The JangleBox

Indie, Noise, Shoegaze… Music

Jules Rules: The JangleBox July Compilation (2015)

Los rigores estivales nos han azotado este año como nunca en los últimos tiempos, y para paliarlos de alguna manera, os propongo esta nueva edición de nuestros compilatorios mensuales. Jules Rules es un atractivo cóctel de diez temas en los que en esta vez predomina más el componente más Pop que otra cosa. Estamos en verano…

31 julio, 2015 Posted by | Mixtape | Deja un comentario

Cheatahs: Murasaki (Ep, Wichita Recordings, 2015)

Con Murasaki, los londinenses Cheatahs, además de homenajear al novelista nipón Murasaki Shikibu, nos demuestran que continúan en plena forma revitalizando ese Shoegaze seminal al más puro estilo Swervedriver que tan bien se les da. 

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31 julio, 2015 Posted by | Cheatahs | Deja un comentario

Winter: Supreme Blue Dream (Lolipop Records, 2015)

“Individually, the songs are bite-sized morsels: densely packed pop treasures between two and four minutes long at head-bobbing tempo. Whether sensual (“Strange Emotions”) or wooly (“Crazy”), each song employs vintage Roland tones and effects that shake up the staid fuzz & ‘verb conventions many dreampop bands are departing from. “Someone Like You” opens with an 80’s chime and string hook that goes front to back at high velocity with the grounding thump of a Precision bassline. Samira’s rhythmic bilabials tiptoe through the bridge as her overdubbed leads soar into the modulating expanse, the bifurcated guitars and harpischord arpeggios bespoke with reverb. And that’s just the first song.
The slow-tempo “Like I Do” builds on a field recording and flute patch, holding indefinitely for the guitar’s acoustic strums and Samira’s chanting “They don’t know you like I do.” It’s the longest song of the album, building on the slightly melancholic “Some Kind of Surprise” with its reverse-swelling intro and half-hidden brass. “Don’t Stay Away” is my personal favorite: drum machine beats, polka-esque bottom end, and high dancing synths open up to a tone-cut overdriven guitar chorus, bending and sputtering as it dies. The instrumentation details the lyrics in shade and hue, lyrics that wax on adolescent feels and wistful sentiment. Half-masked in effect, Samira writes simply and directly to counterweight the adorning glitter in songs like “Waiting For the Summer,” “Flower Tattoo,” and the hazy “Pretender.” In this album, the verbosity is best left to the rosewood and the bell bronze, the capacitors and the diodes. We wouldn’t have it any other way.
Like the sativa-dominant strain that shares its name, Supreme Blue Dream envelops listeners in a collage of emotions and tonal colors, with catchy hooks that leave indelible marks on the ears and mind. Densely textured, the album wades through waters both dreampop and psychedelic, light-hearted in its lyricism and tonality. Songs explore themes of nostalgia, infatuation, and self-awareness in calculated structure” (Feed Me With Your Kiss)

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30 julio, 2015 Posted by | Winter | Deja un comentario

Outrageous Cherry: The digital age (Burguer Records, 2014)

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“Garage rock and psychedelic pop became fashionable again during the four years betweenSeemingly Solid Reality and The Digital Age, so Outrageous Cherry‘s return is nothing if not well-timed. Of course, Matthew Smith and company are lifers — this album arrives 20 years afterOutrageous Cherry — so the fact that The Digital Age was released by Burger Records is more of a reflection on the band’s impact on that scene than an attempt to be hip. Either way, Burger is a perfect home for them, and especially for their distinctly (and somewhat perversely) lo-fi approach this time around. Outrageous Cherry come wrapped in more fuzz and echo than they have in years, serving up all their different flavors of garage-pop and nodding to the Troggs, the Velvet Underground, and the Stooges along the way. The Digital Age‘s opening stretch of songs is almost unbelievably strong: “Energy” is the kind of good-natured, bouncy rocker the band perfected years ago; “You’re a Vortex” puts a spacy twist on Detroit garage; “I Think She’s All Right” tumbles in on scuzzy riffs and punchy toms that sound like the scruffier cousin of Television‘s “See No Evil” and the jangly “Department of Ghosts” floats on wonderfully bittersweet chord changes. Though Outrageous Cherry are often at their best when cramming three or so minutes full of pop goodness — particularly on the deliciously ambivalent “Priceless Thing” — the band also deliver some of their most enjoyable psych excursions in some time on The Digital Age‘s second half. There’s a distinctly lysergic feel to “Nameless Strangeness”‘ piano pop and the dense sonics of “Love & Other Electrical Storms,” but “Timing Ain’t Everything”‘s impassioned psych-blues might be the album’s most strikingly trippy moment. Given the band’s influences, it’s not surprising that a lot of The Digital Age sounds like a retreat from its title’s concept. As Smith touches on 21st century dysfunctions like transient stages and quality control over sounds that are very mid-20th century, it’s just another example of how this band cleverly prove that familiar doesn’t have to mean predictable” (All Music)

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29 julio, 2015 Posted by | Outrageous Cherry | Deja un comentario

Novella: Land (Synderlind Records, 2015)

Novella llevan juntos desde que comenzó la década y ha pasado un cierto tiempo preparando este álbum de debut y quizás les ha pillado algo el toro en el intento, pero este primer disco de los londinenses es una auténtica gozada: tiran de Kraut, tiran de Pop-Psicodélico, tiran de Shoegaze, de lisergia, de guitarras epatantes para facturar todo un señor debut que no debería faltar en el rincón de favoritos de este año.

NOVELLA“(…) Land is firmly indebted to them or any other band for that matter. Sure, valid comparisons can be levelled in places. For example, the dense textures on ‘Something Must Change’ rival Loop in their Fade Out phase, while Warren and Hollington’s vocal interchanges recall Miki Berenyi and Emma Anderson of Lush at their most effervescent, particularly on the pensive ‘Sentences’ and reflective ‘Again You Try Your Luck’.
What’s most interesting about Land is how Novella’s development can be traced through the inclusion of three tracks from Murmurs. The lead song off that EP ‘Blue Swallow’ (then titled ‘Blue Swallows’) takes on an altogether new persona here. Opening with a fractured drumbeat that echoes the one used by The Beatles on ‘Tomorrow Never Knows’, it goes on to encounter a series of twists and turns over the next five minutes, rendering it Novella’s most ambitious creation to date. Likewise ‘Phrases’, formerly an instrumental on the 2013 EP. Mesmeric and dreamy in parts, galloping in others. “I can’t do the things I used to…” declares Warren as poignancy fills the air. Album opener ‘Follow’ also gets a makeover here. Tucked away as the third track on Murmurs a year-and-a-half ago, it finds itself revitalised as the driving force and guiding light into Land‘s unchartered waters. Both pulsating in delivery and haunting in execution, it sets the scene incisively for the rest of the album.
Of course there will be murmurs (pardon the pun) that Novella may have missed the boat. That Land‘s gestation period could have been realised a tad earlier. But then that could also work in the band’s favour, as rather than get trampled among the umpteen psych rock releases this past year, they’ve delivered a record that stands alone and away from the crowd. Only time will tell what the next instalment holds, but for now Land is a fitting document for the first chapter of Novella’s fascinating evolution” (Drowned in Sound)

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28 julio, 2015 Posted by | Novella | Deja un comentario

Disco Las Palmeras!: Asfixia (Sonido Muchacho, 2015)


Toda una oda al Noise más epatante y al Shoegaze de guitarras. El tercer trabajo de los gallegos es un disco que no te va a dejar indiferente…

“A lomos de un sonido realmente abrasivo, en el que ganan peso los teclados y se aclara la voz, Disco Las Palmeras! han afinado además su olfato para las melodías pop, con Diego Castro desgranando en contraposición letras tan directas como pesimistas sobre el paupérrimo marco político-social que padecemos. Si en algún momento les habíamos demandado canciones más certeras, que les permitieran conformar un sólido repertorio de hits underground, temas como el aguerrido ‘Tarde y mal’ (con coros de Javier Molina, de Juventud Juché), el punk ‘Disparo’, el poliédrico ‘El final del círculo’ y el memorable crescendo de ‘Morir o matar’ son la respuesta adecuada. Y, al frente de todas ellas, se sitúa ‘Cállate la boca‘, para mí ya una de las canciones del año, destinada a convertirse en el punto álgido de sus directos, también gracias a una letra que podría estar dedicada a Mariano Rajoy, el Presidente oculto tras una pantalla de plasma” (Jenesaispop)

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27 julio, 2015 Posted by | Disco Las Palmeras! | Deja un comentario

Pethau Garw: Diolch am y croeso cynnes (2015)

El galés Ash Cooke (aka. Pulco), además de editar infinidad de álbumes y Ep´s autoeditados, nos presenta este proyecto paralelo, donde da rienda suelta a su creatividad en forma en este caso de Pop cercano a la Electrónica más experimental, el Spectrum o el Collage.

“With the new release ‘diolch am y croeso cynnes‘ (most of the song titles are welsh as well), ash seems to be exploring his interest in nurse with wound style industrial noise experimentation and the influences of the many artists on their infamous list. ‘diolch am y croeso cynnes‘ contains sound collage compositions made from field recordings, samples, prepared guitars, and other archaic implements. the classic dial-up modem sound makes an appearance, which upon reflection i realize some MFOA readers might never have heard in it’s original context” (The Modern Folk Music of America)


25 julio, 2015 Posted by | Pethau Garw | Deja un comentario

Juleah: Melt inside the sun (Konkord Records, Russian Winter Records, 2015)

Julia Hummer (“one woman psychedelia“) es la responsable absoluta de Juleah, un proyecto altamente atractivo de contenido a la par Psicodélico, a la par fronterizo. Algo así como la simbiosis perfecta entre SwerwedriverMazzy Star. Sonidos íntimos, personales, auténticos y desde luego, relajados y sentidos.

Juleah image“If Julia Hummer aka Juleah ever designed a car, its passengers would rather nestle themselves inside a hammock than into something as trivial as a seat. They’d be swinging lazily to the echoes of the drifting trees, and slowly they’d be swirling in the wake of the lanterns, who’d be sparkling in an unearthly tint of yellow.
Hey … who’s behind the wheel? Darling, who cares!
Be aware: Melt inside the sun (Konkord 087) is more than just a succession of songs. It’s a hypnotic vortex and a well of brilliant energy. It’s all dissolving into one, like one epic song.
Julia Hummers vocals have a dark touch to them, they are weary at times but unhesitant at most. They are travelling through soundscapes reminiscent of the playfullness of West Coast Psychedlia. But don’t get me wrong: there are surfguitars rampaging and hotspurring the waves. And there’s an organ, too, clearing the deck for the magic carpet ride. And there’s Juleah. Driven by a relentless beat and a yearning for a straightness, she’s finally putting no-nonsense into psychedelia.
Julia Hummer is not the nice girl next door, she’s the coolest kid on the block. And Juleah doing her own thing does get her the attention she deserves. The New Musical Express stated in 2014: [Juleah] „marks a beautiful midpoint between the wavering vocals and tender, spacious instrumentation of Mazzy Star and the anthemic drive of Ride.“
The Psychedelia-Department of Konkord-Records concludes: Melt inside the sun is the kind of record Spaceman 3 would have recorded had they been born on the sunny side of minimalism. It is more than just a great record, it is what an aural caleidoscope would sound like, with us inside, constantly circling around Juleah, in a hypnotizing motion, forever” (Press)

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24 julio, 2015 Posted by | Juleah | Deja un comentario

Kurt Vile: Pretty Pimpin (Video-Single, Matador, 2015)

Kurt Vile vuelve este otoño (en realidad nunca se ha ido del todo…) con Pretty Pimpin, tremendo temazo que anticipa un nuevo álbum para Septiembre.


23 julio, 2015 Posted by | Kurt Vile | Deja un comentario

Summer Fiction: Himalaya (2015)

Summer Fiction, el que fuera proyecto unipersonal de Bill Riccini, ha tomado forma de banda y en este segundo trabajo, nos presenta toda una gran variedad de sonidos y de registros que lo acercan, definitivamente, al Pop más clásico, a ese que nos evoca a (y cito textualmente):
“The Smiths, Big Star, Nilsson, The Zombies, Brian Wilson, ELO, Burt Bacharach, Elvis Costello, Velvet Underground, Belle & Sebastian, early Beatles, Todd Rundgren, Left Banke…”
No puedo seguir hablando más porque no hay mucho más de lo que discutir. Sus influencias son clásicas se mire por donde se mire: no hay resquicio a ningún tipo de riesgo ni de apuesta.
¿Su valor? Pues depende de cómo lo mires. Si lo que buscas es una apuesta novedosa, no te quedes a oírlo. Si lo que buscas son sonidos clásicos y un continuo homenaje a décadas pasadas, éste es tu disco. Sin dudarlo.

“There’s no harm in emulating your idols as long as you bring something new to the conversation. Bill Ricchini — a.k.a. Summer Fiction — is clearly crazy for the Beach Boys in his lovely sophomore record, Himalaya, but there are myriad instances where he’s comfortable with stepping beyond the boardwalk. Yes, “Lauren Lorraine” has the same mid-tempo jaunt and sporadic tambourine jingles as Pet Sounds offering “Here Today,” but the Philadelphia native imbues a sense of genre unpredictability on shy, acoustic-folk ballads like “By My Side,” a wordless piano-and-flute interlude called “Manchester,” and the church-ready organ-trilling closer, “Cathedral.” (Spin)

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23 julio, 2015 Posted by | Summer Fiction | Deja un comentario

The Popguns: Still waiting for the winter (Matinée Recordings, 2015)

“Fantastic new EP from celebrated British band The Popguns!  Lead track ‘Still Waiting For The Winter’ is one of the highlights from the band’s critically acclaimed ‘Pop Fiction’ album.   A stunning showcase of dual female vocals, jangling guitars, and melodies galore, the song is a reflective journey of nights out on the Brighton seafront and the conflict between yearning for the past and living for today.   
 The EP also features three exclusive new tracks that spotlight the incomparable Popguns vocals with stripped back arrangements.  ‘BN3’ is a gorgeous slow time waltz with carefully strummed acoustic guitars and lead vocalist Wendy Pickles telling the story of a sporting romance played out at Hove County Cricket Ground. ‘Why You Fell In Love With Me’ is sung with a heartfelt lilt by Kate Mander and has a relaxed country feel and ace harmonies.  Finally, ‘Diane’s Song’ continues the Chet Baker theme started on ‘Pop Fiction’ album track ‘Alfa Romeo’ with an absolutely glorious tune that would make Bacharach and David proud” (Press)


22 julio, 2015 Posted by | The Popguns | Deja un comentario

Seapony: Saw the light (Hardly Art, Single, 2015)

Seapony son uno de esos proyectos de ensueños encapsulados en dulces melodías y voces susurrantes. Anuncian disco para finales de este mes.


21 julio, 2015 Posted by | Seapony | Deja un comentario

Copywrite: Philophobia (Video-Single, 2015)

None of this record was recorded in a studio. All of this record was only recorded at our own houses in Austraila, with our shared collection of audio gear and microphones. We started the record when we were 16, and it was completed a year after highschool. The record is extremely personal to us, truly our “high school” record. Occassionaly making us cringe in it’s pure honesty.
“Philophobia” is a taboo but common fear of love. I found it interesting that it was always about the pain after the relationship, as I had always feared about losing myself to the point it would have to hurt. It seemed everyone who fell in love that I knew completely changed; almost accepting less of themselves and abandoning their ambitions, dying off to simply having a love of their life which I knew was so naive at such an age” (Copywrite)


21 julio, 2015 Posted by | Copywrite | Deja un comentario

Will Spector y Los Fatus: Arriba de Bien (2015)

El segundo trabajo de los desconcertantes y sorpresivos Will Spector y Los Fatus se llama Arriba de Bien. Se trata de una exclamación de cómo se sentirán aquellos que lo escuchen y degusten.
Ritmos exaltados, sintes enloquecidos mezclados con guitarras punzantes. Toda una declaración de intenciones. Os dejo su propia nota de prensa. Que ellos os convenzan…

“Aunque habitualmente asociados al asesinato de Julio César, los idus de marzo representaban también los días de buenos augurios en el calendario romano. Y el mejor augurio para este mes de marzo de 2015 es la edición de “Arriba de bien”, título optimista donde los haya, que no se sabe muy bien si hace referencia de forma irónica a los tiempos que nos está tocando vivir o a lo bien que se lo han pasado los oscenses Will Spector y los Fatus dando a luz este segundo álbum.
Siguiendo con el latín, fatus significa hado (lo que ha sido dicho, el destino), aunque también podría ser una latinización de la palabra fatos, que es como se conoce comúnmente a los habitantes de Huesca. Pues bien, los hados han guiado por el buen camino a estos oscenses, que han conseguido grabar (¡ojo al tópico!) su disco de madurez. ¿Ya???!!! Pues sí.
Su primer largo, “Bicáberut!” (2012), fue un bonito desafuero, una borrasca sónica que incluía no solo una desconcertante canción de amor sádico (“Me encanta verte fatal”) o anti-himnos generacionales como “Tan desubicao” y “Your mother and your father follan”, sino también una perla como “Que la nieve ardía”, la jota elevada a las cumbres de la lisergia más desatada.
Y ahora, pocos meses después de la edición de su reciente y desvergonzado EP, “Paquete de tabaco”, llega este peligroso artefacto que tienes entre manos. ¿Que a qué suena “Arriba de bien”? A todo y a nada, pero sobre todo a unos Fatus renovados que no han perdido nada de su punch. ¿Punk? Sí. ¿Garage rock? También. ¿Armonías vocales? A mansalva. ¿Psicodelia de segunda mano? Por supuesto. ¿Cacharrería electrónica? ¡Claro! ¿Ironía y mala baba? Más que nunca. ¿Refinamiento? Pues también, fíjate tú.
Lo mejor que se puede decir de un disco es que es imprevisible y desconcertante. Éste lo es. Comienza con “No es una mujer”, una de sus habituales diatribas despechadas, que suena a los Brincos sometidos al rugido noise. Y finaliza con el deslenguado post-punk garagero de “Fumar M”, que desemboca en una huracanada locura sonora. Entre medio, un collar de perlas. “Bill Murray” parece ser una acerada crítica contra esos festivales que son todos iguales, todos con el mismo cartel, y que parecen repetir el día de la marmota de “Atrapado en el tiempo”. Musicalmente, el tema denota su vasta cultura musical, combinando a los Beatles del “Tomorrow Never Knows” con XTC, Franz Ferdinand, los nuevos románticos y el Giorgio Moroder de “Flashdance”. Por su parte, “Espejo” nos descubre a una Lorena Álvarez (invitada estelar) convertida en una auténtica disco diva -más cerca de Javiera Mena que de Donna Summer, en todo caso-, en un tema que podría haber salido de una improbable colaboración entre Azul y Negro y los Beach Boys. Y el interludio retrodisco a lo “Funkytown” de Lipps Inc es impagable. Una bomba, vaya.
De la candidez nuevaolera de “El mirador” (¿cándidos los Fatus?, no sé yo) se pasa a la esa balada de amor nihilista que es “Vas a volver”, con la que vuelven a demostrar su más que sobrada capacidad para componer melodías largamente recordables. En el techno-punk de “Mutando” se produce un choque de trenes: Siniestro Total vs Aviador Dro. Y el viaje se completa con el lisérgico garage rock de “Serpientes” y otro de los grandes momentos de disco, “No es puta” (es de puta madre), una joya psicodélica en la
que el fantasma de Syd Barrett se aproxima, sin saberlo, al synth pop más adictivo, desprendiendo un irresistible aroma a clásico. Definitivamente, un disco que nos hace sentirnos “arriba de bien” (Prensa)

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20 julio, 2015 Posted by | Will Spector y Los Fatus | Deja un comentario

Kill West: Smoke beach (Ongakubaka, 2015)

“Delivering complete immersion into the fog. Transcending their space time coordinate, creating a style not transfixed to any era or location.”

“The newest release on Ongakubaka Records drops today! If Kill West’s amazing 4 track EP from last year fell under your radar (name your pricehere), this debut full-length is about to mow your blind. This is some heavy and hazy stoner psych greatness from Buenos Aires, and we’ve had it on repeat since the day we got it” (Ongakubaka)

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20 julio, 2015 Posted by | Kill West | Deja un comentario

Élite del Éter: Élite del Éter (Ep, 2015)

Elite del Eter

“Élite del Éter Es un proyecto al más puro sonido trío de batería, bajo, guitarras/voz, con influencias muy dispares. Este tráfico de influencias junto a la andadura de sus componentes, Jose (guitarras y voces), Borja (Bajo) y David (batería), hace que se auto-produzcan un EP de 4 cortes donde intentan ofrecer un resumen de su repertorio, y a sabiendas que no lo conseguirían (puesto que hay mucho más que decir), determinan que lo mejor es mostrar su repertorio al completo por los escenarios del territorio nacional, que es donde la banda sabe plasmar y transmitir mejor su sonido y actitud.
En estos tiempos que corren donde la creación e innovación es un valor muy importante en el panorama musical, lo que ELITE DEL ETER transmite es un conjunto de sensaciones basada en los clásicos y connotaciones muy actuales donde la conclusión del oyente suele ser “ Esto es…..! Me suena a…..! No sé…! no sé…! Suenan bien…..! “ (Prensa)


20 julio, 2015 Posted by | Élite del Éter | Deja un comentario

Bishop Allen: Lights out (Dead Oceans, 2014)

Bishop Allen - Lights Out

Quizás algo menos efervescentes, menos saltarines y menos frescos, Bishop Allen volvieron en 2014 tras cinco años de ausencia…

“The shtick here, of course, is the juxtaposition of lyrical doomsday with cheery keyboards and male-female harmonies. These songs are supposed to be at war with themselves, placid vocals aligning with major key instrumentals to make the darkness at the center seem utterly mismatched. It’s worked before on records like Passion Pit’s Gossamer, but that’s because their playing wasn’t nearly as bland as Bishop Allen’s is on Lights Out. This album’s hooks either hit or miss, and even when they hit, hackneyed synth burbles struggle to engage. “Bread Crumbs” is the best example: a forgettable piano melody that soon gives way to a sparse, uninteresting bounce, as Rice and his wife Darbie repeat “Breadcrumbs” and “Home” like twee zombies.
It’s not that Bishop Allen are wanting for words or edginess, since the next track, “No Conditions”, is all lyrical and visceral stunts. “Nothing and nowhere and no one is not a pretender/ But remember/ No surrender,” Rice commands, believably convoluted, as Rudder’s power pop guitar flares and barks. Then, with gently flanging textures underneath him: “Every test could be wrong/ Then again, every test could be right/ No way to be certain.” Speaking from on high, he’s still got beads of sweat collecting on his forehead. Rice is just as anxious as you are about all that uncertainty.
Unfortunately, his trepidation is palpable in more places than it should be. Bishop Allen play it safe beyond any level of broad appeal, which, after five years away, isn’t exactly the best way to mark a grand return. Lights Out offers plenty of pop nuggets — a few of them punchy and expansive, most others losing steam right out of the gate. None are inherently flawed, but maybe some weak spots would have been a fair trade to make for a few more attempted thrills. Deresiewicz’s words convey it most bluntly: Bishop Allen, like the Ivy League graduates he pities, are “smart, talented, and driven, yes, but also anxious, timid, and lost, with little intellectual curiosity and a stunted sense of purpose … heading meekly in the same direction.” (Consequence of Sound)


19 julio, 2015 Posted by | Bishop Allen | Deja un comentario

Landlines: Things Haven’t Been The Same (Since You Got Back From Italy) (Mt.St.Mtn., 2015)

“Where does rock n roll fit into the new world? As an enduring form of folk art continuously handed down to generations of suburban malcontents, a quietly burning flame of rebellion against conformity? Landlines aren’t sure. Like the once more typical yeoman embraced a work system that countered capitalistic trends way back in feudal times, Landlines, in their intention of pre-cellular, pre-full on atomization of western society, have reinterpreted the basic premise of homegrown, guitar driven songcraft. Never pleased to let sleeping dogs lie, this group wields through unforgiving emotional discord, while maintaining an ethos of anti defeatist sentimentality. Dustin Scharlachs worn in vision of discontent and desire weave a fabric of rock while Jheremy Grigsby and Wiley Hickson co pilot the navigation of the polarity between existential anxiety and inebriated withdrawal and acceptance. Landlines are, at heart, an American band.” – Gregory Campanile

18 julio, 2015 Posted by | Landlines | Deja un comentario

Dum Dum Girls: Too true (Sub Pop, 2014)

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La cara más amable de unas Dum Dum Girls más dulcificadas que nunca…

“Dee Dee’s greatest gifts are in sound; her voice, her understanding of how classic pop-rock feels. “What a vivid sound/ What a vivid sound” goes the chorus to “Little Minx”. She sings about “a lavender haze” on “Are You Okay”, which is an apt enough description of her records. Too True, at least obliquely, is a record about sound itself, and the record is sparkling and beautiful, a glittering glaze of guitars and keyboards.
Her songs rarely feel like they’re about much, except the other great songs that touch on the same topics, but they are excellent studies. Savoring the details of her craftsmanship is still a pleasure—the middle eight of “Too True”, the shifts from minor to major in “In the Wake of You”. “Too True”‘s diaphanous sigh of a chorus and weightless synths sound like they could have come from the last Pains of Being Pure At Heart record, except she double-tracks her vocals into a near-subliminal choir of backing vocals, a touch that feels uniquely Dee Dee. She cares about effort, something that pokes through in one of the only personal-feeling lyrics on the record: “Why be good?/ Be beautiful and sad/ It’s all you’ve ever had,” she sings on “Evil Blooms”.
She’d rather be good. She could be great, though, and she hasn’t found her way there. “Rimbaud Eyes” is not a terribly euphonious phrase, and the way she sings it, which sounds more like “Bloomberg Eyes”, highlights the clunk of the phrasing. The song itself is generic, a driving pop-rocker with no stamp on it to distinguish it as Dee Dee’s, or anyone’s.
The final track, “Trouble Is My Name”, features one of her favorite sounds, the fuzzy, watery echo pedal strum of “Crimson and Clover”. She used it on End of Daze’s “Lord Knows”, where it had a similar eerie power, and it works just as well here. The lyrics are boilerplate, cake toppings—”And you said there was nothing you could do to make your bad turn good”—but they ring like prophecy in her mouth. There are clichés, and there are exalted clichés, and Dee Dee at her best reminds you of this distinction. If she wanted it, she seems to have the potential to knock out a professional world-beater like the HAIM record. But maybe she’s happier in the haze” (Pitchfork)

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17 julio, 2015 Posted by | Dum Dum Girls | Deja un comentario

The Dandy Warhols: Thirteen tales from Urban Bohemia, Deluxe Edition (Capitol, Reedit, 2013)

Todos unos clásicos modernos…


16 julio, 2015 Posted by | The Dandy Warhols | Deja un comentario

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