TONY MOLINA: Songs from San Mateo County (Smoking Room, 2019)

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“Smoking Room and 650 Records are pleased to announce the new compilation LP “Songs From San Mateo County” by Tony Molina. This is a collection of unreleased and unfinished material recorded between 2009-2015″

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Enciclopedia – TONY MOLINA: Kill the Lights (Slumberland, 2018)

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Como si de una enciclopedia musical se tratara, este álbum de TONY MOLINA es, desde la portada (con reminiscencias evidentes a Manassas), un compendio musical de cierto carácter Retro al Folk-Pop de los sesenta y setenta pero también al Indie más “Esque” de maestros como Teenage Fanclub, que a su vez absorbieron las influencias de las huestes de The Byrds o de Big Star. Y lo mejor de todo es que este esquivo californiano se las arregla para enviarte estas pequeñas píldoras en temas que en su mayoría no llegan a los dos minutos, es decir, la fórmula LoFi empleada convenientemente en caramelos Pop. Interesantísimo.

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DELIRIOS DE GRANDEZA – JACK WHITE: Boarding House Reach (Third Man Records, XL Recordings, 2018)

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Definitivamente, parece que al JACK WHITE de los extintos WHITE STRIPES e incluso al de THE RACOUNTERS le perdimos definitivamente. Este tercer álbum en solitario es un auténtico ladrillo plúmbeo de studio jams, algunas improvisaciones, escarceos electrónicos, los clásicos truquitos sonoros de White… y unas composiciones que realmente no aportan nada. Demasiada megalomanía perdida entre un marasmo de géneros que si bien a algunos músicos les sienta de maravilla, ante la inconsistencia de las composiciones de este Boarding House Reach, resulta aún más soporífera. Hay algunos momentos de lucidez (Connected by Love, Corporation, Humoresque…) que para nada elevan el nivel medio del álbum. 

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Spencer Tracy – NICK LOWE: Love Starvation / Tokyo Bay (Yep Roc, 2019/2018)

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Aunque actualmente tenga un aspecto más cercano a Spencer Tracy que a ese estupendo músico de Power-Pop que nos encandiló a finales de los setenta y los ochenta, lo cierto es que NICK LOWE está viviendo una nueva juventud. Si a ello le unimos una banda de apoyo ciertamente notable y unas composiciones propias dignas, que se mezclan con una serie de covers acertadas, el resultado es este regreso de LOWE a los ruedos musicales, esta vez en reencarnación rocker más cruda que de costumbre, pero verdaderamente deleitable.

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They try to do their best – IMPERIAL TEEN: Now we are Timeless (Merge Records, 2019)

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Hombre, si tu principal aspiración es convertirte en inmortal, como reza el título del sexto trabajo (después de un paréntesis de siete años) de IMPERIAL TEEN, este Now We Are Timeless quizás no sea el mejor instrumento para conseguirlo…

“When Imperial Teen formed in the mid-’90s, their sugarcoated pop sounds stood in sharp contrast to their punky roots. The first piece of information usually offered up about the band was that their principle songwriters, Roddy Bottum and Lynn Perko-Truell, had ties to alt-thrashers Faith No Moreand Bay Area punk institutions like the Dicks and Sister Double Happiness. Those heavy connections were largely immaterial to Imperial Teen‘s vibrant pop sound, one that subverted the still-all-too-macho grunge trappings of the time with openly queer lyrical themes, coy co-ed harmonizing, and heavy doses of power pop hooks, understated humor, and sleazy grooves. As the band progressed over the next 20-odd years, their sound matured without mellowing. Sixth album Now We Are Timeless follows its predecessor Feel the Sound by seven years, and while the songs speak to the journey the members ofImperial Teen have been on together, many of the core elements of their sound remain intact. Subdued album-opener “I Think That’s Everything” is a gentle tone setter, introducing lithe harmonies over a bedding of electric piano chords and synth sounds that come and go. This mood is quickly erased by the punchy swagger of “We Do What We Do Best,” a slab of edgy pop in line with the band’s best work. The time between albums grew as the years went on, but the band’s signature sounds are untouched by this. Dialed-down tracks like the springy and melancholic “Walkaway” and the grittier, feel-good rock of “The Girl” would all sound at home in almost any era of the band’s evolution. At this point all four bandmembers live in different parts of America, and NWAT was assembled through remote collaboration. This process can be felt on moments that come across more like solo songs fleshed out by sending files back and forth than a band playing together in the same room. Those moments are in the minority, however, and for the most part the group presents a bouncy cohesion despite the album’s long-distance creation. While there’s a somewhat more thoughtful tone to some of the material here than in their earliest work, Imperial Teen have always approached their music with a certain self-awareness. That self-inspection never eclipses their keen sense of arrangement, songcraft, and back-to-basics pop core that has been central to the band for their entire run. Even stitched together from four different states while looking at aging and uncertain futures, these ten songs are simply more of Imperial Teen doing what they do best” (All Music)

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