The JangleBox

Indie, Noise, Shoegaze… Music

Varieties – (SANDY) ALEX G: Rocket (Domino Recording, 2017)

Si hay algo que caracteriza a la música y al sonido de Alex G es su varidad y un cierto toque de eclecticismo. El chico es capaz de navegar desde el Folk-Pop a los aires country o los sonidos más electrónicos pasando por el jazz o el post-grunge. Todo un bello cóctel de emociones y sonidos de entre los cuales seguro que habrá alguno que te guste.

“Rocket is Philadelphia-based artist Alex G’s eighth full-length release—an assured statement that follows a slate of humble masterpieces, many of them self-recorded and self-released, stretching from 2010’s RACE to his 2015 Domino debut, Beach Music.
Amid the Rocket recording process, Alex made headlines for catching the attention of Frank Ocean, who asked him to play guitar on his two 2016 albums, Endless and Blonde. More than any stylistic cues, what Alex took from the experience was a newfound confidence in collaboration. Rocket wears this collaborative spirit proudly, and in its numerous contributors presents a restless sense of musical experimentation – effortlessly jumping from distorted sound collage to dreamy folk music to bouncing Americana.
Rocket illustrates a cohesive vision of contemporary American experience; the cast of characters that Alex G inhabits have fun, fall in love, develop obsessions, get in trouble, and—much like rockets themselves—ultimately they burn out. Alex, though, in a collection of songs that’s both his tightest and most adventurous, is poised only for the ascent” (Press Note)

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14 diciembre, 2017 Posted by | Alex G. | Deja un comentario

Good Feelings – THE FEELIES: In between (Bar None Records, 2017)

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Que en tiempos como los que corren todos unos veteranos como THE FEELIES editen un disco como In Between y le sople en las narices a cantidad de grupos Indies debería dejar mucho a pensar a bastantes mentes del Pop actual.
Madurez, estilo, fuerza, y lo que es mejor: canciones con mayúsculas. Grabado en casa, con la frescura más propia del mejor LoFi, THE FEELIES son una banda que saben con lo que se manejan: lo mismo tiran del mejor Pop (In between, Turn back time) que del Indie de guitarras (Gone, gone, gone; Stay the course, Flag days, Pass the time), del ambiente más acústico (Make it clear, When to go) o del Fuzz más descarnado como en la monumental y psicodélica In between Reprise.
Un álbum que suena absolutamente vivo, que mantiene a los de New Jersey en ese primer plano del Indie en el que se han movido durante estas ¡cuatro! décadas.

In Between, the Feelies‘ sixth album, opens with the sound of a campfire and crickets, and if that is meant to suggest this is the work of happy campers throwing a hootenanny, well, that’s truer than one might imagine. The Feelies usually make music that’s propelled by a relentless nervous energy generated by catchy, minimalist melodies and layers of hyperactive percussion, but 2017’s In Betweendials back a bit on the tempos as well as the electric guitars. Melodically, this is instantly recognizable as the Feelies, but not the coffee-fueled rave-ups of 1980’s Crazy Rhythms or 1991’s Time for a Witness. Instead, this recalls the more pastoral feel of 1986’s The Good Earth, and if anything, this album is a considerably quieter and restrained effort than that. The Feelies sounded strong and full-bodied on their 2011 comeback, Here Before, but by this group’s standards, In Between sounds and feels relaxed, less eager to force a groove and more willing to let the songs go where they will. But in the great tradition of the third Velvet Underground album, relative quiet and restraint don’t equal a lack of focus and commitment, and on their own terms, these songs are moody but absorbing, subtle in their attack but full of a haunting sort of beauty that the Feelies‘ more robust recordings don’t always catch. The interlocking guitars of Glenn Mercer and Bill Million are still outstanding, the percussion team of Stanley Demeski and Dave Weckerman hold down the rhythms with a singular feel, andBrenda Sauter‘s warm but rock-solid bass holds it all together beautifully. And if this indulges the more easygoing side of the Feelies most of the time, the wiry “Gone Gone Gone” and big-guitar reprise of “In Between” (complete with “I Wanna Be Your Dog”-style piano) will satisfy fans who want to hear this band rock out. In Between is usually quiet, but it’s never cautious; this is very much the work of one of America’s best and most venerable independent bands, and it confirms the Feelies are still a genuine creative force as they approach their 40th anniversary” (All Music)

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12 diciembre, 2017 Posted by | The Feelies | Deja un comentario

Sombras y abismos – BLACANOVA: El abismo (El Genio Equivocado, Single, 2017)

Blacanova - El Abismo

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Latidos y pulsiones Shoegazers en el último avance de Blacanova: “El Abismo, nuevo adelanto del LP La Cabeza, que será editado por El Genio Equivocado en enero de 2018″ (El Genio Equivocado)




11 diciembre, 2017 Posted by | Blacanova | Deja un comentario

Épica y Honestidad – THE NATIONAL: Sleep well beast (4AD, 2017)

Sleep Well Beast

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Tras cuatro años de letargo, la “bestia” se despierta de nuevo para comprobar que se han convertido en un fenómeno Indie, en un grupo respetado y cabeza de cartel de festivales veraniegos. Recopilan historias, hablan sobre sus crisis, la situación mundial y de sus miles de historias y nos presentan un álbum como Sleep well beast, en el que los de Ohio sacan su mejor repertorio y nos ofrecen esa honestidad brutal, esa belleza sencilla y pura aderezada con ligeros adornos de instrumentos menos relacionables con su sonido. Un disco más en el que THE NATIONAL marcan el territorio de la honestidad.

The National never seem in a hurry to reach their destination, but there’s a sense of quiet urgency onSleep Well Beast, their seventh album. Much of that momentum arrives in arrangements that generally tend to eschew the grayscale of its 2013 predecessor, Trouble Will Find Me, a record that felt sculpted so that each element was elegantly interlocked. Comparatively, Sleep Well Beast draws attention to itself through the occasional squall of noise (“The System Only Dreams in Total Darkness”) and rushed tempo (“Turtleneck”), but also through an expanded sonic palette. Electronics are used for texture and shade, vocal harmonies glide through the mix, pianos anchor a couple of tunes — all subtle gradients within the National’s recognizable formula, but they’re enough to give Sleep Well Beast a distinct character. Such a shift may not be startling, particularly since it takes a while for album opener “Nobody Else Will Be There” to fade into view, but by the time the murmuring title track evaporates, it’s evident that Sleep Well Beast offers a journey with satisfying detours. This is a welcome departure (and perhaps necessary complement) to Trouble Will Find Me, which celebrated its finely manicured stillness. While Sleep Well Beast offers more than its fair share of hushed moments — the National design their music to be lean-in listening, requiring an investment from their audience not only so that the lyrics can be deciphered, but so the subdued shifts in emphasis seem dynamic — this familiar signature seems enhanced by the fact that these soft, slow songs are surrounded by cuts where the darkness opens up slightly but significantly. It’s enough to make Sleep Well Beast feel like a dramatic departure in the close quarters of the National’s discography” (All Music)

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9 diciembre, 2017 Posted by | The National | Deja un comentario

Espectros – LOST FILM: Broken spectre (Discos de Kirlian, The Native Sound, 2017)

Ecos, ecos cual espectros musicales. Rastros sonoros de bandas de Sarah Records, del C86, del Pop Británico de los noventa… Todo ello resumido en este segundo trabajo de LOST FILM, el proyecto de Jim Hewitt.

“Lost Film began as the minimalist pop project of Jimmy Hewitt in Easthampton, MA in 2014. Having just moved away from Boston after spending several years playing under the moniker Orca Orca, Hewitt adjusted back to small town life by focusing on writing straight-forward, layered pop songs. Mixed with an equal adoration of Sarah Records of the late 80’s and Pacific Northwest bands of the early 2000’s, Lost Film released their debut full-length Imago in 2015 followed quickly by the 4 song EP Temporary in 2016; both seeing praise from the likes of Noisey, DIY Mag, and GoldFlakePaint.
Broken Spectre, the new 8 track mini LP and easily the most ambitious effort from Lost Film both sonically and lyrically, sees the guitar pop band explore wider themes and fuller instrumentation than their minimalist dream pop past. Recorded in the comforts of their own home in Easthampton, MA with additional mixing at Big Nice studios in Rhode Island, their signature bright, jangly, C86 hooks remain but the melody driven songs are now bigger and more mature. Here we see lead songwriter Jimmy Hewitt touch on consumerism, nationalism, and addiction; turning his views on Broken Spectre outward rather than inward” (Press Note)

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7 diciembre, 2017 Posted by | Lost Film | Deja un comentario

ElectroPop – CORNERSHOP: Demon is a monster (Single, Ample Play Records, 2017)

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CORNERSHOP han derivado hacia la experimentación más Electropop en estos últimos tiempos…
‘Demon is a Monster’ a new theme tune for the anti-Brexit Remainiacs podcast, created by Cornershop. A slab of electro.


6 diciembre, 2017 Posted by | Cornershop | Deja un comentario

Encendiendo el Árbol – THE BOY LEAST LIKELY TO: A winter´s tale (Single, 2017)

La imagen puede contener: texto

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Jof Owen y Peter Hobbs parece que tienen la tecla del Pop melancólico al alcance de sus manos, añadiéndole además ese toque Country que se le ha quedado al sonido de Jof. Llevan tiempo sin publicar nada como dúo, pero vaya canción más bonita este A Winter´s Tale. Os juro que me dan ganas de montar un árbol de Navidad con sus lucecicas y todo…

“We hope you like it. We’re playing The Waiting Room in London on December 12th to celebrate”


5 diciembre, 2017 Posted by | The Boy Least LIkely To | Deja un comentario

Escribiendo Fanzines – PUZZLES Y DRAGONES: Vuelven Puzzles y Dragones (Discos de Kirlian, 2017)

Pop con letras mayúsculas, amateurismo buscado y cierto tono naif que los emparenta con la producción neozelandesa discípula de Sarah Records.

“Puzzles y Dragones son el grupo de pop perfecto pero, como todo lo bueno, se hacen esperar. Y es que han pasado cuatro años desde su primera y única referencia porque ellos, a su aire, desde un amateurismo ajeno a las modas, han estado rebuscando sin prisa en el legado de aquellos que más veneran -como los grupos de Sarah o Cloudberry Records- o revisando las canciones de Los Secretos u otros tantos de los 80, a los que siempre han reivindicado en pos de la canción pop ideal.
Las canciones de Puzzles y Dragones son tan inocentes como puras porque para ellos la honestidad está por encima de todo, y por ello se alejan de la ironía imperante. Puzzles y Dragones son un grupo de punk hablando de amor; un fanzine musicado sobre la juventud crónica y la amistad.
Imitando a sus ídolos pero también dando gran importancia al modo de entender la gestión de su música y al sentido de pertenencia a una comunidad, los Puzzles se han convertido en un referente de militancia indie y de devoción por el pop más bello” (La Fonoteca)

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4 diciembre, 2017 Posted by | Puzzles y Dragones | Deja un comentario

Inanidad (II) – LAS ROBERTAS: Waves of the new (Buen Día Records, 2017)

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No sé qué me pasa siempre con LAS ROBERTAS. A menudo he intentado escuchar sus discos, pero siempre tengo que dejarlo a las pocas canciones. Quizás sea que abusen demasiado de sus patrones, quizás sea su monocordia sonora, lo cierto es que no suelo acabarlos. Waves of the New no ha sido menos, y reconozco que aunque tiene un comienzo esperanzador, conforme pasan las canciones, se me hacen más y más monótonas. Las chicas se mueven a gusto en el Pop-Fuzz de guitarras y no lo hacen mal, son desenvueltas, pero a sus temas les falta algo. Esa garra que sí tienen otro tipo de bandas que facturan un sonido semejante.

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2 diciembre, 2017 Posted by | Las Robertas | Deja un comentario

Inanidad – DAN AUERBACH: Waiting on a song (Nonesuch Records, 2017)

Waiting on a Song

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Pues la verdad es que ni fu ni fa. El segundo trabajo en solitario de DAN AUERBACH no pasará a los anales de la historia del Pop, desde luego. Waiting on a song es un disco de oficio, de canciones correctas pero más bien recuerda a un disco de encargo de un buen compositor para una de esas estrellas vocales que no han escrito una línea en su vida. Un álbum para estar y aparecer en los charts más o menos Indies (si es que Auerbach continuase siendo una figura independiente) y poquito más. Muchos clichés sonoros remanentes del Pop sesentero, el Power-Pop setentero y alguna que otra influencia de la Americana más facilona.

“When Dan Auerbach released his debut solo album Keep It Hid in 2009, the Black Keys were on the verge of superstardom; so his solo album was a busman’s holiday, not the start of a career. Waiting on a Song, its 2017 sequel, arrives in the midst of an extended hiatus from the Black Keys, who took a breather after a run of blockbusters that coincided with Auerbach establishing himself as a producer of note. On these extracurricular projects, Auerbach broadened his sonic palette, working with everybody from Americana stalwart Ray LaMontagne to post-modern noir diva Lana Del Rey, and he brings this new bag of tricks to Waiting on a Song. Having more in common with the groovy classic soul moves of his 2015 side project the Arcs than the heavy-footed stomp of the Black Keys, Waiting on a Song‘s heart lies in the glimmering productions of Jeff Lynne in the late ’80s. “Shine on Me” glistens like an outtake from the Traveling Wilburys, and it’s not an isolated incident. Auerbach keeps circling back to this bright, cheerful sound, accentuating it with elements of Memphis soul and an undercurrent of classically constructed Americana. The title Waiting on a Song hints at such craftsmanship, and it was co-written by John Prine and Pat McLaughlin, whose presence suggests that Auerbach is adding “singer/songwriter” to his impressive résumé. The thing about this album is, it shows the power of craft across the board: Auerbach‘s become a vivid, imaginative producer and now he’s writing songs to match” (All Music)

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30 noviembre, 2017 Posted by | Dan Auerbach | Deja un comentario

Mountains Guides – PIA FRAUS: Field ceremony (Shelflife Records, 2017)

Field Ceremony

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El retorno casi una década después de PIA FRAUS les mantiene como una de las mejores referencias Shoegazers de las que, en este caso, se mueven como pez en el agua en el ambiente Dreamgaze. Los estonios son una banda que, pese a registrar a todos sus componentes en los créditos utilizando instrumentos electrónicos o sintetizadores, no suena para nada a música electrónica. Dream-Pop de ambientación melancólica y tatiturna. Un disco equilibrado de canciones casi perfectas en los cánones del género que se pasa en un suspiro. Como el que se llevaría el viento que mueve los molinos de viento de su portada.

“Estonia’s Pia Fraus have been one of shoegaze’s best-kept secrets since they made their debut in 2001 with the elegant full-length Wonder What It’s Like. Their music has always been catchy, melodic, and chiming, and they’ve always hit the sweet spot between melancholy and upbeat. In addition to having a deliciously fuzzy guitar sound, they’ve always been keen with electronic elements, and have frequently been remixed by Ulrich Schnauss, Galaktlan, and other producers in the indie electronic realm. Field Ceremony is the group’s fifth proper album, following 2008’s After Summer by nearly a decade, with the retrospective Silmi Island and a few singles arriving in between. Right off the bat, the group hits a familiar stride with the cruising midtempo opener, “It’s Over Now,” which drowns gloomy yet content vocals in a wash of synths and corroded guitars. Even though most of the group’s members are credited with playing synthesizers or electronics of some sort, they enhance the guitars rather than overpower them, and the album ends up sounding a little less electronic overall than some of the band’s past releases (particularly the ones that contain remixes). The group’s music feels so autumnal that it almost seems necessary to be wearing a nice comfy jacket and walking among the fallen leaves while listening. In addition to sad new wave numbers like “Autumn Winds” and the splendid “Endless Clouds,” Pia Fraus indulge in their sticky-sweet side with the noise-pop bubblegum of “Sugar High of the Year.” Following this song, though, things quickly grow cold and somber, particularly with the bitter breakup lament “Brutal Truth of the World” (which nevertheless manages to find room for some handclaps). Field Ceremony isn’t a grand departure from what Pia Fraus have been doing all along, but there isn’t really any reason for them to do anything different — they’ve already proven themselves to be masters at updating the classic shoegaze sound without sounding trendy. At this point, they’re just waiting for the rest of the shoegaze world to discover them” (All Music)

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28 noviembre, 2017 Posted by | Pia Fraus | Deja un comentario

En San Juan – LÚA GRAMER: Día del Centro (Clifford Records, 2017)

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Las tres canciones que conforman el nuevo Ep de LÚA GRAMER son, como se intuye en la crítica de su discográfica, tres caramelos con una buena dosis de veneno Pop: “te golpean (ese pa-pa-pa alucinado de “Una vez más”) como si fueran el gancho de un viejo boxeador borracho que no ha olvidado la eficacia de sus puños”. Las deliciosas Día del centro y San Juan se contraponen a la rabia contenida de Una vez más, donde los pacenses le dan rienda suelta a las distorsiones y a unos teclados brillantes y nuevaoleros que son el contrapunto perfecto a las voces armónicas del grupo. Capítulo aparte para la personal voz de Susa (no me digáis por qué, pero me evoca en seguida la forma de entonar de Cristina Lliso). El Pop de guitarras de los noventa tiene dignos sucesores.

“Las tres canciones que se incluyen en Día Del Centro te golpean (ese pa-pa-pa alucinado de “Una vez más”) como si fueran el gancho de un viejo boxeador borracho que no ha olvidado la eficacia de sus puños. Vuelan en el aire enfermo del combate influencias de los años 90 tanto en el sonido como el espíritu valiente de los arreglos que aportan el necesario contrapunto al adorable ruido blanco de las guitarras. A estas alturas de la pelea, parece claro que las tres canciones están cosidas en carne viva con unos hilos finísimos: guitarras afiladas, base rítmica sutil y arreglos de sintetizadores en los que se mecen las voces con una lógica interna incontestable. La lona del ring empapada de electricidad y las luces girando sin que nadie sea capaz de parar la pelea, porque también parece claro que Lúa Gramer han trascendido sus influencias, superando sus límites y mejorando con cada uno de sus lanzamientos y nos han puesto a todos contra las cuerdas. Día Del Centro es, sin duda, la victoria definitiva de una banda que parece dispuesta a superarse a sí misma con cada nueva entrega componiendo canciones ambiciosas y emocionalmente audaces que no se acaban nunca” (Nota de Prensa, Clifford Records)

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27 noviembre, 2017 Posted by | Lúa Gramer | Deja un comentario

Burn everything !! – Talking Heads – Burning Down The House (Rhythm Scholar & Apollo Zero Remix, 2017)

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Irresistible y tremendamente molona. Así es la nueva remezcla que Rhythm Scholar nos entrega, en este caso junto con Apollo Zero: el ya de por sí trepidante Burning down the house de Talking Heads. Un hitazo de 1983 convenientemente puesto al día y con la adición de varios cortes de las huestes de David Byrne.


26 noviembre, 2017 Posted by | Rhythm Scholar | Deja un comentario

Jesus on Psychedelia – JESUS ON HEROINE: Ardhanarishvara (2017)

Resultado de imagen de jesus on heroine ardhanarishvara

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Viajes tántricos y mantras psicodélicos para el segundo álbum de esta banda danesa de nombre provocativo y llamativo. Lo cierto es que abusan algo de ciertos patrones sonoros, pero aún así, el disco contiene cortes más que interesantes…

“Ardhanarishvara” is the third piece from Jesus on Heroine, a Copenhagen, Denmark-based band evolving around dream psychedelia and drone-based shoegaze. With each release JOH makes a shift in the project’s aesthetic equilibrium. A different atmosphere forcing a movement in the narrative – not beyond what have already been created – but searching for the new in the old.
The melodramatic slow-paced atmosphere and the analogue sound of the previous album is now abandoned to strive for a scene that feels as human as it is synthetic. A quiet future being evoked when the acoustic surfaces brush the electronic reflections with an understated sincerity.
The hypnotically, but bright and psychedelically-steeped “Ardhanarishvara” is the moment one meets the text and context potential and it is impossible for the interpreter to distinguish between what is hers and what is the authors. It’s the unthought thought in her thinking. Follow Jesus On Heroine along the mysterious sonic and mystical path…” (The Big Takeover)


25 noviembre, 2017 Posted by | Jesus on Heroine | Deja un comentario

Evergreen Terrace – THE DARLING BUDS: Evergreen (Ep, Odd Box, 2017)

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Después de la gran cantidad de bandas y solistas que han reaparecido en estos últimos tiempos, THE DARLING BUDS se cuelan, casi sin avisar, por la puerta de Odd Box Records publicando un nuevo Ep, nada menos que veinticinco años después.
Y lo mejor de todo es que sónicamente parece que lo retoman justo donde lo dejaron, con la misma brillantez y luminosidad Pop que les caracterizó allá por finales de los ochenta. Uno de los mejores regresos de bandas de los ochenta/noventa que servidor haya tenido oportunidad de disfrutar en los últimos tiempos, mayormente porque no han abusado del formato y lo han reducido a cuatro cortes que son auténticas delicias de las que no te van a defraudar: nada de relleno.

“After a few years of occasional gigging just for fun, The Darling Buds are delighted to be releasing a new 4 track ep ‘Evergreen’ on Odd Box Records. This will be the first new material released by the Buds for over 25 years (back in the day they did 3 session for the much missed DJ John Peel) and these new recordings continue the musical evolution seen by the band from their indie pop debut Pop Said to their last release Erotica”

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24 noviembre, 2017 Posted by | The Darling Buds | Deja un comentario

Carismas – OVERLAKE: Fall (Bar None Records, 2017)

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Encontrarnos con este segundo álbum de OVERLAKE, banda que hasta el momento desconocía, me ha permitido descubrir una de esas bandas con poca imagen pero que se curten a base de ensayos y sesiones de local que conforman un corpus de canciones homogéneas, bien construidas y con un gran posicionamiento en el panorama Shoegazer actual. Dreamgaze a bajas revoluciones, Shoegaze melódico de guitarras… llámalo como quieras. Un gran disco.

“Overlake’s sound can only be described as massive, with Barrett’s delay-drenched guitar and whispery, laconic voice backed by the solid coupling of Opfer’s driving basslines and angelic backing vocals, along with D’Amore’s propulsive drum work. They’ve spent the last few years touring throughout the U.S., delighting audiences with their all-enveloping wall of sound, most of the time with their amplifiers draped in netted Christmas lights.
Their new record, Fall, was recorded and co-produced by Cheap Trick-obsessive Tom Beaujour (Nada Surf, Jennifer O’Connor). Unlike previous recordings, where Barrett would play all the drums, they went into the studio a well-oiled apparatus. What they left with was a more expansive collection of songs, their trademark sonics augmented by appearances of sparse piano and elegiac, mournful violin, courtesy of the incomparable Claudia Chopek.
Overlake’s sound can only be described as massive, with Barrett’s delay-drenched guitar and whispery, laconic voice backed by the solid coupling of Opfer’s driving basslines and angelic backing vocals, along with D’Amore’s propulsive drum work. They’ve spent the last few years touring throughout the U.S., delighting audiences with their all-enveloping wall of sound, most of the time with their amplifiers draped in netted Christmas lights.
Their new record, Fall, was recorded and co-produced by Cheap Trick-obsessive Tom Beaujour (Nada Surf, Jennifer O’Connor). Unlike previous recordings, where Barrett would play all the drums, they went into the studio a well-oiled apparatus. What they left with was a more expansive collection of songs, their trademark sonics augmented by appearances of sparse piano and elegiac, mournful violin, courtesy of the incomparable Claudia Chopek” (Press/Bar None)

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23 noviembre, 2017 Posted by | Overlake | Deja un comentario

Ultra Lo-Fi – CLAIRO: Brains a bus station (2016)

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Supongo que CLAIRO será uno de esos fenómenos amparados en la globalidad de las redes sociales. Uno de esos casos de repercusión brutal a base de visualizaciones en YouTube (más de tres millones su último clip). Su música no va mucho más allá del Pop de dormitorio, sencillas composiciones con la frescura de quien empieza y no demasiado más. Sus vídeos no son menos. Puedes verlos en su canal de YouTube.


19 noviembre, 2017 Posted by | Clairo | Deja un comentario

Huidas – SUMMER FICTION: Since you´ve gone with that boy (Single, 2017)

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El último sencillo de SUMMER FICTION se titula Since you´ve gone with that boy, un corte de aires sesenteros con ciertos aromas del Pop francófono.

“Bill Ricchini who plays as Summer Fiction writes beautifully arranged songs that meet at intersection of The Beach Boys’ “Pet Sounds”, Elliot Smith’s “XO”, Big Star, and the best work of The Smiths” (Press)


18 noviembre, 2017 Posted by | Summer Fiction | Deja un comentario

Pastelitos – LAST LEAVES: Others towns than ours (Matinée Recordings, 2017)

Other Towns Than Ours CD/LP

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El último lanzamiento de Matinée Recordings es este álbum de los australianos LAST LEAVES, banda que surge de las cenizas de The Luckimiths. Todo un ejercicio del mejor Pop con referencias al sonido de las antípodas, y al mejor C86 (las influencias de The Pastels son inevitables). Sonido fresco y de fácil asimilación hacen de este Others towns than ours, su álbum de debut, un disco sólido y de recomendada escucha.

“A few years after the break-up of much-loved Australian indie stalwarts The Lucksmiths, three quarters of the band quietly got together again as Last Leaves. With songwriter and guitarist Marty Donald assuming vocal duties alongside longtime collaborators Louis Richter (guitar) and Mark Monnone (bass), and joined by drummer extraordinaire Noah Symons (Great Earthquake), they began work on a body of songs that – a few years later again – finally finds release in their remarkable debut album ‘Other Towns Than Ours’.
It’s been worth the wait. The ten songs here showcase a band already at the top of its game, from the perfect fuzz pop of first single ‘The World We Had’ and the irrepressible jangle of ‘Something Falls’ to darker moments like mesmeric closer ‘Where I Lived and What I Lived For’ and the downbeat Silver Jews swagger of ‘The Nights You Drove Me Home’ (“the past is just a single-star motel/It’s nowhere you should dwell/A room to rest awhile”) (Press Note)

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17 noviembre, 2017 Posted by | Last Leaves | Deja un comentario

Cinemática – DEATH AND VANILLA: Dioz delirium (Single, 2017; from The Tenant, 2018)

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Estos Retro-Technos suecos imaginan y nos ofrecen una recreación en vivo de la banda sonora de The Tenant, el film de Roman Polanski (1976). Intriga cinemática, aparatos de la época y sonido decididamente vintage.

“Originally scored by Philippe Sarde, this release sees Death And Vanilla reimagine the film’s soundtrack four decades on for a new audience. The haunting instrumental is a foreboding piece of dark and cinematic avant-garde music that’s alienated, lonely and melancholic. Moments of hallucination and delusion mirror the lead character Trelovsky.
Recorded in 2015 at Cinemascore festival in Spain alongside a two-hour performance and screening of psychological thriller ‘The Tenant’ (1976).  With the band at their most minimal, the accomplished musicians once again bring the dark narrative to life with their expansive and ethereal noir sound. The recording features them as a trio – Marleen Nilsson (Farfisa Compact), Anders Hansson (Hagstrom Kent, Roland SP-404 and Technics SL-1200) and Magnus Bodin (Moog Prodigy and Musser M55).
Directed by Polish filmmaker Roman Polanski and based on the novel Le Locataire by Roland Topor, ‘The Tenant’ is the finale in his acclaimed apartment triology which included “Repulsion” (1965) and “Rosemary’s Baby” (1968)” (Press)


16 noviembre, 2017 Posted by | Death & Vanilla | Deja un comentario

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