The JangleBox

Indie, Noise, Shoegaze… Music

Nuding – THE CORAL: Move through the dawn (Ignition Records, 2018)

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Más allá del ejercicio de desnudez sonora y arreglística al que ha sido sometido el sonido de THE CORAL, lo cierto es que la banda británica ya no es lo que fue allá por comienzos de los dos mil. Su épico sonido neopsicodélico ha sido aligerado al punto de quedarnos una pulcra producción en aras de introducirse a nuevos seguidores sin duda más cercanos al Aor de los peores EloFleetwood Mac que a la Psicodelia. Digamos que la esencia permanece, pero el sonido no nos convence en absoluto. Y por cierto: la portada es un espanto.

“After coming back from a hiatus with 2016’s Distance Inbetween, a heavy, guitar-based album that reestablished the band and expanded their sound from their usual ’60s worship to include some sounds from the ’70s, the Coral did what they do best on their next record and made a creative left turn. Released in 2018, Move Through the Dawn gets rid of the furious guitar soloing, the pounding rhythms that felt like they were forged in a foundry, and the free-flowing arrangements that relied on lots of first takes to get a live feel. Instead, most of the record has the carefully constructed feel of an ’80s Jeff Lynne production, with clipped drums, layered acoustic and electric guitars, and sonic touches like Mellotron and super-clean vocal harmonies. The first three songs sound like they could have been on a Traveling Wilburys album; “Eyes Like Pearls” and “Reaching Out for a Friend” have a loose-limbed, good-natured spirit whose warmth isn’t constrained by the boxy production, while “Sweet Release” is a punchy robo-rocker that sounds simple on the surface but has the kind of hook that gets lodged deep in the brain. James Skelly‘s vocals fit well in the updated surroundings; he delivers the songs here just as powerfully as he did on their more folk-psych offerings of the past. He soars over the sweeping tracks like “Strangers in the Hollow” with an almost breathtaking ease, while digging deep for some grit when that’s called for, as on the bouncy “Love or Solution.”
Despite the new tricks the Coral proudly display on the record, they haven’t totally forsaken their old ways, and some of the songs break free just a bit from the (semi) modern studio techniques. The mystical ballad “Eyes of the Moon” has their trademark rootsy ramble and nicely ghostly background sounds, “Outside My Window” heads back to the late ’60s for some murky nocturnal psych, “Stormbreaker” brings the power and AOR-friendly heaviness of Distance back into the mix, and “After the Fair” is a very pretty acoustic ballad that shows the bandmembers at their tenderest, then drenches them in Mellotron for good measure. These non-pop moments help balance the rest of the album’s almost oppressive catchiness and remind the listener that the Coral are a gently weird band who like to stay elusive. They change styles from record to record — sometimes song to song — like some people change their profile pics, but they never lose the qualities, like top-notch songcraft, well-built arrangements, and Skelly‘s voice, that make them a great guitar pop band. They may have done some drastic reshuffling and tried some new things on Move Through the Dawn, but it’s a Coral record at its core and it’s one of their most satisfying, too” (All Music)

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2 enero, 2019 Posted by | The Coral | Deja un comentario

The Coral: 1000 Years (from Butterfly House, 2010)

3 septiembre, 2010 Posted by | The Coral | Deja un comentario

The Coral: Butterfly House (2010)

La sensación final que queda tras escuchar varias veces este Butterfly House (2010), sexto álbum de estudio de The Coral, es algo contradictoria. Por un lado está el pensar que estás ante un disco de revival puro y duro. Por otro está el considerar que estás ante una buena colección de canciones pero que el disco está lleno de trucos de estudio y de una limpieza en su sonido que te llevan a considerar que a las canciones les falta algo de alma. Conscientemente o no, este Butterfly House (2010) tiene algo de esa impostura de la que hablamos: demasiada claridad, y mucho de ese revivalismo (More than a lover, Green is the colour, Fallin´around, North parade) hacia un sonido que ellos querrían asemejar al de The Byrds, pero que les lleva a parecerse -demasiado-, al de Crosby, Stills & Nash. Aunque no todo el álbum lleva estos derroteros. Hacia el final del disco, el tono cambia. Butterfly house es una canción egregia, émula del Pop Barroco de Left Banke, con una melodía impecable. Two faces sí tiene ese tono byrdsiano que buscan The Coral en la mayoría de sus temas, añadiéndole además phasers y truquitos de Pop psicodélico que nos recuerdan al debut de Tame Impala, disco coetáneo. She´s coming around tiene otra melodía impecable, candidata a single y arreglos semejantes. 1000 years -título recurrente- es otro gran tema de Pop psicodélico, voces tratadas, teclados y guitarra de doce cuerdas. La ya citada North Parade, tiene algo de pastiche, pero su final es impresionante, con un juego de guitarras de impresión, y unos arreglos bastante elaborados.
Y he aquí que nos encontramos con los cinco temas extra del disco, en la versión extendida; y nos hallamos ante cinco temas menos arreglados y sin la post-producción del resto del ábum. Pues éste es el punto fuerte del disco, los temas “deshechados” tienen un punto de fuerza y de empuje que igual no lo encontramos en el álbum matriz. Into the sun, alegre canción de Pop más standard con su puntillo surfero, es cautivadora. Dream in August es algo así como una vuelta a las composiciones de David Crosby para Younger than Yesterday. Another way es Pop-Folk con unas voces impresionantes. Comin´through the rye tiene un riff inicial psicodélico más que sugerente y continúa con el tono Byrds de Dr.Byrd and Mr.Hyde. Y para cerrar el disco, Circles, un tema que, como dice su título, va girando siempre en torno a unos pocos acordes, pero al que se le van añadiendo instrumentos para terminar en un clímax final de distorsión y energía realmente apreciable.
Disco, en definitiva, que nos puede acompañar perfectamente en nuestro reproductor y aunque su primera parte sea algo más endeble, sus temas finales son perfectos ejemplos de Pop-Psicodélico al mejor estilo de Tame Impala, aunque con un regustillo algo más clásico.

The Coral – Butterfly House (2010)

“Back in 2003, when the Coral released its self-titled debut, leader James Skelly was the oldest member of the band at only 23. While that album displayed an impressive diversity of taste and influences for such a young outfit, the group clearly still had a lot of growing to do. Their frame of reference kept them anchored to the late 1960s, and as fine as its five albums might have been, they largely showcased a band running in place.
They also showcased a band with an uncommonly good instinct for sympathetic producers, beginning with Ian Broudie, continuing through Portishead’s Geoff Barrow and Adrian Utley, and here, on album number six, ending up with vet John Leckie. The latter’s experience no doubt helped the group weather what was a reportedly tough transitional period, beginning with the departure of guitarist Bill Ryder-Jones and continuing through a two-year stretch of songwriting and woodshedding.
That the results are as modest as Butterfly House is a disappointment, though all the skillful pieces remain in place. Skelly is a subtly soulful singer, and even minus Ryder-Jones, the guitars continue effortlessly to shimmer and glide, resplendent of all the best mildly psych 1960s folk-rock tropes, from frilly little filigrees to freak-out muscle. If the rhythm section remains only serviceable, that’s defensible, as their pronounced presence would be out of place in the era from which the band draws: Despite a passing resemblance, their music has none of the past-to-present dance/rock fusion of the Stone Roses.
But while the Coral aren’t some tribute band, on songs such as “Green Is the Colour”, “Sandhills”, and “Falling All Around You”, they skirt just those kinds of clichés. The melodicism of “1000 Years” is undeniable, as is the spooky exploration of atmosphere on “Coney Island”. When the title track or “North Parade” go nuts, the results are effectively dramatic. But with each song, the déjà vu sense of pastiche is so pervasive it’s hard to enjoy them as more than impeccable craft. “Impeccable” being the word to accent if you’re a defender, “craft” the word to stress if you’re not”

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2 septiembre, 2010 Posted by | The Coral | 1 comentario

The Coral: Butterfly house (Single, 2010)

Los británicos The Coral se han descolgado con el que, en mi opinión, es el mejor tema Pop de lo que llevamos de año y de mucho tiempo antes: Butterfly house, tremendo tema de Pop-Barroco o Ragga-Rock que nos recuerda lo mejorcito de gentes como The Byrds (su etapa intermedia), Crosby, Stills, Nash & Young o The Left Banke. Imprescindible. Como el disco que anuncia sea la mitad de bueno que este tema, será de lo mejor del año. Sin dudarlo: súper recomendable, y además The Coral ha decidido regalarlo. Sólo pincha aquí o busca en su página oficial.

The Coral – Butterfly house (Single, 2010)

“A beautiful, Byrds-ish freebie from the The Coral‘s first album in over three years–also called Butterfly House–which will sound afrigginmazing because it was produced by John Leckie, whose discography includes albums by The Stone Roses, Radiohead, and My Morning Jacket, among many awesome others. If you can’t roll onto the grass and stare at the sky right now, this song would be a worthy substitute. Butterfly House is out on July 12″ (

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3 junio, 2010 Posted by | The Coral | Deja un comentario


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