The JangleBox

Indie, Noise, Shoegaze… Music

The Warhol: Silver Studio Sessions – Essex Green (2018)

Facebook

10 enero, 2019 Posted by | The Essex Green | Deja un comentario

Highly emotional – THE ESSEX GREEN: Hardly electronic (Merge, 2018)

#TheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox#RememberTheJangleBox

Tras un largo paréntesis de nada menos que doce años, separación física y todos los vaivenes que puedan suceder en tan largo de tiempo, vuelven THE ESSEX GREEN, uno de los grupos más puros de lo que dio en llamarse el Colectivo Elephant6. Su sonido no ha variado en lo fundamental, se mantienen fieles a sus características primarias, fieles a las melodías de siempre y a sus influencias más clásicas. Un perfecto disco de Pop de esos que le salen a Belle and Sebastian de vez en cuando, con acercamientos deliciosamente folkies y arreglos y voces dignos del mejor Charm-Pop. Un imprescindible del año recién finalizado.

“After a long, long break between albums, the Essex Green’s Hardly Electronic kicks off with a song that instantly reminds listeners why the band was so great in its prime. “Sloane Ranger” is classicEssex Green with its loping rhythm, gently strummed guitars, naggingly catchy organ, and above all the voices of Christopher Ziter and Sasha Bell singing the tender lyrics with heartfelt sweetness and woody soul. It’s an auspicious start that the rest of the record follows up on and then some. The time off has done nothing to dim the writing and arranging skills the band had honed to a fine point; if anything, the time off seems to have given them a little more urgency and focus. Hardly Electronicfeels like their overall best-sounding album, with a sonic richness that belies the somewhat fragmented nature of its recording. With members in different parts of the country and in different stages of life, it’s hard to get the band together for weeks at a time to make a record. They definitely found a way around their hurdles and have come up with a rich and full-sounding album that feels like a throwback to the golden age of indie chamber pop, while still feeling smack up to date, as the track “Don’t Leave It in Our Hands,” which has punk energy, shouted vocals, and a desperate political undertone, shows. The interplay between Ziter and Bell‘s vocals is a highlight, the guitar work of Jeff Baron is economically exciting, and the little bits of arrangement magic (the billowing vocal harmonies on “January Says,” the thrilling liftoff on the chorus of “Catatonic,” the cornpone guitar licks on “Bye Bye Crow”) sprinkled throughout the album make for a delightful listen. Even when Bell‘s songs take a dark turn, as they often do, or when the band leans hard into melancholy, the album has a lightness that makes it easy to digest and a joy to get lost in. It’s close to being their best work, if not right there, and it’s certainly a joy to hear Bell‘s enchanting vocals again. Just like it’s a treat to experience the relaxed majesty the band lends to the production and arrangement of its songs; just like it’s truly heartwarming to follow the ups and downs of the moods the band sends through the speakers so gracefully. The Essex Green may the kind of under-the-radar band that could disappear for a decade without too many people wondering where they had gone; one spin of Hardly Electronic is enough to make that seem like a mistake. The record is good enough, and the band skilled enough, that even one year without a new album from them would feel like an eternity” (AllMusic)

Facebook / Cómpralo-Purchase


9 enero, 2019 Posted by | The Essex Green | Deja un comentario

In Colours – PAINT: Paint (Mexican Summer, 2018)

Resultado de imagen de paint mexican summer

#TheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox#RememberTheJangleBox

“PAINT (guitarist/singer Pedrum Siadatian of Allah-Las), is making his mark with his first, self-titled solo record out today.
 PAINT started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) – fed or led by a certain acid-bitter poetry (Gregory Corso andJohn Lennon) and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer and partner-in-grime in adept cinematic psychedelicist Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio. Now PAINT’s self-titled debut LP has a happily paradoxical finished-but-not-finished-off feel, like Lou Reedand R. Stevie Moore and Julian Cope and Richard Hell, but just the songs that never came out” (Promotional)

Facebook / Cómpralo-Purchase

4 enero, 2019 Posted by | Paint | Deja un comentario

Nuding – THE CORAL: Move through the dawn (Ignition Records, 2018)

#TheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox#RememberTheJangleBox

Más allá del ejercicio de desnudez sonora y arreglística al que ha sido sometido el sonido de THE CORAL, lo cierto es que la banda británica ya no es lo que fue allá por comienzos de los dos mil. Su épico sonido neopsicodélico ha sido aligerado al punto de quedarnos una pulcra producción en aras de introducirse a nuevos seguidores sin duda más cercanos al Aor de los peores EloFleetwood Mac que a la Psicodelia. Digamos que la esencia permanece, pero el sonido no nos convence en absoluto. Y por cierto: la portada es un espanto.

“After coming back from a hiatus with 2016’s Distance Inbetween, a heavy, guitar-based album that reestablished the band and expanded their sound from their usual ’60s worship to include some sounds from the ’70s, the Coral did what they do best on their next record and made a creative left turn. Released in 2018, Move Through the Dawn gets rid of the furious guitar soloing, the pounding rhythms that felt like they were forged in a foundry, and the free-flowing arrangements that relied on lots of first takes to get a live feel. Instead, most of the record has the carefully constructed feel of an ’80s Jeff Lynne production, with clipped drums, layered acoustic and electric guitars, and sonic touches like Mellotron and super-clean vocal harmonies. The first three songs sound like they could have been on a Traveling Wilburys album; “Eyes Like Pearls” and “Reaching Out for a Friend” have a loose-limbed, good-natured spirit whose warmth isn’t constrained by the boxy production, while “Sweet Release” is a punchy robo-rocker that sounds simple on the surface but has the kind of hook that gets lodged deep in the brain. James Skelly‘s vocals fit well in the updated surroundings; he delivers the songs here just as powerfully as he did on their more folk-psych offerings of the past. He soars over the sweeping tracks like “Strangers in the Hollow” with an almost breathtaking ease, while digging deep for some grit when that’s called for, as on the bouncy “Love or Solution.”
Despite the new tricks the Coral proudly display on the record, they haven’t totally forsaken their old ways, and some of the songs break free just a bit from the (semi) modern studio techniques. The mystical ballad “Eyes of the Moon” has their trademark rootsy ramble and nicely ghostly background sounds, “Outside My Window” heads back to the late ’60s for some murky nocturnal psych, “Stormbreaker” brings the power and AOR-friendly heaviness of Distance back into the mix, and “After the Fair” is a very pretty acoustic ballad that shows the bandmembers at their tenderest, then drenches them in Mellotron for good measure. These non-pop moments help balance the rest of the album’s almost oppressive catchiness and remind the listener that the Coral are a gently weird band who like to stay elusive. They change styles from record to record — sometimes song to song — like some people change their profile pics, but they never lose the qualities, like top-notch songcraft, well-built arrangements, and Skelly‘s voice, that make them a great guitar pop band. They may have done some drastic reshuffling and tried some new things on Move Through the Dawn, but it’s a Coral record at its core and it’s one of their most satisfying, too” (All Music)

Facebook / Cómpralo-Purchase

2 enero, 2019 Posted by | The Coral | Deja un comentario

Remembering Simon Love – SIMON LOVE: Sincerely, S. Love x (Tapete Records, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

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)

Facebook / Cómpralo-Purchase

31 diciembre, 2018 Posted by | Simon Love | Deja un comentario

It´s so simple – HATER: Siesta (Fire Records, 2018)

Resultado de imagen de hater - siesta (2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

“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

Facebook / Cómpralo-Purchase

28 diciembre, 2018 Posted by | Hater | Deja un comentario

Eggland – THE LOVELY EGGS: This is Eggland (2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

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)

Facebook / Cómpralo-Purchase

26 diciembre, 2018 Posted by | The Lovely Eggs | Deja un comentario

Malditismo – THE DAVENPORTS: Don´t be mad at Me (Mother West, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

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)

Facebook / Cómpralo-Purchase

23 diciembre, 2018 Posted by | The Davenports | Deja un comentario

Rolling Blackouts Coastal Fever – Full Performance (Live on KEXP)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

10 diciembre, 2018 Posted by | Rolling Blackouts Coastal Fever | Deja un comentario

Mary Jeans – ROLLING BLACKOUT COASTAL FEVER: Hope Downs (SubPop, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

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)

Facebook / Cómpralo-Purchase

8 diciembre, 2018 Posted by | Rolling Blackouts Coastal Fever | Deja un comentario

Pegamín – BOBITO: Celofán (Single, 2018)

#TheJangleBox #DescubreTheJangleBox #NovedadesTheJangleBox #PopEspañolTheJangleBox

“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)

Facebook

3 diciembre, 2018 Posted by | Bobito | Deja un comentario

Bluessy – THE GROUNDHOGS: Blues obituray (Fire Records, 2018)

#TheJangleBox #RememberTheJangleBox #ReedicionesTheJangleBox #DescubreTheJangleBox

“50th Anniversary limited edition die cut sleeve with liner notes from Mojo’s Dave Henderson.
The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pustelnik on drums.
The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove.
Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’.
Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs.
According to Tony in Zig Zag’s John Tobler’s sleevenotes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.”
“A deep excursion into musical depths further down than Canned Heat ever dared go.”
The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track” (Press)

Cómpralo-Purchase

29 noviembre, 2018 Posted by | The Groundhogs | Deja un comentario

Palms – TAPE WAVES: Distant light (Bleeding Gold, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

Viejos conocidos por estos territoros, el matrimonio Kim Weldin y Jarod Weldin: TAPE WAVES publicó este verano su tercer trabajo, un disco marcado por casi todos los elementos que caracterizaron los anteriores: Dreampop a bajas revoluciones, guitarras esta vez sí, algo más cristalinas y una decidida apuesta por los temas más cercanos al relax que a la inquietud (en casi todas sus portadas aparece una palmera o una referencia playera). Sus referentes podríamos encontrarlos por las mismas sendas: Yo la Tengo, Cocteau Twins, Real Estate, Twerps

Facebook / Cómpralo-Purchase

23 noviembre, 2018 Posted by | Tape Waves | Deja un comentario

Reminiscencias – JACCO GARDNER: Levania (Single, Full Time Hobby, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

Aunque su título tenga otras evocaciones, el último sencilla de Jacco Gardner, adelanto del que será su próximo trabajo (que aparece en estos días), es quizás el menos cercano a la Psicodelia, y sí más a cierta onda retro a las guitarras twang y a los Shadows. ¿Qué te parece?

Facebook

22 noviembre, 2018 Posted by | Jacco Gardner | Deja un comentario

Hopefully – COURTNEY BARNETT: Tell me how you feel (Milk, 2018)

square.jpg

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

El segundo trabajo de COURTNEY BARNETT, se ha hecho esperar casi tres años, pero es un disco que ha merecido la pena su demora. Circunstancias personales aparte y la magnífica colaboración con Kurt Vile, este Tell me how you feel es un disco fresco, sin grandes pretensiones pero altamente disfrutable y sin embargo con un cierto índice de maduración. Indie-Pop de los noventa, esa onda rockera neoyorquina Television-Reed tan palpable y un toque justo Folkie hacen de este disco uno de los más interesantes del año.

“Courtney Barnett specializes in miniatures, which is why her 2015 debut, Sometimes I Sit and Think, and Sometimes I Just Sit, was such a wonder: with barbed words and gnarled guitars, she made everyday minutiae seem compelling. Three years in the making — it was delayed in part due to a 2017 collaboration with Kurt Vile — the 2018 sequel, Tell Me How You Really Feel, plays like the flip image of its predecessor. What once was captivating now feels indifferent, delivered with a shrug instead of a snarl. Everything about Tell Me How You Really Feel seems muted, whether it’s the grungy stomp ofBarnett and her band — a group that remains steadfastly and proudly stuck in the glory days of ’90s alt-rock — or her words, which now seem to meander to a point instead of cutting to the quick. As she’s a good craftswoman, the songs are by and large sturdy, but that talent also cuts against the success ofTell Me How You Really Feel: when they’re matched with the appealing yet incurious performances, everything feels a bit too cozy. Sometimes, a hook or a clever line cuts through the amiable haze — and “Charity,” with its chorus of “so subservient I make myself sick,” manages to blend both — but Tell Me How You Really Feel isn’t an album of moments, it’s a collection that sustains a mood: a mood that’s ragged and slack, but too dulled to charm” (All Music)

Facebook / Cómpralo-Purchase

17 noviembre, 2018 Posted by | Courtney Barnett | Deja un comentario

Underrated – DROPKICK: Longwave (Sound Asleep Recordings, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

Uno de los adjetivos más utilizados en la prensa musical para hablar de ciertas bandas es “underrated“. Me encanta esa palabra, foneticamente y por todo lo que encierra. El Pop llegado desde Escocia siempre me ha fascinado, y DROPKICK son una banda demasiado “underrated“, infravalorada; que comulga a la perfección con las hordas de Big Star / Wilco / Teenage Fanclub. Ya os podéis imaginar, la fórmula infalible melodía, buen gusto sonoro y exquisitez musical. Me podréis argumentar un cierto seguidismo hacia TFC, pero a estas alturas del partido me da un poco lo mismo: la música de DROPKICK es una delicia para mis oídos, y eso, para los tiempos que corren, es ya más que suficiente.

“Con Dropkick sucede como con esas cosas/personas que de tan cercanas y habituales como las sentimos no les otorgamos la importancia que verdaderamente tienen. El conjunto escocés suma con el actual quince discos editados —sin contar EPs ni manifestaciones en solitario— y siempre bajo una ágil periodicidad.Quizás eso influya en la normalización con la que se aceptan sus altos resultados, algo injusto y que es necesario resaltar precisamente ahora, cuando su nueva referencia se instala en un nivel sobresaliente. Ajenos a estas disquisiciones, el grupo sigue practicando ese noble arte adquirido de referentes como The Jayhawks o Teenage Fanclub a la hora de jugar con el power-pop y/o rock americano más luminoso y delicado. En ese sentido dejarán nuevas muestras como «It’s Still Raining» o «Come Around» de su inagotable pericia en dicho ámbito. Con capacidad también para decidirse por ritmos más cercanos al folk-country («Blue Skies») e incluso construir unos más ruidosos y densos («Giving Way»), emergen sin embargo  majestuosos entre bellísimas baladas («Faraway Places», «See You There») para recordarnos su entrañable y emocionante concepción de la música” (Kepa Arbizu, RUTA66)

Facebook / Cómpralo-Purchase

11 noviembre, 2018 Posted by | Dropkick | Deja un comentario

Nonsenses – MGMT: Little dark age (Columbia, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

Auténtico despropósito. Yo creo que estos dos se han propuesto hacernos creer que lo de su debut en 2008 fue el verdadero espejismo, y que su verdadera cara es la que han ido mostrando a lo largo de esta década, y que queda reflejada en este auténtico bodrio titulado Little dark age (2018). Algo así como el disco de un grupo de tributo a Depeche Mode, un trabajo falto de ideas, de frescura y de cualquier atisbo de creatividad o imaginación. Más que prescindible.

“Not all of this stuff is necessarily necessary. “One Thing Left to Try” sounds suspiciously like Empire of the Sun, and one of them is more than enough. Similarly, the album probably doesn’t need two songs about the evils of the hand-held internet. (In addition to “She Works Out Too Much,” we also get “TSLAMP,” or “Time Spent Looking at My Phone,” which, spoiler alert: They are none too pleased about it.) But the duo’s delight in sound itself is often infectious. The album is a riot of vintage synthesizers, dubby effects, and sumptuously gated snares, and they round out that ’80s fixation with just the right amount of psych-pop. Flangers flange, phasers phase, and the stereo panning spins like a Tilt-a-Whirl, but for once, the bells and whistles don’t drown out the songwriting.
While VanWyngarden’s lyrics have often strayed toward the impenetrable, here he’s more focused, settling into a dark mood that feels timely. Little Dark Age is an album about certainties dissolving. “Welcome to the shit-show/Grab a comfortable seat,” VanWyngarden sings in the very first song, pretty much summing up the second half of the current decade. It’s telling that the album’s most sing-along-friendly refrain is the rousing “Go fuck yourself!” of “When You Die.” Toward the end of the LP, “When You’re Small” makes a compelling argument for strategic downsizing: “When you’re small/You don’t have very far to fall.”
At this point, MGMT probably know a thing or two about the fear of falling. They seem to acknowledge as much on the closing “Hand It Over,” which, like Congratulations’ eponymous final song, is a kind of reckoning with their career, a self-aware snapshot of the whole complicated business of being MGMT. “If we lose our touch/It won’t mean much,” sings VanWyngarden, as if acknowledging their tenuous grasp on whatever brass ring the music industry once offered. The Beach Boys harmonies and Sgt. Pepper’s horns are familiar—it’s the first time on the album they sound like the old MGMT, really. “The joke’s worn thin,” he sings, early in the song, and, later, “The smart ones exit early.” It’s a long way from the rock-star fantasies of “Time to Pretend.” But if Little Dark Age is a new start, it’s a promising one” (Pitchfork)

Facebook / Cómpralo-Purchase

9 noviembre, 2018 Posted by | Mgmt | Deja un comentario

The Lonely Crowd Fades In The Air – SWERVEDRIVER: Mary Winter (Single, Dangerbird Records, 2018)

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

Buenos tiempos para los que amamos el Pop de guitarras y el Noise más embriagador. SWERVEDRIVER están de vuelta. Lo hacen con este espacial Mary Winter, un sencillo que adelanta lo que será su nuevo material, a publicar a comienzos de 2019: Future Ruins (Dangerbirds Records, 2018)

“Like many of us, what’s to come has been weighing heavily on frontman Adam Franklin’s mind. “There’s a lot of foreboding with regard to the future on this album,” says Adam. “Space is in there a lot too. In the first song, the character is a spaceman who’s trying to remember what life is really like. Also, it could be about somewhere in the world where winter isn’t like the winter here. A sunny place, but it’s December or January and you’re trying to remember winter. Something’s going on.” That first song is “Mary Winter,” an instantly recognizable blast of Swervedriver afterburners that you can listen to” (Brooklyn Vegan)

Facebook / Cómpralo-Purchase

7 noviembre, 2018 Posted by | Swervedriver | Deja un comentario

A Perfect Cycle – THE CROOKED CREW: The sheltering sky suite (1, 2, 3) / Supermoon (Single, 2018)

#TheJangleBox #DescubreTheJangleBox #NovedadesTheJangleBox #PopEspañolTheJangleBox

Un ciclo perfecto. Una estación completa. Una especie de vida en miniatura. The Sheltering Sky resume en sus más de quince minutos lo que la música de CAPTAIN EXCUSE & HIS CROOKED CREW expresa a día de hoy: una gozosa recreación en lo mejorcito del Pop de raíces Folkies, que comienza de forma inquietante, pero va tomando forma poco a poco, agrandándose y cobrando nueva vida. Un tema en expansión, que cambia de tono conforme pasan los minutos y que termina en una radiante explosión, aunque con esa inquietud que el Capitán suele dejarnos (“An endless parade of frozen days / A reminder of what could have been but never will”). Una canción de las de antes, de las que se hacen desde la independencia, desde ese no tener que rendir cuentas a nadie, si acaso a tu propia expresividad.

Supermoon, sin embargo, musicalmente es más un retorno a los orígenes del Capitán. Nos evoca aquellos tiempos en los que el sonido anglosajón dominaba la escena musical. Una canción de estructura Pop perfecta, de desarrollos exactos que probablemente tenga origen en una concepción mucho más acústica y folk, como nos queda reflejado en los últimos segundos de la misma. Si he de ser sincero, me quedo con esa armónica y esa sencillez adornada de las distorsiones justas que hacen de esta súper luna un ideal inalcanzable (“I thought you could do so much better / But settled for the scum of the earth” ).

The Sheltering Sky / Supermoon es, pues, un sencillo para disfrutar con calma, con relax. Problablemente nunca lo encontrarás en una playlist de las que ahora nos perturban. Qué más da. La música de la Tripulación Maldita es para disfrutarla y saborearla. Los mortales quedarán en la tierra a otras historias. 

Facebook / Cómpralo-Purchase

5 noviembre, 2018 Posted by | Captain Excuse & The Crooked Crew | Deja un comentario

The Dream – WIDOWSPEAK: Expect the best (Captured Tracks, 2017)

Expect The Best

#TheJangleBox #RememberTheJangleBox #NovedadesTheJangleBox #DescubreTheJangleBox

Abandonaron algo el tono fronterizo y se dedicaron más al ambiente más íntimo, a la introspección sonora sobre bases etéreas. Un resumen de lo que es el último trabajo hasta la fecha del grupo de Molly Hamilton: WIDOWSPEAK, un grupo en el que en cada disco puedes encontrarte algunos cortes memorables. en Expect the Best no iba a ser menos…

“After Almanac and All Yours, Widowspeak seemed like they were on the cusp of going full Americana — a vital aspect of their music, but one that overlooked the band’s distinctive version of rock. Molly Hamilton wrote Expect the Best‘s songs while in Tacoma, Washington, and the return to her hometown may have inspired the band to revisit the misty fusion of grunge and shoegaze of their earliest releases. While Widowspeak still sound more intricate and detailed than most of their Pacific Northwestern forebears, it’s undeniable that this is the fullest, heaviest-sounding incarnation of the group yet, thanks to Hamilton and Robert Earl Thomas inviting touring bassist Willy Muse and drummer James Jano into the studio to bring some live energy to Expect the Best. Of course, “heavy” is a relative term for a band as atmospheric as Widowspeak, but they get heads nodding — if not exactly banging — with foggy interpretations of grunge like “When I Tried” and “Let Me.” The band expertly contrast these heavier sounds with vulnerable moods and words, imbuing them with a bruised brooding on the title track, which feels like a spiritual cousin to their early single “Harsh Realm,” as well as on the yearning “Dog” and “Good Sport,” a brief sketch that nevertheless showcases Hamilton‘s way with an extended metaphor. As Widowspeak return to sounds from their past, they also add new ones, such as the flutes that add an extra witchiness to “Right On” or the smoky, seductive, ’60s psych of one of the album’s standouts, “Warmer.” Here and on the album’s bookends — the golden, bittersweet opener “The Dream” and the seven-minute finale “Fly on the Wall” — Widowspeak are subtle and epic at the same time, building to crescendos that engulf listeners before they realize it. A late-summer bonfire of an album, Expect the Best proves once again that when it comes to hazy introspection and reflection, few bands are better at it than Widowspeak” (Allmusic)

Facebook / Cómpralo-Purchase

3 noviembre, 2018 Posted by | Widowspeak | Deja un comentario

A %d blogueros les gusta esto: