Blushing – HATER: Red blinders (Fire Records, 2017)
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“Swedish four-piece Hater’s thoughtful hodgepodge of dreamy indie-pop and post-punk sensibilities earned them a place on our Best New Bands list. Their debut album, You Tried, reshaped familiar sounds, akin to Alvvays, into a fully formed style of their own. “Rest,” from their upcoming Red Blinders EP, is more of the same in the best way possible. (We praised the project’s sweet-and-jangly lead single last month.) On “Rest,” frontwoman Caroline Landahl’s airy vocals float around a persistent guitar, leading into a satisfyingly bouncy chorus and guitar break” (Stereogum)
Osos de Agua: OCRE: Vago (Discos de Kirlian, 2017)
“Mediante el uso de melodías y ritmos aleatorios, la acumulación de múltiples capas de samples de baterías kraut y la reiteración de loops de voces y guitarras, Ocre crea un sonido que es al mismo tiempo intenso y cercano, sucio y definido, oscuro y brillante, y que evoca a otros grupos estatales, como Family o Hidrogenesse, e internacionales, como New Order o Ladytron.
Ocre continúa la línea de su primer disco, Torpe (EP en Discos de Kirlian, 2014) al acompañar sus canciones de experimentos audiovisuales en la web. Por ejemplo, cada copia de Vago contiene una portada y una contraportada que se generan por ordenador, mediante el dibujo al azar de círculos, para crear una mancha geométrica, única para cada oyente” (Prensa)
Me gustan: Osos de agua, La fatiga de los materiales, Egoísmo.
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Overlooked and Underrated – BLACK NITE CRASH: Nevergreen (Neon Sigh, 2017)
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Me encanta su nombre. Rinde tributo a uno de los temas que más me gusta de Ride. Y un poco hace mención a sus señas de identidad más relevantes: Pop de guitarras, composiciones rotundas y melodías pegajosas. BLACK NITE CRASH se desenvuelven con soltura entre el Emo, el Shoegaze y el Noise, adornando el conjunto con los tintes justos de Psicodelia. Tienen un bagaje más que convincente lo que no les ha servido para dar el salto a las Major Leagues, aunque a estas alturas a todos nos de igual. Oyendo canciones como A different Light, The things we do, I can raise the dead, Poison cup, Make a sound, New camera toy o The times the names and places BNC sí que entra, y de lleno, en la Premier de nuestras bandas favoritas.
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Past Days – ALPACA SPORTS: Summer days (Single, Elefant, 2018)
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“Summer Days” is a new take on the classic ALPACA SPORTS sound and finds the group incorporating more lush arrangements inspired by bands like ABBA, SAINT ETIENNE, THE HIT PARADE, AZTEC CAMERA and BELLE AND SEBASTIAN. Director Carl Jirestedt describes the new video as a tribute to mysterious unlabeled VHS cassettes. The video takes the ALPACAS on a four minute adventure from a Gothenburg apartment all the way to the bottom of the ocean” (Elefant)
Playgrounds – GINGERLYS: Gingerlys (Babe City Records, 2017)
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El álbum de debut de Gingerlys , este Gingerlys (Babe City Records, 2017) es un pasito adelante con respecto a su primer trabajo, aquel Ep titulado Jumprope. Un cierto aire más aseadito en sus guitarras, que aún así mantienen ese brillo de la distorsión y el fuzzy, aderezado por la preciosa voz de Jackie Mendoza. Composiciones directas, incisivas y dotadas de esa inspiración Pop que dio alas a grupos como Lush, Breeders o más recientemente The Pains of Being Pure at Heart o Best Coast.
Me gustan: Playgrounds, Turtledoves, New toys.
“After releasing a debut EP in 2014 and performing regularly in the New York City area in the interim, Brooklyn quintet Gingerlys return with their full-length album debut, 2017’s Gingerlys. Offering an effervescent noise pop in the realm of contemporaries like Alvvays and the Pains of Being Pure at Heart, the record was produced by Connor Hanwick, a former member of the latter group and the Drums. It opens with “Turtledoves,” a brisk, kaleidoscopic romp through flourishing echo and across double-time ride cymbal that seems to go by in the span of one deep breath on a spinning amusement park ride. In the meantime, the lyrics present an avian allegory, evoking images of flight, shifting patterns, crashing waves, and the notion of home. Much of the rest of the album continues in kind, with exhilarating rhythms, pace, and shimmer, as well as sunshiny hooks. “See You Cry” is ornamented by a playful, hollow-sounding keyboard voice with a percussive attack, and a textured countermelody that seems to merge keyboard and guitar tones. It’s consistently difficult, though, to parse individual timbres here. Also consistent throughout, wistful lyrics about affection well-spent and wasted are scattered with references to things like flowers, mermaids, and melting ice cream, doubling down on the dreamy, fluorescent-colored vibe. They slow things down a smidge on “Let Down,” which has lead guitarist Colin O’Neill duetting with singer Jackie Mendoza about an ill-fated romance, but there is no genuine slow song on the album. Instead, Gingerlys presents a sure-footed noise pop where drums are as important to the sound scheme as keyboards and guitars” (All Music)
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Decepciones – ECHOBELLY: Anarchy and Alchemy (2017)
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No es que ECHOBELLY fueran una de nuestras bandas favoritas en los maravillosos años noventa, pero sí que es cierto que tuvieron su momento de gloria y un puñado de canciones reseñables.
Lo que no es demasiado de recibo es que al albur de las resurrecciones y retornos de bandas de entonces algunas como ECHOBELLY se empeñen en subirse al carro con una serie de temas que para nada llegan al nivel de calidad media deseable. Me gustaría hablar algo más positivo de esta Anarquía y Química, pero de verdad que no encuentro demasiados argumentos. Algunos guitarrazos intensos por aquí y por allí, algunos despliegues vocales de la exhuberante Sonia Aurora y un par a lo máximo de temas digeribles. Lo demás es un vaivén de sonidos y canciones sin demasiada coherencia estilística ni musical.
“Guarding the entrance to Echobelly’s new collection of tracks is a fearsome opener and stomping single ‘Hey, Hey, Hey’. This song clearly marks their return with Johansson’s hypnotic blues rock riffs and Madan’s distinctive sultry vocals (with an added primal edge). On this track, this band is at times reminiscent of early PJ Harvey whilst capturing the glimmering light display of Echobelly’s core. The new drummer for this album is Ash Hall accompanied by bassist Oliver Kiernan. Both of them appear to be ‘nice enough’ session musician types with the latter touting Paul McCartney, Mel B and someone from The Kooks called Pete Denton on his credits.
‘Firefly’ continues the album at a similar pace, with a crunchy chugging bass riff that gives way to a more contrasting ethereal section that nudges previous Echobelly song structures like ‘Kali Yuga’ and ‘A Map Is Not The Territory’ found on 2001’s People Are Expensive. What starts to become clear from the second track onwards is this album showcases Madan’s vocal skills, which have developed one stage further, displaying more variation and showing off finesse like on ‘Firefly’ with its Arabian flirtations and ‘If The Dogs Don’t Get You’ with its rocketing “oohs” and somersaulting vocal attacks. Johansson’s guitar repertoire on the other hand has crystallised and continues to diversify with new tunings found on ‘Dead Again’ and ‘Faces In the Mirror’.
A lot of effort and final thought has gone into this album. Production surprises continue throughout like the springy vocal effect on ‘Molotov’ and variation in structure with ‘Autumn Angel’ being purely instrumental for the first segment, with delicate guitar rising from a hypnotic drone that turns into a distantly dulcet song. This paves the way for the concluding reflective post death track ‘Dead Again’. This is an album from a band that have been there and done it a few times, got bored, changed it up, run away, come back, swapped it up then become sophisticated and accomplished on their own terms with flair” (Drowned in Sound)
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New Adult Friction – THE PAINS OF BEING PURE AT HEART (Painbow Music, 2017)
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Kip Berman pareciera que hubiera perdido el rumbo tras la desbandada de su grupo en su anterior trabajo de 2014 (Days of Abandon), pero para el 2017 se puso las pilas. La feliz coincidencia de su paternidad trajo bajo el brazo un disco luminoso que, aunque para nada le devuelva a las mieles del Shoegaze post-adoslescente de sus dos primeros trabajos, sí que se nota en este The Echo of Pleasure (2017) un esfuerzo por ofrecer una obra digna de quien fue capaz de impregnarnos con himnos generacionales como lo fue allá por 2009 Young adult friction.
The Echo of Pleasure es un disco en el que salen a relucir constantemente las huellas ochenteras, el Fuzzy atemperado, el electro y desde luego, el Pop de resonancias mas Lushianas, una banda que acaso realizó un trayecto semejante al de los Pains of Being Pure at Heart.
Si el proyecto ya unipersonal de Kip Berman parecía que iba a diluirse en su anterior publicación, he de decir que tras escuchar este Eco del Placer rectifico gustosamente. The Pain of Bein Pure at Heart son una banda a la que le queda recorrido. Como dicen en Jenesaispop: “ Aun así, este cuarto disco ‘The Echo of Pleasure’ que habla precisamente de que el eco del placer no puede volver”, aún mantiene algunas cosas por las que merece la pena que no los “abandonemos”
“After the letdown of Days of Abandon, where Kip Berman stripped the band’s sound down to a merely pleasant shadow of its former self, 2017’s The Echo of Pleasure is an impressive comeback that sees the Pains of Being Pure at Heart recapture the sonic thrills and drama that they have when operating at their best. Berman mostly handled all the music himself, though vocalist Jen Goma plays a large role, and he had some help from bassist Jacob Danish Sloan and horn player Kelly Pratt. This small crew does a fine job of balancing the fuzzy noisegaze of early Pains records with a glossy, very ’80s approach that owes a great deal to “Lips Like Sugar”-era Echo & the Bunnymen, with a littlePsychedelic Furs circa Mirror Moves added for good measure. The songs are overloaded with sound — buzzing guitars, crashing cymbals, sugary vocal harmonies, various synths, and thudding drums — while Berman‘s vocals are the most mature they’ve ever sounded (most likely because this is the firstPains album that deals with real-life adult concerns like fatherhood and marriage). His voice is the tender heart at the center of the sonic storm, and he holds it together admirably. Goma‘s vocals are a perfect counterpoint that adds some earthy balance to his wispy soul, and she sounds fantastic on “So True,” the glittery dance-pop song she sings solo. It’s the poppiest moment on the album by far, though other songs come close. The cute and frothy “When I Dance with You” comes off like a bubbly radio hit, “My Only” is a sunny version of Darklands-era Jesus and Mary Chain with an uplifting chorus, and “The Cure for Death” jangles with all the grandeur of the Church. Along with all the pop, Bermansprinkles in some moments of fragile melancholy and tenderness too, like “Anymore” and “Falling Apart So Slow,” two slices of seriously sad nostalgia with heartbreaking guitar lines. It’s a fine mix of smiles and tears throughout the album, and the heady mix of shoegaze and new wave hits a sweet spot that lots of other bands have aimed for and missed. Berman and the Pains may have stumbled on their previous record, but on The Echo of Pleasure they shine like stars and explode like a rainbow of brilliant colors. It may not pack the same sonic punch as their early singles, but it has an overall more interesting sound, and the hard-won wisdom and feeling Berman injects into the songs now means that the Pains have transcended their struggles to find a sound, and have truly arrived at last” (All Music)
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Bedroom Shoegaze – SODA LILIES: Sleep Reel (Burguer Records, 2017)
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Shoegaze de dormitorio de sonoridades ariscas y guitarras cortantes. Muy interesante. “Recorded in an always dark and sleepy apartment with no electricity”
A new born – WALDEN DOS: Henry ha muerto (2017)
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“Poco han aguantado Walden dos sin hacer canciones. Aún no se han cumpido los tres años desde que anunciaron su separación y ya están de vuelta con este trabajo de seis temas, Henry ha muerto, en el que siguen conviviendo la electrónica y el ruidismo guitarrero usando como pegamento entre ellos las brillantes melodías marca de la casa. Manteniéndose cercanos al sonido con el que otras veces se les ha vinculado (Krautrock, Shoegaze, Postpunk o Postrock), cada vez es más evidente que Walden dos tiene un sonido propio, cada vez más maduro.
Al disco se accede através de la base rítmica y el juego de sintes de La habitación de invitados, tras la cual, una voz casi declamada nos habla de tomar la iniciativa y pasar a ser protagonistas. Un tema con un recubrimiento de frialdad que se rompe a medida que te dejas llevar por las conversaciones de sus guitarras y líneas de sinte. En el siguiente tema, Magia, se recupera esa esencia sutilmente pop que nunca abandona del todo las composiciones de Walden dos. Un tema que crece hacia un desenlace épico que apela a la ausencia de artificios y la sencillez.
A partir de aquí entramos en territorios oscuros, muy del gusto de los madrileños. Una demoledora línea de sinte da entrada a El último hombre en la tierra que, con su evocadora letra, nos lleva en repetidas ocasiones al borde del precipicio. La tensión contenida se mantiene en el siguiente, El eco del tambor, que dibuja un atmosférico paisaje de fondo basado en la mezcla del ritmo pesado y las guitarras y sintes etéreos, sobre el que fluyen la melodía de la voz y los riffs que te recuperan de la hipnosis.
El siguiente tema, de nombre Gato Manx, es el único sin voz. Una construcción melódica, siempre sobre una persistente línea de bajo, que finaliza con un muro de guitarras, quizá menos presente en este trabajo que en anteriores, pero que Walden dos hacen siempre disfrutable. El final del disco nos lleva a la pista de baile como sin querer. Fénix es un tema quizá un poco mentiroso, ligeramente canalla, te toma de la mano para susurrarte algo al oído y cuando te das cuenta estás moviendo los pies. Un trabajo, en definitiva, que nos devuelve a unos Walden dos en plena forma. (Nota de Prensa)
Making the Blues – PAUL ZINNARD: Can´t Shine tonight (Video-Single, 2017)
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New video from the album “Songs for a Better Past” by Paul Zinnard. Directed by Alex Marin.
Na Na Na – TAYLOR MAC: Never wanted you (Russian Winter Records, 2017)
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“The listener finds themselves drawn, like iron to magnet, as the stunning vocal wraps around the room. The unhurried song, which is essentially only acoustic guitar and voice, is layered with inflection, melody and harmonies which belie the sparse framework creating an immersive composition and finds the audience wanting to hear more.” (Emerging Indie Bands)
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Bichos Raros – ALVVAYS: Antisocialities (Polyvinyl, 2018)
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La continuación de Alvvays (2014), se produjo este pasado 2017 con Antisocialities, un bonito trabajo sobre esos personajes que, precisamente, encarnan a la perfección el público que una banda como ALVVAYS representa: esa inmensa minoría de chicas y chicos que son felices con un buen puñado de canciones aderezado con unas melodías penetrantes y no demasiado difíciles de digerir. Si a ello le unimos una homogeneidad conceptual y de letras, pues el resultado es este segundo disco de la banda canadiense. Un álbum algo más maduro sónicamente hablando pero que es una continuación lógica de su trabajo de debut. Buenas noticias para el POP de guitarras, los sonidos ochenteros y la nostalgia Indie.
“After releasing a debut album of noisy pop that was perfectly formed and felt like the work of a band already at the summit of their career, it seemed like the only place Alvvays could have gone was down. Maybe sideways, at the very best. Instead, after taking their time both writing and recording the follow-up, they made a giant leap forward instead. Antisocialites has all the sticky hooks of the debut, all the boisterous noise, and the open-hearted honesty, too. What the band adds this time is confidence and skill, gained from the reception their debut got and also all the time they spent playing bigger and bigger shows. The sound of the album is bigger and the arrangements fuller and more spacious, giving the instruments room to breathe. It’s a bit of a change, but it works in their favor, especially sinceMolly Rankin‘s vocals are a little more to the front of the mix and she sounds strong and fully in command of her voice, while retaining all the vulnerability she displayed before. The album is heavy with break-up songs and she captures the varying moods of a break-up with surgical precision. The pain seeps out of songs like “In Undertow” and “Not My Baby” like a fresh wound, while resigned anger flows through “Your Type” and a little bit of hope creeps into “Forget About Life.” The songs too, aim for and hit their targets dead on, whether its melancholy nostalgia on the lovely new wave ballad “Dreams Tonite,” the zippy dance-rock floor filler “Hey,” or the bouncing pop-punker “Lollipop (Ode to Jim).” The instantly catchy “Plimsoll Punks” is the equal, hook-wise, of “Archie, Marry Me,” and there’s not a weak link anywhere. The production (courtesy of John Congleton) is layered and clean, with reverb and noise used as a spice instead of a main course. Unlike the first album, where things tended to blend together into a whirring blur of noise, things are both more restrained and more exciting here. It’s down to dynamics and arrangements, both of which they pay close attention to at all times. The guitars aren’t just a Wall of Sound, there are great riffs, lines, and sounds that pop in and out of the mix. The backing vocal harmonies are more a part of the sound this time too, and Kerri MacLellan’s keyboards are even audible sometimes. Thanks to the care and feeding the band put into their sound, Antisocialitesmanages the rare feat of a band topping their brilliant debut with a sophomore effort that’s even more brilliant. Alvvays make it looks easy, and by the time the album is done spinning, it’s hard not to start thinking about how great their next record could be” (All Music)
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Won´t Hold Us – ALLAH-LAS: Covers#1 (Mexican Summer, 2017)
☆ George Harrison’s “Fish On The Sand”
☆ Kathy Heideman’s “The Earth Won’t Hold Me”
☆ ’90s LA cult band Further’s “JO Eleven” (vinyl exclusive)
☆ Television’s “Hard On Love” (an unreleased song from the band’s Marquee Moon recording sessions)
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ULRIKA SPACEK: Mimi pretend (Live at Tapetown, 2017)
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Balcones Electrónicos – GREG KOWALSKY: L´Orange L´Orange (Mexican Summer, 2017)
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“What does the sun sound like? L’Orange, L’Orange, Gregg Kowalsky’s first solo album in eight years, might have the answer. Its vivid music – sourced from analog synths and mixed on a laptop – arrives in rays of sound that shine skyward. There are many moods in each track, but the overarching aura is one of brightness and optimism. Hence the album title, which nods toward the radiant hue of our life-sustaining star. “That’s the color I started to hear when I mixed these tracks,” Kowalsky says. “Mixing when it’s sunny out every day affects you.”
Kowalsky knows sunny days. He was raised in Miami, and has lived in Los Angeles for the past three years. The warm atmospheres of those shining coastal cities infuse the luminous ambience of L’Orange, L’Orange. “After I had worked on this album for a while, I realized the music sounds like those places to me,” Kowalsky explains. “This record is basically about my connection to Florida and California – even the song titles reflect that.”
As an example, Kowalsky points to the album’s second track, “Maliblue Dream Sequence.” Its lapping synth waves mirror the time he spent working on the record at a friend’s home in the beachside city of Malibu. But you can hear echoes of blue skies, sun-baked shores, and drifting tides throughout L’Orange, L’Orange – from the sparkling ripples of “Tuned to Monochrome,” to the rising rhythm of “Pattern Haze,” to the sandy layers of “Ritual Del Croix.” And it’s not just about LA. “Florida shaped my sound directly, and part of this album is me sticking up for Florida too, a beautiful place that gets a bad rap,” he says. “Florida’s all right. That’s one thing I want people to take away from this record” (Press Note)
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Pequeñeces – CAPITAN SUNRISE: Ventajas de vivir en un árbol (Discos de Kirlian, 2018)
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“Nos encontramos ante algunas de las mejores canciones del grupo, podrían haber entrado perfectamente en el anterior sin desentonar en absoluto, están a un nivel muy alto. “La vida en la casa del árbol” o “Tres tristes trastes” son canciones que nadie debería perderse, ideales para estos días otoñales que nos acompañan.
Canciones grabadas y producidas entre Zaragoza y Madrid por un exquisito elenco de músicos y productores: Javier Vicente (Carasueño), Carlos René, Javier León, Andrés Rebolledo, Mark Janipla, Alberto Iniesta.
El “nuevo” disco de Capitán Sunrise es y no es. “Ventajas de vivir en un árbol” incluye canciones inéditas que quedaron en un cajón de las sesiones de grabación de “Instrucciones…” más una canción rabiosamente nueva (grabada este mismo mes de septiembre) titulada “Abrazos gratis en la Puerta del Sol” que nos conduce por nuevas sonoridades. Además rescatamos alguna canción de las muchas caras B´s del grupo más un bonus track para cerrar definitivamente una etapa. Sí, “Ventajas de vivir en un árbol” cierra un etapa y nos traslada directamente hacia el nuevo álbum de Capitán Sunrise previsto para principios de 2018. Un disco que sorprenderá por su crisol de sonidos, las melodías inimaginables por muchos y una producción exquisita, va a ser un disco muy grande, otro paso hacia adelante” (Prensa, Discos de Kirlian)
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Dubbing – GHOST WAVE: Heaven (7″, Alien Boogie, 2017)
Este animoso Heaven, con reminiscencias bailables y del mejor Madchester, es el nuevo lanzamiento de los neozelandeses GHOST WAVE. Un sencillo con tres mezclas distintas, ideal para bailar a ritmo de Dub.
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