Teenage Loves – JULIANA HATFIELD SINGS OLIVIA NEWTON JOHN (American Laundrymat, 2018)
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“When Juliana Hatfield was a kid, Olivia Newton-John was the first pop star to cast a spell upon her. The spell never lifted, not when Hatfield fell for punk as a teen, nor when she became a rocker herself in the 1980s, so there was only one path she could choose: to record an album where she could pledge allegiance to her idol. Make no mistake, 2018’s Juliana Hatfield Sings Olivia Newton-Johnisn’t ironic, nor is it an attempt to turn a perennially uncool pop singer hip. It is simply a love letter, one that conveys what Olivia Newton-John means to Juliana Hatfield. Appropriately enough for a child of the ’70s, Juliana Hatfield Sings Olivia Newton-John evokes images of shag carpets, pastels, and lava lamps, but Hatfield isn’t attempting a re-creation of an era: she’s using elements from the past to paint a portrait of how the music felt to her at the time, and how it still speaks to her now. While she only rarely indulges in significant reworkings — “Physical” is punched-up and punky, “Totally Hot” turns into a louche glam groove, “Make a Move on Me” becomes pleading power pop — the takes often don’t sound straight, thanks to the record’s homespun charm and the smart arrangements. Hatfield is a sharp record-maker, understanding when to let harmonies pile up and when to let analog keyboards set the tone, a gift that turns Juliana Hatfield Sings Olivia Newton-John into a sumptuous aural pleasure. The album is also compelling as a testament to the power of fandom, illustrating how this kind of love is sustaining and creatively nourishing” (All Music)
“I have never not loved Olivia Newton-John. Her music has brought me so much pure joy throughout my life. I loved her when I was a child and I love her still. Her voice and her positive energy and her melodies have stood the test of time and they give me as much pleasure now as they ever did. Listening to her is an escape into a beautiful place. She has inspired me so much personally and I just wanted to give something back; to share some of these tremendous songs, reinterpreted, with love, by me” (Juliana Hatfield)
Reencuentros – STEPHEN MALKMUS & THE JICKS: Sparkle Hard (Matador, 2018)
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DISCAZO. No tiene otra definición: Discazo. Un reencuentro feliz con lo mejor de Malkmus, de Pavement, de la Americana o incluso del Country. SM se niega a dejarnos de lado sin al menos un gran disco cada cierto tiempo. Aquí está lo mejor que podríamos esperar de él desde los tiempos más gloriosos de Pavement, con canciones irrepetibles y atemporales, con esa mezcla de melancolía y cierta mala baba, con sentimentalismo y también con sentido del humor. No deberíais dejarlo pasar por nada del mundo. Los amantes del Alternativo noventero y de las nuevas generaciones lo disfrutarán. A buen seguro.
“Sparkle Hard comes into focus slowly and stately, coalescing around crawling piano chords that soon get blown to bits by guitars — thereby offering a neat encapsulation of how this, the seventh albumStephen Malkmus has made since disbanding Pavement in 1999, walks a fine line between the familiar and the unexpected. Upon the first spin, Sparkle Hard seems to veer all over the place, bouncing from the finely etched pop of “Future Suite” to the Teutonic jam of “Bike Lane,” eventually winding up on the country-rock ramble of “Refute,” a duet with Kim Gordon, who has never before been heard with anything resembling a twang (and likely never will again). The diversity dazzles, particularly as it’s filled with elegant new accents to make familiar settings seem fresh, even when they’re firmly within Malkmus‘ laconic wheelhouse; witness his pitch-shifted vocals on “Rattler,” which give the song’s robotic rhythms a woozy sway, or how the pastoral beginnings of “Kite” get blown out with psychedelic wah-wahs and rushed rhythms. Such flair suggests that Malkmus designed Sparkle Hard as a way to flex his musical muscles, but for as alluring as the album’s sound is — and the record lives up to its title, glistening brightly with its panoramic guitars and coiled rhythms — it remains compelling upon repeated plays because, beneath the shimmering surface, this is not only one of his best collections of songs, but a record that acts like a casual summation of his enduring obsessions. His youthful sneer has mellowed so much that he now sounds sincere, which helps cast his willful weirdness in a different light. Malkmus may still stand on the outside smirking, poaching different elements of the underground and mainstream, assembling them in a fashion that’s undeniably unique, but the craft and cleverness of Sparkle Hard can’t disguise the simple fact that he means this music, man” (All Music)
Conexiones – THE DAYOFFS: The Dayoffs (Emerald & Doreen Records, 2017)
Conexiones a Teenage Fanclub a todo trapo con pedales de fuzz a volumen elevado. Si te gusta el BritPop vía Boo Radleys, te gustará este dúo.
HATER: Fall off (Single, Fire Records, 2018)
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“One of the best, most underappreciated bands in the world (…) “Fall Off” finds Hater at their most softly devastating, wistful and full of hope, and it’s one of our favorite tracks from the group’s beautiful new LP Siesta” (Gorilla Vs Bear)
Weirdo – DAYSEE: Airbag (2017)
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Por fin un disco realmente epatante, un trabajo iniciático que marca un momento cumbre probablemente en la carrera de esta banda debutante. DAYSEE han sabido manejar los hilos de la Psicodelia, del Pop Experimental y el Shoegaze para darle una vuelta de tuerca al sonido de los dosmil. Toda una sensación gozosa de álbum, una obra altamente disfrutable y recomendable.
“Between their great EP “Splash” and now “Airbag,” there’s plenty to explore and keep on repeat. “Airbag” keeps you on your toes from start to finish, from the Sgt. Pepper-esque melodies in lead single “Indigo,” and the world music vibes of “Bali,” to the waves of energy in “Dizzy,” where dissonance and distortion build up into dramatic pauses before pummeling you with sound, and the more vocal-centric “I Am” and “You Decide” — it’s a tasty sonic collage for your ears that will keep those winter blues at bay.
I’m also not supposed to call them “shoegaze,” which is probably for the best as I’m not well-versed in what that genre specifically entails. But at any rate, they call themselves “experimental,” which fits easily, albeit generally —so far the best description I can come up with is that they’re like if Sonic Youth took a bunch of acid. They also remind me of experimental musician Julian Lynch, synthesizing world music, bedroom DIY pop, and a combination of machine loops and live music into a multi-layered wave of sound. I like them because their take on psychedelia is in the vein of George Harrison circa ’68, heavy on the pop melodies, meeting a 90s-era vibe of noise, vocal harmonies, and grunge styles” (Medium.Com)
Love is all around – THE LOVE-BIRDS: In the lover´s corner (Trouble in Mind Recordings, 2018)
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“San Francisco’s The Love-Birds have been tearing up their local scene, breaking hearts and making fans across the city’s disappearing DIY spaces and proper venues alike since 2016. After releasing a 7-inch EP in early 2017 via local label Empty Cellar Records, they’re ready to unveil In The Lover’s Corner, their debut album & first release on their new home, Trouble In Mind Records.
The album eases into view with the first track, “Again”; it’s gentle acoustic strum augmented by guitarist Eli Wald’s chiming electric twelve-string. From there the listener is treated to dynamic, life-affirming power-pop; bell-ringing, fuzz stompers (”River Jordan”), warm, carefully crafted fragile pop (”Clear The Air”, “Failure and Disgrace”), and urgent, crystalline rockers (”Hit My Head”, “Weak Riff”). The Love-Birds approach their craft with a classicist’s ear; with nods to their Seventies originators as well as Nineties torch-bearers, composing near-perfect future classics that ooze with subtle, interesting melodic twists and hummable, finger-pricking hooks that are instantly memorable. Aside from mastering by Norman Blake (Teenage Fanclub), In The Lover’s Corner is a decidedly local affair, with album art by Shayde Sartin (Fresh & Onlys, Sonny and the Sunsets) and recorded in two sessions, one with engineer Glenn Donaldson (Art Museums, Skygreen Leopards) and another with Kelley Stoltz” (Press Note)
Pinkshinyultrablast: Find your saint (Club AC30; Single, 2017)
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Algunas pistas Dreamgaze, que nunca conviene olvidarlas…
GORGEOUS BULLY: Patience (Breakfast Records; Single, 2018)
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“We’re well excited to finally announce pre-orders for Closure, the brand new album by Manchester’s Gorgeous Bully. A masterpiece of indie punk, this new LP points Gorgeous Bully in a new direction lyrically, sonically, and thematically, and has been on repeat in the Breakfast HQ since we first stuffed it into our ear canals a few months back” (Press Notes)
Emooorrr !! – HOLY MONITOR: Ghost (Single, 2017)
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‘Ghost’ shuffles into audible range on a glistening instrumental drone accompanied by the throb of synth and the fizz of effected electronics. It builds meticulously into a pulsating organism with the arrival of humming bass frequencies before tumbling headlong into a metronomic percussive beast. Plinking synth lines and waves of reverberation arrive adding lysergic atmosphere to the mix with every single chord change, allowing magnificent guitar progressions to lick and harass the piece to within an inch of it’s life. Organ lines howl pulling clandestine vocalisations with them as they meander through layers of reverberation collectively merging with every other piece of the sonic jigsaw to bring us a mesmerising ten minutes of music” (Primal Music Blog)
Endless Soundz – MAGIC POTION: Endless graffitti (PNKSLM Recordings, 2018)
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A todos nos suenan esos ritmos cadenciosos y esas guitarras… ¿Pero qué más nos da cuando aquel grupo nos dio tantísimos buenos momentos y aún hoy en día hay grupos que lo emulan…?
“Endless Graffiti retains the band’s trademark sound while finding the quartet both expanding their sonic palette and upping their songwriting game, arriving at what will undoubtedly be one of 2018’s strongest indie rock releases” (Press Notes)
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