The Winebox Inquiry: The Winebox Inquiry (2015)
La música de William Daymond (responsable de The Winebox Inquiry) transcurre plácidamente por los senderos del Jangle-Pop durante los primeros cortes de este mini álbum, para desembocar en algo así como una pequeña suite de LoFi-Acústico en los tres últimos. Un disco delicioso en el que nos encontramos un puñado de bonitas composiciones con una instrumentación justita y los arreglos imprescindibles para poder ser registradas. No dispongo de más información del disco más allá de la aparecida en su Bandcamp.
The Young Sinclairs: This is The Young Sinclairs (Ample Play Records, 2014)
Esta recopilación de Ample Play Records es a su vez un compilado de varios discos editados por la banda de Virginia The Young Sinclairs. Todo un canto a la música y el sonido de los sesenta-setenta, el Pop, la Psicodelia, el Power-Pop y otras hierbas…
“Chief singer/songwriter Samuel J. Lunsford will make you a believer, taking the vibe of 60’s heroes and truly making it his own. His voice, multi-talented musicianship and world-class songwriting have remained a constant throughout the band’s tenure, often handling all the instruments and vocals on their records himself (Oh yes – the records. So far The Young Sinclairs have released two LP’s, three 7-inches, seven CD’s, two cassettes, and appeared on numerous compilations). John Thompson engineers and mixes the majority of their recordings and up until recently played drums for the group. Another prolific writer and multi-instrumentalist, in the band’s new lineup he currently plays guitar, his main instrument, and is simply uncanny. Along with John, bassist/guitarist/vocalist Daniel Cundiff grew up in the green fields of Franklin County, known for its abundant White Lightning moonshine. Up until now, he mostly played bass exclusively in the group. Currently you’re likely to hear him stepping up to the mic and singing more of his own compositions, playing acoustic guitar on many of them. Apart from Samuel, he is the other main singer/songwriter of the group. He concurrently plays drums in the group Eternal Summers. Samuel’s older brother Joe now fills the drum seat. He grew up banging on Tupperware bowls as a toddler and graduated to a real drum kit at age 4. Him and Samuel have been playing music together all their life – and it shows. Apart from his masterful drumming, he also sings, writes, and plays guitar quite well. He is a genius sound engineer and built many of the band’s amplifiers and recording equipment himself. Rounding out the lineup is bassist/guitarist Kyle Harris, who also plays in the group The Diamond Center. Kyle met Samuel years ago in Athens, Georgia where they played a pick-up gig together at the Georgia Theatre accompanying local singer/songwriter Ken Will Morton. They ran into each other again when The Young Sinclairs started playing in Athens, after which Kyle and the rest of The Diamond Center moved to Texas. They hooked up again when Kyle and the band left Texas for Richmond, Virginia, where Joe was living. Kyle is a kindred spirit and seemed destined to eventually start playing with The Young Sinclairs. So there it stands”
Malka: The constant state (2015)
“New York City-based psychedelic dream-gaze outfit MALKA are releasing their debut EP ‘The Constant State’ on March 2, 2015. Recorded at both APT Studio (NYC) and Elohino studio (NJ), mixed by Darko Saric, and mastered at 825 Studios by Grammy Award-winning engineer Butch Jones (Madonna, Talking Heads, Iggy Pop, The Gun Club, B-52s), The Constant State takes listeners on a genre-melding journey, ebbing and flowing through the realms of dreampop, post-rock, nugaze, and psychedelic rock.
The songs are evocative both musically and lyrically, touching on metaphysical, existential and interpersonal subject matter with an honesty that resonates to an emotional core. Their music is a reflection of the triumph and tragedy of the world, compelling us to look deeper into the realms of our consciousness. Malka is trying to stretch the concept of songs to make them sound more like emotional lapses of time.
The vocal melodies assume an instrumental form and transcend language, adding transparency to bilingual Spanish-English lyrics shared between three lead vocalists” (Press)
Wild Balbina: Sisters before Misters (Elefant, 2015)
Debut en largo de Wild Balbina, el combo mixto gallego que se dedica a elaborar una bonita mezcla de Pop, Riot Grrrl, Garaje, Fuzz, C86… una diversidad de estilos que dan como resultado un disco más que disfrutable.
“Para empezar, “Stay Alive” es un encuentro perfecto entre los estribillos inolvidables de SHOP ASSISTANTS y las disonancias de PIXIES, una canción llena de esperanza que se transmite en las distorsiones de sus guitarras. “Looking Through You” mantiene las altas cotas de inmediatez, entre el tino melódico de ECHOBELLY y la fiereza eléctrica de BIKINI KILL, para hablar sobre el paso del tiempo y las mentiras que tratan de contrarrestarlo. Su sonido está presidido por una colección de descargas melódicas desatadas y desinhibidas como la que también asoma con “Blue Hour” y que contrasta con una letra que habla sobre la melancolía y los momentos más tristes, y que evidencia la posición vital de una banda con abundante actitud.
Como la que destila “R.G.S.N.”, que podría perfectamente ser un himno para el movimiento Riot Grrrl, y que no desentonaría nada en el repertorio de VIVIAN GIRLS o BRATMOVIL. “Winter Trees” echa el resto en el feedback, entre el muro de sonido de RINGO DEATHSTARR y la adictividad más pop de FASTBACKS, y en el que vuelve a contrastar la inmediatez musical con una letra que habla sobre la melancolía a la hora de recordar los años pasados. “Stoned Heart” nos deja otra gran canción pop bien cargadita de pedales y ritmos espídicos, como BEST COAST o unos URUSEI YATSURA bien pasados de reverbs varias. “Brainwash” mantiene la energía pero dejando la inmediatez por un desarrollo más noise que por momento los acerca a los SONIC YOUTH más caóticos entre frases de despecho y liberación.
Pero lo más importante de esta referencia, es que demuestra todavía más claramente las sensaciones que son capaces de crear WILD BALBINA: una dosis interminable de energía decorada con melodías redondas, estribillos inolvidables y ese magnetismo que impide dejar de escuchar “Sisters Before Misters” una y otra vez, como uno de esos directos purificadores que nunca quieres que acabe” (Elefant Records)
Blacanova: Regiones devastadas (El Genio Equivocado, 2015)
El sello barcelonés El Genio Equivocado publicará el próximo día 30 el nuevo largo de Blacanova. “Regiones devastadas” es el tercer álbum del grupo sevillano e incluye once canciones –grabadas por Raúl Pérez en los estudios La Mina– que dan una nueva vuelta de tuerca al universo oscuro y asfixiante de los hispalenses.
Entre el shoegazing, el dream pop y el post-punk, “Regiones devastadas” abre una habitación propia que resuena con referencias literarias y cinematográficas, situaciones absurdas y humor negro. Un viaje a las tinieblas existenciales” (RDL)
Love Cop: Dark ones (Gnar Tapes, 2015)
“The washed-out, blown-out love songs of Portland, Oregon’s Love Cop can be found on a handful of cassettes released on acclaimed underground record labels like Burger, Gnar Tapes and Lolipop. Using lo-fi recording equipment to capture its guitar, keyboard and electronic drumpad-centric creations, Love Cops’ ballads sound as if they’re originating from a David Lynch movie or an exceptionally bizarre ’80s public access show. On Dark Ones, the duos 5th tape available to pre-order now from Gnar and Lolipop, they stray further away from their garage rock and breezy pop labelmates, infusing the album with the sounds of early industrial, noise, and electro music, as well as a blissfully warped take on R&B. Somber and sullen within its hopelessly romantic aesthetic, even when the duo chooses major chords and uplifting tones, its eerie vision creeps through” (Press)
The Cave Children: Quasiland (Inner Ear, 2015)
Burbujitas y esencias Psicodélicas… The Cave Children acaban de publicar nuevo trabajo en Inner Ear.
“Two years have passed since their creation. Two years full of recordings and live performances and The Cave Children are now ready to share their first album, entitled “Quasiland”.
Dreamy psychedelic melodies, cinematic themes and raw garage rock outbursts are blended to accompany the existential and sarcastic lyrics of “Quasiland”. The title of the album with first synthetic the word “quasi” comments the political, social and professional uncertainty in which the album was completed and the lyrics of the 10 tracks suggest 10 different approaches to the meaning of Quasiland. The Athenian quartet has been influenced, among others, by the evocative soundtracks of Danny Elfman, The Beatles of 1969, Frank Zappa’s sarcasm, the British 90s, Greek music and the new psychedelic rock scene. The album was co-produced by Ekelon and The Cave Children with respect to the lo-fi aesthetics of the initial demos”
April Skies, A JangleBox Compilation (2015)
Nuestra nueva recopilación del mes de Abril se llama April Skies: una variopinta mezcla de trece cortes en los que encontrarás mucho Pop, Dream, Shoegaze, Fuzz…
Una bonita forma de despedir este mes de novedades, de buen tiempo y de aperitivo para el buen tiempo. En la portada, Ursula Andress en la playa…
Soundcloud
Smile Down Upon Us: Smile Down Upon Us (Wiaiwya Records, 2015)
“The second album from UK/Japanese group Smile Down Upon Us is released by wiaiwya on deluxe vinyl, in a delightful gatefold sleeve illustrated by artist Yuji Maruyama, on Record Store Day, April 18 (a CD version is released in Japan soon after). It’s a delicate, intimate, playful record that’s equal parts Cibo Matto pop, Vernon Elliott soundtrack and animated Marc Chagall painting, its music a perfect navigation between childlike wonderment, impish eccentricity and sophisticated intricacy.
Smile Down Upon Us is the duo of London-based multi-instrumentalist Keiron Phelan (littlebow, Phelan-Sheppard, Silver Servants, etc.) and Tokyo-resident singer/electronicist moomLoo. They are assisted on this album by, among others, guitarist/percussionist David Sheppard (Ellis Island Sound, Snow Palms, and Keiron’s erstwhile partner in renowned UK post-rockers State River Widening), cellist Katie English (Isnaj Dui, Doomed Bird of Providence, littlebow) and nomadic sonic alchemist Tui (Orla Wren).
Brimming with invention and gleaming instrumentation, the album proffers a cavalcade of plangent acoustic plucking, mellifluous woodwinds and head-spinning electronica topped-off with moomLoo’s sweetly exotic, acrobatic vocals and Keiron’s contrastingly declamatory baritone. Fans of Tunng, Psapp, Tenniscoats, World Standard, Lucky Dragons and Contact Field Orchestra will all find plenty to wet their whistles here.
moomLoo and Keiron were first introduced via social media and recorded the entire first Smile Down Upon Us album (which was also eponymously titled) by exchanging files and without ever meeting in person. That album was released in 2008, to much critical acclaim, by Static Caravan in the UK and by Yacca/P-Dis in Japan, since when Keiron and moomLoo have been in the same room precisely twice.
So, while it’s not quite Lost in Translation, part of the allure of the new album is in its own internal mystery and playful inscrutability. Its lyrics are sometimes delivered in Japanese, at others in English, and Keiron, who speaks no Japanese, generally has little idea what moomLoo (who commands only limited English) is actually singing about. These things, however, Keiron knows for sure:
The insanely catchy ‘Millwall’ is about a Japanese girl-gang who live in London and become unlikely football hooligans (while claiming they are no such thing).
‘Gusano’s Travels’ is about the worm in the bottom of a Mexican tequila bottle going on holiday and being too inebriated to build a leaf house(!) – the counting is in Polish (which neither Keiron nor moomLoo speak), and a nod to the Hans Christian Anderson ‘Inchworm’ song.
‘The gorgeous ‘Butterfly Morning’, meanwhile, is a cover of a song on the soundtrack to the Sam Peckinpah western, The Ballad of Cable Hogue.
Ultimately, exact meanings and precise definitions are not what this beguiling, multi-hued album is all about; but for anyone with open enough ears and room in their heart, it’s a record that offers a seductive, dream-like world that is joy to be immersed in again and again” (Press)
Shayne Carter & Peter Jefferies: Randolph’s Going Home 7″ (Flying Nun Records, 2015)
Flying Nun Records are pleased to announce the re-issue of Shayne Carter and Peter Jefferies’ 1986 collaborative 7” – Randolph’s Going Homefor this year’s Record Store Day.
Featuring two tracks written by Shayne Carter (Bored Games, Straitjacket Fits, Doublehappys) and Peter Jefferies (This Kind of Punishment, Nocturnal Projections) the song was Carter’s first recording following the sudden, tragic death of Doublehappy’s band mate and friend Wayne Elsey.
Randolph’s Going Home is a gentle, heartfelt nod from Carter to Elsey, mixed with Peter Jefferies’ sonically quirky sound, that, combined with the emotional sentiments have made this song so enduring. While on the b-side is the equally haunting Hooked, Lined and Sunken.
Jeff The Brotherhood: Wasted on the dream (Infinity Cat, 2015)
El último trabajo de los hermanos Orrall (el que iba a ser su segundo en Warner), nos presenta una ligera evolución de lo que fueron sus discos anteriores, con una cierta tendencia a composiciones algo más cercanas al Pop de influencias Grunge o guitarreras (Karaoke, Tn; Coat check girl, In my dreams -colaboración con B.Consentino incluida-, In my mouth, Prairie song). Es decir, algo más cercano a lo que podrían hacer Weezer o sus parientes lejanos The Cars: mucho hook y estribillos fácilmente reconocibles.
Pero la verdadera esencia de JTB está en el Punk-Rock y en el revivalismo más o menos reconocible del Acid-Rock de los sesenta, ahora que tan de moda está esta tendencia vía Ty Segall principalmente. Ahí es donde nos encontramos la esencia guitarrera de Wasted on the dream: Voyage into dreams, Black cherry pie, Cosmic vision, Mystified minds, Melting place…
Una cierta dualidad que nos presenta dos facetas de un mismo grupo. Reconocibles y complementarias. La música de Jeff The Brotherhood, aun sin descubrir recetas novedosas tienen mucho de emoción y de tripa para poder seguir emocionando. Eso sí, las guitarras de Jake Orrall ya montan seis cuerdas y la banda se amplía a cuarteto para sus presentaciones en vivo.
“Warner bankrolled Wasted on the Dream but dropped JEFF the Brotherhood just weeks prior to its March release, a situation that didn’t exactly make the band distraught (“We, JEFF the Brotherhood, are SO F****** PLEASED to announce that we have been DROPPED from the clutches of the demented vulture that is Warner Bros.,” they announced in a not entirely diplomatic press release). Such parting of the ways may suit both parties and it suggests what an odd little record Wasted on the Dreamactually is. Boasting a bigger, beefier production than usual JEFF LPs — a sign of the extra money at a major — Wasted on the Dream is hardly a crossover record. Certainly, there’s no disguising theWeezer remnants scattered throughout Wasted — the kind of alt-pop smarts that could conceivably mark a commercial commodity; “Prairie Song” follows all the contours of Rivers Cuomo‘s songwriting book — but they’re often obscured by sheets of heavy, heavy churning guitars that push the duo toward stoner rock. JEFF remain slightly too clean and poppy to be full-blown freakazoids, but these thick sheets of guitar do provide a bit of a heady thrill. If that thrill quickly dissipates after an equally sudden escalation — the pinnacle of weirdness is Ian Anderson coming in to trill some flute on “Black Cherry Pie” — it’s enough to dig JEFF the Brotherhood deeper in a cult ditch instead of getting them out of it. There’s also no denying that this emphasis on fuzz may not sit well with fans who favor JEFF when they’re all about the hooks, but those listeners should stick around until the end of the album, when the foggy hangover lifts and the duo gets back to basics. “Karaoke, TN” and “Coat Check Girl” are good neo-power pop, but what gives Wasted on the Dream its kick are those earlier moments, when the band wants to be a different band than it is” (All Music)
De la Soul: Ring Ring Ring (Rhythm Scholar Remix, 2015)
Rhythmn Scholar remezcla y personaliza el clásico de De la Soul: Ring Ring Ring, toquiteando aquí y allá y añadiendo fragmentos de Curiosity Killed The Cat, The Honey Drippers, Kraftwerk, Fat Larry’s Band, Lou Johnson, The Rolling Stones …y De La Soul!! Puedes descargarlo gratuitamente desde el enlace.
Eternal Death: Violence (SacredSacred Remix, 2015)
The Mary Onettes remezclan Violence, un tema original de Eternal Death.
“I wanted to make something more cinematic. My thought was to make something could be a lead theme for a movie. Also that the song have a more cinematic structure, that It tells a story from the beginning to end. But still be a good pop song at the same time.
Fun fact: The keyboard in the beginning is used in a famous soundtrack. Im not gonna say which one 🙂” (Philip, The Mary Onettes)
Dúo Divergente: Males modernos (2014)
El debut propiamente dicho de Dúo Divergente (Paula Ye Ye y Micky Montecarlo más Las Amigas Borrachas) se llama Males Modernos, una oda al nuevo orden social, musicalmente hablando o no. Una oportunidad apasionante para descubrir una de las bandas más divertidas e interesantes del nuevo panorama musical hispano.
El disco podría dividirse en dos partes: una primera en la que predomina el sonido más característicamente Divergente ilustrando de alguna manera esos Males Modernos que dominan a buena parte de la sociedad actual (¡Pánico social! /Avispas asesinas con la gripe A / ¡Pánico social! / Olas de frío polar / nos quieren asustar / nos quieren controlar / ¡Pánico social! / Es la última droga de consumo letal / ¡Pánico social! /La escalada nuclear). A base de guitarras de doce cuerdas, Nuevo Ye-Ye o revivalismo Mod convenientemente actualizado, DD nos exponen su visión vital: La vida total, Pánico social, Los únicos freaks del garito, ¡Bailo!, La camomila en el pelo y la divertídisima Endodoncia en Tijuana.
Pero hete aquí que los dos últimos cortes del álbum son dos desvíos musicales en los que Micky y Paula se pasan descaradamente a un sonido Jangle (la Rickenbacker 360/12 es una fija en las alineaciones de la mayor parte de los temas) que les instala en posicionamientos cercanos al Folk-Rock con la deliciosa Éxodo rural (una exaltación a la vida campestre) y Nana de la mujer de mañana, que como su propio indica, no es más que una dulce canción infantil con destinatario femenino.
Un precioso final para un mini álbum que no es más que la confirmación en un formato extendido de que Dúo Divergente se pueden convertir en breve en una de las bandas referencia del nuevo Pop cantado en castellano. Supongo que gracias a los tiempos del Bandcamp, Micky y Paula en breve satisfarán nuestras ansias de nuevo Mod. Por lo pronto, los puedes ver en vivo en Madrid, el 25 de Abril (La Graciosa) y el 30 (El Perro de la Parte de Atrás del Coche); y disfrutar de todos sus lanzamientos desde su página de Bandcamp.
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Fazerdaze: Fazerdaze (Ep, 2015)
“Girl in bedroom on guitar”. Así de sencilla y concisa es la definición de Fazerdaze. El sonido de Amelia Murray es un bonito ejercicio de Reverb-Fuzzy-Pop. Melodías que atrapan y estribillos deleitables.
The Mites: Bellows (Ep, Meme Dream Recordings, 2014)
The Mites, además de tener un nombre precioso para su banda, facturan un Fuzzy de guitarras realmente delicioso, muy al estilo Muffs – Fastbacks. Interesantes
Kissable, grade-A, lo-fi, drip-pop for the sensuous soul.
LA Font: Outside (Fleeting Youth Records, Single, 2015)
Oyendo los primeros acordes y el hook de este Outside, el último sencillo de LA Font, me acordé inmediatamente de algunos temas de White Stripes. Afortunadamente, los angelinos (que presentan nuevo trabajo el 23 de Abril) son menos viscerales y mucho más divertidos que aquellos…
“As one of the west coast’s most underrated bands, you can always count on LA Font to deliver a record full of catchy hooks, witty songwriting, and smartly constructed pop. According to lead singer Danny Bobbe, “Hangtime’s a record about not waiting around for something to happen. It’s about putting in work, kicking it out, washing your hands and starting again. Take the best part of a lemon meringue pie (the meringue) and a Dodger Dog (the Dodgers) and that’s Hangtime Vol. 1.” (Press)
The Belltowers: Here to stay/Lovin´you (leading me on) (Single, Market Square Recordings, 2015)
Tremendos ecos del Jangle-Pop en este sencillo de The Belltowers, un single de doble cara A en la que por un lado nos encontramos con una faceta algo más Psicodélica (Here to Stay) y en la otra un fantástico ejercicio de Folk-Rock absolutamente embriagador y Byrdsiano.
“The Belltowers second 45, a great Paisley Underground styled jangle-pop double sider. Here To Stay kicks off with melody and jangle, behind it laying the foundation are the familiar Belltowers sound of a Rickenbacker twelve string assisted along with Hammond Organ and in the break some interesting backwards guitar work.
The flip Lovin’ You, is total Byrdsian folk-rock, you’d be fooled to not thinking it was The Byrds, thats how great The Belltowers are” (Press)
Echo Lake: Era (No Pain in Pop, 2015)
El dúo londinense Echo Lake acaba de publicar su segundo larga duración, este bonito Era, un disco en el que inciden en lo que apuntaron en su primer trabajo (Wild Peace, 2012), ahondando más quizás en sonoridades más cercanas al Shoegaze más electrónico, ambiental o a lo que otros entenderán como Dream-Pop.
Ciertamente, sus descubrimientos no son muchos, pero sus siete temas se dejan oír fácilmente y no tienen ninguna incidencia ni estridencia reseñable (ya hablábamos de ésto en la reseña de hace dos años). En ellos, nos podemos encontrar ecos de Cocteau Twins, del Kraut, de los inevitables My Bloody Valentine, de algunos rasgos Psicodélicos, incluso de algunos destellos de los sesenta (el famoso Wall of Sound Spectoriano).
La música de Echo Lake probablemente peque de cierta frialdad, (cualidad que generalmente podemos encontrar en muchas de las bandas Dream), aunque la belleza intrínseca de sus composiciones es la baza que Era juega a su favor.
“Opener “Light Sleeper”, with its Krautrock synthesiser accompaniment, sets the mood of the record; intense, yet bittersweet. It’s also the first of many references to the unconscious, with the sleep and dream motifs of many of the songs mirrored by the hypnotic, somnambulant feel of the arrangements. The singing is a blur of sound throughout; the words are only occasionally audible, which fits their spacey atmosphere in the same way Liz Fraser’s voice did with the Cocteau Twins.
The song titles – which consist of either one or two words – like the songs themselves, are frequently onomatopoeic, most literally on “Waves”, the first single from the album. Starting with a marching band snare and a simple piano hook, the tremolo guitars dovetail the reverb-drenched vocal with an undulating funk bassline underneath it. If My Bloody Valentine’s Kevin Shields produced The Ronettes “Be My Baby”, it would sound something like this. It flits between moods, but the overriding emotion is sadness (one of the few discernible lines is “I haven’t slept today, are you walking away?”).
The title track is as poppy as Echo Lake get. With pared down drums which again employ a 60s girl band shuffle, it evokes the mellifluous and heart raising feel thatThe Jesus and Mary Chain brought to “Just Like Honey.” The vocal gives way to a lovely instrumental passage where the key and tempo shifts ever so subtly and unexpectedly into, well, not quite folk pop, but certainly a softer guitar jangle than elsewhere on the record.
“Dröm”, which naturally is the Swedish word for “dream”, starts with nearly three minutes of immersive feedback, before the drums and voice enter the fray and the song keeps building and adding colour throughout a delightful, never dull eight minutes. “Nothing Lasts” is a heartbreaker bathed in a warm sunlight glow, with touches of acoustic guitar underscoring the spaced out vocal, alongside a sparse rhythm and keyboards. You can easily imagine it stripped down to just guitar and voice, for all the atmospherics and embellishments of the arrangement, at heart it’s a simple lullaby, a paean to enjoying the moment, but also a lament about ephemera. “Don’t waste your heart on it, it doesn’t matter to me.”
The closing “Heavy Dreaming” returns to the theme of the unconscious. It clocks in at just over ten minutes, but it’s so well executed it doesn’t outstay its welcome. There’s a wonderful guitar hook that sounds like the psychedelic droning The Byrdsexplored on “Eight Miles High”. The vocals sound angelic rather than ominous and ebb and flow, occasionally submerged underneath the music. The refrain picks up around the five minute mark and from there on in it’s a guitar bliss out par excellence.
As an elegy to Hayes, Era is a beautifully crafted tribute to their friend, but it’s also a statement of intent, which is to keep moving and create music that mixes the ups with the downs, euphoria with despondency, in a voice that is their own. With the reformations of some of its leading lights, shoegaze is suddenly back in fashion, but with Era, Echo Lake are walking their own dreamlike path. Perhaps we should call what they do ‘newgaze’ instead” (The Line of Best Fit)
Dutch Barn: About time (Eardrums Pop, Ep, 2014)
Dutch Barn son una agrupación londinense de esas que de vez en cuando se dedican a facturar un bello Pop de guitarras con muchas influencias del LoFi de Pavement–Guided by Voices. En este Ep han dejado de lado su faceta más Neo-Folkie. Su propia definición: “Indie reverbalists”. All right !!
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The JangleBox, 10th. Anniversary
