The JangleBox

Indie, Noise, Shoegaze… Music

Perplexity – THE BLACK LIPS: Satan’s graffiti or God’s art? (Vice Music, 2017)


Asombro y perplejidad es la primera reacción que quizás nos envíe el último trabajo (y octavo en su carrera) de The Black Lips. Un disco preñado de sorpresas que lo mismo te va por sus raíces más rockeras que al sonido spaguetti-western, al carnaval sonoro o a los sesenta más edulcorados. Una forma de desmarcarse de las tendencias musicales del momento y desde luego de apostar por un sonido personal y decididamente al margen de cualquier propuesta. Inclasificables.
Me gustan: Can´t hold on, Occidental front, Wayne, It won´t be wrong.

“As its title suggests, Satan’s graffiti or God’s art? invites oppositional, Rorschach-test interpretations. It is at once the Black Lips’ most sonically elaborate album and its most aggressively primitive. The band wrap the songs in a cinematic, carnivalesque clamor, but shout themselves hoarse as if they were still trying to hear themselves over a blown-out church-basement PA. Weighing in at 18 tracks, Satan’s graffiti or God’s art? assumes the form of a concept album while making a complete mockery of the medium. There are overtures and interludes and reprises and spoken-word passages, but no discernible logic holding them together. Which could very well be the point—when a band as notoriously unruly as the Black Lips opt to make a double-album opus, don’t be surprised when they come off like a group of road-tripping teenagers who’ve scored a Groupon for a five-star hotel and opt to take a dump in the bidet.
Following a brief, jazzy intro, the puffed-up Lips come out swinging with “Occidental Front,” a bracing, stormy blast of desert psych that sounds like the “Rawhide” theme rerouted through the StoogesFun House. But the ceaseless paisley-pop stomp of lead single “Can’t Hold On” provides an early indication of this album’s nagging flaw: its tendency to hammer a simple two-minute tune into a laborious four-minute one. The sense of torpor is exacerbated by tossed-off intermission tracks that drag on for as long as the proper songs, as if branding the bloozy scuzz of “Got Me All Alone” and the warbled-out bongo soul of “Interlude: E’lektric Spider Webz” as “interludes” exonerates the band of aimlessly dicking around.
The album’s best songs are tucked onto Side Two. “Squatting in Heaven” imagines an alternate 1960s where the Stones got stuck in the toga-party circuit; “Rebel Intuition” supports the theory that the first punk album ever was Highway 61 Revisited. And then there’s the gleaming, Spector-like “Crystal Night,” the sort of sweetly subversive song that only the Black Lips could pull off. Just as their 2007 standard “O Katrina!” conflated a girl-done-me-wrong narrative with the worst natural disaster in recent U.S. history, here, the Lips set a typical brokenhearted love song against the backdrop of the 1938 Nazi raids that set the Holocaust in motion (thereby adding the gravest of subtexts to otherwise wistful lines like “Do you remember/The snow was falling/And I held you in my arms then we kissed/I think it was November”). The equally winsome “Wayne” has a similarly unnerving effect, its slow-dance swoon disrupted by an eye-opening lyric—“Is it true/Was it them or you/What you said about the man/Strung up by the Klan?”—that suggests the song could very well be about a certain controversial Southern rapper.
But such sublime moments are in scarce supply, as the album gets bogged down by repetitious mid-tempo rave-ups (“We Know”) and sluggish strip-club struts (“Come Ride With Me”) where Alexander overcompensates for the temperate pace by blowing out his vocal cords. Curiously, the closest thing Satan’s graffiti has to a climax is a random cover of the early Beatles classic “It Won’t Be Long.” It envisions what the song would sound like if it was recorded in 1966 instead of ’63, with Swilley lingering on the line “till I belong to you” until his anxious anticipation starts to sound more like a threat. And it’s a subtle reminder of what the Black Lips do so well, teasing the horror out of wholesomeness and recasting golden-age rock’n’roll in a strange, discomfiting light. But it’s a quality that often gets obscured amid this album’s unwieldy, unbridled sprawl.Satan’s graffiti or God’s art? tries to make a masterpiece from spray paint, but for every cool mural, there’s a splatter of obtrusive tags” (Pitchfork)

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30 mayo, 2017 Posted by | The Black Lips | Deja un comentario

Fragilidad – SILENT JAMES: Someday I´ll Write a Nice Love Story

“Quizás el primer adjetivo que te viene a la cabeza al escuchar sus canciones es la de “Crooner Pop”. Una exquisita escuadra de influencias recorre su música, absorbidas en esa ya mítica tradición del intercambio de discos y cintas de cassette con los amigos y familiares. Bien: Bacharach, Gainsbourg, Style Council, John Cale, Cass McCombs, Epic Soundtracks, The Smiths, Jens Lekman, Neil Hannon, Roddy Frame, Lloyd Cole…Silencioso y exquisito Jaume” (Prensa Discos de Kirlian)


29 mayo, 2017 Posted by | Silent James | Deja un comentario

Sirenas – CHILDREN OF LEIR: 3rd Album (2016)

Children of Leir nos ofrecen un viaje a través de la Psicodelia más adictiva, y guitarrera, los mantras más pegadizos y algunas gotas de Rock Espacial.

“Motorik-driven, mystyical- horror infuenced, psychedelic folk pop”

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28 mayo, 2017 Posted by | Children of Leir | Deja un comentario

Torridge – Maybe Don´t: At Owl Mansion (Odd Box Records, 2017)

Diy a cascoporro, pocas pretensiones pero energías puras. Se llaman Maybe Don´t, practican Power-Punk-Pop y vienen de Birmingham.


27 mayo, 2017 Posted by | Maybe Don´t | Deja un comentario

Chicas Lobo – WOLFGIRL: Moody (Single, Odd Box Records, 2017)

‘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.


26 mayo, 2017 Posted by | Wolf Girl! | Deja un comentario

THE NATIONAL regresan con ‘The System Only Dreams in Total Darkness’

The National vuelven con The System Only Dreams in Total Darkness, adelanto de su nuevo trabajo, que aparecerá en Septiembre.


25 mayo, 2017 Posted by | The National | Deja un comentario

Choff – SPLASHH: Waiting a lifetime (Cinematic, 2017)

Waiting a Lifetime

El segundo trabajo oficial de Splashh surge con dos grandes trabas. La primera: el largo tiempo de espera que ha habido que aguardar hasta la aparición de Waiting a lifetime ( los cuatro años que van desde 2013-2017). Segundo, que la banda durante este hiato ha perdido gran parte de su frescura inicial y ello ha repercutido en el sonido final de este disco.
Cuantas más escuchas le he dado, más llego a la conclusión de que Waiting a lifetime ha llevado una existencia paralela a la del BritPop (o lo que quede de él), del que Splashh vendrían a ser como uno de sus últimos exponentes: la crónica de una muerte anunciada. Escarceos con le electrónica, canciones faltas de vigor en su mayor parte y un cierto vacío de contenido que ni siquiera se compensa con las guitarras a volúmenes altos de su primer trabajo. Tienen faena para recomponer el rumbo.
Me gustan: See through, Gentle april, No. 1 song in hell.

“All the energy and guitar overload from that album is present on Waiting a Lifetime, only with the addition of tighter songs, a more interesting batch of arrangements, and enough hooks to last a lifetime. Kicking off with the raging rocker “Rings,” which features some very grungy guitars, the album hits hard and fast before dialing down a bit for some songs that show off the quartet’s skill at making melancholy indie rock. “See Through” is an aching last-dance-at-the-prom kind of thing; “Gentle April” is an atmospheric ballad with a huge chorus; “Comeback” has the exact right balance of restraint and guitar mutilation. This brace of songs has depth that the first album rarely reached, and the addition ofJaie Gonzalez‘s keyboards to the mix is welcome and sometimes surprising. The synths that pepper the album are one of the only vestiges of Splashh‘s drastic post-debut swerve that saw them delving into electronics. The squelchy techno-driven “Look Down to Turn Away” gives an interesting clue into what it might have sounded like if they had stuck with that sound. It was probably a good idea for them to go back to dream pop, since they do it so well. Songs like “Closer” and the title track have the kind of gauzy energy that the best dream poppers of the ’90s had when firing on all cylinders; the calmer tracks have an autumnal sadness and richness; and vocalist Toto Vivian proves to be just as adept at crooning through ballads as he does casually wandering through the faster ones. Waiting a Lifetimeis the end result of a lot of hard work, experimentation, and craft, yet it still sounds alive and full of emotion. Not every band ends up with something so positive and fulfilling after such a difficult process. Luckily for fans of well-played and thought-out indie rock, they stuck to it and saw it through to its satisfying conclusion” (All Music)

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23 mayo, 2017 Posted by | Splashh | Deja un comentario

Glowing – SEVEN TIN STARS: Back to the white tide (2016)

El proyecto paralelo de Pablo A. García (Gente Joven), se llama SEVEN TIN STARS. Un espacio para discurrir plácidamente entre capas y capas de guitarras distorsionadas que en seguida nos evocan a lo mejor y más selecto de la escena del Shoegaze.

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22 mayo, 2017 Posted by | Seven Tin Stars | Deja un comentario

Surfing Espacial – SPACE WAVES: Night til day (2016)

Viajes interespaciales a través de guitarras a volúmenes nocivos. Son californianos y van por su cuarto trabajo.

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21 mayo, 2017 Posted by | Space Waves | Deja un comentario

Camaleónico – THE LEGENDS: Nighshift (Labrador Records, 2017)

Nightshift [2 LP]


“[Nightshift is] a sleek, synthy tour of the neon-lit, rain-soaked, post-midnight world when things get weird”  – BROOKLYN VEGAN

“On ‘Nightshift’ Angergård has gone full Moroder, suiting up and playing his keyboards like he was driving a car at night through rain-slicked streets”  – ALL MUSIC GUIDE

…a lot of energetic and plastically sensual electronics and New Wave vocals.” – Milwaukee Journal Sentinel

”Stunning retro-futurism” – Clash Magazine

“”In Love With Myself,” is catchy beyond belief and a powerful mix of brilliant songwriting and composition”. – Magnetic Magazine

“Epic, infectious and full of attitude”– POWER OF POP – PopMatters

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20 mayo, 2017 Posted by | The Legends | Deja un comentario

From my Fwends – THE FLAMING LIPS: With a little help from my fwends (Bella Union, 2014)


Más discos que le cambiaron la faz al Pop tal y como se entendía a mediados de los sesenta. Una vuelta de ciento ochenta grados a la creatividad de los cuatro de Liverpool. Una de las obras magnas del Pop de todos los tiempos, actualizada y puesta al día a través de la visión de The Flaming Lips.

1. Sgt. Pepper’s Lonely Hearts Club Band My Morning Jacket, Fever the Ghost & J Mascis 2:45
2. With a Little Help from My Friends Black Pus & Autumn Defense 3:33
3. Lucy in the Sky with Diamonds Miley Cyrus & Moby 5:41
4. Getting Better Dr. Dog, Chuck Inglish & Morgan Delt 4:07
5. Fixing a Hole Electric Würms 3:48
6. She’s Leaving Home Phantogram, Julianna Barwick & Spaceface 3:12
7. Being for the Benefit of Mr. Kite! Maynard James Keenan, Puscifer & Sunbears! 2:34
8. Within You Without You Birdflower & Morgan Delt 4:39
9. When I’m Sixty-Four Def Rain & Pitchwafuzz 3:19
10. Lovely Rita Tegan and Sara & Stardeath and White Dwarfs 4:18
11. Good Morning Good Morning Zorch, Grace Potter & Treasure Mammal 3:14
12. Sgt. Pepper’s Lonely Hearts Club Band (Reprise) Foxygen & Ben Goldwasser 5:14
13. A Day in the Life Miley Cyrus & New Fumes 4:55
Total length: 51:24

18 mayo, 2017 Posted by | The Flaming Lips | Deja un comentario

De Perros y Gatos – MAC DEMARCO: This old dog (Captured Tracks, 2017)

Mac Demarco se mueve ya en su tercer álbum. Ha pasado el tiempo para todos pero su música sigue manteniendo ese encanto entre lo Kitsch y el Neo-out-folkie aderezado con esas pinceladas que nos recuerda al sonido más LoFi (aunque su disco posee una producción más que cuidada).
Trece nuevas canciones que nos llevan, casi sin darnos cuenta, por una aparente intranscendencia que, sin embargo, nos deja una huella indeleble con cortes como los que abren este Viejo Perro: My old man, This old dog; sin duda emparentadas, y que, a puestos a buscar referencias, me hacen fijarme en aquellos discos de Neil Young (también canadiense) en los que se dejaba llevar por una faceta más acústica en su sonido, y hablo de la época Harvest. This Old Dog es un trabajo con ciertos altibajos, pero que en su conjunto, ofrece una impresión más que notable.
Me Gustan: On the level, This old dog, My old man.

“This approach brings to mind singer-songwriters of an earlier era, particularly iconoclasts like Harry Nilsson, Randy Newman, and JJ Cale. The title track brings to mind Little Joy in its unhurried and confident sense of swing, and DeMarco’s natural warmth and weariness shine through. “Baby You’re Out” tumbles beautifully through its chord changes like a soccer ball falling down a stairwell that manages to hit every fourth step. “One Another” twinkles like an earlier generation’s soda jingle, with a little slouch that invites finger snaps with every backbeat. If 2 brought to mind a dank basement, the best songs here throw open the windows and let in the sunshine.
The move to a more “classic” sound suits DeMarco’s music, and it’s also a reminder that what at first glance seems like laziness might actually be brutal efficiency. On a casual listen, DeMarco seems to kick back and let everything fall into place, but his music demonstrates a relentless devotion to craft, with all the fundamentals intact. Each melodic shift, every turnaround on the chords during the choruses, every bridge—all are exactly where they should be. Even though they are not derivative, you swear you’ve heard them before because they show such a proficiency for songwriting structure.
By now, DeMarco has mastered the art of recording, at least within the parameters he’s established for himself. In addition to playing every instrument, he produced and engineered This Old Dog, and the arrangements are minimal and impeccable. His voice is recorded bone-dry to enhance his conversational tone—he sounds like he’s never more than a barstool away. The bass and drums are so locked-in they seem like a single instrument. Every brush of acoustic guitar sounds like it’s coming from right in front of you, and when he cuts loose on his electric and gets spacier, as he does during a gnarly freak-out that serves as the coda to the lengthy “Moonlight on the River,” the textures are both rich and thematically appropriate.
There’s a longstanding idea in pop songwriting that, depending on how the words are delivered, you can say a great deal with clichés, and DeMarco’s approach to lyrics has always been disarming in its simplicity. A great deal of what has been called “indie rock” thrives on being elliptical and obtuse—think Stephen Malkmus, a slacker guitar hero from an earlier generation who has some surface-level similarity with DeMarco, but never wanted to give too much away. You never knew exactly what Malkmus was singing about; Mac’s approach to words is more akin to a highway billboard, short and sweet enough to be heard when driving by at 75 MPH. A song like “My Old Man” takes a common sentiment (“Looks like I’m seeing more of my old man in me”) but DeMarco’s unvarnished approach helps these mundane observations land, and those who know something about his life and his troubled relationship with his father get an extra layer of meaning. Sometimes the words are pure boilerplate (“My heart still beats for you,” “A wolf who wears sheep’s clothes”) but since low-key craft is the order of the day, “mechanical” isn’t such a damning adjective.
There’s nothing particularly wrong with This Old Dog, it’s more that DeMarco is keeping his sights low. Some people might appreciate this record more than his last two, with the extra refinement of the sound, others may prefer the earlier stuff, which had a bit more humor and with lyrics that painted more colorful pictures. It’s a push. DeMarco’s problem, if you can call it that, is a good one to have—he owns his sound and continues to write songs that fit within it. For DeMarco and his audience both, all joy depends on this comfort” (Pitchfork)

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16 mayo, 2017 Posted by | Mac deMarco | Deja un comentario

LINDA GUILALA estrenan el vídeoclip de La Primera Vez (1ª Recidiva), (Elefant Records, 2017)

“Más de 10000 kilómetros en él”, y desde luego mucha mucha distorsión y ambientes shoegazers. 

“Canción incluida en su álbum “Psiconáutica”. Un disco con veinte temas (más de la mitad apenas llegan al minuto) en el que casi no hay segundos de silencio, ni siquiera entre las canciones. Temas en los que la saturación y los ambientes son claves, pero donde, en contra de lo que pueda parecer, brillan con especial fuerza las melodías y las voces de Eva. Y como prueba canciones como “Cosas Nuevas”, “Accidente”, “Fobia Social I” o “La Última Vez (1ª Recidiva)” entre otras, en las que asoma el pasado punk de Iván y Eva”

15 mayo, 2017 Posted by | Linda Guilala | Deja un comentario

All Night Long – PACÍFICO: Noches Blancas (Ep, El Genio Equivocado, 2017)

Aprovechando el tirón de su primer lanzamiento también con El Genio Equivocado, PACÍFICO acaban de publicar su último Ep, este ingenioso Noches Blancas. Un breve Ep donde el talento compositor vuelve a epatar de la mano de un grupo con un sonido muy directo y altamente reconocible y emparentable con algunas bandas hispanas de los ochenta e incluso, como en el caso de Mi libro de aventuras o Noches blancas, con la visión más satírica de Ray Davies.

“Si el tema que da título al EP, “Noches blancas”, versaba sobre el deambular de un hombre en los momentos en que se encuentra felizmente atrapado en un estado de abstracción al que siempre quisiera regresar, “El hombre cansado” y “Mi libro de aventuras” reflejan un lado más existencial al abordar temas como la conciencia del hombre, el sentido de la vida y el papel que desarrollamos en ella, el oficio que desempeñamos y el que queremos, la insatisfacción, la cobardía, y lo que tenemos dentro del corazón. Todo ello enfrascado en ese sonido característico y reconocible de Pacífico, esencia que ya convenció a prensa y público en aquel debut del año pasado.
“Noches blancas” fue grabado en noviembre de 2016 en los estudios Maik Maier de Barcelona por Sergio Pérez. A la batería está Jordi Irízar, el bajo lo toca Sonia Montoya, el teclado Toni Poni, los arreglos de guitarra son de Óscar Huerta y Miguel Rojas canta y rasga la guitarra. Para el diseño, Pacífico han contado esta vez con la ayuda de Mirena Osorno, y han puesto sus esbeltos cuerpos ante el objetivo de la cámara de Mar Ordonez(Nota de Prensa)

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15 mayo, 2017 Posted by | Pacífico | Deja un comentario

The New Sell Out – The Who Sell Out Tribute (Futureman Records, 2012)

El título ya lo dice todo: un tributo/homenaje a uno de esos discos que le cambió la cara al Pop de los años sesenta. Todo un prodigio creativo en su momento convenientemente puesto al día. Interesante.

14 mayo, 2017 Posted by | The Who | 2 comentarios

Joyitas Ocultas – GARCIA GOODBYE: Just like me (Single, 2016)

Una de esas joyitas que uno se va encontrando por el camino. Son belgas pero suenan a Nueva Zelanda. Lástima que su producción discográfica sea algo irregular en el tiempo. Este es su último sencillo y es del año pasado. Pasada…


13 mayo, 2017 Posted by | Garcia Goodbye | Deja un comentario

Tramas – WEAVES: Weaves (Kanine, 2016)

Haciendo título al nombre de la banda, Weaves elabora un Pop intrincado, entrecortado e intenso a la par. 

“The Toronto indie rock quartet Weaves’ self-titled debut is an impressive album about incapacitating infatuation. Any new rock band that’s being honest with themselves about their place in the current musical landscape probably comes to the same conclusion as Weavesguitarist Morgan Waters: “Sometimes it feels like bands aren’t necessary, like they’re not the ones pushing music forward.” For many, it’s an excuse for retrenchment, whereas Weaves’ self-titled debut is driven by a palpable ambition to make a guitar/bass/drum set up sound as fluid and inventive as anything else out there. And yet, for all of Weaves’ admirable attempts to poke and prod indie rock towards progress, the irony is that they still sound like a throwback” (Pitchfork)

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12 mayo, 2017 Posted by | Weaves | Deja un comentario

Psychedelic Porch – BEAULIEU PORCH: Beaulieu Porch (2017)

“Beaulieu Porch is the work of one man and judging by this he’s some sort of twisted, psych pop genius…It’s a huge, kaleidoscopic album, with all the bells and whistles one would hope for from an ambitious piece of modern psychedelia, with plenty of memorable tunes at it’s core” (The Active Listener)

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11 mayo, 2017 Posted by | Beaulieu Porch | Deja un comentario

Mescalina Soundz – GRINGO STAR: The sides and in between (Nevado Music, 2016)

Tiran de lo retro, de lo fronterizo y de lo añejo para darle forma a la vez que utilizan un formato más bien cercano al LoFi. Disco divertido aunque quizás falto de algo más de esencias…

“Gringo Star are insouciant explorers, tossing the paddles overboard and drifting on the currents of their lackadaisical curiosity across a rippling sonic ocean, out to the far edges of rock & roll. Shots pulsing from a vintage Leslie speaker, their guitars, keys and vocals create the psychoactive ingredients of their echo-slathered, doo-wop-indebted indie gems; psychedelic garage bangers, gritty R&B shuffles and spaghetti-western weirdness. Taking cues from Santo & Johnny, The Stooges, Ritchie Valens, Marc Bolan, Percy Faith, Sam Cooke, the men working on the chain gang—uh! ah!—they’re all here, their electric ghosts reaching across time, tapping Gringo Star on the shoulder like the crossroads devil to Robert Johnson, bestowing secrets, passing torches” (Press)

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10 mayo, 2017 Posted by | Gringo Star | Deja un comentario

Bájate a la Fuente – APARTAMENTOS ACAPULCO: Nuevos Testamentos (2017)


Pop y Shoegaze a partes casi iguales. Apartamentos Acapulco debutan con este Nuevos Testamentos, un álbum plagado de intensidad sonora y melancólica.
Me gustan: ¿Qué quieres de mí?, El Almendro (Nuestro motor).

“Su música es una mezcla de pop, noise, shoegaze y dreampop, estupendos y atmosféricos temas de pop experimental ruidista y melódico, seductoras e hipnóticas canciones creadas con armónicas capas de sonido, mecidas por los juegos vocales y llenas de ambientes brumosos, bellas canciones donde las guitarras y los sintetizadores crean composiciones llenas de energía espacial y psicodélica que producen adicción desde el primer momento que las escuchas” (SonidosSumergidos)

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8 mayo, 2017 Posted by | Apartamentos Acapulco | Deja un comentario

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