The JangleBox

Indie, Noise, Shoegaze… Music

Rendiciones – BEJAMIN GIBBARD: Bandwagonesque (Universal, 2017); And I love him (#UniversalLoveProject, 2018)


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Pues eso, unas preciosas rendiciones de un álbum maravilloso que marcó una época, el grandioso Bandwagonesque, de Teenage Fanclub; y de un sencillo que forma parte de un álbum de versiones que tratan sobre canciones de amor titulado #UniversalLove.
Lo cierto es que Gibbard se lleva los temas a su terreno, dotándoles de una perspectiva quizás más introspectiva y algo más sentimental, con ese deje característico del personaje; pero en ningún momento los originales de TFC pierden su vigor ni la fuerza que les permitió de alguna forma cambiar el sonido de los noventa.

Death Cab for Cutie‘s Ben Gibbard really loves Teenage Fanclub‘s 1991 album Bandwagonesque. He loves it so much that he re-recorded the album himself, in its entirety. And who can blame him? A landmark grunge-era rock album, influenced by the romantic power pop melodicism of Big Star and the harmony-driven sound of the Byrds, yet filtered through the band’s shoot-from-the-hip guitar sparkle and fuzz, Bandwagonesque remains pretty magical. It was a breakthrough for the Scottish outfit that introduced the group to American audiences with heavy rotation on college rock radio and MTV’s 120 Minutes. Spin named it 1991’s Album of the Year and Oasis‘ famously opinionated lead singer Liam Gallagher even deemed TFC, somewhat cheekily, the “second best band in the world” (behind his, of course). Needless to say, for an indie rock band from a suburb of Glasgow, the album outperformed expectations, leaving its mark on the pop landscape and influencing artists to come — like Gibbard.
The best songs on Gibbard‘s tribute illuminate something new or codify what was essentially great about the original. Sometimes he even manages to do both, while essentially offering up slavishly executed re-creations of the original tracks. Beyond the nuance of their not dissimilar vocal styles, the difference between TFC‘s and Gibbard‘s album lies in the Death Cab singer’s predilection toward a softer, twee production style. In 1991, TFC sounded like a band who might record in a basement.Gibbard, on the other hand, is a dyed-in-flannel bedroom auteur; his closely miked voice practically bounces off his jeans, vinyl LPs, and quilted comforter. Which isn’t to say that he doesn’t rock out. In fact, one gets the sense that under TFC‘s Fender-toned influence, Gibbard pushed himself to match their outsized grunge grandeur; he even includes the band’s wry 56-second faux-heavy metal jam “Satan.” He also expands songs in subtle ways, pumping up the already epic outro of “The Concept,” lengthening the song from six minutes to eight. Similarly, he takes his time with the chimera-like, dream pop closer “Is This Music?” Always a bit of an anomaly on the original album, the drum machine- and flanger-soaked instrumental felt like a holdover from the band’s younger days, a knowing homage to the new wave romanticism of band’s like the Cure and Cocteau Twins. Here,Gibbard underlines that notion, dropping the distorted bass of the original, and focusing on the jangly, swooning guitar leads.

Primarily, though, he delivers lovingly attenuated renditions of each song, paying particular attention to capturing the emotive, anthemic nature of songs like the rollicking glitter-stomp of “What You Do to Me,” the hyper-drive folk-rock of “Star Sign,” and the yearning Big Star “ahhhs” of “Alcoholiday.” In the decades since they punctured the cultural zeitgeist of 1991 with Bandwagonesque, the three singer/songwriters who make up the core of Teenage FanclubNorman Blake, Gerard Love, andRaymond McGinley — have had varying degrees of commercial success, yet remain beloved pop journeymen with a deeply loyal fan base. Based on the warmth and attention to detail with which this new version of Bandwagonesque has been recorded, we can surely count Gibbard among them” (All Music)

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30 junio, 2018 Posted by | Benjamin Gibbard, Teenage Fanclub, The Beatles | Deja un comentario

Queenie – TANCRED: Nightstand (Polyvinyl, 2018)


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Con el volumen del pedal de la distorsión algo más bajo pero con más o menos las mismas premisas que en su anterior trabajo, se presenta este Nightstand, el cuarto álbum de TANCRED, un disco en el que Jess Abbott incide en sus particulares filias y fobias, todo ello acompañado de un aderezo muy Indie/Fuzzy, muy al estilo de las bandas de chicas de los noventa que cualquier buen aficionado es capaz de evocar.

“Singer/songwriter/guitarist Jess Abbott first began releasing solo material as Tancred in 2011 while a member of the Minneapolis indie rock group Now, Now. Seven years later, her fourth Tancred LP,Nightstand, is her first after parting ways with the band and relocating back to her home state of Maine. While the project began with a collection of relatively restrained, introspective home recordings, she quickly became associated with a more aggressive, ’90s-inspired alt-rock sound, if one tempered by bright hooks and melodicism. On Nightstand, she almost splits the difference, softening her tone but not abandoning the crunchy effervescence of prior albums. It opens with a dreamy keyboards-and-strings prologue about unrequited love, easing listeners into its less defiant front before launching into the driving “Queen of New York.” The latter’s choruses feature a big vocal melody and churning, harmonic guitars, though the verses contrast with staccato guitar, bass, and drums, serving mostly to mark time. Another uptempo anthem, “Something Else,” has melodic guitar hooks, a rumbling low end, and singalong backing vocals for a lively, full-range impact. Much of the album, however, balances acoustic moments with a full rock band, and takes on a more thoughtful demeanor. “Apple Tree Girl” is one such track, opening with acoustic guitar and earnest vocals, adding strings before it picks up a rhythm section and electric instruments. The closer, “Rowing,” even adds accordion to the mix (in reference to street musicians) alongside grungier tendencies. The album was recorded withLewis Pesacov (Best Coast, Valley Queen), whose studio reportedly offered more options in terms of instruments and gear than Abbott had had before. Altogether, the finished recordings take on a more vulnerable, nuanced tone while at the same time sounding more effortless than she ever has before” (All Music)

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28 junio, 2018 Posted by | Tancred | Deja un comentario

Ensoñaciones Noise – SODA LILIES: Sleep Reel (Burguer Records, 2017)

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SODA LILIES es una de esas bandas que estimamos en TJB. Suenan suciamente shoegazers, graban cassettes, se registran sus propios discos y van por libre. Lastimosamente, navegan aislados en el sistema, y al no tener un punto destacado que los diferencie de otras bandas, se pierden en el piélago de grupos de estética Shoegazer y amor por el Noise que pululan por el inmenso mar de la escena musical. Yo os recomendaría que les dieseis una oportunidad y los escucharais. Quizás os quedéis navegando…

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26 junio, 2018 Posted by | Soda Lilies | Deja un comentario

Battiatadas – CELÉSTICA: Yo quiero verte danzar (Single, 2018)

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“El nuevo single de Celéstica, el tercero que el trío madrileño publica en el presente ejercicio, es una versión. No una versión cualquiera, porque “Yo quiero verte danzar”, original del maestro Franco Battiato, es una de esas canciones populares eternas que ha transmitido su exultante e integrador mensaje a varias generaciones.
Publicada por el músico siciliano en 1982, en su versión vernácula, “Yo quiero verte danzar” entró a formar parte de nuestro acervo sonoro en 1985, cuando Battiato la incluyó en el álbum “Nómadas” adaptada a nuestro idioma. Celéstica ha asumido el reto de trasladarla a su lenguaje con modestia y respeto, preservando la esencia del original pero imprimiendo su propio sello. La mayoría de los elementos que caracterizaban el modelo siguen estando ahí, la estructura apenas varía, aunque Celéstica recurre a su propio arsenal sonoro –guitarras de todos los tamaños y grosores, teclados elocuentes, baterías orgánicas, dos voces en lugar de una– con estupendos resultados” (Nota de Prensa)

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25 junio, 2018 Posted by | Celéstica | Deja un comentario

Canciones – Local Qua4tro: El hombre de tu vida (Audiomatic, 2018)

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“Creer en las canciones es la premisa principal de este cuarteto que apuesta por la elegancia y lascanciones bien hechas. Y su último trabajo es un buen ejemplo de ello.El nuevo disco “El hombre de tu vida” está compuesto por 10 canciones donde hay músculo, hay hay rock, hay pop, melodías, arreglos cuidados, honestidad y sobretodo hay hits” (Prensa)

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25 junio, 2018 Posted by | Local Qua4tro | Deja un comentario

Hinterland – LAST LEAVES: Other towns than ours (Matinée Recordings, 2017)

Other Towns Than Ours

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“When the Lucksmiths folded in 2009, fans of their brand of heartfelt, subtly beautiful indie pop no doubt shed many a tear. Some tears for the joy the band’s music brought them over the years, some in anticipation of there being no new music in the future. Well, weep no more, because three of the Lucksmiths decided to get back together and make more music as Last Leaves, and their debut album, Other Towns Than Ours, is just as lovely as the Lucksmiths‘ finest work. Songwriter and singer Marty Donald never stopped writing songs and when he had a decent batch built up, he called up bassist Mark Monnone and guitarist Louis Richter to see if they were game to give the music biz another whirl. With the addition of drummer Noah Symons, the band began working up a sound that had the warmth and tenderness of the Lucksmiths, but which added some muscle to the guitars.Richter and Donald whip up some serious noise throughout the album, either on furious guitar solos or the occasional chugging riff. It’s a shock to the system at first, hearing Donald‘s familiar voice and his usual lovelorn words, then having them blasted out of the room by some loud guitars. The opening tune, “Love and the World Well Lost,” is a perfect example of this and sets the scene very nicely for the rest of the album. Fans of the Lucksmiths‘ gentler side may feel that the guitars are too much, but those who don’t mind their pop a little on the scrappy side might find that they add some welcome punch to the typically winsome melodies and melancholy feelings. These adventurous fans will find, too, that Donald has written a strong batch of songs, like the rollicking “Other Rivers” and “Third Thoughts,” that conjure up the outskirts of the city where they were written, sweet ballads that rely on quiet arrangements and Donald‘s unadorned vocals (“The Last of the Light,” “Where I Lived and What I Lived For”) and few that legitimately rock in a way the Lucksmiths never did (“The World We Had,” “Something Falls”). Last Leaves are a near-perfect sequel to the Lucksmiths — keeping all the things that made them so special and adding some new wrinkles — and Other Towns Than Ours is a wonderful introduction to their new direction” (All Music)

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23 junio, 2018 Posted by | Last Leaves | Deja un comentario

Gasoline – LAVA DIVERS: Plush (Midsummer Madness, 2017)

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Seguro que si hablamos con LAVA DIVERS sobre sus influencias, éstos se decidirían rápidamente por mencionar a gentes como Superchunk, Dinosaur Jr., Pixies o a los Sonic Youth menos experimentales y más rockistas.
Pues ésto es lo que te vas a encontrar en el debut de los brasileños LAVA DIVERS, una banda que tiene mucho que ver con el Fuzz, el Grunge y con las canciones inmediatas. Todo un pequeño descubrimiento de esos que nos brindan sellos como Midsummer Madness.

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21 junio, 2018 Posted by | Lava Divers | Deja un comentario

Making Time – CELÉSTICA: Jugando con el tiempo (Single, 2018)

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“Jugando con el tiempo”, segundo de los cuatro singles que Celéstica publicará a lo largo de 2018, nos muestra al grupo madrileño en plenitud de facultades. La base rítmica, contenida pero sólida, nos arrulla de camino a un estribillo inolvidable en el que el unísono de Sol y Juan Sebastián –al que se suma, en esta ocasión, la cantante leonesa Nadia Álvarez– vuelve a pellizcar cerca del corazón. Hábil combinación de cristal y vapor, admirable ejercicio de sutileza, la nueva canción de Celéstica es un preclaro ejemplo de composición e interpretación. Las guitarras, teclados y voces subrayan en su justa medida el leve crescendo que desarrolla su inteligente estructura. Y el texto –tan sencillo y tan bien expresado– encaja a la perfección y desborda ventrículos y aurículas” (Prensa)

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18 junio, 2018 Posted by | Celéstica | Deja un comentario

Descansos – SLOGAN: Slogan (Ep, 2018)

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Pop delicado, intimista y de raigambre Drem-Pop. Vienen de Zaragoza, se toman esto de la música con calma y publican este nuevo y cuarto Ep tras un paréntesis de cuatro años.

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18 junio, 2018 Posted by | Slogan | Deja un comentario

Transition – DUCKTAILS: New dream (New Images Limited, Single, 2018)

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No vamos a repasar de nuevo la eterna cantinela de si el combo de Matt Mondanile combina a su banda matriz Real Estate o no. Esa cuestión está ya demasiado trillada. Hoy por hoy DUCKTAILS es un proyecto estable y asentado que ha seguido su camino más allá del de aquellos. Sólidamente establecidos en una suerte de Pop de ensueño con guiños a un Dream asequible, Mondanile publica este sencillo de tres temas con una interesante pieza instrumental que lo cierra. Transición…

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16 junio, 2018 Posted by | Ducktails | Deja un comentario

Retro-Synths – ST. ETIENNE: Home counties (Heavenly, 2017)

Home Counties

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“The members of Saint Etienne began work on their ninth album with a basic concept in mind of paying tribute to the suburbs of London where the trio spent their formative years. Titled Home Counties, the album was recorded quickly with producer Shawn Lee and a room full of vintage gear and instruments. Thanks to that, the record Home Counties most resembles in their discography is Good Humor, but where that album exuded a cool Scandinavian sheen, this one is warm and inviting. Lee‘s production doesn’t lean on machines, though they are certainly present. Instead, Sarah Cracknell‘s unfailingly cozy vocals are surrounded by guitars, vocal harmonies, and old keyboards in arrangements that take in swinging ’60s sounds, sparkling ’90s pop, and even a few that wouldn’t sound out of place on 2017 pop radio, especially the Richard X-co-produced, ELO-quoting “Out of My Mind.” Throw in some lightly bouncy Belle and Sebastian-style indie pop (“Train Drivers in Eyeliner”), wonderfully cheesy disco (“Dive”), stomping Northern soul (“Underneath the Apple Tree”), and melancholy baroque pop (“Take It All In”), and it makes for the band’s most varied-sounding album and, even more than Good Humor, feels like the result of a working band getting together in the studio to play together, even though it is mostly Lee providing the sounds. Like their last album, Words and Music by Saint Etienne, and to be honest, music of their catalog, Home Counties can be achingly nostalgic, and many of the songs have a sepia-toned sadness about them. Unlike on Words, the sound here usually matches the feeling, and it makes for the band’s most emotionally affecting album. They are never going to be the type of group to spill blood in their lyrics, but songs like “What Kind of World” and “After Hebden” have a deep impact. Combining tear-stained words with sweet-as-pie melodies has been a trick the trio have pulled off with ease over their long career, and their skill hasn’t deserted them yet. Even the catchy, lighthearted songs like “Magpie Eyes” have a melancholy core; so do the more modern-sounding tracks like the icy synth pop-informed “Heather.” It’s rare that a band is good for a couple years, even more so if able to keep it going for a decade. With Home Counties, Pete Wiggs, Bob Stanley, and Sarah Cracknell have been making beautiful, fun, and deceptively tricky music for almost 30 years without a noticeable dip in quality. In fact, one could argue that this album is the work of a band at the top of its game. It may not be flashy like their early work, experimental like some of their mid-period albums, or punchy like Words and Music, but the album takes in elements of everything they’ve done along the way and repurposes it in a lovely, extremely satisfying fashion” (All Music)

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14 junio, 2018 Posted by | St. Etienne | Deja un comentario

RetroSoundz: THE JACK CADES: Music for children (Dirty Water Records, 2018)

The Jack Cades image

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THE JACK CADES son una banda británica muy novel, si bien su sonido es decididamente Retro. Suenan algo así a como lo hacían los primeros Kinks, Rolling Stones, Standells, 13th. Floor Elevators… ¿Su sonido? Un garaje muy intenso, con ciertos aderezos Rythm´n´Blues o del Punk más primigenio. Una banda decididamente intensa que apuesta por los cortes breves y el contagio sonoro inmediato.

“The Jack Cades is a mix of a shared passion for inspirational sounds such as 1960s Garage bands, Snotty Punk from the 1970s, Sun-kissed sweaty Rhythm n’ Blues, and a lot of inspirational people” (Press Notes)

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12 junio, 2018 Posted by | The Jack Cades | Deja un comentario

BIRDPEOPLE: Flesh and bone (Single, 2018)

“We wanted to build a utopia out of all this riff raff, and somehow this became our way of makingmusic feel like it mattered again. Using hardware synths makes played parts irrevocable, it limits and hinders – a paradoxical deliverance. There were times when we couldn’t communicate except through the sounds we made; sometimes we were like a harmonious hive mind.”
The nom de guerre Birdpeople was solemnly adapted after work on the EP was concluded. It’s meant to convey the impression of a family, or, rather,  a cult. That was what the trio felt they had become during the process. Birds, ever present in the band’s lyrics, became their spirit animals” (Press Notes)


10 junio, 2018 Posted by | Birdpeople | Deja un comentario

Contagios – KATIE ELLEN: Cowgirl Blues (Lauren Records, 2017)

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El pasado miércoles le prestábamos atención a la música de Frankie Cosmos reseñando su último lanzamiento. Se trata de un disco fruto de la evolución natural desde sus primeras grabaciones de dormitorio hasta plasmar sus canciones en un estudio. Digo todo ésto porque como todo fenómeno, éste siempre tiene sus vasos comunicantes, y permea a buena parte de la escena del momento. El Indie-LoFi tiene sus seguidores, y a la sombra de un determinado artista de referencia suelen surgir músicos que lo acompañan. KATIE ELLEN es un trío de New York que en esencia factura un sonido semejante al de Greta Kline y su banda, o al de otras muchas chicas que se dedican al Indie. Este Cowgirl Blues es un disco aceptable, con canciones remarcables pero que tampoco llegan a un nivel de emoción tan alto que incite a escucharlo sin pausas. Aún así, no está exento de emociones y lirismo suficiente como para prestarle atención.

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9 junio, 2018 Posted by | Katie Allen | Deja un comentario

Birthdays´presents – KODY NIELSON: Birthday Suite (Flying Nun, 2018)

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“Birthday Suite is an energetic, elaborate set of instrumental arrangements comprised of drums, bass guitar, strings, electric piano and synthesizer. A concise and challenging experimentation, Birthday Suite takes ques from everything from the baroque to Afrobeat, Jazz Fusion, Psychedelic Rock and offbeat explorational sounds while maintaining a commitment to classic songcraft and musicianship.
Songs like Bic’s Birthday – sees baroque melodies skating with graceful aplomb over funky drum beats, calling to mind Wendy Carlos or CAN, while Ruban’s Birthday is a short, sharp composition melding psychedelic string arrangements with swirling drums and organ. 
With Birthday Suite, Nielson yet again shows his constant ability to agitate and explore his own boundaries and cements his position as one of the most urgent and interesting characters in New Zealand’s music history” (Press Notes)

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8 junio, 2018 Posted by | Kody Nielson | Deja un comentario

Being Alive – FRANKIE COSMOS: Vessel (SubPop, 2018)

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Greta Kline también se hace mayor. Sus primeros trabajos rezumaban ese completo aire a LoFi neoyorquino tan característico que, aunque en Vessel también continúa siendo el principal protagonista, se nota que hay algo más. Un grado de madurez que en sus primeras grabaciones en Bandcamp no había. Su espíritu continúa siendo post-adoslescente e incluso muchas de las motivaciones que se reflejan en las letras son las mismas. Aún así, el resultado final tiene algo de distinto, su banda de acompañamiento es más estable, y ese LoFi ya es resultado de una producción; ahora bien: Vessel no deja de ser un disco de notable.

“While Frankie Cosmos architect Greta Kline had been touring with a backing band and recording with guest musicians for a few years before tracking 2018’s Vessel, it’s her first album to be released officially as a band. It’s also the former bedroom project’s debut for Sub Pop Records. These details seem to go hand in hand on Vessel, her most assertive-sounding set to date. It follows two other studio-made label releases that in turn followed dozens of home-recorded, self-released collections starting when Kline was in her teens. Approaching her mid-twenties here, she still affects with candid observation, open affection, self-doubt, and self-consciousness, but lyrics reveal moments of self-reliance as well. “When the heart gets too tender/Return it to the sender/Be more centered” precedes the band’s entrance over a minute into the opener, “Caramelize.” It’s as if the drums, bass, and keyboards are helping to strengthen her resolve. The rest of the song continues in kind, as Klinepasses through sparer moments of sentimentality and full-band determination. As on the prior studio albums, Kline‘s warm, half-spoken vocals and breathy high notes are balanced in the mix, always discernable even on punky entries like “Cafeteria” and “Being Alive.” The latter was previously released in demo form and performed live for some time before it was finally recorded for the album. In theVessel version, some of her bandmembers take turns singing on the track, namely keyboardistLauren Martin and bassist David Maine, along with guest vocalist Anna McClellan. On a collection full of memorable tunes, it’s an especially impactful one that uses thrashing drums, winding vocal harmonies, and shared sentiment to sweeten the message that, even when times are tough, being here “matters quite a bit.” The record’s emotional honesty seems to extend to false starts, count-offs, and studio laughter that also make the final edit. While the band’s involvement, particularly more active drums, help the sound lean forward, Frankie Cosmos‘ essential musical qualities remain: hooky melodies, a disarming lyrical style, and impressive efficiency (Vessel‘s 18 tracks clock in at 33 minutes)” (All Music)

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6 junio, 2018 Posted by | Frankie Cosmos | Deja un comentario

Benditos Accidentes – KIKI D´AKÍ: Kiki D´Akí (Nuevos Medios, 1984)

Kiki D'Aki

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Allá por 1984 el panorama del Pop en castellano seguía ofreciendo auténticas perlas de autenticidad y de creatividad como este único álbum que MªJosé Serrano “Jose” nos regaló de la mano entre otros de Fernando Márquez “El Zurdo”, quien le compuso los temas más brillantes. Algo así como un “Accidente“, ya que su trayectoria fue tan corta como lo fue la de su banda de origen: Las Chinas. Auténticos rayos fugaces ambos, este disco perdura como un bonito oasis como el retratado en “Dr.Livingston

“(…)Las únicas cinco canciones que publicó durante 1983 y 1984 prometían disfrutar con una suerte de deliciosa vocalista pop a la española y a lo años ochenta. Con su compositor de cabecera, incluso, el muy inspirado Fernando Márquez “El Zurdo”, que le regaló las cinco golosinas que recogió este único maxi (antes había salido un single con ‘La ciudad y tú’ y ‘Accidente’, también incluidas aquí). Golosinas cargadas de los habituales referentes en la obra del Zurdo: la desesperanza, la soledad, los amores frustrados y los deliciosos aromas pop franceses.
Aunque una excesiva carga de programaciones afea un tanto la producción, no logra empañar las maravillosas maneras vocales de Jose, con esa excitante y elegante indiferencia con la que recita unas canciones atemporales (¡qué listo fue “El Zurdo” y que bien trabaja cuando de hacer canciones a mujeres se trata!), brillantes en su sencillez pop y diseñadas como un guante para su intérprete.
Desgraciadamente, Jose se olvidó pronto de Kiki d’Akí y optó por ejercer de bibliotecaria a tiempo completo. Hasta en esto fue elegante y consecuente: qué mejor oficio podía uno imaginar para alguien que cantaba, como si no fuera con ella, cosas como: “Puedo pasar casi dos siglos sin ti / y volver a las andadas / nuestros lazos no se entienden aquí / porque aquí no entienden nada” (“Unidad de destino”). O ese canto a los “accidentes” de pareja (cuando entra un tercero, vaya): “Es una tormenta en una bola de cristal / es ese tornado / que limpia el polvo en tu hogar. / Es el tonto incendio / de un bistec a medio hacer / es el gris naufragio / de una tacita de té. / Accidentes tan pequeños / no me pueden afectar jamás” (“Accidente”).
Un disco tan breve como encantador y sugerente que, afortunadamente, fue recuperado en CD” (Efe Eme)

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4 junio, 2018 Posted by | Kiki D´Akí, Las Chinas | Deja un comentario

Stardust Memories – VV.AA.: LA CONTRA OLA (Bongo Joe Records, 2018)

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Pues como casi siempre, ha tenido que ser una discográfica extranjera quien se encargara de recopilar, organizar y dignificar la música influenciada por el Post-Punk o el Synthwave y que permanece quizás algo olvidada en el caso de muchas de las bandas menos obvias que aparecen en la recopilación, tales como Tres, Esplendor Geométrico, La Fura dels Baus, Lavabos Iturriaga, Diseño Corbusier, Oviformia SCI, Línea Vienesa… Más los más conocidos como Zombies, Derribos Arias o Aviador Dro. Todo un lujo.

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4 junio, 2018 Posted by | Derribos Arias, VV.AA., Zombies | Deja un comentario

Canvas – AIRIEL: Molten young lovers (Shelflife, 2017)

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Corrientes Emo-Shoegazers transitan este segundo trabajo de la banda de Chicago AIRIEL.

Airiel aren’t the most prolific band in the world, but when they do release something, it tends to be big and ambitious. Molten Young Lovers is only the Chicago-based dream pop group’s second proper full-length since forming in the late ’90s, and that doesn’t include a four-part series of Winks & KissesEPs, each of which contains an epic track hovering around the ten-minute mark. Like 2007’s The Battle of Sealand, Molten Young Lovers is about an hour long, and with the exception of one slower, chorus-free mood piece (“Mind Furnace”), the songs are expansive and anthemic, expressing big emotions and filling the sonic canvas with vast, enveloping washes of sound and busy, propulsive drums. While the overall sound of the group seems chiefly influenced by British groups like Kitchens of Distinction, Ride, Swervedriver, and most likely the Stone Roses, Jeremy Wrenn‘s wistful lyrics and vocal style also bring to mind Bob Mould (in most of his many iterations), and songs like “You Sweet Talker” are a seamless mesh of British and American indie rock sensibilities. On tracks like the opener, “This Is Permanent,” Airiel construct a heavy, voluminous wall of blown-out guitar feedback, but they don’t let it overpower the rhythm section, and certainly not the heart-on-sleeve lyrics, which seem just as likely to resonate with fans of the 2010s emo revival as with lovers of indie pop and shoegaze. Apart from the more urgent, driving tracks, there are plenty of sad, sparkling ones, such as the heart-crushing sway of “Song of You” and the downcast drift-disco of “Cloudburst.” Perhaps best of all is “Sharron Apple,” a splash of ecstatic pop that peaks with a drawn-out “I love you” chorus. Airielhave never shied away from romanticism, but Molten Young Lovers seems like their most direct, passionate statement yet” (All Music)

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3 junio, 2018 Posted by | Airiel | Deja un comentario

Pimples – CAR SEAT HEADREST: Twin fantasy (Matador, 2018)

Twin Fantasy

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Para la edición de su segundo trabajo, a Will Toledo se le ocurrió la idea de revisitar y regrabar un disco grabado en su portátil cuando tenía 19 años, en el que se abordaban por igual temas universales que afectan a cualquier post-adolescente. Bien dotado lírica y musicalmente, Will Toledo pergañó un disco que confirma el sonido, a medias LoFi y Neo-folkie, si bien renunciando a buena parte de la crudeza de su primer trabajo; ofreciendo un sonido más claro y directo. Los temas, que en su mayoría rehúyen del estereotipo del Pop más comercial, conforman un cancionero homogéneo y coherente. Buen trabajo de confirmación. 
Te gustará si te van Replacements, Pavement, Strokes, Nada Surf

“Sometimes an artist has to go through more than one draft to get the desired result. Sometimes time and opportunity allow someone to have a new perspective on an older work. Sometimes the thing that didn’t work the first time works better the second time. In a very real sense, all of these things do and don’t apply to the revised 2018 edition of Car Seat Headrest‘s album Twin Fantasy. CSH top kick Will Toledo initially wrote the songs for Twin Fantasy in his late teens, and he created a home-recorded version on his laptop that he released digitally in 2011. However, Toledo later declared that he never felt it was a completed work, and in 2016, with access to a professional recording studio and the help of a full band, he re-recorded the song cycle in a manner better suiting the ambitions of the project. In both versions, Twin Fantasy is a concept album about a teenage love affair between two boys that, not unlike CSH‘s 2016 breakthrough, Teens of Denial, offers a painfully accurate portrait of young-adult attraction that feels powerfully heartfelt without ignoring the terribly awkward perspective of his protagonists. Toledo has said that the songs drew from personal experience, and in both versions,Twin Fantasy hits an emotional bull’s-eye, making sense of the intensity of young love as well as the mingled joy and confusion of making your way through a complex web of feelings without a convenient guidebook. In Matador’s 2018 reissue of Twin Fantasy, both the 2011 original and the 2016 remake are included, and they’re more similar than one might expect despite the differences in production, arrangements, and intensity. The 2011 recording is, as one would expect, relatively lo-fi, with the layers of guitars often pushed into the red and muddying the sound, but despite the relatively sloppy technique, the performances’ passion and force are truly compelling. The 2016 remake is certainly more polished, though it’s not truly slick, and it feels like a more mature work, which manifests itself in different ways. The arrangements are tighter and better executed, the audio is strong enough to suit the music and its dynamics, and Toledo‘s performances are more measured but also more nuanced, as if he has a better understanding of this story from a distance of a few years. Either way, Twin Fantasy leaves no doubt that Toledo is a strikingly gifted and thoughtful songwriter, who also has a firm grasp of how to make his material work in the studio and isn’t afraid to think on a grand scale” (All Music)

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1 junio, 2018 Posted by | Car Seat Headrest | Deja un comentario


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