The JangleBox

Indie, Noise, Shoegaze… Music

Fuzzy Forever – THE COURTNEYS: Minnesota (Flying Nun, Single, 2017)

Los canadienses The Courtneys saben en qué liga juegan y a qué pueden aspirar. Saben hacer virtud de sus condiciones y consiguen un sonido muy personal. A seguir…

“The Courtneys are charmingly droll. The Vancouver trio includes but one Courtney, née Courtney Garvin, who rips vivid fuzz-guitar riffs alongside bassist Sydney Koke and singer/drummer Jen Twynn Payne. Their music—a bit gray, slightly lopsided—recalls velvety 1980s kiwi acts such as the Clean and Look Blue Go Purple. Crucially, though, the Courtneys bust out of the ramshackle Dunedin sound with bold, driving arrangements and thrilling pop sense. They have covered U2’s “I Will Follow” live and mention the influence of Teenage Fanclub and Big Star. Accordingly, the Courtneys feel like a punkish band with clearly-outlined emotions and a cheekily arena-rock spirit. On their supremely catchy second album, II, they lock into a real groove. They tactfully pair simplicity and strength. They make sad songs sound like a blast” (Pitchfork)


31 marzo, 2017 Posted by | The Courtneys | Deja un comentario

Renuncias – CROCODILES: Dreamless (Zoo Music, 2016)

Product Details

Nuestros peores presagios para el sonido de Crocodiles se cumplieron allá por octubre del año pasado cuando el dúo publicó este Dreamless, sin duda el peor (con diferencia) álbum de su carrera. En él renuncian a todo lo que les indentificó en algún momento (guitarras, sonidos fuzzy), y se lanzan ingenuamente a manos de capas de sintetizadores, teclados y ritmos cercanos a lo latino para sustituir lo que antes eran guitarras y bajos distorsionados. Absolutamente prescindible.

“In a worthy attempt to keep from repeating themselves to diminishing returns, with fourth albumCrimes of Passion the California duo Crocodiles moved away from the sometimes unfocused noise rock sound they started off playing in favor of something poppier and more direct. On their next album,Boys, they refined their pop sound even more and added some Latin influences that were a byproduct of recording at producer Martin Thulin‘s Mexico City studio. Working again with Thulin, who had become something of a third member of the band, the duo took a more drastic step on 2016’sDreamless. Early during the recording process, they decided they were tired of guitars and consciously decided to strip them out of their spot as the main focus of the Crocodiles sound.Brandon Welchez and Charles Rowell built the rhythms and the prominent basslines, still writing dirty bubblegum hooks, but where there were walls of distorted guitars before, now there were banks of sweeping synths; where there were spiky guitar lines, now there were rollicking organs and echoing pianos. The duo gave the task of adding the keyboards to Thulin, and he proves to be a master at adding just the right tones and melodies to replace the six-strings. It’s a little disconcerting at first to only hear prominent guitars on a couple of songs, notably the skronking “I’m Sick,” but the arrangements are so arresting and the songs so catchy, it really doesn’t matter after the first spin. The trio works hard at making the arrangements fit the mood of the songs and words, getting sparse and spooky on “Go Now,” propulsively danceable on “Welcome to Hell,” new wave slick on “Time to Kill,” and new wave doomy on “Maximum Penetration.” A few songs sound nothing like Crocodiles, like the rollicking Latin-inspired ballad “Alita” and the cheerful ’60s pop/rocker “Not Even in Your Dreams,” but it still works thanks to the focused songwriting and the care they put into the sound. That at least half the songs are among their most powerful and poppiest to date (“Telepathic Lover” chief among them) doesn’t hurt, either. It takes a brave band to try a stunt like Crocodiles do here; it takes a really good one to pull it off without a hitch” (All Music)

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30 marzo, 2017 Posted by | Crocodiles | Deja un comentario

Acné – Wolf Girl: Moody (Single – Odd Box Records, 2017)

Fuzzy-Pop con acné.

‘Moody’ is another slice of buzz-tastic garage pop – which is sure to be hit on the pop underground. While the flip side ‘Get You’ is a pop punk fizzer that rockets by. The single will come on Pink Cadillac vinyl in an edition of 250″ (Prensa)


29 marzo, 2017 Posted by | Wolf Girl! | Deja un comentario

Regresos – ST. ETIENNE: Heather (Single, Heavenly, 2017)

El nuevo regreso de St. Ettiene se titula Heather, un adelanto del que será su nuevo álbum de estudio en cuatro años: Home Counties, que se publicará el próximo 2 de Junio.


28 marzo, 2017 Posted by | St. Etienne | Deja un comentario

El Lado Oscuro de La Broca: Frenética (Vídeo-Single, 2017)

Esta es la historia de cómo se gestó Poderosa. Un viaje hacía lo más desconocido que tenemos aquí al lado.

27 marzo, 2017 Posted by | El Lado Oscuro de La Broca | Deja un comentario

Predator – PABLO UND DESTRUKTION: Predación (Sonido Muchacho, Single, 2017)

“Vuelve Pablo, y lo hace con más fuerza que nunca, con un puñetazo en la mesa: “Puro y Ligero” es la confirmación de uno de los artistas más relevantes de los últimos años en la música en castellano, y uno de los grandes autores que nos ha dado esta. “Predación” es el título escogido por Pablo Und Destruktion para su nuevo álbum, producido por Paco Loco, y editado por Sonido Muchacho. Un disco definitivo, y que supone la coronación de Pablo como es gran trovador de nuestro siglo, y quizá, el autor más valiente que tenemos” (Prensa)


27 marzo, 2017 Posted by | Pablo und Destruktion | Deja un comentario

Brujerías – THE PRESOLAR SANDS: Witches´Hill (Single, Lazy Octopus Records)

“The Presolar Sands creates music from a broad spectrum of genres that comes together in a world where melodic and psychedelic elements resonate with crushed explosive noise and dark witch symbolism” (Press)


26 marzo, 2017 Posted by | The Presolar Sands | Deja un comentario

Caleidoscopio – TOY: Clear shot (Heavenly, 2016)

Clear Shot

Justamente éso es lo que me sugiere el tercer álbum de los londinenses TOY: un caleidoscopio de sonidos, influencias y mezcolanza lo suficientemente atractivo como para poder dedicarle nuestra atención. Lo mismo se acercan a la Psicodelia que al Kraut, al Noise o al sonido más neoyorquino. Una mezcla absolutamente epatante y atractiva a base de capas de guitarras y unos sintetizadores auténticamente bien grabados y acoplados que hacen de éste el mejor trabajo de los chicos hasta el momento. Una banda que se lo ha organizado pausada y tranquilamente hasta alcanzar un status de grupo absoloutamente comprometido con su sonido.

“When it comes to creativity, structure can be a frame or a cage. For TOY, the Motorik rhythms that gave form to their reveries and a foundation for their experiments were in danger of becoming dead ends. On Clear Shot, the ways in which the band branches out aren’t just refreshing, they feel necessary. Not only is this TOY‘s first album with keyboardist Max Oscarnold (also of Proper Ornaments), it’s their first without producer Dan Carey, who seemed like an honorary bandmember after their work together onTOY and Join the Dots as well as Sexwitch, their collaboration with Bat for LashesNatasha Khan. This time, the band worked with David Wrench, and his production and Chris Coady‘s mix strip away the fog of TOY‘s previous albums in favor of a crystalline hyperreality. In retrospect, Join the Dotshighlights like “Endlessly” feel like a rehearsal for Clear Shot; though it still feels right to call their songs trips and excursions, now they’re powered with a higher grade of fuel. The way that “Another Dimension” churns and hovers and “Fast Silver” moves from dusk to dawn wouldn’t have been possible on TOY or Join the Dots, while “I’m Still Believing” and “We Will Disperse” reflect how nimbly the band blends its pop and experimental sides. They’re just as deft at vividly combining influences that range from the BBC Radiophonic Workshop to the Incredible String Band to acid house: The eerie majesty of “Cinema” calls to mind a Bernard Herrmann piece for analog synths. Occasionally,TOY gets a little too liberated from structure on Clear Shot; though psychedelic music thrives on blurred lines, songs such as “Clouds That Cover the Sun” don’t have enough shape to be truly transporting. Fortunately, for every formless track, there are two more like the brilliantly buoyant “Dream Orchestrator,” a glimpse of 21st century psych-pop at its finest. Moments like this make Clear ShotTOY‘s most ambitious and rewarding album yet” (All Music)

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24 marzo, 2017 Posted by | Toy | Deja un comentario

Fotos – TEAM PICTURE: Back to Bay Six (Single, 2017)

Team Picture son una aguerrida banda de Leeds que acaba de publicar su último sencillo, este Back to Bay Six; un corte en el que el grupo hace gala de su eclecticismo sonoro mezclando ese potente Pop de guitarras con otros aires mucho más libres y cercanos a la Psicodelia


21 marzo, 2017 Posted by | Team Picture | Deja un comentario

Ponme Ojitos – ALGORA: Los ojos de Pablo (El Genio Equivocado, Single, 2017)

“Recientemente el proyecto Algora volvía a la actualidad tras el parón que significó queVíctor Algora se centrase en su proyecto más electrónico, La Evolución del Hombre al Pájaro. Desde que “Verbena” se editara en el 2013 han pasado casi cuatro años, y con la edición de “Europa y el bosque enamorado” se daba pistoletazo de salida al nuevo disco. que llamará “Folclore del rascacielos” y que se financió gracias a un exitoso crowdfunding con la colaboración de fans y amigos. “Europa y el bosque enamorado” contó con un vídeoclip dirigido por Yago Partal, una estupenda combinación de personajes reales y animación que retrata fielmente el drama del protagonista. Ahora nos enseña otro de los temas, “Los ojos de Pablo” que puedes escuchar aquí
“Folclore del rascacielos” fue grabado en Madrid junto a David Carratalà y Raúl Querido, y mezclado y masterizado en Valencia por José Luis Macías (Prensa)



20 marzo, 2017 Posted by | Algora | Deja un comentario

Crónicas – KOU KERI KOU: Kou Keri Kou (El Genio Equivocado, 2017)

El debut de los catalanes Kou Keri Kou es menos Pop de lo que nos esperábamos, y se dirige hacia territorios digamos que más ´tribales´;  pero no por ello resulta menos interesante ni menos atractivo.

“El primer mensaje que nos llega del álbum debut de Kou Keri Kou es la ilustración de portada de Arantza Cotera: un conjunto de casas más o menos desfiguradas e irregulares que, pese a sus diferencias, forman un poblado. Esa imagen es una magnífica introducción para entender la clase de disco que vamos a escuchar, ya que sus 10 canciones tienen tantos elementos dispares como las casas, y pese a todo, juntas crean un resultado uniforme y con sentido. Todas ellas, incluso las instrumentales, transmiten una forma de entender el mundo, a veces de modo muy claro y directo (La gente con dinero, Maravillas del pasado), otras no tanto (Fuera, Apestada) aunque siempre con la voluntad de hacerse entender, que no de agradar. Y es que, aunque la música cabalga y serpentea con garbo, las letras tienen un carácter no muy amable en el que los miembros de la banda asumen su papel de excluidos y se enorgullecen de él.
Las canciones, al igual que las casas de la portada, no se parecen a las que solemos ver a nuestro alrededor, y sin embargo, no resultan del todo ajenas. Si pegamos el oído a sus paredes, intuiremos ecos lejanos, puede que algo de la rumba congoleña o el jùjú nigeriano, pero también sonidos más cercanos, como el pop nuevaolero y abierto de Gary Numan o Radio Futura. En cualquier caso, el resultado no deja de ser una música cercana y bailable que intenta escapar de los caminos más trillados. Ese eclecticismo y apertura a otras músicas es, además de la amistad, lo que unió a Ander Agudo (percusiones y ritmos), Juantxo Agudo (bajo), Jordi Gegé (guitarra y coros), Pope (trompeta y fliscorno) y Olatz Azcona (voz); también es su punto de encuentro, con caminos heterogéneos que se mueven entre el dub, el rock’n roll, el pop con sintetizadores y el ambient. Al escuchar este álbum se puede percibir que se creó sin prisa en una habitación entre amigos, pero con el entusiasmo y la ilusión de quien descubre e investiga las calles de un pueblo desconocido, el de la portada, al que se acaba de mudar y en el que piensa quedarse a vivir” (Prensa)

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20 marzo, 2017 Posted by | Kou Keri Kou | Deja un comentario

Hoy sí murió el Rock. O quizás no… ¡Adiós Maestro! Hail ! Hail ! Rock´n´Roll

Es difícil decir algo sobre Chuck Berry que no haya sido dicho antes. Si hubo un verdadero Rey del Rock, ése fue el Maestro. Él compuso su extensísimo repertorio. Él tenía el Blues, él inventó un nuevo lenguaje de expresión que posteriormente generaciones y generaciones de músicos imitaron. Él le dio vida a toda la pléyade de grupos británicos de los sesenta que imitaron su sonido. Todo en la música actual surgió de su Rock. El lenguaje narrativo de Chuck Berry va más allá del ´sencillo´ Rock´n´Roll. Su influencia llega incluso hasta personajes ilustres como Dylan. Sería absurdo personificar en unos pocos grupos o solistas su influencia.
Debería encontrarme más triste, pero en realidad, su Rock´n´Roll va a hacer bailar a todos los que están ya en otra vida. Su música es eterna, y perdurará en el acervo cultural y universal que es la música popular.

¡Adiós Maestro! Hail! Hail! Rock´n´Roll

19 marzo, 2017 Posted by | Chuck Berry | Deja un comentario

El Mundo Ríe – SHE-DEVILS: The World laughs (Single, 2017) – She Devils Ep (2016)

Audrey Ann Boucher y Kyle Jukka son una pareja que factura un Sampler-Pop del que ya (casi) no se hace. Acaban de publicar su último sencillo. Atractivos. hedonistas y disfrutables.


19 marzo, 2017 Posted by | She-Devils | Deja un comentario

Apuestas – PLUSH: Please (Father/Daughter Records, 2017)

Una bonita mezcla de disonantes, distorsiones, algunas conexiones Dream, guitarras con mucho fuzzy y un encanto vocal bastante atractivo. Una apuesta.

“An exciting new sound grips the Bay Area’s music scene as Plush pushes the bounds of genre and style. Plush is a four-piece originating from San Francisco, with members of local SF legends The She’s. While their debut LP, Pine, is a beautiful combination of surf-rock and shoegaze, their auspicious new release, Please, encapsulates a completely different tone, both sonically and lyrically. Lush and warm, it has cinematic quality which suggests, somehow, that each track takes place in a different climate. With the angular and ethereal falsetto of Karli Helm contrasted by the hypnotic and unwavering voice of Eva Treadway, Please echoes a melancholic honesty that captures the album’s heart-breaking, yet insightful versatility, deriving from both Wowee Zowee era Pavement andPainful era Yo La Tengo.
Sonically, the album embraces twinkling guitar tones that are blitzed with spurts of grainy fuzz, flaringly precise and graceful drums, as well as complimentary bass riffs that swirl and swoon each track, working in unison to pin-point these heart-wrenching emotions with clarity and catharsis. After sharing the stage with bands such as Ceremony, All Dogs, Ducktails, Sales and Creative Adult, they have proven their ability to blend seamlessly into wherever they land” (Press)

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18 marzo, 2017 Posted by | Plush | Deja un comentario

Revisiones – THE TELESCOPES: Splashdown, The Complete Creation Recordings(1990-1992) (Cherry Red Records, 2015)

Splashdown: The Complete Creation Recordings 1990-1992

Reedición de los temas que THE TELESCOPES sacaron a la luz con Creation Recordings, la compañía que les reclutó en 1990 y con la que editaron cuatro Ep´s a los que se les ha unido una sesión con John Peel y algunos cortes extra. Lo mejor del Shoegaze Psicodélico del momento al alcance de este álbum doble publicado en 2015.

“Taken together, the recordings build a pretty strong case that the Telescopes were one of the most daring, most creative, and most successful bands of the era: shoegaze, dream pop, or take your pick. On the EPs, the band plus their producers (Richard Formbyand Guy Fixsen) were able to balance very poppy, built-to-top-the-indie-chart tracks like “Everso” and “Celeste” with guitar freakouts (“Precious Little), expanded headphone jam pieces (“Celestial”), psychedelic wanderings (“Soul Full of Tears”), dark dirges (“I Sense”), and quiet, almost hymnlike songs (the delicate “All a Dreams”). Plus they did a fine Beach Boys cover — getting in ahead of the pack of Wilson fanatics with a majestic cover of “Never Learn Not to Love,” penned by Dennis Wilson(and Charles Manson). These records showed the band gaining strength with each release, mastering songwriting, arranging, and the studio as they built up to their masterpiece 1992 album. Working with Fixsen, the band — and especially leader Stephen Lawrie — truly came into their own. From the very first notes, the songs burst out of the speakers with a graceful widescreen power. The guitars sound huge and fill every corner of the mix, Lawrie‘s sneering vocals sound rich and tough and tender all at once, the other bandmembers deliver seriously great performances, and the production is brilliant. The songs range from moody and almost jazz-like in their precision to sweeping epics that feel impossibly big, but all of them will stick in your brain for years to come. The EPs and album would have been enough to make the set essential, but the bonuses add much value. The Peel Session shows that the Telescopes were able to re-create the sound of the album on the fly, the covers of the Velvet Underground (“Candy Says”) and the Who (“The Good’s Gone”) are pleasingly irreverent and bewilderingly weird respectively, and the rarely heard outtakes are awesome, especially the alternate version of one of their best songs, “Flying.” While the Telescopes may not have gotten the same critical love as some of their peers, or reached the same level of commercial success, this set proves that they were the artistic equal of any of them. The set is an absolute stop-everything-and-buy-it-now must-have for fans of shoegaze, dream pop, and psych-pop” (All Music)


16 marzo, 2017 Posted by | The Telescopes | Deja un comentario

Gasoline in the sand – CHUCK PROPHET: Bobby Fuller died for your sins (Yep Roc, 2017)

Bobby Fuller Died for Your Sins

Quien fuera el líder de Green on Red, se presenta en 2017 con su ya decimosegundo disco en solitario. Bobby Fuller died for your sins es un trabajo, además de título insuperable, que raya con la crónica negra y la tradición oscura de la novela norteamericana. En él se presta atención a óbitos como los de Bowie, Alex Nieto, Peter Sellers o el propio Fuller, muerto en extrañas circunstancias. Además, ello lo mezcla con vivencias propias y el músculo narrativo de sus historias.
Sonoramente, su música cabalga entre el Rock más clásico, los tonos más folkies vía DylanPetty o incluso el Power-Pop de raíces más setenteras. Un álbum más que interesante para todo un superviviente que continúa ofreciéndonos interesantísimos pildorazos de Rock de calidad. 

“Is Chuck Prophet a storyteller who just happens to be a great musician? Or is he a talented songwriter and guitarist who also has a real gift for spinning tales? On 2017’s Bobby Fuller Died for Your Sins, his 12th studio album, Prophet has managed to strike an ideal balance between the two sides, delivering a tuneful and engaging set that’s full of character sketches with a full complement of heart, soul, honesty, wit, and the details of a recognizable adult life. Prophet is capable of playfully imagining what it would be like to be the star of Nashville and Friday Night Lights (“If I Was Connie Britton”), then sharing the true story of a young man gunned down by the San Francisco police for no clear reason just a few tracks later (“Alex Nieto”). Both songs come off as smart, honest, and thoughtful despite their very different tone, and those adjectives apply to nearly every cut on this album. The current state of music is a recurring theme here, as evidenced by the title tune, “Bad Year for Rock and Roll,” “We Got Up and Played,” and “In the Mausoleum” (the latter an homage to the late Alan Vega of Suicide). But Prophet is just as interested in the lives of people in all sorts of trouble. A single mother and a gunman unexpectedly cross paths in “Killing Machine,” the author ponders the objects of his affection in “Your Skin” and “Coming Out in Code,” the peaks and valleys of romantic relationships are examined in “Open Up Your Heart,” and the Son of God’s consumer preferences get a rundown in “Jesus Was a Social Drinker.” Prophet and his studio band (including Tubes drummer Prairie Princeand co-producers Brad Jones and Matt Winegar on various instruments) give the melodies a rich, wide-ranging sound, and Prophet has rarely been better as a vocalist, finding the right tone on every track. Along with having one of the best titles of recent memory, Bobby Fuller Died for Your Sinsconfirms that more than 25 years after making his solo debut, Chuck Prophet remains one of America’s strongest songwriters and recording artists, and he’s in great form here” (All Music)

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3/10/17 – Austin, TX – Continental Club

3/11/17 – Austin, TX – Continental Club

3/12/17 – Dallas, TX – Sundown at Granada

3/14/17 – Omaha, NE – The Sunday Roadhouse Presents

3/15/17 – St. Paul, MN – The Turf Club

3/16/17 – Madison, WI – High Noon Saloon w/ The Bottle Rockets

3/17/17 – Chicago – Old School of Folk w/ The Bottle Rockets

3/18/17 – Milwaukee, WI – Shank Hall w/ The Bottle Rockets

3/19/17 – Fort Wayne, IN – The B-Side at One Lucky Guitar

3/21/17 – Toronto, ON – Horseshoe Tavern

3/22/17 – Buffalo, NY – Sportsmen’s Tavern

3/23/17 – Worthington, OH – Natalie’s SOLD OUT

3/24/17 – Newport, KY – The Southgate House Revival

3/25/17 – Cleveland, OH – Beachland Ballroom

3/26/17 – Pittsburgh, PA – Club Café

3/28/17 – Washington, DC – The Hamilton Live w/ The Bottle Rockets

3/29/17 – New York, NY – Bowery Ballroom w/ The Bottle Rockets

3/30/17 – Philadelphia, PA – World Café Live w/ The Bottle Rockets

3/31/17 – Hudson, NY – Club Helsinki w/ The Bottle Rockets

4/1/17 – Northampton, MA – Iron Horse Music Hall w/ The Bottle Rockets

4/15/17 – San Francisco, CA- Great American Music Hall

14 marzo, 2017 Posted by | Chuck Prophet | Deja un comentario

Buen Puerto – INVISIBLE DAYS: Coasting (2016)

“Invisible Days is a trio making music full of hazy imagery with hints of nostalgia and melancholy. Heavily reverbed vocals are buried under layers of delicate, melodic guitars that occasionally disintegrate into waves of fuzz and feedback” (Press)


12 marzo, 2017 Posted by | Invisible Days | Deja un comentario

Cielos Tejanos – GOLDEN GRAVES: Be Safe (2017)

Acordes Shoegazers bajo cielos tejanos…


11 marzo, 2017 Posted by | Golden Graves | Deja un comentario

Philadelphia Rocket – Alex G.: Bobby (Domino, Single, 2017)

Alex G. es un artista de Philadelphia que para el que será su octavo trabajo, ha tomado la senda del Pop de raíces Folkies. Bobby es el adelanto de Rocket, que aparecerá el 9 de Mayo vía Domino


10 marzo, 2017 Posted by | Alex G. | Deja un comentario

Barriles Añejos – THE DAHMERS: To the night (Lövely Records, Single, 2017)

Rock´n´Roll de tintes y sabores más o menos añejos de la mano de este grupo sueco llamado The Dahmers.

“The Dahmers are back with their third single from their upcoming album “In the Dead of Night”. Their new single “To The Night” have that typical unique The Dahmers sound and let no one disappointed. Combining the right amount of Scandinavia rock n roll with American garagerock the band have created a sound of their own” (Press)


9 marzo, 2017 Posted by | The Dahmers | Deja un comentario

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