The JangleBox

Indie, Noise, Shoegaze… Music

DIIV: Skin game (Advanced Single, Captured Tracks, 2019)

DIIV nos avanzan su nuevo trabajo que aparecerá en octubre con este soberbio sencillo de ecos shoegazers titulado Skin Game. Si el resto del álbum es tan intensamente rico como este corte, estaremos de nuevo de enhorabuena.

“A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” According to Cole, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends as the vitriolic lyrics. Offering a dynamic denouement, the seven-minute “Acheron” flows through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis.
Even after the final strains of distortion ring out on Deceiver, these four musicians will continue to evolve. “We’re still going,” Cole leaves off. “Hopefully we’ll be doing this for a long time.”
Ultimately, DIIV’s rebirth is a hard-earned and well-deserved new beginning” (Press)


16 agosto, 2019 Posted by | Diiv | Deja un comentario

Sophovolution – DIIV: Is the Is Are (2016)

Aligerando algo de lastre Shoegazer (error), y centrando algó más el punto de interés en el Pop más Janglie se presenta este segundo trabajo de DIIV: Is the Is Are (2016). Un disco quizás menos epatante que su debut pero que no pierde el interés, si acaso en la excesiva duración del mismo: diecisiete cortes pueden hacerse algo largos. 

“Is the Is Are, the highly-anticipated sophomore release from Brooklyn-based DIIV, is an album years and many personal struggles in the making for it’s architect, Zachary Cole Smith. Recorded and mixed in various locations in Brooklyn, it showcases everything you know and love about DIIV, and many things you did not, all with an added nuance and depth. It is a 17-song, double-album statement intended to resonate with its audience in much the same way that Bad Moon Rising or Tago Mago has for Smith himself.
An extension and deepening of the musical ideas first expressed on 2012’s critically-lauded Oshin, Is the Is Are yields a multiplicity of textures, lyrical themes, and moods. It is a more diverse world than Oshin, with different parameters and ideals. Dark and honest to a fault, the new songs are dynamic, loud, quiet, sad; they are songs that hiss and snarl; songs that, as Smith wrote recently, represent “the real me.” Smith’s vocals, too, are much closer to the foreground, layered legibly on top of tidal waves of shimmering guitar and melodic bass weaving in and out, leaving a distinct and indelible imprint” (Press)

Facebook / Cómpralo-Purchase

11 diciembre, 2016 Posted by | Diiv | Deja un comentario

Diiv: Oshin (Captured Tracks, 2012)

Sobredosis de Reverbs

No hace mucho estuve visionando una película que no había podido ver en su estreno: Very bad things. La conclusión que saqué al final de la misma fue que aún siendo una buena película, la mezcla (algo heterogénea) de estilos hay que saber dirigirla y guiarla con maestría si no se quiere caer en la autocomplacencia y en una cierta sensación de caos. Digo ésto porque una sensación parecida es la experimento al escuchar con detenimiento este debut discográfico de Diiv, la banda de Brooklyn capitaneada por Zachari Cole Smith, guitarrista también de Beach Fossils.
Introduje así el disco porque desde un punto de vista algo heterogéneo es como hay que tomarse la reflexión sobre el disco. Sus miras son algo elevadas en el sentido de que han querido hacer hueco a todas las influencias que hayan ido apareciendo en su música: Dream-Pop, Drone, Shoegaze, Pop de los ochenta al estilo The Cure, Pop-Surfero… El resultado final es, evidentemente, quizás demasiado semejante al sonido de Beach Fossils, la banda digamos “matriz” (si no queremos ponernos a buscarle semejanzas con Real Estate, Wild Nothing, The Smith Westerns…). Esa mezcla de Pop-Surfero con los devaneos etéreos del Dream-Pop son hoy ya una mezcla harto conocida, aunque en su momento desde luego sonara más que epatante. No digo que este Oshin no tenga su elemento sorpresa, pero una audición demasiado prolongada quizás nos lleve a una sobreexposición de reverbs, de voces demasiado ininteligibles, de ambientes algo cargados…
Una densidad que se palpa a lo largo de todo el disco como un elemento más que añadir al sonido del mismo. Evidentemente, viniendo de donde viene, el sonido de Diiv tiene momentos realmente memorables: How long have you known, Air conditioning, Earthboy, Sometime, los dos instrumentales Druun (part I, part II)… Aunque al final, como sugerí anteriormente, una cierta sensación de hartazgo de guitarras demasiado semejantes, de reverbs infinitas se apodere de mis oídos. Quizás haya que limitar su escucha.


“I don’t think DIIV intend to be subversive; they’re a traditionally structured indie rock band with lyrics that are mostly unintelligible if they’re not in the song title. But Oshin isn’t just a gorgeous and unusually melodic dream-pop record; it’s an interesting experiment in whether a band based on voice/guitar/bass/drums can rely on the guitar to carry the song’s meaning. DIIV’s songs are built around verses and choruses but these are unusually fluid and intuitive, almost post-rock in miniature. And this album is more of a sensory experience than an emotional one. The original name of “Dive” was, according to leader Zachary Cole Smith, touring guitarist for Beach Fossils, a tribute to the Nirvana song and/or an acknowledgment of how each member has a “water” astrological sign. The instrumental tracks that bisect the record are titled “(Druun)”, perhaps a flubbed portmanteau of “drone” and “drown.” But all three invented words  convey the elemental. Whereas someone like Phil Elverum or Wolves in the Throne Room attempt to conjure nature’s awesome unpredictability, DIIV capture the beauty and comfort of its foreseeable ebb and flow.
The pleasures of Oshin as a full-length are subtle. “Past Lives”, “How Long Have You Known”, and “Doused” aren’t just the most striking individual tracks; their smart spacing at the beginning, middle and end of Oshin has a trickle-down effect. Were “Earthboy” and “Sometime” to pop up on shuffle, not much about their rhythms or melodies would stand out. But within the album’s context, they become sensible interludes. On a smaller scale, Smith’s vocals are positively tidal, rising in confident and comforting intervals and resolving every bit as smoothly. The guitars bring to mind things like coins in a fountain, pebbles skipping across a lake, and small fish evoking silvery ink. Even the slowly overwhelming distortion of “Wait” incrementally seeps through the mix like a wave of cold, muddy sand, the only interruption the paradoxically arid “Air Conditioning”– the one track whose rigid, interlocking guitar patterns recall those of Beach Fossils.
The experience of Oshin is aqueous and amorphous in a way that makes using the term “rock” feel uncomfortable. The pliable yet sturdy intertwining of guitar and bass stretches across the songs like a hammock. And at its best, Oshin can feel like an ingenious distillation of the sonorous instrumental passages that took Disintegration‘s “Fascination Street” and “Pictures of You” toward arena-rock grandeur. The album is mostly parceled out in lines of three-to-five descending notes that become self-descriptive adjectives: “(Druun)” wordlessly projects resolution, confidence; “Past Lives”, wistful acceptance; “Oshin (Subsume)”, a kind of dead-eyed stoicism; “Doused”, white-knuckle tension. Oshin gives you hints and direction, but never tells you exactly how to feel. It reminds me that one of Neil Young‘s most desolate and gripping records was called On the Beach.
Oshin is notable for what it leaves to the imagination; not just about its own communicative aims, but about DIIV as well. Barely year ago, it was Smith’s solo project, a fairly standard dream-pop act. The impact of DIIV’s vibrant and muscular rhythm section makes all the difference. They might not rock, but Oshin always offers tactile resistance. And after the second “(Druun)”, Oshin starts to coil into a darker pose, emerging from the deep with the tension of early Interpol before turning post-Fugazi emo drunk on reverb.
“Doused” ends abruptly before the closing lullaby “Home”, giving the impression that if DIIV recorded any further at this stage, they’d be too far off from where they started for Oshin to cohere as beautifully as it does. It’s a snapshot and a potential pivot; DIIV appear to be at a place where bands like Real Estate and the War On Drugs were after their debut full-lengths; similarly good albums which blurred instrumentals and songcraft, evocation and statement. Of course, their next ones were great largely because they made you care about the people who created them. DIIV have made a compelling debut where what the band is actually about is fairly unimportant. But since Oshin deftly defines what they do, and what they donow, this mystery is likely a temporary stat” (

Facebook / Cómpralo-Purchase

30 agosto, 2012 Posted by | Diiv | Deja un comentario


A %d blogueros les gusta esto: