The JangleBox

Indie, Noise, Shoegaze… Music

Beverly: The blue swan (Kanine Records, 2016)

El segundo álbum del dúo neoyorquino Beverly es algo así como una pequeño compendio enciclopédico de las últimas décadas del Indie-Pop. Drew Citron y Scott Rosenthal se permiten el lujo de facturar un puñado de joyitas como Bulldozer, Crooked cop, You said it o Victoria por los que ya merecería la pena dedicarle la atención a este álbum. Es cierto que al final del mismo decae un tanto, pero la mayor parte del disco es una auténtica delicia. Una maravilla donde encontrar sonidos que nos evocarán a Breeders, Echo & The Bunnymen, Lush, Ride o Pixies
Si lo que te gusta es la sensibilidad y el buen Pop, pincha en el Soundcloud.

“After recording the first Beverly album with Frankie Rose on board, Drew Citron struck out on her own for the band’s follow-up, 2016’s The Blue Swell. Not exactly alone, since she had bassist/guitaristScott Rosenthal along to help out, but the vision is all hers this time. On the album, the duo takes a step away from the pounding noise pop of Careers in favor of something more nuanced and bigger-sounding at the same time. There’s still some of the earlier sound buried in the band’s DNA, but the guitars are just as likely to be jangly as they are noisy, the tempos are more in the midrange instead of fast and frantic, and Citron‘s vocals have a dreamier, sweeter quality throughout. While many bands have failed while making this kind of transition from scrappy to sophisticated, Beverly pull it off really well thanks to a few important factors. The production may be more expansive and a little slicker, but it never tips over into blandness. The effects, especially reverb, are used perfectly, the huge sound of the guitars serves the songs well, and the focus on Citron‘s voice at the center of the mixes puts her exactly where she should be. The songs themselves are very strong too, with Citron dispensing some lyrical nuggets of wisdom while writing lots of very sharp hooks and melodies. “Victoria,” a co-write with Pains of Being Pure at Heart‘s Kip Berman, is a perfect dream pop song that sounds like the Breeders on a sugar high, the rocked-out “You Used to Be a Good Girl” provides a nostalgic jolt of punky energy, “Lake House” is a propulsive bit of post-punk gloom, and “Crooked Cop” has a nice blend of Ride-like dream pop and peppy almost country-rock with a lovely vocal from Citron. There are also a couple tunes (“South Collins” and “The Smokey Pines”) that take a detour into hazy ballad territory, the kind of cloudy, soft-as-snow place where one might see Julee Cruise hanging out with Liz Fraser. These provide a nice balance to the rest of the record and show that Beverly have plenty of range. When you put together songs that sound great and have catchy melodies and smart lyrics too, it’s hard to go wrong. Add in Citron‘s pleasant dream of a voice and Beverly really have a lot going in their favor. The Blue Swell is a very strong follow-up to Careers, and definitively positions them as one of the best guitar pop bands around” (All Music)

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28 junio, 2016 Posted by | Beverly | Deja un comentario

Beverly: Careers (Kanine Records, 2014)

Frankie Rose y Drew Citron (Beverly) dieron a la luz el año pasado Careers, que no es más que otro álbum de un Indie un tanto difuso y disperso: Cortes variados de Fuzz-Pop sin demasiadas faltas pero tampoco con demasiados aciertos. Me quedo con All the things (la enésima adaptación del clásico velvetiano Who loves the sun), Madora, Honey do o Black and grey. Tampoco hay mucho más que rascar…

“There aren’t a ton of moving parts contained within these songs, so their success is dependent on the strength of Citron’s vocals and guitar parts. She has an incredible ear for tone and texture, which marks most of the best tracks on Careers: the crushing, blurry chords of “Honey Do”, the fuzz-flecked lead that kicks off “All the Things”, the serrated stabs of the hard-charging “Ambular.” The contrast between the oft-aggressive, mildly menacing sound of Citron’s guitar and her sweet, spacey harmonies with Rose is a compelling source of tension, especially on road warrior anthems like “Planet Birthday” and “Ambular,” songs that sound like wholesome, slightly bored teens tangling with their worst slash-and-burn impulses and pouring them into muddy four-track recorders.
Citron’s invocation of the realities of teenage life — surface sweetness, hidden lust, churning and boiling internal sensations — is largely a conscious decision; as told to Rolling Stone, the concept for Beverly was developed around “this trashy character, a teenaged brat who hangs out in a 7-Eleven parking lot, smokes cigarettes, and doesn’t get along with the other kids.” It’s a loose concept, sure, but its presence can be felt on Careers, especially when Citron careens from venomous, angry punk to jangly, mild lust to blown-out emotional hangovers in the span of three songs.
The thematic expression is musical, too: with a few notable exceptions, like sleepy shoegaze ballad “Yale’s Life”, Citron chooses to focus on her sound’s ability to create feeling instead of leaning on her words. (Perhaps she subscribes to a slightly altered version of the old music journalism chestnut: writing about teendom is like dancing about architecture.) So lyrically, there’s potential for growth, as her takes on youth can only stand to be fleshed out by greater lyrical focus. For now, Careers stands up as a testament to the power of serendipity and a decent first effort from a blooming young songwriter” (Pitchfork)

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9 abril, 2015 Posted by | Beverly | Deja un comentario


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