The JangleBox

Indie, Noise, Shoegaze… Music

Rescue – ALLAH-LAS: The earth won´t hold me (From “Covers#1”, Mexican Summer; Nov. 2017)

 

“Following their 2016 album Calico Review, Allah-Las return with Covers #1, the first in a series of EPs exploring tunes near and new to the band. For the debut EP in the series, the band offers renditions of George Harrison’s “Fish On The Sand,” Kathy Heideman’s “The Earth Won’t Hold Me”, 90s LA cult band Further’s “JO Eleven”, and Television’s “Hard On Love,” an unreleased song from the band’s Marquee Moon recording sessions.
Allah-Las recorded Covers #1 at the Pump House in Topanga Canyon while working on material for their next full-length release. The selections are comprised of old faves and newly discovered tracks that became ubiquitous sounds in the studio between album takes. The EP will be released on Mexican Summer on Nov 3, 2017″

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19 septiembre, 2017 Posted by | Allah-Las | Deja un comentario

Radio Days – ALLAH-LAS: Calico Review (Mexican Summer, 2016)

Calico Review

Los angelinos Allah-Las han sofisticado su sonido primigenio, provocando en este trabajo una expansión sonora aunque sus presupuestos iniciales y sus referentes continúan siendo los mismos, es decir: el Pop de los sesenta en diversas variantes, desde el Garaje hasta el sonido más experimental de a Velvet Underground, desde el sonido más desenfadado de Paul Revere & The Raiders. hasta las influencia más clásica de sonidos californianos en vertiente Raga-Rock vía Byrds o Playera vía Beach Boys (como anécdota, os cuento que han utilizado la misma consola que aquellos emplearon para la grabación de su Pet Sounds).
Un disco más que notable y aprovechable en el que muestran una gran solvencia a la hora de componer o ejecutar los doce cortes que componen este Calico Review.

“On the Allah La’s Calico Review, the band seem well aware of this history of psychedelia and the genre’s ability to say two things at once. That is, to entertain listeners via traditional boy/girl rock and roll tropes while building upon secondary levels of meaning: to entertain the feet while feeding the head. Miles Michaud, Pedrum Siadatian (lead guitars), Spencer Dunham (bass), and Matthew Correia (drums) continue their growth as a band with their third release. Calico Review places the Allah Las firmly at the forefront of the current, third psychedelic revival and should gain them a growing audience.
The album opens with Michaud singing “Strange heat been coming round / Sad, heavy on this town… For all I know, we’ve seen the darkest blow.” Michaud’s pronunciation of “heat” sounds almost like “hate”, evoking a sense of our troubled and divisive times. The feeling of contemporary unease and disconnection is only amplified through Calico Reviews’s many alleged love songs. “Satisfied by only what you know / Could you believe in something?”, Michaud sings in the second song, while in “Autumn Dawn” Siadatian expresses a similar doubt, asking “Could it be a sanctuary that I can’t explain? / When tomorrow comes around will you still be the same?”.
There’s an implicit criticism, throughout the album, that the personal choices we make in our relationships reflect the broader patterns of disassociation and avoidance explicit in our broader political climate. This mood is dominated by a sense of second-guessing and stubborn reliance upon unhealthy habits. “If you had a chance to”, Michaud sings in “Could Be You”, “Would you do it all again?” Then, in “Mausoleum”, Siadatian sings/sighs “Many times over, dream and recover” as if locked in an inescapable pattern. The vain and troubled subject of Dunham’s “Famous Phone Figure” is locked in just such a vacuous pattern of Snapchat pseudo-celebrity. Even the solace of Correia’s “Place in the Sun” is undercut by doubt and recrimination: “There’s no time to reason why / it’s gotta be this way / Once it’s gone we can’t go on / There’s nothing left to say.” All of these songs are shaped by an increasingly frustrated search for self-fulfillment. If there’s a central message, it may be that we are searching for solutions in all the wrong places” (Pop Matters)

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18 octubre, 2016 Posted by | Allah-Las | Deja un comentario

Allah-Las presentan su nuevo trabajo con Famous Phone Figure (Mexican Summer, 2016)

Este es el sencillo de adelanto del nuevo trabajo de Allah-Las, que aparecerá a comienzos de Septiembre. Lo cierto es que tiene poco que ver con el sonido de los angelinos tal y como les conocemos…

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16 julio, 2016 Posted by | Allah-Las | Deja un comentario

Allah-Las: Worship the sun (Innovative Leisure Records, 2014)

Worship The Sun cover art

El segundo disco de Allah-Las, que se edita este próximo martes, es (lógicamente) una continuación evidente del primero. Y bien que nos encanta que así sea. Sonoridad propia de la Costa Oeste norteamericana. Garaje, FolkRock, Psicodelia, Surf… influencias sesenteras que los chicos se encargan de recrear con entusiasmo: vamos a ser claros, no sé si calificarlos como grupo Retro, pero lo que es claro que aquí vas a encontrar mucho Byrds, mucho Jefferson Airplane, mucho Buffalo Springfield, mucho Kingsmen, mucho Animals… vamos, unos auténticos fagocitadores que se encargan de ponerte en bandeja de forma convenientemente actualizada lo mejor de los sonidos de la segunda mitad de los sesenta. 
Todo un descubrimiento para los amantes del género o para quienes no conocierais a este grupo de Los Angeles, un disco que tiene mucho de emoción, puesto que está registrado me atrevería a decir que casi en directo, al menos muchos de sus temas. Un disco de la vieja escuela…


Allah-Las "Worship the Sun", nuevo disco“Allah-Las met while working at Amoeba Music, a key destination for music lovers in Los Angeles. While this experience helped shape their sensibility, their sound was forged in an underground basement where they came together as a band. They began gigging in Los Angeles in 2008, refining their live performance, and finally released their first 7” single Catamaran / Long Journey in 2011. In 2012, they- began their relationship with Innovative Leisure, releasing their first self-titled album, Allah-Las, anchored by their second single Tell Me (What’s On Your Mind) / Sacred Sands. The release was met with critical acclaim and the band toured extensively in the States and abroad before going back into the studio to record their follow-up.
Allah-Las’ second album, Worship The Sun, expands on the sound established by their maiden effort, honing their fusion of West Coast garage rock and roll, Latin percussion and electric folk. As richly textured and timeless as a Southern California beach break, the songs are evocative of Los Angeles’ storied past. Beatniks, artists, surfers, nomads. Remnants of a bygone Sunset Strip. Golden tans and cosmic sunsets. One can feel the warmth of the sun, but the band deftly avoids the kitsch so often indulged by lovers of these things. Hints of Byrds, Love, Felt, and those who follow are threaded into the tapestry.
LA’s seminal Ferus Gallery – the home of Wallace Berman, Ed Kienholz, Ed Ruscha, Billy Al Bengston – is paid homage in an eponymous instrumental, broadening the scope beyond mere sea, surf, and sand. The lyrics reveal a new maturity; reflections of a band that has grown together through experiences on the road and in the studio. Worship The Sun is at once the perfect soundtrack for the greatest surf film never made and for a golden hour drive through Topanga Canyon. Yet, while grounded in the Southern California experience, the appeal of the album is not limited by locale. It is a teenage symphony to the sun, for all those who know its grace. (Bandcamp)

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12 septiembre, 2014 Posted by | Allah-Las | Deja un comentario

Allah-Las: Allah-Las (2012)

Colgados de los sesenta…

Hacía varias reseñas que no me encontraba con alguna banda californiana. Como si pudiérmaos ignoráramos que California y todo su entorno son uno de los principales focos musicales de Estados Unidos. Allah-Las son un combo californiano de Retro-Poppers. En realidad no tengo todavía muy claro si considerarlos como una mera banda de Revival o como una banda de los años dos mil que verdaderamente disfruta con los sonidos añejos de la Edad Dorada del Pop: los amplificadores analógicos, las guitarras no demasiado sucias, el Garaje, el Surf, la Psicodelia, la Bossa
Allah-Las son unos auténticos fagocitadores capaces de recrear con esmero y con la ayuda de sus guitarras de doce cuerdas el sonido del que hablamos. Pero eso sí, para recrear sonidos garajeros no se rodean de ese aura de malditismo y ruidismo, sino que antes bien se presentan como unos dandies de aspecto más o menos reluciente (No Vodoo, Busman´s holiday, Tell me -what´s in your mind-). En realidad, son pocas las estridencias de las que vas a poder disfrutar en este debut de los angelinos. Su música tiene un cierto halo de pausa calmada, de relax psicotrópico que, sin embargo, va calando poco a poco. Definitivamente, Allah-Las lo toman donde lo dejaron las recopilaciones de Nuggets, pero creo que los voy a considerar como un grupo actual colgado de aquella época…

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“L.A. garage psych revivalists Allah-Las met and formed when three of the four bandmembers were working at Amoeba Records. No doubt they bonded over repeated airings of Pebbles collections and arguments over who was moodier, Love or the Chocolate Watchband, because the sound they conjure up on their self-titled debut album sounds like it came straight out of a Midwestern garage or from the stage of a West Coast teen club. With the help of friend and producer Nick Waterhouse (who expertly re-creates old-school soul music on his own records), the group nails the sometimes overlooked melancholy side of garage rock. Every band worth its Voxx guitars had at least one misty minor-chord ballad in its repertoire to show off the tenderness that lurked below the shouting rockers and pissed-off rants. Allah-Las delve deeply into the murky moods, delivering nothing but low-key, restrained songs that never raise a sweat but creep right into your brain just the same. Part of this can be credited to the soundWaterhouse gets — perfectly layered guitars (with plenty of chiming 12-string), a chunky but fluid bass pulse, a tinny but tough drum sound, just the right amount of reverb on the vocals — but the rest has to go to the guys writing the songs. Though they stick to minor chords and middle tempos throughout the album, the songs don’t blend together into a hazy mess as the album slowly sulks along, and occasional songs, like “Busman’s Holiday,” veer away from the typical girl-done-me-wrong tropes of garage rock and help keep things separated. So do the memorable guitar lines Pedrum Siadatian drapes across every song; the musical hooks, like the surging organ of “Catamaran” or the bongos on “Seven Point Five,” that pop up repeatedly; and the tender snarl of Miles Michaud‘s vocals. He’s clearly taken his Jagger lessons, but never lapses into pure imitation. In the end, what really makes the record a success is the mood the band sure-footedly creates from beginning to end. The record starts under a cloud of grey sadness and it never lets up; even the two instrumentals have a wistful heart. Plenty of bands have done just as good a job at re-creating the sound and feel of ’60s psych and garage bands; few have done it with the unceasingly downcast and yet somehow peaceful approach of Allah-Las. It might be nice to hear them amp it up a bit on their next record for a change of pace, but this works just fine as a bummed-out garage trip” (allmusic.com)

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8 noviembre, 2012 Posted by | Allah-Las | Deja un comentario

   

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