The JangleBox

Indie, Noise, Shoegaze… Music

Bichos Raros – ALVVAYS: Antisocialities (Polyvinyl, 2018)

Antisocialites

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La continuación de Alvvays (2014), se produjo este pasado 2017 con Antisocialities, un bonito trabajo sobre esos personajes que, precisamente, encarnan a la perfección el público que una banda como ALVVAYS representa: esa inmensa minoría de chicas y chicos que son felices con un buen puñado de canciones aderezado con unas melodías penetrantes y no demasiado difíciles de digerir. Si a ello le unimos una homogeneidad conceptual y de letras, pues el resultado es este segundo disco de la banda canadiense. Un álbum algo más maduro sónicamente hablando pero que es una continuación lógica de su trabajo de debut. Buenas noticias para el POP de guitarras, los sonidos ochenteros y la nostalgia Indie.

“After releasing a debut album of noisy pop that was perfectly formed and felt like the work of a band already at the summit of their career, it seemed like the only place Alvvays could have gone was down. Maybe sideways, at the very best. Instead, after taking their time both writing and recording the follow-up, they made a giant leap forward instead. Antisocialites has all the sticky hooks of the debut, all the boisterous noise, and the open-hearted honesty, too. What the band adds this time is confidence and skill, gained from the reception their debut got and also all the time they spent playing bigger and bigger shows. The sound of the album is bigger and the arrangements fuller and more spacious, giving the instruments room to breathe. It’s a bit of a change, but it works in their favor, especially sinceMolly Rankin‘s vocals are a little more to the front of the mix and she sounds strong and fully in command of her voice, while retaining all the vulnerability she displayed before. The album is heavy with break-up songs and she captures the varying moods of a break-up with surgical precision. The pain seeps out of songs like “In Undertow” and “Not My Baby” like a fresh wound, while resigned anger flows through “Your Type” and a little bit of hope creeps into “Forget About Life.” The songs too, aim for and hit their targets dead on, whether its melancholy nostalgia on the lovely new wave ballad “Dreams Tonite,” the zippy dance-rock floor filler “Hey,” or the bouncing pop-punker “Lollipop (Ode to Jim).” The instantly catchy “Plimsoll Punks” is the equal, hook-wise, of “Archie, Marry Me,” and there’s not a weak link anywhere. The production (courtesy of John Congleton) is layered and clean, with reverb and noise used as a spice instead of a main course. Unlike the first album, where things tended to blend together into a whirring blur of noise, things are both more restrained and more exciting here. It’s down to dynamics and arrangements, both of which they pay close attention to at all times. The guitars aren’t just a Wall of Sound, there are great riffs, lines, and sounds that pop in and out of the mix. The backing vocal harmonies are more a part of the sound this time too, and Kerri MacLellan’s keyboards are even audible sometimes. Thanks to the care and feeding the band put into their sound, Antisocialitesmanages the rare feat of a band topping their brilliant debut with a sophomore effort that’s even more brilliant. Alvvays make it looks easy, and by the time the album is done spinning, it’s hard not to start thinking about how great their next record could be” (All Music)

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8 febrero, 2018 Posted by | Alvvays | Deja un comentario

Resaca – ALVVAYS: In Undertow (Vídeo-Single, 2017)

ALVVAYS están de vuelta. In Undertow es el adelanto de su próximo álbum, previsto para este próximo 8 de Septiembre. Se titulará Antisocialites.

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14 julio, 2017 Posted by | Alvvays | Deja un comentario

Alvvays: Alvvays (Polyvinyl, 2014)

Gimme Summer

Es un hecho que muchas bandas comienzan ya a encontrar huellas musicales en referentes más actuales (los que hemos cumplido algunos años lo entenderán). Y es fácil hallar el rastro de bandas como Best Coast, Veronica Falls, The Pains of Being Pure at HeartMazzy Star o Camera Obscura en la música de grupos como los canadienses Alvvays.
Un combo que acaba de publicar su álbum de debut a comienzos de este verano. Un disco publicado por Polyvinyl y que, como intuiréis al leer lo anterior quienes no lo hayáis oído, bucea por los mares cálidos del Pop más florido y soleado. Sí, todo muy californiano, aunque manufacturado desde Toronto.
Su debut se presenta a lo grande, con sus dos mejores cortes al comienzo del mismo, y mostrando credenciales aparecen Adult diversion y Archie, marry me, dos cortes absolutamente deliciosos y epatantes donde la voz quizás no demasiado potente de Molly Rankin no tiene nada que envidiar a la de Bethany Cosentino. Del resto se ocupa Kerri McLellan. Un álbum que se esfuma a los treinta y tres minutos casi sin darte cuenta. Muy buena señal, pues sus nueve cortes son bonitos parajes de Pop sensible y bien facturado.
El problema sería saber si con esas buenas intenciones les va a dar para trabajos posteriores y si su recorrido como banda será longevo.
Sinceramente, a mí eso ahora mismo no me importa. Lo cierto es que Alvvays son una banda disfrutable.


Canadian band Alvvays (pronounced Always) are more indie than you. The lenses in their glasses are real, they know who all the bands pictured on their Tumblr actually are, and they have made one of the most jangle-filled and impressive debut albums of 2014 so far. The band started as a solo project for Molly Rankin, the daughter of famous Celtic musician John Morris Rankin, who died in a road accident when Molly was just 12 years old. But Alvvays don’t focus on the morbid; instead they offer a diary-like insight into their lives. “Alcoholism, depression and parties and relationships seem to always exist in whatever I write,” Rankin said in a recent interview.
After picking up Molly’s best friend, keys player and childhood neighbour Kerri Maclellan plus bandmates Alec O’Hanley, Brian Murphy and Phil MacIsaac along the way, the Toronto group worked on their debut album with Holy Fuck’s Graham Walsh and producer John Agnello as well as fellow Canadian Chad VanGaalen at his excellently named Yoko Eno studio in Calgary. Together they elicit the twinkly thrills of C86-era indie, The Magnetic Fields, Pavement or, if you prefer, Best Coast. The band Alvvays most often resemble, however, is 4AD’s Camera Obscura. ‘Archie, Marry Me’ is by far the best song on this album – a bona fide hit in waiting that could keep Hollywood’s latest manic pixie dream girl company in love scenes for evermore. It also sounds like Camera Obscura’s equally brilliant ‘French Navy’ played at the wrong speed. Alvvays are a lot of things, but original isn’t one of them.
However, nothing on this record fails to impress. It’s full of sun-bleached summer jams like ‘Adult Diversion’, a tale of obsessively following a loved one from afar, and the Phil Spector-esque ‘Party Police’. The spectral ‘Red Planet’ concludes the album with the sound of waves lapping against the shore, set against a woozy synthesizer as Rankin sings, “I waited out here for you, but that was just delusional.” It’s a stunning end to a great debut record laced with melancholy and beautiful moments” (NME)

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28 agosto, 2014 Posted by | Alvvays | Deja un comentario

   

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