The JangleBox

Indie, Noise, Shoegaze… Music

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

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

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

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

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

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

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

Yo La Tengo - There's a Riot Going On

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Proper Ornaments - 6 Lenins

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

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

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

Renewing – JULIA SHAPIRO: Natural (First single from “PERFECT VERSION”, Hardly Art, 2019)

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“When Julia Shapiro flew home from a cancelled Chastity Belt tour in April 2018, everything in her life felt out of control. Dealing with health issues, freshly out of a relationship, and in the middle of an existential crisis, she realized halfway through a tour supporting her band’s third album I Used to Spend So Much Time Alone that she was going through too much to continue. “I was really struggling; I was really depressed. I felt like I couldn’t sing or be a person,” Shapiro recalls. “At that point I couldn’t even imagine playing a show again, I was so over it.”
Returning home to a newly empty Seattle one-bedroom apartment, Shapiro had wanted for a long time to learn how to record and mix her own music, and out of the uncertainty of the future of her music career and her health, she began to record the songs that would become Perfect Version, her solo debut for Hardly Art. What she created in the space of ten songs is an intimate and beautifully self-aware examination of feeling lost in the life you’ve created for yourself. It’s an album of shimmering guitars and layered vocals that feels vast in the emotional depth it conveys and masterful in the way each song is intentionally crafted and recorded” (Press Notes)

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28 abril, 2019 Posted by | Julia Shapiro | Deja un comentario

Swedish Winter – RED SLEEPING BEAUTY: Stockholm (Matinée Recordings, 2019)

Stockholm CD

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After a 15-year disappearance, they returned in 2016 with new releases including the excellent album ‘Kristina’ on Shelflife and Labrador.  The band contributed a smash hit to the ‘Matinée World Cup’ EP last year and this album marks their official first full release for Matinée. 
The euphoric ‘We Are Magic’ is both the first song recorded for the album and the first song Kristina sang after defeating cancer. With swirling synthesizers and crystalline vocals, it marks an especially impressive return for the band and is the perfect opening track for the album. 
With an intro that should appeal to vintage O.M.D. enthusiasts, ‘Always On Your Side’ is an indie gem featuring Niklas on lead vocals, while ‘Tonight’ is an ode to the hopes and possibilities of youthful summer nights and a hit single just waiting to happen. 
‘New York City Girls’ channels early Pet Shop Boys and Kraftwerk and is surely the coolest song recorded by the band to date, and ‘A Perfect Facade’ is a sad song detailing life in a small seaside town and featuring the angelic backing vocals of Rose Suau of Shoestrings / Djustin / Invisible Twins fame. 
Side two of the album opens with ‘Top Love’—a duet about everyday life and a modern synth classic complete with shameless Yazoo outro, and is followed by ‘Tell Me Lies’ featuring pop guitars, a heavenly chorus, and lyrics about having really high thoughts about yourself.
Having stolen their name from a great McCarthy single, it was only a matter of time before the band covered ‘Red Sleeping Beauty’ and now, nearly 30 years after their first recordings, their haunting version slots perfectly into the new album. 
Future dancefloor filler ‘The Swedish Winter’ is the band’s most Saint Etienne moment so far—a song about the long, depressing Swedish winter and the short (one day or so), not-so-depressing Swedish summer, while album closer ‘Don’t Cry for Me, California’ begins as a power ballad but morphs into another club hit, complete with 80s Pet Shop Boys orchestral flourishes.
Mixed and mastered by sound genius Tomas Bodén (co-producer of the latest album from fellow Swedes The Radio Dept.), ‘Stockholm’ is by far the strongest set of Red Sleeping Beauty songs to date with the right amount of edge and spark to allow them to reach their true potential” (Press Notes)

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26 abril, 2019 Posted by | Red Sleeping Beauty | Deja un comentario

Pre-Order the new album from Dressy Bessy – Fast Faster Disaster, out June 14th. (Yep Roc Records)

La imagen puede contener: una persona

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Tienen un amplio bagaje a sus espaldas y continúan sonando frescos, mezclando divertidos hooks de Indie-Pop con ese espíritu nuevaolero. Además, para la ocasión, se hacen acompañar, entre otros, de Kurt Bloch (The Fastbacks), Ken Stringfellow (The Posies), and Corin Tucker (Sleater Kinney).

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Tour Dates
May 17 – 40 Watt Club – Athens, GA*
May 18 – The Earl – Atlanta, GA*
May 19 – Cat’s Cradle – Carrboro, NC*
May 20 – U Street Music Hall – Washington, DC*
May 21 – Johnny Brenda’s – Philadelphia, PA*
May 23 – The Sinclair – Cambridge, MA*
May 24 – Music Hall of Williamsburg – Brooklyn, NY*
June 13 – Downtown Artery – Fort Collins, CO+
June 14-15 – Lion’s Lair – Denver, CO+
June 26 – Sleeping Village – Chicago, IL^
June 27 – Outer Limits Lounge – Detroit, MI^
June 28 – The Funhouse at Mr. Small’s – Millvale, PA^
June 29 – Beachland Ballroom & Tavern –Cleveland, OH^
June 30 – The Rec Room – Toronto, ON^
July 13 – 80/35 Music Festival 2019 – Des Moines, IA
July 18 – Soda Bar – San Diego, CA^
July 19 – Moroccan Lounge – Los Angeles, CA^
July 20 – Ivy Room – Albany, CA^

*w/ Filthy Friends
+w/ Potty Mouth
^w/ Potty Mouth & Colleen Green

25 abril, 2019 Posted by | Dressy Bessy | Deja un comentario

Redención – MIKAL CRONIN: Undertow (Advanced Single, Merge Records, 2019)

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Después de la pequeña decepción que supuso MCIII, Cronin se ha redimido con este sencillo guitarrero e intenso titulado Undertow, que nos evoca, salvando las enormes distancias, inmediatamente al gran crooner eléctrico: Neil Young. Supongo que será la dirección sonora que tomará en un futuro cercano. 

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24 abril, 2019 Posted by | Mikal Cronin | Deja un comentario

Vacaville – TULLYCRAFT: The Railway Prince Hotel (HHBM Records, 2018)

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El placer de escuchar un disco tan fresco viniendo de una banda veterana es mayor cuando se disfruta de canciones como We couldn´t dance to Billy Joel, Hearts at the sound, Has your boyfriend lost his flavour on the bedpost overnight? o la que da título a este breve pero más que intenso Lp: The Railway Prince Hotel. Un disco más que celebrado no sólo por su estupendo repertorio de canciones pegadizas, intensas y no exentas de interés a nivel de letras, sino por ser un estupendo bagaje para un grupo que se mantiene más que fresco tras veinte años de carrera.

“On their seventh album, The Railway Prince Hotel, Tullycraft haven’t gone disco or heavy metal, and they haven’t mellowed; they are still energetic twee poppers through and through. Sean Tollefson still writes hooky, bubblegummy songs that are cute but not fully, he and Jenny Mears still sing like a cardigan-clad Sonny & Cher, guitarists/multi-instrumentalists Chris Munford and Corianton Hale know how to put a song together, and it all sounds instantly familiar to anyone who ever fell in love with aTullycraft song. The band have been making music for almost 20 years and still sound as fresh and inspired as ever. Up-tempo tracks like “We Couldn’t Dance to Billy Joel” and “Has Your Boyfriend Lost His Flavor on the Bedpost Overnight?” have all the humor and spunk of their early records; “It’s Not Explained It’s Delaware” is a sprightly sprint most kids half their age would be hard-pressed to keep up with; and “Midi Midinette” has all the swinging bounce of their best work. Like most of Tullycraft‘s latter-day albums, Railway Prince Hotel isn’t just fun and games; there are tracks that have some depth, too. Maybe a little less this time than on Lost in Light Rotation, but songs like “Passing Observations” and “Hearts at the Sound” have a burnished nostalgic glow brought about by warm hearts and treasured memories. It adds up to another great album in every regard except the sound. Their longtime drummer Jeff Fell is absent, and he’s greatly missed. There’s a tinny, half-finished feel to many of the songs, and that’s because they didn’t play as a band, but built the songs piece by piece instead. This drop-off in sonic quality isn’t enough to make the album a wreck or render it a miss; however, it does bring it down a notch from some of their recent albums that had great songs and exciting performances, but also a richer, more powerful sound. That said, even a less-than-stellar Tullycraftalbum is worth a spin or three” (All Music)

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23 abril, 2019 Posted by | Tullycraft | Deja un comentario

UMMAGMA: Caravan (Advanced single, from “Compass”, Emerald & Doreen Records, 2019)

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“Indie pop electronic rock duo Ummagma have announced their new album ‘Compass’, to be released in June via Manchester-based label Leonard Skully Records. Their third long-play, this is the duo’s first album in six years and also the first time the band is releasing a record on vinyl.
Ahead of this album, they present the ‘Caravan’ single, along with a special B-side ‘Ty i Ya’. The title track is an invigorating pop rock anthem inspired by the musicians’ own journeys and infused with Carpathian gammas and percussion” (Press Note)

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22 abril, 2019 Posted by | Ummagma | Deja un comentario

Dreamers – DEATH AND VANILLA: Nothing is real (Advanced Single, Fire Records, 2019)

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Etéreos, libres, espirituales… DEATH AND VANILLA son una banda sueca ya conocida en TJB que van a presentar en breve nuevo disco: Are you a Dreamer?, en la disquera Fire Records. Su música está impregnada por lo mejor del Dream y del Shoegaze. Lo esperamos con ansiedad.

“Prior to recording their new album ‘Are You A Dreamer?’, they scored several soundtracks, that process undoubtedly influencing the new album’s dreamlike euphoria built with added mellotron and affected electric guitar. Expanded with bass and drums in their quest for the grail, Death And Vanilla’s songs are longer; more plush and pampered; more hypnotic and haunting” (Press Note)

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20 abril, 2019 Posted by | Death & Vanilla, Uncategorized | Deja un comentario

Poisoned Darts – THEE OH SEES: Smote Reverser (Castle Face Records, 2019)

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THEE OH SEES han crecido exponencial y musicalmente en todos estos años. Su música ha evolucionado hacia una especie de Pop endurecido, con callo, cercano al Rock más progresivo (su paralelismo más próximo sería un Ty Segall), pero que por momentos pareciera que volase hacia territorios cercanos hasta géneros sesenteros como el Jazz-Soul, cuando en sus inicios eran una banda más cercana al garaje que a otra cosa.
Esa consistencia la han conseguido a base de directos impresionantes, de esas actuaciones adictivas y sudorosas que son imposible de dejar indiferente a nadie. En TJB siempre hemos sido muy de las huestes de John Dwyer, y Smote Reverser (Castle Face, 2018) es otra confirmación más.

“On Smote Reverser’s opener “Sentient Oona,” he continues to blur the line between singer and narrator, weaving a tale of sleeping spells and all-seeing eyes atop a coolly rumbling drumbeat; you can practically picture him communing with a crystal ball. But even as the song erupts into jolts of organ (courtesy of Memory alum Tom Dolas) and burning arpeggios, the production feels dryer and more chiseled. The heaviness is not in the volume and distortion, but rather in the force with which hands are hitting the instruments.
“Sentient Oona” also finds Oh Sees continuing to develop their double-drummer dynamic in exciting ways, with Rincon and Quattrone laying down interwoven patterns that both propel and disrupt the momentum. For a band once content to lock into a pulsating groove and blaze out for the horizon, Oh Sees have become adept in the art of the curveball; Just as the dreamy Dwyer/Dawson duet “Last Peace” seems like it’s going to dissolve into a hookah-bar haze, it blasts off into an exhilarating space-bound jam. And sounding not unlike the wiggy breakdown in Edgar Winter’s 1972 prog-funk novelty “Frankenstein” stretched out to 12 minutes, “Anthemic Aggressor” is Oh Sees at their most deliriously unhinged, all solar-flare synths, short-circuiting guitar twitches, and furious jumpy-jazz rhythm.
These epic odysseys are counterbalanced by brief shocks like “Overthrown,” where Dwyer’s gnashed-teeth growl teeters toward thrash metal. But even as he seems more comfortable bringing hischildhood love of Dungeons & Dragons and latent love of Rush-worthy guitar solos to the fore, Smote Reverser remains unmistakably Oh Sees by virtue of Dwyer’s clockwork, chorus-resistant songwriting style—you can always count on each verse to tee up another berserker instrumental break. Like Orc before it,Smote Reverser can’t help but lose some of its power as it approaches the hour-long mark—the wandering Floydian instrumental “Flies Bump Against the Glass” and whimsical, Wakeman-esque synthphony “Beat Quest” don’t quite deliver the grand finale this castle-storming record deserves. But by that point, Oh Sees have put forth more than enough Progasaurus gusto to rightfully earn their capes” (Pitchfork)

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18 abril, 2019 Posted by | Thee Oh Sees | Deja un comentario

Silent Summer: Instrumentals Volume 1 (2019)

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SUMMER FICTION (Aka. Bill Richini) ha silenciado las voces de muchos de sus temas para completar un álbum de instrumentales con varios cortes de su discografía que adquieren un nuevo tono con este tratamiento. Interesante para ambientar una buena fiesta post almuerzo.

“Brian Wilson meets Johnny Marr.” –SPIN

“World weary yet heartwarming any time of year.” – NPR

“Lovely songs with a hint of French new wave.” –Vogue

“Perfect pop recalling Pet Sounds Beach Boys.” – WNYC

“Brilliant 60s-esque AM pop.” –New York Magazine

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16 abril, 2019 Posted by | Summer Fiction | Deja un comentario

El mapa de los sentimientos – JONSTON: Los Sentimientos (Gramaciones Grabofónicas, 2018)

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Jonston ha llegado a un punto de madurez creativa que le ha dado para crear un cancionero más que rico en sentimientos, emociones y letras que simplifican la sencillez con la crudeza de esos sentimientos a flor de piel, sean del tipo que sean. Musicalmente, su propuesta se ha dulcificado y ha tendido hacia un sonido más claro y más cercano al Folk que al Pop más eléctrico de sus comienzos. En cualquier caso, la herramienta da lo mismo: Jonston continúa siendo ese cantautor moderno y con ínfulas de malditismo que nos deslumbró a comienzos de la década.

“Jonston es, de las personas que conozco en Madrid, de los que hace las canciones más bonitas. Este disco nuevo es maravilloso. El mejor suyo. Es muy emocionante y bonito…
El adjetivo “bonito” creo yo que está demasiado denostado. Jonston repite ese adjetivo mucho en su primera canción, Tres dimensiones.
La canción Los sentimientos es una de las más emocionantes que escuché nunca. Mientras la oyes, te entran unas ganas tremendas de ir allí donde esté Jonston y arroparle. Esa sensación no desaparece en ningún momento durante la escucha del disco, por mucho que se ponga rumbero como en La guitarra o te eches unas risas con Hablando del tiempo.
Son sólo ocho canciones con vocación de ser pequeñas pero ahí erra el tiro José Martorell porque no puede evitar que sean muy grandes. Que se joda.” – David Rodríguez (La Estrella de David, La Bien Querida)

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15 abril, 2019 Posted by | Jonston | Deja un comentario

Projections – A SHORELINE DREAM: Waitout (Latenight Weeknight Records, 2019)

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Suenan un tanto plúmbeos, pesados pero con la mejor esencia del Shoegaze más otoñal. Publican sus trabajos en su propia discográfica, lo que les da una libertad creativa y una independencia que muchos querrían para sí.

“With an enormous wall of sound pummeling the listener from the first seconds of the featured single entitled “waitout,” it is apparent that they have rekindled the early years” (PASTE MAGAZINE) 

“Most people will say that a song, or even an album or video, is beautiful. But you almost never hear anyone say that a band or artist is beautiful. A Shoreline Dream is simply put, beautiful. Every song released by them is a step further in the evolution of revolution and a mark in time to be cherished and appreciated” (JAMMERZINE)

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9 abril, 2019 Posted by | A Shoreline Dream | Deja un comentario

XXX – AXOLOTES MEXICANOS: Salu2 (Elefant Records, 2018)

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“Pop con espíritu punk en su velocidad furibunda y exacerbada dulzura en lo melódico, como unos jóvenes Green Day haciendo versiones de una primeriza La Casa Azul. O al revés. Todo ello salpicado de arreglos aparentemente antagonistas de hardcore o metal y J-Pop (¿BabyMetal?) que remiten a Helen Love o Kero Kero Bonito y suponen otra colección de canciones arrebatadoras. En sus fugaces 31 minutos de guitarrazos combinados con glitchpop desbocado, giros rítmicos audaces e inesperados al filo del descarrile, no hay apenas respiro (sólo la cadenciosa ‘Intro’ instrumental y ‘Menos 100’ rebajan levemente el nivel de excitación) y ‘Astor’, ‘Heavens Gate’, ‘Nacida para sufrir’ y ‘Estanquero’ se sitúan de inmediato como sus mayores himnos, a la altura de la gran ‘Disparo de amor (…)
Pero, al margen de ese perfil de punk-pop extremo, ‘Salu2’ supone también una evolución en la carrera de Axolotes Mexicanos, especialmente en unas letras en las que Olaya (cuya faceta de dibujante y guionista de cómic tenemos el privilegio de albergar cada semana en la secciónYo he venido de mi casa) abandona la fantasía e inocencia de sus primeras canciones y se traslada a la realidad más cruda y personal. Miseria económica (‘Menos 100’), amor irracional (‘Estanquero’) y desamor cabal (‘Astor’, ‘Sin ti’), resacas, horas perdidas en la Red esperando una señal de esa persona (‘Doble Check’), procrastinación vocacional (‘Vaga’, que va de lo acústico a lo furioso), sustos en los ciclos menstruales (‘Farmacia’, una de las canciones más sorprendentes, con ese toque cumbiero), odio explícito (“he perdido por navidades que se muera Jorge Cremades”, canta en ‘Nacida para sufrir’) y venganza (¿qué cara se le habrá quedado a la tal Débora de ‘Debora Tartas’, con semejante retahíla de lindezas?) se plasman sin filtros y trufadas de referencias de la cultura popular en unas letras que retratan la precariedad a la que se ve abocada la generación que más ha padecido los efectos de la crisis económica. A esto se refiere su paisano Nacho Vegas cuando dice que “lo personal es político”. Un retrato vital crudo y contundente con el que dejarse el culo bailando y que confirma que Axolotes Mexicanos son mucho más interesantes de lo que su apariencia popi pudiera decir” (Jenesaispop)

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8 abril, 2019 Posted by | Axolotes Mexicanos | Deja un comentario

The same shit – THIN LIPS: Chosen Family (Lame-O Records, 2018)

Chosen Family

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La mierda de siempre, pero mira, es mierda de la buena. Vamos por partes. El segundo trabajo de THIN LIPS es un disco que verdaderamente no va a sorprender a nadie. Incluso yo mismo me he sorprendido escuchándolo repetidas veces, pero hay que reconocer que, aun siendo un género más que trillado (el Pop-Punk de raíz noventera y radiado en las college stations), los chicos han dado en la tecla con este segundo trabajo: bonitas melodías y estribillos con esos trallazos de guitarras que siempre suelen dar buen resultado. Sí, esto lo hacían Pixies o Weezer hace veinticinco años, pero a determinadas edades éste es el tipo de música que te sale. Si te gusta, lo vas a pasar bien.

“Fast forward to 2017, and Chrissy and Kyle are demoing songs for Thin Lips’ second LP ‘Chosen Family’ on a laptop, chopping up pre-recorded drum samples and arranging guitar parts. Whereas the songs on Thin Lips’ first album ‘Riff Hard’ were raucous, punk-driven affairs, this new batch of songs sees Chrissy focusing on purposeful, sharp guitar hooks; stripping away the gutsy solos and leaving more room for Kyle and Mikey to add thoughtful details to their expertly calculated rhythms. Chrissy and Kyle’s extended pre-production also led to the addition of some tasteful keyboard and synth lines throughout the record, most notably on the enormous chorus of “Smoking Is For Quitters” (Lame-O Press Note)

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7 abril, 2019 Posted by | Thin Lips | Deja un comentario

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