The JangleBox

Indie, Noise, Shoegaze… Music

Lee Scratch Perry – Big Ben Rock (Woodie Taylor Remix) (Single, Wiaiwya, 2019)

Esquizofrenia sonora a medias entre el Rockabilly, el ska, el drumbeat y la experimentación a base de samplers y collages sonoros y una bizarría sónica que se acaba de publicar vía Wiaiwya hace cinco días. Licencia para epatar.

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31 marzo, 2019 Posted by | Lee Scratch Perry | Deja un comentario

Valley of Rain Revisited – GIANT SAND: Return to valley of rain (Fire Records, 2018)

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Descarnados, eléctricos, libres… la banda de Howe Gelb rehízo en 2018 todo su álbum de debut (Valley of Rain, 1985) con el sonido que hoy en día el líder de la banda de Tucson considera que sería el apropiado para su estreno de hace veinticinco años.
Un intento acertado pero del que, ciertamente, nos quedamos con la versión original. Puristas que somos… 

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29 marzo, 2019 Posted by | Giant Sand | Deja un comentario

Cate Le Bon: Daylight matters (Advanced Single, Mexican Summer, 2019)

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“It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned — for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date.
Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick — Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H.Hawkline)and Josh Klinghoffer on guitars — and were added to the album, “one by one, one on one”. 
Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate LeBon’s solo work — and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster” (Press Quotes)

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27 marzo, 2019 Posted by | Cate Le Bon | Deja un comentario

Vanishing Twin: Krk (At home in strange places, Fire, Single, 2019)

“The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology” (John Doran)

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26 marzo, 2019 Posted by | Vanishing Twin | Deja un comentario

Parental Control – NO FUCKS: No Fucks Lp (Discos de Kirlian, 2019)

DK67 NO FUCKS - No Fucks LP

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“Cualquiera que haya pasado su juventud en una ciudad de tamaño medio del norte, como Gijón, entenderá el hastío de la vida y la idealización de un verano eterno y soleado que nunca ha vivido que atraviesan como una constante las letras de NO FUCKS.
Con Wavves y Los Punsetes en los oídos y Hora de Aventuras y el Visual Kei en la mente, Elisa y Stephen (que montaría Axolotes Mexicanos por esos años) se juntaron en 2012 con más ganas que destreza para grabar una maqueta (“whatever”), la cual se compartió casi tanto como la de Estopa en su día. Apadrinados en sus comienzos por Linda Guilala, grabaron su primer 7” que fue editado por High Five Discos. A partir de entonces se sucedieron conciertos con bandas como Juanita y Los Feos, High Dive o los mismísimos Punsetes, historias locas por Vigo que acaban en tatuajes, otro 7” con Discos de Walden, colaboraciones y toda la pizza barata que seas capaz de imaginarte. Después de todo ese frenesí vinieron unos años en los que Stephen se fue a currar a Barna, la banda se quedó sin bajista y Elisa fue a descubrir la ruina que es vivir en Madrid con 0 vacas y sidra a 5 pavos la botella.
Así que para no morir del asco, se pillaron a Dani, otro asturiano que andaba perdido por la capital y se pusieron a pinchu de nuevo con la banda, grabando unos temas con Linda Guilala, otros con Jorge Muñoz de Doctor Explosion y un par de ellos en su casa, para sacar, al fin, su primer disco, que viene a ser un resumen de todos los años de vida de NO FUCKS condensados en dos caras: una de un pop brillante para peña que ve la vida muy negra y otra de lofi ruidoso y destartalado para quien quiere aprovechar el último día de playa antes de volver al pozo del curro” (Nota de Prensa)

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25 marzo, 2019 Posted by | Uncategorized | Deja un comentario

De hoteles – CLARA PLATH: Hotel Honduras (Single, 2019)

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“Después del estreno del tema “La sombra” a finales de octubre del año pasado, Clara Plath nos presenta “Hotel Honduras”, segundo avance de lo que será su próximo trabajo “Oscura”, un giro hacia los ritmos más hipnóticos que viajan entre la penumbra y el mantra, o, como la propia cantante nos cuenta, OSCURA “Es lo más negro y siniestro, lo más lejano y feroz” (Nota de Prensa)

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25 marzo, 2019 Posted by | Clara Plath | Deja un comentario

SEBADOH IS BACK – Celebrate the void (Advanced Single, Fire Records, 2019)

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Como si el tiempo no fuese con ellos, SEBADOH está de vuelta, después de seis años de silencio. Bueno, como banda, ya que Lou Barlow ha estado activo durante todo este tiempo. 
Sus credenciales suelen ser las mismas: LoFi introspectivo, guitarreo y energía a partes iguales. Una de las grandes bandas de siempre.

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24 marzo, 2019 Posted by | Sebadoh | Deja un comentario

TARANTINO, LOS BRAVOS y THE EASYBEATS

Pues sí, la nueva película de Quentin Tarantino ya está aquí. Se titula Once upon in Hollywood?, y en su banda sonora y el trailer de presentación de la misma se encuentra uno de los mayores éxitos de LOS BRAVOS: Bring a little lovin´(1968). 
El tema original estaba compuesto por THE EASYBEATS, aunque éstos nunca llegaron a editarlo en disco (quedó como una demo), y sí lo hicieron los españoles, gracias al buen hacer del gran Alan Milhaud.
Así que ya sabes: Bring a little lovin´se convertirá en breve y de nuevo en éxito comercial gracias al cine.

23 marzo, 2019 Posted by | Los Bravos, The Easybeats | Deja un comentario

In Flames – DEATH AND VANILLA: A flaw in the iris (Advanced Single, Fire Records, 2019)

“A Flaw In The Iris is the perfect soundtrack for driving at night in the middle of nowhere. A hypnotic pop song that is dreamy and close at the same time. We feel that the new album balances much on the border between dream and reality, somewhere in a twilight country with both light and darkness on the horizon.”
(Death and Vanilla)

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22 marzo, 2019 Posted by | Death & Vanilla | Deja un comentario

Indestructibles – HALF JAPANESE: Invincible (Fire Records, 2019)

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Lo de HALF JAPANESE es un caso absolutamente epatante y digno de estudio. Dentro de su longevidad como banda/artistas, el combo de JAD FAIR, que va prácticamente a disco por año, continúa sorprendiéndonos con esa forma de entender el Pop+C86, algo deslabazado e incluso anárquico, pero ofreciendo gotas de auténtica genialidad (Indestructible, Love explosion, Swept away, Or ever will, All at once, What are you gonna do?…) Inclasificables.

“Puppet people, vampires and the walking dead frequent the world of Jad Fair’s songwriting – outside of those interruptions he’s besotted. Maybe even in love. He feels invincible and as the closing instrumental cut ‘Indestructible’ floats off into the ether there’s a feeling of job done; we can rest tonight; everything is good; we are loved and in love.
“Hooray for love!” Jad intones on ‘All At Once’. It comes to us all… eventually.
On their last excursion into the studio, Pop Matters summed them up as so: “Half-Japanese are a respected institution. They’ve been making noise since the late ’70s. Noise is an important word here because one defining feature of the group is this.”
Nothing changes. Fair, J, an inspiration on the Elephant Six groups, Kurt Cobain and a host of others remains a rose-coloured visionary, mocked by monsters and loved by girls. It begs the question, is penultimate track ‘It Has Me’ about the former or the latter? As ever, this is a two-way thing, you make as much of Half Japanese as you want to. You have to put in the work, have the imagination.
Their new studio album continues to be uncategorizable, joyous, detuned, quizzical, alluring, childlike, charming, innocent, questioning. ‘Invincible’ is a celebration of sound. It’s pop music for those outside of pop music. It has songs for those still bedevilled by one liners and abrasive melodies.
Half Japanese are Jad Fair, John Sluggett, Gilles-Vincent Rieder, Jason Willett and Mick Hobbs” (Press Note)

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20 marzo, 2019 Posted by | Half Japanese, Jad Fair | Deja un comentario

Vuelta de Tuerca – COMMUTER MUSIC: Airport Kisses (Single, 2019)

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La tripulación del Capitán Excuse se ha desbandado, y el Capitán ha tomado un nuevo rumbo en su trayectoria creativa, esta vez bajo el nombre de COMMUTER MUSIC, un alias bajo el que se oculta el Post-Folk de un músico completamente ajeno a modas y a estilos, que lo mismo mezcla experimentación con electrónica que Folk con tonos más Indies.
El primer adelanto de un disco que promete nuevas sorpresas, una nueva vuelta de tuerca sobre su ya clásico Folk-Rock de la Bahía.

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18 marzo, 2019 Posted by | Captain Excuse, Captain Excuse & The Crooked Crew, Commuter Music | Deja un comentario

Electricity – REV REV REV: Clutching the blade (Fuzz Club Records, 2019)

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Ya hacía algún tiempo que no posteábamos u os traíamos por aquí sonidos Shoegazers de esencia chirriante. REV REV REV acaban de publicar el adelanto a su próximo trabajo: Clutching the blade es el sencillo, y su nuevo álbum se publicará en breve. Seguro que os electrifica.

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16 marzo, 2019 Posted by | Rev Rev Rev | | Deja un comentario

Rhythms – BARBOTT: Projections (La Cúpula Music, 2019)

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“In Projection, Barbott stress those embracing riffs, that seductive and mysterious voice, those hypnotic rhythms and those addictive melodies we are used to, but now enriched by the solidity acquired in the studio and highlighted during their vibrant live shows. The work is introduced by two songs in Spanish, something new and unusual in their evolving career. Barbott’s music points directly to your senses and their first two singles, ‘Find Us’ and ‘Part of You Now’, are a precise reflection of it.
The album is produced by the admired musician and producer Víctor Cabezuelo (Rufus T Firefly), that brought steady and creative sounds which are able to embody the ideas behind these songs and make them shine with intense light on the speakers.
It is now far away the warm summer afternoon in which Guillem, Martí, Albert, Marc and Josep formed their band in a bar of the Gran Via in Barcelona. Today Barbott is a certainty in the music scene, and as clear as the magnetism of their songs” (Press)

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14 marzo, 2019 Posted by | Barbott | | Deja un comentario

Adocenamiento – DEATH CAB FOR CUTIE: Northern lights (Japanesse Wallpaper Remix, 2019) / Thank you for today (Wea, 2018)

Thank You for Today

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Lejos quedan ya los sonidos indies y el encanto minoritario de una banda como DEATH CAB FOR CUTIE, que, probable y definitivamente, haya enterrado con este noveno álbum sus mejores armas compositivas y musicales. Cuando un grupo se adocena al punto de recordar lo peor de los ochenta (también esos horribles sintes) e incluso de bandas hoy por hoy tan insulsas como los Coldplay más comerciales, poco más hay que decir. La producción de este disco es tan aséptica deja tan poco a la emoción, que no merece la pena dedicarle más espacio. Otras bandas llegarán…

“With Thank You for Today, Ben Gibbard moves Death Cab for Cutie into a new phase, one that reflects his newly minted middle age and one without Chris Walla. It’s a new beginning, but one that announces itself with a whisper. Thank You for Today simmers in a fashion that’s not unfamiliar toDeath Cab, but there’s a definition to the composition and production of its ten songs that keeps the album far from the reaches of mood music. Make no mistake, Thank You for Today still casts a specific spell — one that’s supple yet subtle, music that feels as cozy as a warm bath yet has a quiet urgency derived from Gibbard taking stock of how the world has changed around him. Gibbard doesn’t shy away from all of the issues familiar to a modern American urbanite, musing about gentrification and loves old and new, all from a vantage point of somebody who is comfortable about where he’s at but knows what’s been lost. This results in an album where the melancholy is bittersweet, not all-consuming, which means Thank You for Today is softly reassuring even when its intent is lightly barbed” (AllMusic)

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12 marzo, 2019 Posted by | Death Cab for Cutie | | Deja un comentario

Elegancia – DRUGDEALER: Fools (Single, Mexican Summer, 2019)

La imagen puede contener: 4 personas, cielo

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“After becoming enmeshed in the Los Angeles underground scene after 2013’s The End of Comedy, Raw Honey (Michael Collins second album as Drugdealer) sees Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.
Raw Honey features contributions of Josh Da Costa (drums), Jackson MacIntosh (guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself” (Press)”

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11 marzo, 2019 Posted by | Drugdealer | | Deja un comentario

Luminiscences – TEEN DAZE: Bioluminescence (2019)

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“Striking a balance between the digital and the natural has always been one of the main purposes of Jamison Isaak’s, Teen Daze project. BIOLUMINESCENCE, the producers’ sixth proper full-length, is perhaps his most cohesive example of this. At times cinematic and atmospheric, and at others pulsing and danceable, the album weaves its way through eight deeply emotional, melodic tracks. For every synthesized noise you hear, there is the sound of a rock hitting water; digital synths are paired with the sound of the Pacific Ocean. This album attempts to find a harmony between those two worlds, and with this in mind, Bioluminescence becomes a very fitting title” (Press)

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10 marzo, 2019 Posted by | Teen Daze | | Deja un comentario

Times in common – ROLLING BLACKOUTS COASTAL FEVER: In the capital / Read my mind (SubPop, Single, 2019)

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Sencillo de adelanto al nuevo trabajo largo de esta banda atípica que registra para SubPop.

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8 marzo, 2019 Posted by | Rolling Blackouts Coastal Fever | | Deja un comentario

Añoranzas – WILD NOTHING: Blue Wings (Single, 2019), Indigo (Captured Tracks, 2018)

No hay ninguna descripción de la foto disponible.

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Está claro que el sonido de WILD NOTHING poco tiene ya que ver con el de sus inicios, allá por 2010, cuando ya nos hacíamos eco de su debut en TJB. Indigo es un disco decididamente Retro80, limpio, cristalino, con sonoridades que evocan por momentos lo peorcito y lo más empalagoso de la década de las hombreras y los sintes. A mi entender, bastante prescindible.
Con Blue Wings parece que retoman algo el vuelo y ciertos bríos menos ochenteros. 

“After making the epically lush Life of Pause, which was recorded in three studios with different producers and collaborators, Wild Nothing‘s Jack Tatum wanted to do something different on the band’s next record. For 2018’s Indigo, he first made detailed demos, then took a small band into the studio and spent four days recording the songs live. These recordings were then built up by Tatumand producer Jorge Elbrecht as the duo added new parts and reused sounds from the original demos. The result is an album that’s just as ’80s-influenced as the last record, but much less fussy and more direct. Tatum hasn’t forsaken glossy production and gleaming sounds — everything here is clean enough to eat off of — and the songs are slicker than anything in the Wild Nothing catalog. In fact, they are slicker than anything in theHoward Jones or Prefab Sprout catalogs — two artists Tatumclearly reveres. This detailed, sweat-free approach could have sounded lifeless in the wrong hands, but the team here is lucky to have a typically strong set of songs to work with, and they don’t swamp the melodies in overcooked cheese. The saxes are kept on a low boil, the synths are minimal, andTatum‘s vocals are kept low in the mix as he sings calmly about heartache. The melodies and songs are strong enough that they could have withstood some less adept production; tracks like the swooning pop dream “Oscillation,” the lovely “Letting Go,” and the very hooky “Through Windows” would have shone like diamonds no matter what. Those are examples of how good Wild Nothingsound when doing uptempo pop; the ballads Tatum delivers are just as strong. The production really has a chance to come across on the slower, more measured songs like “Partners in Motion” and “Shallow Water.” The layered synths and guitars form a soft launching pad for Tatum‘s heartfelt vocals and rich harmonies. The balance of tempos and sounds makes for a well-rounded listen and it’s a step in the right direction after Life of Pause, which took the Wild Nothing sound right to the edge of overdoing it. Despite its slickness, this is a smaller album, built around real emotions and more scalable sounds, but its impact isn’t felt any less. Indigo is another block in the impressive body of workTatum has built over the decade, and it’s some of the best retro ’80s (but not stuck in the past) music anyone is making in the 2010s” (AllMusic)

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6 marzo, 2019 Posted by | Wild Nothing | | Deja un comentario

Tonight – MAZZY STAR: Still (Rhymes of an hour Records, 2018)

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Con la misma pereza fronteriza y sonora de siempre, se presentaron MAZZY STAR en 2018 con su último lanzamiento: Still, un ep de cuatro canciones en las que las huestes de Roback y Sandoval nos mostraron un pequeño cancionero en el que se mezclaban canciones modernas y antiguas revisitadas, como la enorme So Tonight That I Might See, en la que nos muestran un estupendo estado de forma de su psicodelia desértica.

“For a band that moves at Mazzy Star’s glacial pace, progress must be measured in steps and inches rather than leaps and bounds. Still may be their first release in four years, but its four songs include an alternate version of the title track of their 1993 classic So Tonight That I Might See and two compositions that appear to have been kicking around since at least 2000. Nothing on the EP would sound out of place amid the dreamy desert blues of the band’s 28-year-old debut album, She Hangs Brightly.
That’s not to say that the Still is simply a retread of old ground. Opener “Quiet, the Winter Harbor” uses piano as its lead instrument, with David Roback’s guitar making its bow in the song’s second minute. This isn’t entirely without precedent. Uncuthas reported that they performed the track live as early as 2000. In an audio clip apparently recorded at a London show the same year, the band plays a gorgeous, piano-based arrangement of “Look on Down From the Bridge” from 1996’s Among My Swan. But the EP’s lead single does mark a new and enchanting chapter in Mazzy Star’s recorded output.
The piano gives “Quiet” the feel of a muted torch song, its irresistible melody dampened by Hope Sandoval’s hushed delivery and Roback’s pointed restraint. In other hands—Adele’s, say—its straight-from-the-heart vocals might have ramped up to the kind of overwrought climax that sucks every last nuance into its emotional vortex. But Sandoval is as understated as ever. Her soft power precludes raising her voice, and it makes “Quiet” sound like a private plea to an absent-hearted lover. Roback adds twinkling touches of guitar, his simple melodic lines complementing rather than overpowering Sandoval’s words.
The only apparently new track on the EP, “Still,” marks another first for Mazzy Star: It is the least melodic piece they’ve ever committed to tape. Throughout their career, Sandoval has sporadically employed the same vocal style that’s present on the song, walking the line between spoken word and the drawl of a more ethereal Jim Morrison. Usually, this minimal approach is backed by enough instrumental dramatics to carry the song. But on “Still,” Sandoval’s vocal plays over a one-chord acoustic guitar thrash and overlapping violin drones, creating a fever-dream atmosphere that, while novel, sounds a bit like being laid up with the flu feels.
At just two minutes long, the song works best as an extended intro to the EP’s last track, the eight-minute “Ascension Version” of “So Tonight That I Might See.” This alternate take is one of the most savage listens in the Mazzy Star catalog, led by ominous organ notes and guitar feedback and ending in the kind of fuzzy guitar freakout a band might indulge in at the last show of an arduous tour. You can imagine this all working well in a live setting, where the audience could feel the crackle of the guitar pulse through the air. On record, though, it fails to deliver the transcendent experience a word like “ascension” promises.
Perhaps it’s not surprising that the best track on Still is also the least groundbreaking. “That Way Again,” with its bluesy, country-rock feel, is classic Mazzy Star. Live recordings of the song from the band’s 2000 tour document a simple yet affecting acoustic lament that gently picks through the ashes of a failed romance. The new recording remains faithful to those early performances, adding only plaintive guitar lines that bring to mind the Rolling Stones circaSticky Fingers.The result is a luscious late-night tearjerker that’s sure to earn a spot on cathartic breakup mixes. Mazzy Star’s pace may be slow—and Still may feel slight—but “That Way Again” is proof that their hearts still burn brightly” (Pitchfork)

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4 marzo, 2019 Posted by | Uncategorized | | Deja un comentario

   

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