The JangleBox

Indie, Noise, Shoegaze… Music

In the Iris – DEATH AND VANILLA: Are you a Dreamer (Fire Records, 2019)

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“The trio’s love of all things “old” is well known – they’ve tinkled ivories, played vibraphone, recorded with a Sennheiser microphone and a nod to everything from Fun Boy Three to Orchestre Poly Rythmo de Contonou, while still roaming somewhere between an ambient Eno and Cocteau Twins at a late-night soiree.
Prior to recording their new album ‘Are You A Dreamer?’, they scored several soundtracks, that process undoubtedly influencing the new album’s dreamlike euphoria built with added mellotron and affected electric guitar. Expanded with bass and drums in their quest for the grail, Death And Vanilla’s songs are longer; more plush and pampered; more hypnotic and haunting.
‘Are You A Dreamer?’ is melancholy at its most refined, riddled with super-memorable motifs and melodies that nestle in reflective echo. Death And Vanilla are an alluring confection, hard to resist and wantonly moreish as Marleen Nilsson’s sepia tones are embraced by the trio’s gorgeous arrangements and intricate ambience” (Press)

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29 mayo, 2019 Posted by | Death & Vanilla | Deja un comentario

Showing Force – JULIANA HATFIELD: Weird (American Laundromat, 2019)

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Como os he dicho en numerosas ocasiones, no tengo ninguna objetividad con JULIANA HATFIELD. Somos casi de la misma edad, tenemos un gusto común por la música y su personalidad… qué decir. La veterana cantautora de Boston nos ha vuelto a sorprender en este 2019 con un disco espectacular. Esta hiperactividad y esa nueva juventud que está viviendo ha hecho que llegue a este año en un estado de forma envidiable, reflexionando sobre sí misma y sobre su entorno de la manera que suele hacerlo. Musicalmente, WEIRD es una nueva vuelta de tuerca al Pop de guitarras de los noventa, ese sonido recio y crudo de guitarras y teclados analógicos, voces a pelo y poca producción a la que nos tiene acostumbrado. Compañeras de generación como Kim Deal o Tanya Donelli intentaron volver por sus fueros pero no lo consiguieron; su más digna sucesora hoy por hoy es la australiana Courtney Barnett.
Juliana, además, en Weird, ha puesto el turbo (en ambos sentidos), y nos ofrece un disco enérgico, dinámico, con temazos de esos que empalagan y se pegan con facilidad. Ahí están Do it music, Broken Doll, Lost ship, It´s so weird, All right yeah, Sugar

“A year before Weird, Juliana Hatfield delivered an album-length Valentine to her childhood pop idolOlivia Newton-John. Appropriately, some echoes of AM pop linger on Weird — it’s there in the occasional wash of analog synth and the insistent hooks, and it’s there in exuberant closer “Do It to Music,” a love letter to the complex joys of pop — but the album is barbed by design, a return to the ornery personal pop that’s been Hatfield‘s métier in the 21st century. The album title alone hints at what Weird is about: the feeling of not quite fitting in with the world at large. Hatfield chronicles those twisted, contradictory emotions of ostracization not with a heavy sigh but defiance. Working largely alone — old colleagues Freda Love Smith and Todd Philips show up to play drums on a couple of tracks — Hatfield winds up creating a tribute to the virtues of solitary seclusion. Sometimes, she tackles this subject head on — the de facto title track, “It’s So Weird,” is something of a manifesto — but she spends as much time singing about the reasons why she’s retreating to her own world. “Everything’s for Sale” and “Paid to Lie,” two sly protests that are tangentially tied to her 2017 anti-Trump albumPussycat — provide two potent reasons for rejecting modern society, but these sardonic tunes are surrounded by songs of undiluted pleasure and comforting melancholy. What holds these seemingly conflicted emotions together is the robust sound of Weird. Far from reclusive, Weird is a gregarious, idiosyncratic pop album that invites the listener to meet it on its own terms, but Hatfield is absolutely fine if it’s rejected. She’s cool being on her own” (All Music)

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27 mayo, 2019 Posted by | Juliana Hatfield | Deja un comentario

Bridges – GOOD MORNING, DAYDREAMER: Rinse and Repeat (2019)

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“Rinse and Repeat” is the debut release from Marc Neibauer’s newest group, Good Morning, Daydreamer. Formed around a collection of songs that serve as the spiritual successor to his 2013 solo effort “Don’t Fall Apart”, Neibauer’s newest work displays all the hallmarks of his other efforts as well as his recent project My Home is the Sea. Elegant melodies, swirling guitars and elemental lyricism are a constant but here there is a focus on the ensemble’s deep connection rather than MHITS’ electronic explorations. These new efforts demand acknowledgement for Neibauer’s collaborators and their unique voice. Chiemena Ukazim’s understated virtuosity on the 8-string guitar compliments Neibauer’s spiraling guitars while longtime collaborator Robert Rouse adds drama and energy behind the drum set. “Rinse and Repeat” is an enticing first peek at more great things to come out of Philadelphia in 2019″ (Press Release)

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20 mayo, 2019 Posted by | Good Morning, Daydreamer, Marc Neibauer | Deja un comentario

A Safe Place – RIDE: Future Love (Advanced single, 2019)

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Los RIDE de siempre, en su faceta más melódica, más POP (con mayúsculas), están de vuelta para presentarnos esta delicia llamada Future Love, adelanto de This is not a safe place, su próximo disco.

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19 mayo, 2019 Posted by | Ride | Deja un comentario

Above the Soundz – YO LA TENGO: There´s a riot going on (Matador, 2019)

Yo La Tengo - There's a Riot Going On

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No son el grupo más prolífico del planeta, igual no son ya ni siquiera ya los más creativos, ni los más cañeros… Pero siguen sonando a gloria. Cada nueva entrega de YO LA TENGO (incluidos sus discos de versiones) son una auténtica gozada, y los que somos seguidores de los de Hoboken tenemos ocasión de babear delante de las improvisaciones y los largos desarrollos instrumentales que suelen aparecer por casi todos sus trabajos.
No hay un disco malo de YO LA TENGO, y There´s a riot going on (Matador, 2018) no iba a ser menos. Un trabajo donde reina la calma, la pausa, los jueguecitos con otros ritmos, con otras músicas, pero donde los elementos clásicos del trío permanecen casi inalterables. Algo tienen estos tres que nos engancharon hace tiempo…

“When Yo La Tengo revealed that the title of their 15th album would be There’s a Riot Going On, speculation ran wild among their online fan base. What did the title mean? Was the album going to be a broadside about the state of America in the Trump era? Was it going to be some sort of homage toSly & the Family Stone‘s troubled 1971 masterpiece There’s a Riot Goin’ On? Or were these die-hard record collectors simply tipping their caps to the Robins‘ 1954 hit “Riot in Cell Block #9”? What no one seemed to guess was a band that’s made a habit out of inscrutable album and song titles would simply be continuing in that great tradition. As it is, there’s precious little that’s riotous about 2018’sThere’s a Riot Going On — quite the opposite, it’s one of the most languid and inward-looking albumsYo La Tengo have released to date. YLT made the album without a formal producer, simply recording themselves in their practice space (with bassist James McNew serving as engineer) and having John McEntire (who worked with the band on 2013’s Fade) mix the tracks. The results find the band deep in atmospheric mode, with washes of loops and noise hovering in the background on most tunes whileIra Kaplan generates spare, ringing guitar figures, Georgia Hubley lays out her typically warm and implacable groove on drums, and all three members daub the surroundings with keyboards and percussion. Many of the selections on There’s a Riot Going On are instrumental, and when the numbers do feature vocals, McEntire and YLT have pushed most of the singing deep into the mix, so if you were expecting this album to mount a soapbox, you’ll be very disappointed. This LP is also short on Yo La Tengo‘s fractured pop sensibilities and Kaplan‘s volleys of noise guitar; instead, There’s a Riot Going On is deeply introspective, 63 minutes of dreamy late-night musings and drifting soundscapes that’s often very beautiful but demands to be met on the artists’ own terms. There’s a Riot Going On is, in its own subtle way, Yo La Tengo at their most uncompromised; it’s an album that’s likely to separate their most hardcore fans from more casual admirers, though if you loved “Night Falls on Hoboken” from And Then Nothing Turned Itself Inside-Out, you’ll likely savor it” (All Music)

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17 mayo, 2019 Posted by | Yo la Tengo | Deja un comentario

Mr. Tillman Presents… FATHER JOHN MISTY: God´s favourite costumer (Bella Union, 2018)

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Con un conjunto de cinco canciones seguidas que son una auténtica sucesión de impecables sonoridades que nos retrotraen al mejor Pop orquestal de los setenta, con referencias claras en el objetivo, J.Tillman ha producido un disco soberbio, que abarca el espectro que va desde la Americana hasta ese Pop orquestado y con influencias psicodélicas a veces o sencillamente deudoras de los antiguos crooners. Conceptualmente, su disco está bastante influido por su ruptura temporal con su pareja, y es capaz de tomarse a broma incluso su propio alter ego en cortes como el delicioso Mr.Tillman, The songwriter o la oxidada Date night.
Todo un must del curso que se fue.

“Compared to Pure Comedy, the 2017 album that spread out over the course of 75 minutes, God’s Favorite Customer feels light and breezy. That’s intentional, of course. Father John Misty never makes a move that isn’t considered, and God’s Favorite Customer is designed to be the digestif after a multi-course feast: a palette cleanser that riffs upon the flavors lingering on the tongue. Josh Tillman may strip away the excesses of Pure Comedy — there isn’t a track that comes close to ten minutes; the longest are just barely over five minutes — but he still favors stately ballads that conjure the ghost of early Elton John, the troubadour who created burnished epics instead of sprightly pop tunes. Mistymay have a way with a melody, particularly ones with a melodramatic flair, along with a fondness for lush, louche surroundings, a combination that carries a sordid allure, but he’s also compelled to undercut his appeal by stepping on his own rakishness. God’s Favorite Customer is littered with asides and in-jokes, peaking with the winking self-parody of “Mr. Tillman” and bottoming on “The Palace,” where Tillman offers the revelation “Last night I wrote a poem/Man, I must’ve been in the poem zone.” As Tillman‘s voice is pushed to the front of the mix — there’s no hiding from the many words of this singer/songwriter — it’s difficult to avoid his lyrics, which will either play as devilishly clever or solipsistic slop depending on your perspective. Then again, that double edge is also by design: Father John Misty means to provoke and soothe in equal measure, which is precisely what he does on God’s Favorite Customer” (All Music)

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13 mayo, 2019 Posted by | Father John Misty | Deja un comentario

El Rearme de los desmelenados – THREE DIMENSIONAL TANX: A Compulsion for Propulsion (Sunstone Records, 2019)

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En realidad lo que se publica en este 2019 es la reedición en vinilo de A Compulsion for Propulsion, el álbum de THREE DIMENSIONAL TANX de el año pasado. Un pildorazo de quince mini comprimidos del mejor Pop bañado de Fuzz, Garaje, Emo, Punk… Todo ello convenientemente batido da como resultado un disco absolutamente demoledor, marcado por una sección rítmica que no da tregua y por unos estribillos arrebatadores.
Conveniente para cualquier fiesta garajera que se precie.

“a pure blast from start to finish…the songs rattle through your brain at a great speed” Fuzzy Sun June 2018

“it’s a white knuckle ride all the way and a total blast, bristling with infectious stabs of pop-inflected modern Garage Rock.” Thee Psychedelicatessen June 2018

“The speeding motorik of ‘His Latest Apparatus’ would get them pulled off the autobahn…Buzzcocks, Swell Maps and especially Wire are reference points” Shindig! Magazine, Issue 81 July 2018

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8 mayo, 2019 Posted by | Three Dimensional Tanx | Deja un comentario

Totally Surprised – SEBADOH: Sunshine (Advanced Single, 2019; Fire Records)

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El último avance del que será nuevo álbum de SEBADOH se titula sencillamente ´Sunshine´. Una puta maravilla, una canción de tono sencillo y absolutamente positivo; una canción de madurez, premonitoria de que algo muy bueno nos vamos a encontrar en este nuevo disco del trío californiano. El 24 de mayo tendremos la respuesta.

Lou Barlow on new track ” ‘sunshine’ is about going inside. Giving up, for the moment, on finding answers in nature or social rituals. Going inside, where I feel safe, and finding strength in intimacy.”

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7 mayo, 2019 Posted by | Sebadoh | Deja un comentario

Recalling – THE PROPER ORNAMENTS: 6 Lenins (Tapete Records, 2019)

The Proper Ornaments - 6 Lenins

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Recién publicado, 6 Lenins es el tercer álbum de THE PROPER ORNAMENTS, un combo que nos enamoró desde su ya algo lejano primer sencillo, Recalling, con esa mezcla de Jangle-Pop con la oscuridad y el tono sobrio pero tremendamente cool de The Velvet Underground.
Superados los sobresaltos que sobrevinieron a la grabación de su segundo disco (Foxhole, 2017), el dúo HoareClaps no se ha movido en demasía de sus presupuestos iniciales, acaso han endulzado algo su sonido, aligerándolo quizás de esa solemnidad algo rígida. Es de agradecer, en contra de lo que piensan algunos, que esas influencias y esa postura inicial siga manteniéndose cerca de una década después. Las mejores: In the garden, Crepuscular child, Song for John Lennon, Apologies. Somos muy puristas…

“After the headaches and strife that surrounded their last album, the Proper Ornaments third album 6 Lenins was relatively smooth sailing. There were no personal rifts or mechanical failures this time around. Instead, the main duo of guitarist/vocalists James Hoare and Max Claps recorded uneventfully at Hoare’s home studio, which was equipped this time with a 16-track tape machine instead of their usual 8. Along with their stalwart rhythm section of drummer Robert Syme and bassist Daniel Nellis, they crafted something calm and pastoral. The guitars intertwine gently in chiming harmony, vintage keyboards quietly plunk and squiggle, the bass and drums caress on the slow songs and chug on the quicker-paced tracks, and the two vocalists rarely sing above a whisper. It’s not a far cry from their earlier albums, but they sound slightly more assured and settled now. Not in a bad, boring way; more like in a confident and reassuring way. 6 Lenins won’t win any awards from fans looking for quick thrills, it might also disappoint anyone looking for the band to take any great leaps into the unknown. What it does, and does very well, is create a relaxing, satisfyingly rich environment where Hoare and Claps can be as melancholy as they please and the music will carry them along like bobbing corks on a vast ocean. A couple tracks do raise a little bit of dust, like the almost peppy “Crepuscular Child” or the Velvet Underground-y “In the Garden,” but mostly the songs are introspective and gentle. “Apologies” is a laid-back ballad with some gently biting guitar that matches the sentiments, with an affecting vocal and sentiment, “Song for John Lennon” is a nice tribute to one of Hoare’s heroes done over cheesy drum-machine backing, “Bullet from a Gun” is an update on acoustic Jesus and Mary Chain, and the rest of the album is bolstered with unassuming and steady songs that go down very easily. The Proper Ornaments have settled into a fine groove on 6 Lenins; free of drama and full of laid-back charms; it is their most accomplished and impressive record yet in a short career full of great records” (All Music)

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2 mayo, 2019 Posted by | The Proper Ornaments | Deja un comentario


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