Remembering Simon Love – SIMON LOVE: Sincerely, S. Love x (Tapete Records, 2018)
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Si la pasada semana dábamos cuenta del último trabajo de The Davenports como un estupendo disco de Folk-Pop Barroco en el que se mezclaba una veta acústica con un estupendo trabajo de arreglos y orquestaciones siempre con el buen gusto como principal objetivo, para hablar del último lanzamiento de SIMON LOVE nos gustaría emplear los mismos adjetivos puesto que la línea media del disco intenta incidir en esa tendencia, pero el objetivo final (y me desagrada mucho admitirlo) no lo consigue.
Simon lleva ya un par de trabajos en solitario tras abandonar su proyecto original, THE LOVES, y en ambos discos lo ha intentado, pero el resultado opino que no es el apetecido, pues en ningún momento logra esas notas de buen gusto y acierto en la instrumentación. THE LOVES era un grupo mucho más imaginativo y mezclaba a la perfección la ironía y el buen sabor del mejor POP. Con estos álbumes en solitario, LOVE no termina de arrancar ni de coger el punto a esa nueva dirección que pretende en su música. Eso sí, el vídeoclip de All this kicking around es muy ocurrente…
“If you’re thinking of buying just one magnificent pop disc in 2018, you need look no further: I give you, ladies and gentlemen, SIMON FUCKING LOVE! (“The Ballad Of Simon Love“).
“Sincerely, S. Love x” (the kiss is meant to be pronounced) is Simon’s sophomore solo album (his 2015 debut It Seemed Like A Good Idea At The Time was released on the brilliant, now sadly defunct Fortuna Pop label) and it features at least ten hits. Proper pop hits, with ELO harmonies, Spectoresque production, strings and trumpets, the whole shebang. All recorded over the last two years in London, England. Big city pop!” (Promotional)
It´s so simple – HATER: Siesta (Fire Records, 2018)
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“Hater’s songs epitomize jangling grace as Caroline Landahl coos with maximum approachability.” NPR
“Filled with infectious riffs and easy-going melodies, Caroline Landahl’s bittersweet vocal delivery always keeps things rough around the edges.”Stereogum
Eggland – THE LOVELY EGGS: This is Eggland (2018)
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El último artefacto sonoro de THE LOVELY EGGS incide en la misma línea que el matrimonio Ross/Blackwell nos tiene acostumbrados: Trash-Punk-Pop, ironía y cierta mala leche para construir esos pildorazos de guitarras primitivas y primarias con ritmos contundentes. No es un álbum indispensable, pero sí adecuado para elevarnos el espíritu a base de guitarrazos.
“This Is Eggland, the Lovely Eggs’ fifth album, befits its name—it’s as good an introduction as you’ll get to the group and its charmingly skewed perspective on the world. Over the years, they’ve gotten steadily heavier, from their early acoustic style to the likes of 2015’s “Magic Onion,” eventually settling on a sound that evokes psychedelic-punk touchstones like the Buzzcocks and some of the hooky, madcap glee of Charly Bliss. Or, in Ross’ own words: “It kind of sounds like a chip shop on fire.” Credit, in part, a change in personnel. Where the group’s previous albums were self-produced,Eggland brings in Dave Fridmann, known for helping the Flaming Lips and Tame Impala scale up their psychedelia to arena levels.
It’s common to the point of cliché to have a big-name producer arrive midway through a band’s career, sand down all the lo-fi edges, and replace them with studio gimmickry. But Ross and Blackwell, ever self-aware, make their upgraded sound part of the joke. “I’m With You” introduces itself with Missile Command whirs, and “Return of Witchcraft” is slathered in guitar distortion. The whiplash left-right panning of “Hello I Am Your Sun”—the opening track, and the most psyched-out song here—feels like it’s jostling you, vigorously, into the right headspace.
The defining tone of that headspace turns out to be unrelenting, gleeful pop-punk, from the swaggering riff and stop-start structure of “Dickhead” to the deadpan delivery of “Let Me Observe” to the single “I Shouldn’t Have Said That,” which mixes Ross loud and up-front. “I shouldn’t have said that—it was evil of me!” she shouts through a megaphone-like effect, with about as much remorse asEartha Kitt. “Witchcraft” begins as a cry of joy and ends as an exorcism. “Would You Fuck” teases out a dozen or so inflections from its title, a series of increasingly wacky pulled faces. “Wiggy Giggy” does for Lancaster what the Weakerthans’ “One Great City!” did for Winnipeg. On This is Eggland, the Lovely Eggs sound like they’ve ventured out to the interplanetary shitholes of outer space and decided that the one they’ve got is quite all right” (Pitchfork)
Malditismo – THE DAVENPORTS: Don´t be mad at Me (Mother West, 2018)
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Nos encanta este tipo de grupos. THE DAVENPORTS continúa en su misma línea, sin hacer mucho ruido, pero manteniendo siempre esa misma característica sonora, ese amor por el POP con mayúsculas, por los sentimientos más barrocos en su música, por el regusto country y los leves aderezos rockistas y setenteras que tan bien le sientan al sonido de las huestes de Scott Klass. Un discazo con temas tan redondos como el que da título, Leanne, I don´t know what to do, Miranda in her room, o la inesperada rendición del Freedom de Wham!. Discazo.
“From the opening piano ballad “Where Shall We Hang Elena” to the closing “To The End”, these very personal songs move the listener with clever arrangements and engaging melodies. With it’s frenetic pace and catchy chorus, the aforementioned “I Don’t Know What To Do” is a good example. So is the title track, a story involving a family situation, Klass’ aunt and dementia. And there’s plenty more to like here, too.
The Davenports’ Scott Klass is also a member of Look Park, Chris Collinsworth’s side project when he’s not doing the Fountains of Waynething with Adam Schlesinger. So it should come as no surprise that his songs are also smart and catchy” (Powerpopnews.com)
Rolling Blackouts Coastal Fever – Full Performance (Live on KEXP)
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Mary Jeans – ROLLING BLACKOUT COASTAL FEVER: Hope Downs (SubPop, 2018)
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ROLLING BLACKOUT COASTAL FEVER se alinean en la onda más enérgica (o Rough Pop, como ellos mismos se definen) del Pop australiano de toda la vida.
Una gozosa aproximación al Power-Pop de los setenta con aderezos del College Rock y las gotitas Jangle (la tarea de sus tres competentes guitarristas contribuye a ello) que tanto nos enganchan, con unas guitarras electrizantes y lo suficientemente cristalinas para engancharnos. Un álbum de debut a lo grande, inspirado, imaginativo y con las suficientes bazas para repetir en un segundo. Si la fórmula les continúa funcionando, les auguro un futuro prometedor. Por lo pronto, gozamos de este Hope Downs. SubPop sabe lo que se hace…
“Rolling Blackouts songs have always been fueled by a jittery energy; though Keaney is billed as the band’s acoustic guitarist, he’s more like a second percussionist, his ceaseless strums propelling the songs with bongo-like fury. As “An Air Conditioned Man” vividly illustrates, however, Hope Downs radiates panicked agitation more than manic exuberance. Sure, the band continues to function as an ’80s college-rock fantasy camp: “Talking Straight” packs in all the post-punk propulsion, needling jangle, and crestfallen harmonies of an I.R.S.-era R.E.M. classic, while “Bellarine” practically begs you to sing the Go-Betweens’ “Was There Anything I Could Do?” over its opening riff. But RBCF are hardly operating in a blissful record-collector bubble. On “Mainland,” they put their own privilege under the microscope, with Russo recounting a recent trip to his ancestors’ homeland near Sicily, where bathers enjoyed postcard-perfect waters not far from where refugees were swimming for their lives. The beautifully downcast “Cappuccino City” paints an immersive yet damning portrait of café culture, singing of “FM on the stereo/Belgians in the Congo” as he subtly threads the needle between simple Western pleasures and colonialist violence.
Thirty years ago, RBCF’s brand of alternative rock would have made them ripe for crossover fame. But these days, their “120 Minutes”-era sound has been pushed to the margins—and not just of the pop charts. Even within the realm of contemporary indie, the band is a glorious anomaly. Sophisticated and subversive in equal measure, their staccato sing-alongs come on pristine and precise, then unspool in surprising directions as decorum gives way to abandon. Rolling Blackouts may occupy an empty playground on the modern rock landscape, but that gives them the freedom to run wild in that wide open space, inventing their own games and making up the rules as they go” (Pitchfork)
Pegamín – BOBITO: Celofán (Single, 2018)
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“Un año ha pasado desde que la banda Clara Plath se despidiera temporalmente de los escenarios en la pasada edición del Festival Lempon Pop, interrumpiendo la gira de presentación de su último lanzamiento “Yes, I’m special” (Flor y Nata Records) debido a la maternidad de la cantante.
Mientras tanto, Roberto López, la otra parte del tándem murciano, ha aprovechado para lanzar un EP debut bajo el nombre de Bobito, junto a músicos de la escena como Juan Antonio Ross, Eduardo Pérez (The Lawyers, Home) y Miguel Ángel Torres (Clara Plath).
“El verano de las cenizas” se publicará vía Flor y Nata Records a finales del mes de octubre pero ya podemos escuchar “Celofán”, tema adelanto que se acaba de estrenar en todas las plataformas digitales” (Prensa)
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The JangleBox, 10th. Anniversary
