The JangleBox

Indie, Noise, Shoegaze… Music

Come to the Valley – WAVVES: You´re Welcome (Ghost Ramp, 2017)

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Reconozco que me acercaba a este último trabajo de Wavves con cierta pereza. De encontrarme con clichés y patrones ya conocidos. Pero qué narices, Nathan Williams tiene una capacidad innata de producir himnos de tres minutos y de facturar estribillos absolutamente epatantes, a base de ingenio y buenas dosis de humor. Canciones que quizás no transciendan a la posteridad, pero que tienen un cierto poso de permanencia, de perdurabilidad; y ahí está ya la década de trabajo que la banda tiene a sus espaldas.
Me encantan cortes como You´re Welcome, No shade, Million enemies, Animal, Stupid in love (¡qué verso, por dios!), I love you (todo una preciosa mirada al pasado) o la hilarante Come to the valley, una manera perfecta de demostrar que cualquier tiempo pasado (al menos musicalmente) pudo ser mejor…

” It’s still super-catchy and fun, like Wavves at their best usually are, but it’s warped in a very interesting way. The care Williams and Herring put into the sound of each song, the use of odd samples and sounds, the dynamic tension they make sure each song has — it all adds up to something a little more impressive than a bunch of songs all played at maximum volume. Sure, there are a couple of knockout rockers, like “Dreams of Grandeur” and “Exercise,” but even these have weird little production tricks and glitches that make them really stick. The songs that fully give themselves over to the samples are really fun. “Come to the Valley” is a loping pop song with what sounds like a sample of a vocal choir from the ’50s; “I Love You” kicks off with a snippet of an old doo wop song, then segues into a reverb-drenched ballad that sounds like the most honest expression of emotion they’ve ever put on wax. A couple other highlights are the glittery, ’80s-damaged “Million Enemies,” where it sounds like Herring whipped out some of the sounds he used when producingTimbuk 3, and the Alex Gates-penned “Animal,” which sounds weird in context just by being straightforward indie rock. Nathan Williams could have kept cranking out fun and frothy albums like Vwith little effort; it’s good that he decided to stretch his creative muscles a little on You’re Welcome. It’s even better that he came up with a smart and compulsively listenable update on the Wavves sound that kept all their rambunctious energy, but also added some fun tricks and treats” (All Music)

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30 agosto, 2017 Posted by | Wavves | Deja un comentario

Handmade – Modern Studies: Swell to great (Fire Records, 2017)

Un estimulante (y relajante) proyecto a base de Neo-Folk y música de raíces nórdicas grabado y mezclado con el cariño de lo artesano.

“A stimulating approach that melds the old and new through their instruments, delicate harmonies and rich compositions that are steeped in traditional and contemporary folk music. The restrictive process even had their wheezy founding member, the harmonium, controlling the pitch as the intrepid band members tuned their tools accordingly.
Recorded in Harvey’s studio, Pumpkinfield in the rural surroundings of Perthshire, the quartet’s songs are embedded in the sea and the landscape of the shoreline.
Emily Scott’s tender lead vocals soar over the sweeping cello, bellowing harmonium and gentle percussive crashes on ‘Black Street’, ‘Bottle Green’ and ‘Sleep’, while hidden in its depths Rob St John, whose distinctive vocals recall David Thomas Broughton, experiments with tape loops that are buried within the layers of their orchestral arrangements. St John, known for his field recordings and art-science projects, cites as his guiding inspiration Brian Eno’s experimentalism and pop sensibilities.
Unfurling bucolic stories come with Scott’s lyrics for each song, ‘Supercool’ sets the tone with an immediate sense of yearning, moving into more contemporary folk-pop on ‘Father Is A Craftsman’ and ‘Dive-bombing’ evokes images of summer frolicking on the shore. The record includes an exceptional and haunting ode to Shirley Collins’ rendition of traditional song ‘Bold Fisherman’ that featured on the Earth Recordings ‘Shirley Inspired’ compilation” (Press Note)

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29 agosto, 2017 Posted by | Modern Studies | Deja un comentario

Life WITH Soundz – CLOUD NOTHINGS: Life without sound (Wichita, 2017)

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El tradicional Pop de tintes acelerados y proto-grunge de Cloud Nothings parece que continúa indemne al paso del tiempo. Los de Ohio se mantienen fieles a una fórmula eficaz y que les promete en cada disco tres o cuatro trallazos melódicos con los que no suelen defraudar…

“After the ragged angst of their last two albums, it’s not surprising that Cloud Nothings opt for a lighter approach on Life Without Sound — if only to give Dylan Baldi‘s vocal cords a much-needed break. On their fifth album, Baldi and company sand off some of the rough edges that defined Attack on Memoryand Here and Nowhere Else, and more often than not, it adds nuance to the tug of war between defiance and acceptance that drives their music. However, smoother sounds don’t always mean a smoother outlook, and Life Without Sound finds Baldi soundtracking his quarter-life crisis with songs that try to reconcile past with present, youth with growth, and grit with polish. “Up to the Surface” begins the album with piano, an instrument that is often overused by rock bands to convey thoughtful maturity, but coupled with the track’s heavy drums and Baldi‘s gravelly baritone when he sings “I knew peace in the terror of the mind,” Cloud Nothings actually do sound thoughtful and mature as they contemplate the moment when abandonment turns into letting go. Helping the band achieve this perspective is producer John Goodmanson, whose work with Death Cab for Cutie feels like a major influence. IfAttack on Memory and Here and Nowhere Else built on ’90s grunge, then Life Without Sound could be seen as carrying on the tradition of neatened-up early-2000s indie, when acts like Death Cab andModest Mouse made it big. Though the resemblance is closest on “Modern Act,” the album’s glossiest moment, the chiming melodies that steered Baldi through his crises since Turning On also take the lead on “Internal World” and “Things Are Right with You,” where the chorus “Feel right/feel lighter” feels like a mantra. Cloud Nothings don’t forsake fiery outbursts entirely; “Darkened Rings” could have appeared on Here and Nowhere Else. Still, songs like the darkly cathartic finale “Realize My Fate” and “Strange Year,” a tangle of recrimination and regret that boasts the album’s most throat-shredding vocals, aren’t quite as raw as they could have been, emphasizing how the band’s focus has shifted. By letting go of a little of their rage, Cloud Nothings let more light and shadow into Life Without Sound with promising results” (All Music)

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26 agosto, 2017 Posted by | Cloud Nothings | Deja un comentario

Satsuma – MERMAIDENS: Perfect Body (Flying Nun, 2017)

“Mermaidens burst onto the scene with their widely acclaimed debut EP O in 2014 and went on to release their debut album Undergrowth in 2016. As a result, they were offered dozens of shows and international support slots, which led to them being picked up by Flying Nun Records.The Wellington trio offer a mesmerising dip into the realms of post-punk and psych, defined by intricate songwriting, boldly raw – yet increasingly refined – studio production, and a hypnotic live synergy that leaves audiences enchanted.
Perfect Body features many of the familiar characteristics of the Mermaidens’ sound, with twinkly, reverb-laden guitar lines, rich vocal harmonies and vibrant drums. They have expanded on these sounds, bringing in even more dynamic elements, building richer melodic layers and a wider range of guitar textures, as they explore different levels of dissonance. The record is already garnering rave reviews from around the globe. God is in the TV gave the record a staggering 9/10. “Perfect Body is a delicate filigree of an album… the New Zealand trio tackle themes of personal and artistic growth as well as the acceptance of maturity… It is, in fact, quite perfect” (Press Note)


25 agosto, 2017 Posted by | Mermaidens | Deja un comentario

Borrascas – THE CHERRY WAVE: Shimaru (Lamppost Records, 2017)

Los diez cortes de Shimaru, el segundo álbum de los escoceses The Cherry Wave se pasa por delante de nuestros oídos como un ciclón de distorsiones y guitarras a volúmenes nocivos. Una borrasca de sonidos cercanos al Shoegaze pero con clara influencia del Fuzz y del Power-Pop al estilo noventero.


24 agosto, 2017 Posted by | The Cherry Wave | Deja un comentario

Wated – THE JAZZ BUTCHER: The Wasted Years (Fire Records, 2017)

“In the early ‘80s, Dave Barker was checking master vinyl copies of classical recordings for glitches – they don’t make jobs like that anymore. In his spare time he discovered innovative souls struggling to make music and welcomed them to his Glass Records label. The roll call included Teenage Fanclub, Spacemen 3, The Pastels and The Jazz Butcher.
The ‘Butcher’ delivered a gaggle of albums and many 45s for Glass from 1983 to 1986, the jacket notes on the dusty tome that recalls this period mentions Randall And Hopkirk (Deceased), Thatcher, DIY post-punk, LSD, surrealist cabaret, The Velvet Underground, a bottle of Cointreau or two, the Amstrad 7090 and Ronco’s ‘Black Magic’ compilation. All that led to the ‘The Wasted Years’: Four albums, many visions…
‘Bath Of Bacon’ was an experiment in sound, conjoining that Ronco platter to Todd Rundgren, a guitar from Wes Montgomery’s cupboard and mentions of imaginary monsters set to some funky chops. “The sound of a few mates failing to take note that they’ve an LP to make!” claims the JB site. It’s pop meets bluesy scat with plenty of deadpan irony – a theme that will recur.
‘A Scandal In Bohemia’ took a “competent little rock band” with a bassist who’d served time in Bauhaus into a world chorused by multi-track vocals and bathroom ambience. “A top-shelf diamond of a record that is filled with excellent, memorable songs.” (All Music).
‘Sex And Travel’ offered a broadening perspective. Competence and European travel beget a narrative akin to an impressionistic cold war spy movie, a “mess of styles” that became coherent. “A great album,” muses All Music before comparing JB mainman Pat Fish to Ray Davies circa 1969. It’s an “accidental” concept album prone to fleeting melancholy.
‘Distressed Gentlefolk’, ahead of the original band’s demise through “fatigue and liquor” was the Butcher’s stab at making their “greatest album ever”. “A beautifully romantic record of soft rock ballads and jazzy torch songs,” enthused Trouser Press. There’s a folky edge scratching away beside the inevitable romp through pop music’s historical lineage.
Four albums, then. The ‘80s recast at an ironic party of malcontents. Indie pop as a soundtrack. Songs that shouldn’t fit together – but do. ‘Wasted Years’? Yeah, really” (Press)

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23 agosto, 2017 Posted by | The Jazz Butcher | Deja un comentario

Avocet Revisited – Earth Recordings (Shared Ep, 2017)

‘Avocet Revisited” is a four track EP, commissioned by Earth recordings as a companion piece to Bert Jansch’s 1979 avian-themed masterstroke ‘Avocet’. Again drawing inspiration from the resplendence of birds native to British waters (Bert himself was a keen ornithologist), Earth invited this quartet of artists to each choose a species that particularly speaks to them, and base a track around it. The results have been universally graceful, evocative, and majestic – much like the creatures themselves. 
Drifting low and gliding high, the flight patterns of this gull-like creature are echoed in Edwyn Collins and Carwyn Ellis’s paean to the bird that spends most of its life airborne. Part waltz, part lullaby, ‘Fulmar’ is exquisite in its simplicity, with Carwyn’s elegant arrangements providing the perfect foil for Edwyn’s unmistakeable intonation.
The opening of Modern Studies’ track – the call of the Curlew itself – is as recognisable as the looping feathered frame of its namesake. Perfectly showcasing the handsome orchestral arrangements that have become the group’s signature style, there is a lightness of touch here that evokes Virginia Astley’s ‘From Gardens Where We Feel Secure’.
Another Scottish resident, both artist and avian. Unmistakably Alasdair Roberts, ‘Goosander’ is at once refined and somewhat feral; Alasdair’s picking supplemented by sighing organ drones and spartan electric guitar. 
Golden Plover
Playing us out, Trembling Bells’ contribution has a Harvest feel – the last days of summer invoked by the warm refrain and gentle orchestration found on ‘Golden Plover’. In another lifetime, this song – infused with the sounds of yesteryear – could very easily have made it onto the Wicker Man soundtrack… which should tell you all you need to know. A pagan hymn reimagined for the Scarfolk era! The band is joined by Callum Calderwood (violin), Rory Haye (vocals), Andrew Pattie (vocals) and Belle & Sebastian’s Stevie Jackson (12 string guitar)

22 agosto, 2017 Posted by | VV.AA. | Deja un comentario

Desvíos – ESCUELAS PÍAS: Pequeñas desviaciones (El Genio Equivocado, 2017)

Pequeñas Desviaciones’ reúne las cuatro composiciones que quedaron fuera de su primera referencia en el sello El Genio Equivocado. “No las consideramos descartes, ni siquiera caras b, simplemente no formaron parte del disco por motivos de duración y estilo”. Con ‘Pequeñas Desviaciones’ el grupo cierra su primer ciclo vital y ya se prepara para un nuevo periodo de composición y grabación. “Nos daba mucha pena que estas canciones se quedasen perdidas en tierra de nadie. Ahora que estamos trabajando en material nuevo, queríamos partir de cero y darle su lugar a estos temas que formaron parte de la creación del anterior LP”. Escuelas Pías comenzará a grabar su segundo larga duración a finales de año en los míticos estudios La Mina de Raúl Pérez.
Pequeñas Desviaciones’ está grabado y producido por la propia banda, masterizado por Mario G. Alberni (Kadifornia Mastering) (Nota de Prensa)


21 agosto, 2017 Posted by | Escuelas Pías | Deja un comentario

Teach Us – THE RADIO Dept.: Teach me to forget (Labrador, 2017)

20 agosto, 2017 Posted by | The Radio Dept. | Deja un comentario

Emoshuns – SPIRAL STAIRS: Doris & The Daggers (Domino, 2017)

Doris & the Daggers

Hay ciertas emociones al oír el segundo trabajo de Scott Kannberg, aunque nadie se espere encontrarse con demasiados trazos de su época Pavement. Incluso ni siquiera con la de su correligionario Malkmus. Si acaso en cortes como EmoshunsDundee man, Doris and The Daggers
Este segundo disco tiene guiños ochenteros (Dance -Cry wolf-, …) y otras en las que directamente se le va un poco el concepto e incluso introduce en la producción arreglos de metales que, la verdad, no tienen demasiado sentido. Personalmente, prefiero la vertiente más guitarrera. ¿Posición conservadora? Pues sí. Adoro a Pavement, y cualquier cosa que suene a ellos es música celestial para mis oídos.

“Recorded with a host of indie rock stars, including members of Broken Social Scene and the National, Doris & the Daggers is settled in an appealing way. Kannberg eases into a collection of classicist guitar pop that recalls vintage ’80s college rock from New Zealand and Australia, but also bears some resemblance to the sharp, knowing pop of Kelley Stoltz, who functioned as a part-time collaborator on the record. Guitars may be at the center of Doris & the Daggers but Spiral Stairs doesn’t walk a narrow path. He anchors “No Comparison” with disco rhythms, the opener “Dance (Cry Wolf)” feels like a vague tribute to either David Bowie or Echo & the Bunnymen, horns grace “The Unconditional,” and the title track is a phased rush of noise that recallsPavement pulling pranks. Nevertheless, the heart of the album is in those ringing riffs and winding guitar chords, songs that feel like middle-aged updates of “Date with Ikea” and “Passat Dream,” and that’s highly appealing. Kannberg seems comfortable in his skin, happy to reconnect with his roots but never desperately scrambling after the past, and that makes for a quite charming record” (All Music)

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18 agosto, 2017 Posted by | Spiral Stairs | Deja un comentario

Looking to Yesterday – THE BEVIS FROND: Son of Walter (Re-Issue, Fire Records, 2017)

“The release of this work signals a resurgent appreciation for the noodly psychedelia of which this Brit is the master,” claimed the beautifully named Jennie Ruggles in Addicted To Noise. “Guitar fans will eat this album up,” Calendar, a magazine in the US argued and Pulse! Magazine reckoned: “’Son Of Walter’ offers new recruits a generous and reasonably representative introduction both to Saloman’s deeply ingrained mastery of ‘60s-vintage idioms and to the humanity and tunefulness that sets him apart from less imaginative retro-formalists. 
Ah, retro formalists, we love them” (Press Note)


17 agosto, 2017 Posted by | The Bevis Frond | Deja un comentario

Paisajes y Figuras – THE STARGAZER LILIES: Door to the sun (Graveface Records, 2016)

Door to the Sun

Con este Door to the sun, THE STARGAZER LILIES consiguieron llegar a una pequeña cumbre: a la emoción de lograr la cima del Shoegaze más emocional, ambiental y psicodélico que podamos encontrar en nuestros días. Todo un manual sobre cómo emocionarnos a base de languidez sensual, densidad sonora, voces susurrantes y distorsiones diabólicas. 
Un grandísimo monumento al Shoegaze que tiene su continuidad en este año en curso.

“Ex-Soundpool brain trust Kim Field and John “Cep” Ceparano return with Door to the Sun, their second offering under the Stargazer Lilies banner. As first heard on 2013’s We Are the Dreamers, their particular brand of shoegaze is as murky as a bog filled with expired psychedelics. If anything, the rays of kaleidoscopic sun that shone through the emptier spaces of their debut are fewer and farther between on their follow-up. With Los Angeles-based drummer Tammy Hirata now onboard, the sound they deliver is massive, extremely dense, and frequently difficult. Slowly exhaling its hot breath is opener “Golden Key,” one of the album’s more structured and accessible tracks. Ceparano‘s lonesome squalls of ambient guitar tone wail like a wayward wind as Field‘s airy and mostly unintelligible voice dances across the top like a tumbleweed. Comprised of eight fairly lengthy tracks,Door to the Sun is a highly cerebral set where tumult and anxiety share quarters with — and usually dominate — their cousin radiance. “Drive” feels like a four-minute slow-motion car wreck where shards of harmonic beauty spill out of its shattered windows. A heavy layer of menace rolls like tank treads underneath the oddly sweet vocal melodies of “When with You” suggesting hidden powers and motives. “Personal Autumn” — whose title seems like it must have been generated by a dream pop/shoegaze song algorithm — contains some distant verses mostly blanketed by a harsh pastiche of what could be heavily-treated leaf blowers and rotting Hal Blaine drum patterns. Aside from the underlying impression of threat that seems to pervade nearly every song, Door to the Sun plays out like a fairly standard, if exceedingly heavy shoegaze album. Hearing or understanding the Lilies‘ lyrics is out of the question, as is any real semblance of standard pop structure, but in the parlance of one of rock’s vaguer subgenres, it seems like they’ve succeeded” (All Music)


16 agosto, 2017 Posted by | The Stargazer Lilies | Deja un comentario

Tacones Lejanos – RODES ROLLING: Young Adult (Ep, 2017)

Una de esas historias que de vez en cuando rellenan los informativos veraniegos: una chica vagabunda que da el golpe con un disco de debut y que con este segundo Ep se presenta de nuevo con un disco bello, melancólico y en cierto modo conceptual, donde se repasa la época de la vida en que se pasa de los amores adolescentes a la madurez emocional. 
El entorno sonoro: impecable instrumentación orientada al Folk-Pop con tendencias Dream, producción justa y un verdadero buen gusto musical. Quizás desentona en el conjunto algo el último corte, pero en realidad es un gran Ep.


15 agosto, 2017 Posted by | Rodes Rollins | Deja un comentario

Back to Yesterday – BONGLEY DEAD: Undici (2017)

Bongley Dead son un combo italiano especializado en revitalizar sonoridades muy muy  noventeras. A casi todos nos suenan sus guitarrazos y sus ritmos, pero seguro que también a casi todos nos van a venir muy bien esas puestas al día.


13 agosto, 2017 Posted by | Bongley Dead | Deja un comentario

Love (Beach) – WILDHONEY: Horror movie (Slumberland, 2016)

Para nada deberían haber titulado Horror Movie a este precioso sencillo los chicos de Baltimore WILDHONEY. Precioso Fuzzy adornado con guitarras saltarinas y hooks acelerados que te enganchan a la primera.

12 agosto, 2017 Posted by | Wildhoney | Deja un comentario

ARTEfactos – ULRIKA SPACEK: Modern English Decoration (Tough Love Records, 2017)

Partiendo de presupuestos sencillos, estos alemanes afincados en Londres van por su segundo artefacto sonoro: Modern English Decoration es un álbum de Fuzz-Shoegaze imbuido por lo mejor de la Neo-Psicodelia y otras hierbas como el Kraut. Altamente recomendable…

“Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio. “This record was made in various rooms in our house, predominantly in the living room. Every part of the album reflects this, from the title to the setting of the lyrics. Doing everything ourselves is not just necessary: it’s important to us, as it allows us to truly create our own world”. While there’s an element of domesticity to the album’s creation, the themes that drive the songs are anything but, reflecting an all-too-common sense of mid-twenties alienation and anxiety, alongside the comforts/burdens of self-awareness.
Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia. But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so – a 45 minute commitment, a surrender”


11 agosto, 2017 Posted by | Ulrika Spacek | Deja un comentario

Electro-Psycho – AL LOVER: NEUicide ! (Single, 2016)

‘NEUicide!’ consists of two tracks that swirl menacingly around two repetitive droning ‘SUICIDE’ notes as the incessantly rhythmic percussive ‘NEU’ beat drives headlong into a turbulent world of boundless electronica, kraut rock & hypnotic modern day psychedelia. Its sprawling synth swells are addictive, rising and falling like a small wooden boat fighting a huge storm laden sea swell and coupled with those broken samples, cascading synth lines & swirling reverberating drones makes for an epic modern day sonic adventure” (The Primal Blog)


10 agosto, 2017 Posted by | Al Lover | Deja un comentario

Lapping – TRISTEN: Sneaker waves (Modern Outsider, 2017)

Sneaker Waves abounds in toothsome melodies and glistening layers of guitar and synth. (Tristen and her husband/collaborator Buddy Hughen handle nearly everything but the rhythm section and orchestral accompaniment.) Her voice is a willowy instrument, and she uses it confidingly, the demureness of her vocal attack beckoning listeners into intimate range. But it’s not softness that she’s delivering; she bears quietly lacerating witness to vulnerability” (


9 agosto, 2017 Posted by | Tristen | Deja un comentario

Collapses – CURELIGHT WOUNDS: Salted hour (Ep, 2016)

‘Wearing The Strings’ opens up with its title track, gloriously held within a turbulent maelstrom of angry noise and driving melodious bass frequencies. ‘Wearing The Strings’ weaves and soars effortlessly through layers of screaming feedback and pounding drums as its vocals swim through a deep dark sea of lo-fi brilliance. Up next, (the very punk like) ‘Sail It Away’ is awash in reverberation as its brilliant bass line undulates between the soaring guitars and the pounding drums whilst all the while being straddled by a repetitious vocal progression.‘Sail It Away’ is absolutely magnificent and probably my favourite track on this entire release.
The EP’s penultimate track is a work of art. ‘Salted Hour’ drives headlong into the sonic ether on a skittish percussive pattern brilliantly underscored by weaving post-punk inspired bass frequencies and a raging cacophony of thunderous reverberation. Again, the lo-fi vocals cut an unwavering wedge through proceedings as the swirling accompanying guitars perform whammy bar theatrics as they unleash a wave of beautiful noise. The final track on this impressive release is ‘All In Red’. A melodious affair filled with snaking bass lines and addictive lead guitar progressions that weave in and out of that sublime vocal take with ease. Reminiscent at times to early ‘Cure’ or Boston’s own ‘Swirlies’, ‘All In Red’ is a fitting ending to a bloody marvellous EP’ (The Primal Blog)


8 agosto, 2017 Posted by | Curelight Wounds | Deja un comentario

Stereo Party – THE SURFIN´BURRITOS: The Surfin´Burritos (2017)

Como podréis leer en el extracto de la entrevista que acompaña a estas líneas, la música de The Surfin´Burritos es todo un compendio de lo más enérgico que ha ido apareciendo en la escena musical y popular en los últimos cuarenta años. Un trabajo madurado con el tiempo, con muchos directos y que ha ido tomando forma hasta conformar un corpus homogéneo que te puede sonar a un viaje Retro, pero que más bien es un trayecto por lo mejorcito del Pop y el Rock de las últimas décadas, grabado con apariencia de directo y sensación de verdad.

“Para mí hay dos pilares fundamentales, entre mis referencias: primero fueron los Beatles, desde muy pequeño, y el otro fueron los Ramones, ya de adolescente (quienes, de hecho, tienen muchísimas raíces beatlianas). Y a partir de ambos, todo lo que se pueda poner alrededor. Porque a mí me atraen muchos estilos distintos, pero ni se tiene la capacidad de tocarlos todos, ni sería coherente intercalar de repente una bossa nova, ¡por ejemplo!
Luego también caes en etapas en las que escuchas mucho a una banda en concreto. A mí me dio por los Beach Boys y por Rockpile, que fueron un supergrupo relativamente desconocido de finales de los setenta, integrado por Nick Lowe y Dave Edmunds, y con muchas influencias de los sesenta. En el fondo, y por mucho que a algunos les cueste admitirlo, todos acabamos influenciándonos de las mismas grandes bandas del siglo XX.
Nos movemos sobre todo alrededor de los 1950s, 1960s, algo de los 1970s e incluso de principios de los 1980s, ¿por qué no? La new wave, con Blondie, Pretenders, y muchas agrupaciones que recuperaban la brevedad y los estribillos resultones, con toques sesenteros. Y, de hecho, escuchamos mucho material actual; ¡lo que pasa es que también se basan en las mismas raíces! Richard Hawley es uno que recomiendo muchísimo; hace cosa de 5 años, puso de moda las baladas de tipo Cash y Orbison. Kurt Baker es otro, un americano que vive en Madrid y que parece un Elvis Costello jovencito” (Entrevista a Daniel Antebi, aparecida en Muzikalia)


7 agosto, 2017 Posted by | The Surfin Burritos | Deja un comentario

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