male/female vocals. Add to that their own edgy, refreshing pop-mindedness and it makes for five completely brilliant tracks. 
The EP includes pile-driving single “Wavygravy”, a layered noise anthem jumped on by national radio and the international shoegaze blogosphere on its Oz release last April. Other stand out tracks are psych-rock opener “Like You Said”, “Feathers” with its chorus-y jangle and lush vocals and the cool-down of closing track “Bugs.” 
Formed in 2011, Flyying Colours is Brodie J Brümmer (vox/Guitar), Gemma O’Connor (vox/Guitar) and the drums & bass of brothers Sam and Joshua Dawes. Before “Wavygravy” they received a lot of attention for their explosive live shows, setting them well apart from others occupying Melbourne’s growing 90s/shoegaze scene. Flyying Colours have just completed an Australian tour and are currently recording tracks for their debut album” (Shelflife)

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12 febrero, 2014 Posted by | Flyying Colours | Deja un comentario

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