The JangleBox

Indie, Noise, Shoegaze… Music

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)

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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

Cinematic – WOZNIAK: The Space Between the Trees (Morningside Young Team Records, 2019)

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“Wozniak’s new EP is a 40-minute exploration of the band’s strengths. It marks the introduction of new bassist Kevin Fraser, and across the 6 tracks Wozniak go from forlorn, gauzy meditations to roaring walls of noise with their usual intensity.
For this release Wozniak have worked with Simon Scott of Slowdive, who mastered the EP at SPS Mastering” (Press Note)

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20 febrero, 2019 Posted by | Wozniak | | Deja un comentario

Three guys – JASON LYTLE LITTLE WINGS KRAMIES: 3ingle (Single, 2018)

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“Three songwriters…
Jason Lytle of Grandaddy, Kyle Field of Little Wings, and Kramies set out to make the first ‘Split-Trio’ or Tri-Single’ as some might put it. 
With just one acoustic instrument, a voice, one microphone and no studio tricks, each of them wrote and recorded a new song. 
With Jason & Kyle’s songs both being recorded in their homes in California and Kramies’ song being recorded in his home in Colorado, the songs truly have a naturally honest & comfortable tone which almost brings a feeling of sitting in a living room listening to the songs being played live. 
All three songwriters, having worked together on projects and played shows together, have been friends over the years and have a lot of respect for each other’s craft which makes this ‘Split-trio’ a special one off release” (Press Note)

19 febrero, 2019 Posted by | Kramies | | Deja un comentario

Sin perder el estilo – EL PALACIO DE LINARES: Largos agotadores (Pretty Olivia Records, 2019)

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“Por fin con nosotros el nuevo LP de El Palacio de Linares. Nuevo ataque de amor garantizado!!!
10 canciones producidas magistralmente de nuevo por Yon Vidaur con las obsesiones marca de la casa: Feelies, Go Betweens, el sonido de la joven Escocia, Real Estate y en general todos aquellos que todavía creen en la magia del pop de guitarras y en que lo importante es no perder jamás el estilo” (Nota de Prensa)

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18 febrero, 2019 Posted by | El Palacio de Linares | | Deja un comentario

Colours – SEEING HANDS: Seeing Hands (Discos de Kirlian, 2018)

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“Every weekday, DIY’s new music know-it-all Neu brings you one essential new release to get obsessed with. Today’s Neu Pick comes from Seeing Hands.
Everything’s coming up Newcastle. Well, sort of. Things are looking optimistic for the city’s football club, thanks to Rafa. In Eat Fast, they sport one of the most exciting UK bands in yonks. And now it’s time to add Seeing Hands to the list.
The lounging four-piece are of a dreamier kind to local contemporaries. Gentle guitar lines lift themselves out of a sweet daze, coming off like Real Estate’s stomachs flipping on a fairground ride after a parkside picnic. Sounds tame, but there’s a definite edge to Seeing Hands’ music; a deceptive precision that’s hard to hear in a sea of lovely reverb” (diymag.com)

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15 febrero, 2019 Posted by | Seeing Hands | Deja un comentario

Joining – TY SEGALL-WHITE FENCE: Joy (Drag City, 2018)

Joy

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El segundo disco colaborativo entre TY SEGALL y WHITE FENCE es un disco escrito enteramente a medias, compartiendo grabación y composición. Algo más que un mero juguete encaminado a la diversión, puesto que también compartieron gira.
El disco, sin ser ni mucho menos la quintaesencia del Pop, sí que ofrece momentos memorables, preñados de Pop Psicodélico (nos recuerda horrores al Sell Out de The Who), NeoFolk y algo de Garaje
Lo cierto es que la pareja funciona, las instrumentaciones son tremendas, y aunque la mayor parte de las canciones parecen apuntes (de nuevo la comparación Sell Out vía Olivia Tremor Control), en su mayor parte funcionan como un reloj de precisión (Please don´t leave this town, Body behaviour, Good boy, Do your hair, My friend…)

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“The unbridled rock & roll force that is Ty Segall met up for the first time with the warbly psychedelic wanderings of White Fence on 2012’s Hair, a fine distillation of the pair’s strengths. Segall and White Fence‘s Tim Presley forged a sound that reined in Segall‘s sometimes excessive energy and gave life to White Fence‘s often precious music box renderings of ’60s excess. Since they made that record,Segall has gone on to expand his sound into something almost arena-friendly, while Presley has gotten weirder and more unpredictable with his solo work and other projects including DRiNKS withCate Le Bon. The duo’s reteaming on 2018’s Joy tilts the scale toward weirdness with many songs that are odd snippets of sound, lots of Presley‘s obtuse guitar lines and lyrics that sound like they were left out in the sun a little too long. For the most part, the record works like a charm, with the sometimes gleeful, sometime ominous White Fence psychedelic strangeness adding creepy tendrils that captureSegall‘s frenetic energy and drag the songs into unexpected places. The gothic vocal harmonies of “Body Behavior,” the squiggly guitar solos on the very John Entwistle-sounding “Good Boy,” the looping drums that buoy “A Nod” are little bits of left-field arrangement tricks show how well their styles can mesh. There are also times when Segall‘s innate swagger gives the songs an extra boost, like on the insistent rocker “Do Your Hair” or the sly folk-rock tune “My Friend” that ends the album on a high note. So far, so good, but alongside the songs that work like a well-baked cake, there are others where they seem to be sacrificing quality for weirdness, and that’s when the album flags a little. The overly quirky noise interludes are an energy suck and a couple songs don’t go anywhere, like the draggy, over-cooked “She Is Gold” where they indulge their most meandering tendencies, or the off-putting “Tommy’s Place,” which comes off like it was deep fried in whimsy. These less interesting, less well-formed moments leave the listener wondering if the album really needed to be 15 songs long. A few judicious cuts here and there and it would have been a very strong extended play instead of an uneven album that doesn’t quite reach the level the duo attained on Hair. It’s still worth checking out for fans of either artist, though, especially if their eccentric natures are the main attraction” (All Music)

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13 febrero, 2019 Posted by | Ty Segall, White Fence | , | Deja un comentario

Clasicismo – GRUFF RHYS: Babelsberg (Rough Trade, 2018)

Babelsberg

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La verdad es que el arranque de clasicismo y las ganas de añadir orquestaciones a sus temas le ha venido muy bien a Gruff Rhys para publicar su último trabajo, este Babelsberg, un disco que si bien no pasará a la historia como lo mejor que el galés haya publicado en solitario o con SFA, sí que es un acercamiento interesante a ese Pop Barroco con ciertas ínfulas de crooner al que ya se había acercado puntualmente en otras ocasiones, y que deja en este disco algunos ejemplos de máxima belleza: Oh Dear!, Frontier man, Limited edition heart, Take that callSelfies in the sunset… son canciones perfectas para disfrutar en un café al sol otoñal.

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“Babelsberg is the fifth album by Gruff Rhys, his first record for Rough Trade since 2007’s classicCandylion. The album features orchestral scores by Swansea based composer Stephen McNeff and the incredible work of the 72 piece BBC National Orchestra of Wales. The result is Gruff’s best record to date – a ten song gazetteer of modern times, each track set to timeless, indelible melody. Amazingly, for a collection of songs written over two years ago, each one seems to pull very sharp focus on the times we’re living in” (Rough Trade)

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8 febrero, 2019 Posted by | Gruff Rhys | | Deja un comentario

In the Beat – THE IN THE OUT: The In The Out (2019)

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“This debut release from Melbourne 4 piece THE IN THE OUT is a remarkable first LP effort. Stand out tracks include the gritty opener ‘Do You Wanna’ and epic psych rocker ‘Heat’, to the softer alt-country embellished ‘Birds’ and the electronic introspective of ‘Slow’.
Album closer ‘Hid In The Beat’ delivers an intense crescendo to finish what is an impressive mix of psych pop / Manchester inspired rock” (Press)

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7 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

It´s raining outside – THE PERFECT ENGLISH WEATHER: Don´t you wanna feel the rain? (Matinée, 2018)

Don't You Wanna Feel The Rain? CD

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“The Perfect English Weather are a husband and wife duo from Brighton, England, whose musical journey began in the late 1980s as part of the indie-chart regulars The Popguns. Perched on a melodic precipice at the frayed edges of indiedom, their “beautiful, slightly melancholic pop” has drawn comparisons to Everything But The Girl and more recently St Etienne. BBC 6 Music Radio seems to agree, with their songs receiving repeated airplay on the Gideon Coe and Steve Lamacq shows.
The new album “Don’t You Wanna Feel The Rain?” is at heart a story of adulthood, with songs meandering around themes of travel and work, family and reminiscence, togetherness and separation. The album’s journey of soundscapes sets out from London City bars through to memories of Ibiza nights, a freezing Warsaw winter and endless air travel, before finally settling in the rivers of Nova Scotia. Reflecting the various locations, situations and characters, the musical styles move in and out of guitar pop, moody electronica and the bare acoustic. The songs’ protagonists may change but the narrative flows consistently throughout, taking the listener through a personal history of estrangement and reunion” (Matinée Recordings)

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5 febrero, 2019 Posted by | The Perfect English Weather | , | Deja un comentario

No Fails – LOS MARCIANOS: Nuevo orden cósmico (Clifford, 2018)

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LOS MARCIANOS  están en pleno proceso de madurez musical y compositiva. Sus presupuestos sonoros son sencillos y directos: Power-Pop de guitarras con grandes dosis de Noise y distorsión y cierto aire de desencanto en sus letras. Vamos, la fórmula infalible del Indie-Rock de toda la vida desde los tiempos de JMC, Pixies o Lemonheads.

“Corren nuevos tiempos para el pop y LOS MARCIANOS se apuntan a contribuir con sus canciones, estribillos, melodías, ruido e historias. Todo ello se puede encontrar en Nuevo Orden Cósmico (Clifford Records, 2018), una nueva entrega en formato 10″ en el que la banda viguesa nos pasea por pasajes un poco más oscuros que en su anterior trabajo, pero sin perder esos estribillos pegadizos tan marcadamente pop y el desenfado tan propio al que nos tienen acostumbrados. Producidos por Carlos Hernández (Los Planetas, Triángulo de Amor Bizarro, Airbag…) LOS MARCIANOS nos cuestan historias universales, envueltas en mágicas melodías y en muros de guitarras que demuestran que la banda se siente cómoda en el noise pop y el shoegaze, y que destina a este Mini-LP a formar parte de las estanterías de fans de Jesus And Mary Chain, The Pains Of Being Pure At Heart, The Cure o Los Planetas” (Ibán Marciano)

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3 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

The Fog – THE STARGAZER LILIES (Graveface Records, Single, 2018)

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Brumas guitarreras y ensoñaciones vocales.

“(…)You are my
You’re my everything
Everything I love
My love
And all I love to hate”

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2 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

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