The JangleBox

Indie, Noise, Shoegaze… Music

Done Done Done – THE I DON´T CARES: Wild Stab (Dry Wood Music, 2016)

Wild Stab

La reunión lúdico-festiva entre Juliana Hatfield y Paul Westerberg dio como resultado THE I DON´T CARES, un dúo desconozco si con solución de continuidad o no, que en cualquier caso, se marcaron un buen disco a comienzos del año pasado.
Wild Stab no cambiará el rumbo del Pop, pero a buen seguro que es plato de buen gusto para los buenos aficionados tanto al Power-Pop como a aquel movimiento que se dio a conocer como el College-Rock. Aunque el disco y el tono general del mismo está claro que va más hacia el lado de Westerberg, las aportaciones de Juliana, como en Dance to the fight son realmente notables. Aunque el tema más destacado de toda la colección sea precisamente el que lo cierra: Hands together, un inspirado y precioso medio tiempo entonado y escrito a medias de esos que emocionan a primera escucha.

“Like so many things Paul Westerberg touches, the Replacements reunion of the mid-2010s didn’t end in explosion or tears: it merely faded away, coming to a conclusion somewhere in Europe sometime in the summer of 2015. The rumored album never materialized but Westerberg resurfaced swiftly, popping up at the start of 2016 with Wild Stab, an album he recorded with Juliana Hatfield under the name the I Don’t Cares. The two Gen-X heroes harmonize and trade lines throughout but the scales are tipped ever so slightly in Westerberg‘s direction, supporting the story that Wild Stab‘s origins lie in demos Paul started but never finished. Then again, it’s true that it never felt likeWesterberg completed any of the digital EPs he knocked off in the 2000s; these were records that were intended to keep him dwelling on the margins where he feels most comfortable. Wild Stab is certainly not polished — from its thin, tinny audio to the cheerful cacophony of shout-along vocals, it’s proudly ragged — but it feels unified, benefiting from the editing and instigation of Hatfield. Even when her voice isn’t heard, her presence is felt in how Wild Stab emphasizes sharp hooks and smart songwriting, but the striking thing about the album is how it feels buoyant, an emotion that doesn’t come easy to either member of the I Don’t Cares. Operating as a team, Westerberg and Hatfieldlighten each other’s load, encouraging one another to tell corny jokes and make noise, tossing out the occasional fully formed tune along the way. Sometimes these songs take the shape of a bit of brooding but usually they’re knockabout pop and old-time rock & roll running at the pace of an oldRockpile record. All the mess, from its demo-quality fidelity to its throwaways, is intentional and the album is better for it: it’s two old pros having a good time, so it’s hard not to have a good time too” (All Music)

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30 junio, 2017 Posted by | The I Don´t Cares | Deja un comentario

Fuzzy-Power – DAYFLOWER: Neverfriend/Seeing up (Edils Recordings, 2017)

DAYFLOWER son una banda de Leicester que nos ofrece un sonido absolutamente embriagador a base de Fuzzy-Pop con gotas de Psicodelia que te van calando a medida que las escuchas. Curiosamente, Seeing Up, sin ser la cabecera del single, es el tema que más me atrae de este último sencillo hasta la fecha del grupo. Una canción absolutamente epatante y deliciosa. Editan nuevo sencillo en pocas fechas.

‘Neverfriend’ / ‘Seeing Up’ is a two song transmission of blissful, fuzzed-out lullabies, steeped in reverb and half-dreamed longing. As clearly as it recalls an era of pristine pop abstraction ruled by Creation Records and 4AD, Dayflower’s marriage of careful songcraft and sculpted noise is contemporary and very much their own. Clouds of abrasive guitar swirl over hypnotically unfolding beats. Wordless sirens sigh into a sonic landscape shot through with glitchy ambience. A wistful lead vocal is cradled in the eye of the storm” (Press Note)

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29 junio, 2017 Posted by | Dayflower | Deja un comentario

Pues yo no me aburro – EVAN DANDO: Baby I´m bored Reissued (Fire, 2017)

Evan Dando: Baby I'm Bored Deluxe Vinyl 2LP (Record Store Day)

En estos días se ha publicado de nuevo el primer álbum en solitario de Evan Dando (como si los anteriores con Lemonheads no lo hubieran sido), con la adición de hasta once cortes inéditos y un libreto conmemorativo. En cualquier caso, el primer trabajo oficial como Evan fue una evolución y resumen de todo lo mejor que había hecho hasta entonces, intentando dejar atrás esa imagen que probablemente no le hizo ningún bien de ídolo post-teenager que determinada multinacional le quiso otorgar. Evan siempre se movió mucho mejor en el Underground y en ese status de reencarnación en los noventa de un personaje como Gram Parsons, con todo lo que ello conllevaba.
Baby I'm BoredBaby I´m bored (2003) fue un disco de plena madurez, de creatividad plena con el que algunos que le quisieron dar por finiquitado se reencontraron con el mejor Evan Dando: ese que conjugó de  manera magistral el Pop con el Grunge y el Country.

“Emerging after The Lemonheads disbanded Evan Dando returned to music first with a solo tour and ‘Live At The Brattle Theatre’ then came his debut solo album ‘Baby I’m Bored’.
Mature and autobiographical, ‘Baby I’m Bored’ is a stellar record that stripped Dando of his grunge label. At the time of recording, he was without the band which saw him lean more towards an achingly melodic alt-country rock sound. Self-deprecating, these are songs of decline and coming back from that.
The record includes “Hard Drive” and “All My Life” two tracks penned by Ben Lee and features contributions from producer/composer Jon Brion, producer Bryce Goggin, Tom Morgan, Giant Sand’s Howe Gelb, Calexico’s John Convertino and Joey Burns, ex-Spacehog frontman Royston Langdon, Come’s Chris Brokaw and Arthur Johnson.
The ‘Baby I’m Bored’ reissue includes a disc of unheard unreleased tracks, singles, b-sides and rarities. ‘Shots Is Fired’ alternative version features an appearance from Liv Tyler” (Fire Records, Press)

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27 junio, 2017 Posted by | Evan Dando | Deja un comentario

Las Cuatro Bodas de LAS ODIO: Futuras Esposas (2017)

Futuras Esposas

Nombre genial, actitud de lo más creíble, sonido igualmente adecuado. LAS ODIO son una banda de esas que te dejarán sorprendido, en tanto que su ingenio se refleja en el tono general de sus canciones, altamente disfrutables, directas, de ésas que tienes que asimilar con facilidad.
Suenan a Riot Grrrl, a punk yeyé y directo. Futuras Esposas es toda una declaración de intenciones, a base de ironía y frases directas.

“Antes de ‘Indiespañol’, el cuarteto madrileño formado por Alicia Holgado y Paula JJ de Dúo Divergente junto a Sonsoles Rodríguez de Las Cruces y Ágata Ahora del colectivo feminista Sisterhood ofrece un análisis de la sociedad que nunca pretende ser sesudo pero sí irónico. ‘Yo lo vi primero’ parodia aquello de “el primero fue el mejor” y “ahora que se han hecho famosos ya no molan” con frases como “su mejor concierto fue el primero (…) antes de que fuese al Hormiguero” (…). En la misma línea, ‘A tu ritmo’ te invita a ser tú mismo con el estribillo “no lo hagas por moda / piensa por ti mismo / aunque te lo explique / llegarás a tu ritmo”. Por el camino, se les escapa alguna crítica social, como la presión y la obligación de tener que poner siempre buena cara, algo que sacude más al género femenino (“alegra esa cara / no te encuentras bien / eso no me importa / solo lo tiene que parecer”); y sobre todo la falta de oportunidades para los jóvenes del país (“una habitación no es suficiente si compartes piso a los 40”, dice ‘Un cuarto propio’).
Las referencias del grupo son Chain and the Gang, The Make Up o Vivian Girls, y así ‘Futuras esposas’, que debe su irónico título a la película ‘Las cuatro bodas de Marisol’ (habrá un homenaje para Pepa Flores en los surcos del vinilo), es un compendio muy lo-fi, aparentemente improvisado, de punk, yeyé, riot-grrrl o garage, con puntos más soleados y californianos (‘Puede ser divertido’) y otros más terroríficos y serie B (‘Batman corazónRobin’).
Casi siempre, las referencias son más Alaska y los Pegamoides y Alma-X (muy evidente en ‘Blackout’ o ‘Vitaminas’) que Electrelane, como parecen buscar en ‘Mantis religiosa’. Y es que a veces sí viene a la mente esa idea de que la mejor manera de callar bocazas a más de uno es ser PJ Harvey o Sleater-Kinney o, como mínimo, intentarlo. Pero si por su carácter semi-maquetero o simplemente porque no encontráis en estas canciones el ingenio de ‘Indiespañol’ y de casi todo el repertorio de Las Bistecs (entre 10 canciones ‘Batman corazón Robin’ es un instrumental de escaso desarrollo y ‘Cuchillas’ una versión de ‘Lamette’ de Donatella Rettore que no aporta tanto), no es que Las Odio te dejen indiferente, no, sino que de verdad “las odias” (qué gran nombre), odia también un poquito a Carlos Pereiro “Carlangas” de Novedades Carminha, a Lucas Petricca y a Arturo Vaquero. Todos se han involucrado en este disco en la fase de producción, grabación y mezcla, los has oído en multitud de proyectos, e igual es la primera vez que te sientas a analizar algo suyo con lupa” (Jenesaispop)

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26 junio, 2017 Posted by | Las Odio | Deja un comentario

Piiink – ARIEL PINK: Another weekend (Single, Mexican Summer, 2017)

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“Ariel Pink sets a serene but complicated scene for the next chapter in his curious career with “Another Weekend,” the first solo material heard since the prog-pop opus pom pom. Contrary to the lyrics of “Another Weekend” (and fortunately for both fanatics and the newly initiated), Pink is neither too shy or humble to have brought his singular style of pop music beyond the bedroom for the befuddled masses over the past two decades, but returned to the formative, familiar setting to craft what will surely live as another shimmering moment in an unrivaled canon. Encapsulating the lingering euphoria of a regrettable weekend over the edge, “Another Weekend” speaks in morose volumes while whispering sweetly, the dichotomy of Pink’s pathos once again on display” (Press)

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24 junio, 2017 Posted by | Ariel Pink | Deja un comentario

Fresh and Sweet – BEACH FOSSILS: Sugar (Video-Single, 2017)

Fresh and Sweet… Beach Fossils bright new single. Out just now !!

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23 junio, 2017 Posted by | Beach Fossils | Deja un comentario

Modo Futurología – JANE WEAVER: Modern Kosmology (Fire, 2017)

Modern Kosmology

Un disco de esos que puede marcar una época, de alguna manera. Una forma de entender el Pop, a base de influencias diversas: Electrónica, Kraut, Psicodelia, Cosmic-Pop, Dream… y que a su vez puede ser el camino a seguir para un futuro muy cercano. Un álbum más que interesante a cargo de una de esas artistas personalísimas, de carácter y de voz inconfundible.

“On her 2014 album, The Silver Globe, Jane Weaver took a step away from the gentle psych-folk she had been making into something more German and droning. Abetted by a wide array of synthesizers, she wrapped her dreamlike songs in cushy waves of sound for a large part of the album. On 2017’sModern Kosmology, Weaver dives headlong into dream pop that’s filtered through vintage synthesizers, motorik beats, and jangling guitars. Playing most of the instruments herself, with help from the occasional drummer or guitarist, she creates a world of sound that envelops the listener in much the same way that the tendrils of synths wrap around her rich, woody vocals. From the opening notes of the album, she weaves a sonic spell that doesn’t break, or even bend. The tempos may change, the mood may shift a bit here and there, the arrangement may go from dense to sparse, but through it all Weaver conducts the sound like a magician in full command of her powers. There are hints of Stereolab and Broadcast, echoes of Can and Harmonia, shades of Spectrum, and nods to synth pioneers like Suzanne Ciani, but when the album is done, it mainly feels like a pure manifestation of Weaver‘s vision. Songs like “Did You See Butterflies?” and “Loops in the Secret Society” certainly owe a great debt to artists of the past, but the way Weaver puts together the pieces is fresh and entrancing. The record really takes off when she breaks out of the mood established on those aforementioned tracks and adds unexpected elements, like the heavy post-rock drums on the pulsating “The Architect” and the sawing violins and stentorian vocals of guest Malcolm Mooney ofCan on the utterly hypnotic “Ravenspoint.” Not only do these tracks serve to add an extra bit of dynamic tension to the album, they also point to more exploratory avenues Weaver could attempt in the future now that she’s mastered synth-heavy dream pop. The Silver Globe was Weaver‘s coming-out party;Modern Kosmology serves notice that she’s here to stay” (All Music)

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TOUR
7th July: UK, Cheshire, Bluedot Festival
20-23rd July: UK, Liverpool, Liverpool International Music Festival
22 Jul: Tramlines Festival, Sheffield, UK
29th July: UK, London, O2 Academy Brixton w/ Goat & The Moonlandingz
05 Aug: Hoylake, UK Skeleton Coast Festival, Hoylake Parade Community Centre
25-26th August: Totnes, Sea Change Festival
20th October: Ramsgate, Ramsgate Music Hall
22nd October: Brighton, The Haunt
23rd October: Norwich, Arts Centre
25th October: Folkestone, Quarterhouse
26th October: London, Islington Assembly Hall
28th October: Nottingham, The Bodega
29th October: Oxford, The Bullingdon
31st October: Leeds, Brudenell Social Club
1st November: Stoke, The Sugar Mill
2nd November: Newcastle, The Cluny
3rd November: Hebden Bridge, Trades Club
4th November: Glasgow, Stereo
10th November: Dublin, Workman’s Club
11th November: Belfast, Maple Tour Leaf

22 junio, 2017 Posted by | Jane Weaver | Deja un comentario

Beauty – REAL ESTATE: In mind (Domino, 2017)

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Hablar de Real Estate y no recaer en los elogios me resulta a veces casi sonrojante, mayormente debido al hecho de que su música, pese a algún cambio sustancial de formación, se ha mantenido absolutamente fiel a unos presupuestos estéticos y sonoros perfectamente coherentes. El Jangle-Pop de inspiración sesenta-ochentera goza de una salud envidiable gracias a la banda de Martin Courtney. Oyendo temazos como Stained glass (no soy de juicios absolutos, pero probablemente candidato a single del año), Darling, Saturday, Two arrows, White light, Diamond eyes, Same sun… hay bien poco que decir. Si acaso babear y envidiar cómo construir canciones tan preciosas y tan perfectas con unos patrones aparentemente tan sencillos.
Real Estate es una gran banda. Un grupo que se ha sabido alejar de cualquier amaneramiento, pose o estética del momento. Un grupazo para disfrutar por siempre de sus canciones.

“Probably the biggest news item surrounding 2017’s In Mind, the fourth LP from sauntering daydreamers Real Estate, was the exit of founding member and lead guitarist Matt Mondanile, who left to focus on his solo project, Ducktails. Another Ridgewood, New Jersey native, Julian Lynch, stepped in, himself a veteran collaborator of member projects including Real Estate, Ducktails, andAlex Bleeker & the Freaks. It’s hard to imagine a smoother transition on the beachside sunset of an album that is In Mind. The group sets the stage with the elegant, serpentine jangle of opener “Darling.” With a mix that allows ears to pick out unobtrusive synths and individual guitar tones, separately as well as together, it has a hypnotic quality that’s active rather than passive. That quality is only reinforced by mixed meters that throw off the feel, just a little, before falling back in line for those tapping out 4/4 time — like riding out a wave. Meanwhile, Martin Courtney‘s vocal line, always calm and cottony in character, is only one of many overlaid melodies, including the bassline, as he sings of finches and ferns waiting “for the warm sun to return, impatiently, as I wait for you.” Listeners are the ones on the receiving end of those evasive rays by virtue of the vocal delivery, guitar tones, imagery, extended chords, and languid melodies, ever simpatico. Those traits hold throughout the album, maintaining a sunny humidity without getting sleepy. They avoid any prolonged drifting with a base of subtly catchy tunes that offer regular moments of discovery. Production touches, like robotic effects on double-tracked vocals — but only for a few passing phrases –- and the judicious use of drum samples on “Time,” add flavor without snapping us out of good vibrations. Later, textures like wah effects (“Serve the Song”), hazy distortion (“Two Arrows”), spacy timbres (“Holding Pattern”), and the harpsichord-like riffs that color the uptempo jangle of “Stained Glass” add muscle and glimmer to the grain. Along with producer Cole M.G.N. (Beck, Julia Holter), Real Estate seems to both fine-tune and expand an already identifiable sound on In Mind, with engaging and often beautiful results. “A strong current will sweep you downstream/It would be best not to resist” (All Music)

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20 junio, 2017 Posted by | Real Estate | Deja un comentario

Gentes – ESPÍRITUSANTO: Caza Mayor (Jabalina Music, Ep, 2017)

“Caza mayor EP” sintetiza las características y la esencia de Espíritusanto, la banda integrada por Andrés Federico (voces y teclados), Elia Maqueda (voces y teclados), Jorge López (bajo), Juan Rey (guitarras), Pablo Hernández (guitarras) y Sean Lynam (batería, programaciones), que pertenecen a esa generación de músicos que basan su forma de componer en el pop, el ruido y las armonías vocales que les alimentaron en los 90’. Citan como algunos de sus referentes a Yo La Tengo, The Radio Dept, Low o Deerhunter, a los que, si nos lo permiten, podríamos añadir a The Pains of Being Pure at Heart, pero su forma de componer, donde los textos también tienen gran relevancia, y el resultado final de desarrollar las melodías y ensamblar su sonido de guitarras con las armonías vocales, hacen que su registro musical vaya más allá de las influencias del propio grupo y les distinga del resto. Su evolución, del shoegazer al dreampop les ha traído hasta aquí, conservando las singularidades de dos géneros hermanos que les han permitido elaborar una fórmula cuyos variados resultados se evidencian en los cuatro temas de este EP. Señas de identidad como las melodías elaboradas, la profusión de sonido y arreglos de guitarras con detalles electrónicos, por los que navegan y se abren los inconfundibles duetos de Adrián y Elia (antes que ella, Reyes), también están omnipresentes en este Espiritusanto…” (Prensa Jabalina Music)

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19 junio, 2017 Posted by | Espíritusanto | Deja un comentario

Novedades en Clipetes gracias a El Genio Equivocado


Nuevos vídeo-clips de bandas de la factoría El Genio Equivocado. En este caso, sendos sencillos de Invisible Harvey (La noche de fin de año somos arte funerario) y de El Lado Oscuro de La Broca (Trás-Os-Montes).

19 junio, 2017 Posted by | El Lado Oscuro de La Broca, Invisible Harvey | Deja un comentario

Expectations – ST. DELUXE: On Your Own​/​Wisdom of the Ages (Single, 2017) – Expectations/Julia (Single, 2016)

Fuzzy-Pop de la mejor escuela escocesa (y no voy a ser prolijo nombrando grupos). Sonidos emocionantes que nos evocan a lo mejor de los maravillosos noventa. El único pero: que no han editado aún álbum desde su debut de 2012. 

“St Deluxe strike back with a killer double A cassette and download release, Expectations/Julia. Following the recent psych/shoegaze-tinged Draw a Line EP, the single sees the 3 piece showcase the pop side to their fuzz drenched slacker vibe.
Pop Monster A: Expectations – an excited, careering, melodious pop joyride through Fender and Fuzz indie rock wastelands, exuberant and bored and wasted all at the same time. Early Teenage Fanclub/Dinosaur Jr listening to Rubber Soul on codeine.
Pop Monster AA: Julia – a 2 minute driving bubblegum rock banger, relentlessly charging towards a rock breakdown before being submerged in wailing noise. Like Psychocandy era JAMC being shouted at by Johnny Ramone while Thurston Moore cries tears of reverberated feedback” (Press)

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18 junio, 2017 Posted by | St. Deluxe | Deja un comentario

Psicodelia Extrema – MORGAN DELT: Phase Zero (SubPop, 2016)

El segundo álbum del angelino MORGAN DELT, es todo un descubrimiento. El clásico álbum de Psicodelia preñado de arreglos y truquitos que poco a poco comienza a enrevesarse y (quizás) a adentrarse en mundos sonoros realmente demasiado poco asequibles. Un trabajo más que recomendable…

“The invocation of classic west coast psychedelia that permeates Morgan Delt’s Sub Pop debut LP feels like a continuous sunrise, never concealing its influences yet perfectly putting its songs through a gauzy lens that blurs and obscures. Is such a thing even possible after witnessing umpteen reverb-jockeys creating their own take on the genre? Can anything truly different be done in the realm of being both original and reverent, wearing favorite records and artists’ moves on one’s sleeve? Definitely the case with our man here. After releasing a 6-song cassette in 2013 followed by a full length for the Trouble In Mind label, the California native now fine-tunes his sound world outwardly rather than honing in on a specific trajectory, allowing all of said influences to coexist together in a unique yet undoubtedly Californian vision.
The resulting 10-song collection, performed entirely by Delt, recorded in his Topanga Canyon studio, and mastered by JJ Golden, is a home-fi construction with a more subtle, brain-tickling character than its predecessor, and somewhat reflects a realist take on the flower power fantasy of 1967. Doused in echo and haze, slow chords lap in like Pacific waves, flanked by gentle whispers of multi-tracked, cooing vox, phased guitars and fuzz that calmly surrounds the listener’s head less than it jabs at the cortex.
The great thing about Delt’s approach to such history is (and sorry to sound harsh) that unlike too many of his so-called L.A. psych-rock peers, there’s no costume involved, no application of a conjured identity to match a specific image. He’s no psychedelic Civil War re-enactor, so to speak. It’s subtle and tactful revisionism without using psychedelia as a crutch/easy marketing tool and letting the sounds come out and make their own case.
It takes a creative mind to make psychedelic rock music – tablas, drones, hallucinatory vocal effects, and all – without slipping into cliché, but Delt can transport what would normally be a dark-n-druggy blanket into a much more optimistic and friendly listening experience. Despite his voice being channelled through hallucinatory effects, it’s warm and inviting, projecting a sense of hope (particularly in “Some Sunsick Day,” which evokes the hopeful “We’ll Meet Again” as the world explodes at the end of Dr. Strangelove, later covered by the Byrds). It’s more or less just an invite to watch the sun rise too” (Press)

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17 junio, 2017 Posted by | Morgan Delt | Deja un comentario

Atraction – NOVELLA: Change of State (Sinderlyn, 2017)

Change of State

Como continuación a su interesante Land (2015), el combo británico Novella publica este año este no menos atractivo Change of State (Sinderlyn, 2017), que en realidad no hace referencia a un cambio de estado musical, ni mucho menos, ya que las chicas se mantienen fieles a su ideario Pop con influencias Kraut, Dream e incluso con esas gotas añejas de Psicodelia sesentera que tan bien le sientan a la mayor parte de sus cortes. Un disco cautivador, producido por James Hoare con ligeros altibajos que le restan una pizca de brillo a un resultado final algo más sobresaliente. 

“Following up a successful debut album is a tricky proposition filled with many possible pitfalls. One way for artists to avoid falling on their faces is to stick with what made their debut albums good, then give things a slight tweak. Novella do a fine job of following this blueprint for success on their second album, Change of State. Their first album, Land, was a hazy psych-pop album with tangled guitars, pulsing rhythms, and some seriously catchy songs, all recorded in a real studio with a big sound to match. The sessions for Change of State took place in producer James Hoare‘s home studio on his old eight-track tape machine. The surroundings and process led to a much more intimate and precise album, with the drums dialed back and the overall mix having a less expansive feel. The more compressed sound allows Hollie Warren‘s vocals to move to the fore, and she makes the most of it. Her expressive and resonant singing was one of the highlights of the first album and she’s even more impressive here, giving the songs a deep emotional impact. The guitar work of Warren and Sophy Hollington (whose impressive artwork graces the album cover) is more tightly locked together, bassistSuki Sou and drummer Iain Laws work together like a well-oiled machine, and the occasional synths add just the right amount of texture. It’s a compact brand of psychedelia, made for late nights and quiet moments with songs that foster introspective reveries and the occasional burst of melancholy. The album rarely goes above a whisper; tracks like “Desert” and “Four Colours” are gently peaceful and pretty, those with motorik underpinnings (“Thun” and “Come In”) percolate calmly, and a couple songs (“Elements,” “A Thousand Feet”) attain the same kind of dream-state psych that Opal or the Rain Parade did at their peak. Only a couple songs (“Does the Island Know,” the jangling “Side by Side”) have any kind of insistent energy, and they help keep the album from floating away on a cloud of pillow-soft sound. Choosing Hoare and his home studio proves to be a pretty brilliant idea and the band sounds great throughout Change of State. The songs, sound, and performances all combine into something that doesn’t exactly improve on what they did on Land, but the album is just as compelling” (All Music)

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16 junio, 2017 Posted by | Novella | Deja un comentario

The Great Escape – MUMRUNNER: Gentle Slopes (Soliti, 2017)

Pop finlandés con ascendencia Dream

“Mumrunner deal with aesthetics from contrasting aspects of sound: sometimes abrasive alternative rock melds with dream popsoundscapes that gives the impression of being otherworldly. ​The Tampere, Finland based band love to play loud but never forsake an interest in subtler dynamics which makes Mumrunner’s ambitions unique and special” 

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15 junio, 2017 Posted by | Mumrunner | Deja un comentario

Buen intento – HATER: You tried (PNKSLM Recordings, 2017)

“The Swedish indie pop quartet Hater released their debut EP Radius this summer and now they’re back with new music in the shape of new single “Mental Haven”, the first single from their upcoming debut LP You Tried. You Tried is due on March 10 next year, released via Swedish indie label PNKSLM Recordings, and the album is produced by Swedish producer Joakim Lindberg (a Malmö based producer who’s previously worked with acclaimed indie acts such as YAST and Hey Elbow). A big step forward for the young act, more confident and melodious than the EP, but still retaining the urgency along with a heavy dose of both emotion and heart. 
Hater was formed this spring by Caroline Landahl, Måns Leonartsson, Adam Agace and Lukas Thomasson, all musicians based in Sweden’s third biggest city Malmö, just across the strait from Copenhagen, who’d all had their share of experience in other local acts before deciding to strike out as Hater. They quickly set to recording what would become their debut EP Radius, working with Joakim Lindberg, and soon signed with PNKSLM Recordings who released the EP in early July. Taking their musical cues from the likes of Alvvays, The Pretenders, Neil Young and The Radio Dept, all led by Landahl’s gorgeous vocals, Hater soon drew a lot of attention, including praise from international music publications such as The FADER and The Line of Best Fit.
Among those to declare themselves fans were the band’s heroes in The Radio Dept. who asked them to open for them on their first Scandinavian tour in five years. After spending the summer and early fall recording You Tried while touring around Sweden and making their UK debut show in London, Hater will be touring with The Radio Dept. later this year ahead of a full UK and EU tour around the album release this spring. With You Tried Hater easily establishes themselves as Sweden’s most exciting new indie act, offering up a sound that’s both instantly accessible and grows with every listen” (Press Note)

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14 junio, 2017 Posted by | Hater | Deja un comentario

Pop Casero – YESSES: Fixated (2016)

Pop con aroma de psicodelia suave y elaboración casera a cargo de Jack Brosnahan, músico neozelandés que el año pasado editó este Fixated bajo el alias de YESSES.

13 junio, 2017 Posted by | Yesses | Deja un comentario

Memories – THE DIRTIES: Factoría de Recuerdos (2017)

The Dirties continúan pisando el turbo en la mayor parte de sus temas. Factoría de Recuerdos es su último trabajo, y en él vuelven a mezclar elementos electrónicos con analógicos con una naturalidas asombrosa, dando como resultado un disco de Electro-Pop con mucha tensión sonora.

“Diez canciones y un remix componen una entrega más madura del sonido de The Dirties.
Sin despegarse del lado hedonista de sus canciones pero a la vez conjugándolo con actitudes mas maduras.
Factoría de recuerdos es también un guiño a uno de los primeros sellos indie, Factory records.
Uno de los primeros que ofrecieron las posibilidades de la mezcla de estilos bailables y canciones pop, justo lo que ofrece The Dirties en estas canciones.
La diversidad y sencillez de “Factoría de recuerdos” en cada una de sus canciones es quizás el arma más grande que contenga este trabajo, aparte de las reminiscencias a grupos como Dorian, New order,Depeche mode o incluso Holy fuck” (Nota de Prensa)

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12 junio, 2017 Posted by | The Dirties | Deja un comentario

Distortions – SIDEWAVE: Surma Vana (2016)

Sidewave se mueven en esa línea a medio camino entre el Grunge y el Shoegaze de guitarras que comenzaron a esbozar los primigenios Smashing Pumpkins y que continuaron bandas como Swervedriver alguna década después. Surma Vana está compuesto de los temas no incluidos en su debut: Glass Giant.

“Sidewave uses lush, heavy chords, soaring melodies and crushing rhythms to create their signature space-rock sound.Influenced by the unsung greats of the nineties like Hum, Failure, Shiner and The Smashing Pumpkins, Sidewave is redefining a genre and is sending listeners down on a new, yet familiar path”

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11 junio, 2017 Posted by | Sidewave | Deja un comentario

A veces oigo Voces – VOICES FROM DEEP BELOW: I Want to Stand Where the Sun Himself Shakes with Fear (2017)

I Want to Stand Where the Sun Himself Shakes with Fear es el título del quinto álbum en la trayectoria de la banda neoyorquina Voices from Deep Below. Un combo especializado en esa suerte de Shoegaze de manual, cargado de capas y capas de distorsión y efectos sobre la base de unas guitarras compactas.

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10 junio, 2017 Posted by | Voices from Deep Below | Deja un comentario

Labrador Summer Sampler (2017)

Resultado de imagen de labrador greatest hits summer 2017

“We’d like to thank everyone who has supported us in the past – and everyone who will support us in the future – with a small gift. We hope the 10 track compilation “Greatest Hits Summer 2017″ will accompany you throughout your summer days and make them even greater. Enjoy!” (Labrador)

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9 junio, 2017 Posted by | VV.AA. | Deja un comentario

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