The JangleBox

Indie, Noise, Shoegaze… Music

Tonight – MAZZY STAR: Still (Rhymes of an hour Records, 2018)

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Con la misma pereza fronteriza y sonora de siempre, se presentaron MAZZY STAR en 2018 con su último lanzamiento: Still, un ep de cuatro canciones en las que las huestes de Roback y Sandoval nos mostraron un pequeño cancionero en el que se mezclaban canciones modernas y antiguas revisitadas, como la enorme So Tonight That I Might See, en la que nos muestran un estupendo estado de forma de su psicodelia desértica.

“For a band that moves at Mazzy Star’s glacial pace, progress must be measured in steps and inches rather than leaps and bounds. Still may be their first release in four years, but its four songs include an alternate version of the title track of their 1993 classic So Tonight That I Might See and two compositions that appear to have been kicking around since at least 2000. Nothing on the EP would sound out of place amid the dreamy desert blues of the band’s 28-year-old debut album, She Hangs Brightly.
That’s not to say that the Still is simply a retread of old ground. Opener “Quiet, the Winter Harbor” uses piano as its lead instrument, with David Roback’s guitar making its bow in the song’s second minute. This isn’t entirely without precedent. Uncuthas reported that they performed the track live as early as 2000. In an audio clip apparently recorded at a London show the same year, the band plays a gorgeous, piano-based arrangement of “Look on Down From the Bridge” from 1996’s Among My Swan. But the EP’s lead single does mark a new and enchanting chapter in Mazzy Star’s recorded output.
The piano gives “Quiet” the feel of a muted torch song, its irresistible melody dampened by Hope Sandoval’s hushed delivery and Roback’s pointed restraint. In other hands—Adele’s, say—its straight-from-the-heart vocals might have ramped up to the kind of overwrought climax that sucks every last nuance into its emotional vortex. But Sandoval is as understated as ever. Her soft power precludes raising her voice, and it makes “Quiet” sound like a private plea to an absent-hearted lover. Roback adds twinkling touches of guitar, his simple melodic lines complementing rather than overpowering Sandoval’s words.
The only apparently new track on the EP, “Still,” marks another first for Mazzy Star: It is the least melodic piece they’ve ever committed to tape. Throughout their career, Sandoval has sporadically employed the same vocal style that’s present on the song, walking the line between spoken word and the drawl of a more ethereal Jim Morrison. Usually, this minimal approach is backed by enough instrumental dramatics to carry the song. But on “Still,” Sandoval’s vocal plays over a one-chord acoustic guitar thrash and overlapping violin drones, creating a fever-dream atmosphere that, while novel, sounds a bit like being laid up with the flu feels.
At just two minutes long, the song works best as an extended intro to the EP’s last track, the eight-minute “Ascension Version” of “So Tonight That I Might See.” This alternate take is one of the most savage listens in the Mazzy Star catalog, led by ominous organ notes and guitar feedback and ending in the kind of fuzzy guitar freakout a band might indulge in at the last show of an arduous tour. You can imagine this all working well in a live setting, where the audience could feel the crackle of the guitar pulse through the air. On record, though, it fails to deliver the transcendent experience a word like “ascension” promises.
Perhaps it’s not surprising that the best track on Still is also the least groundbreaking. “That Way Again,” with its bluesy, country-rock feel, is classic Mazzy Star. Live recordings of the song from the band’s 2000 tour document a simple yet affecting acoustic lament that gently picks through the ashes of a failed romance. The new recording remains faithful to those early performances, adding only plaintive guitar lines that bring to mind the Rolling Stones circaSticky Fingers.The result is a luscious late-night tearjerker that’s sure to earn a spot on cathartic breakup mixes. Mazzy Star’s pace may be slow—and Still may feel slight—but “That Way Again” is proof that their hearts still burn brightly” (Pitchfork)

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4 marzo, 2019 Posted by | Uncategorized | | Deja un comentario

In the Beat – THE IN THE OUT: The In The Out (2019)

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“This debut release from Melbourne 4 piece THE IN THE OUT is a remarkable first LP effort. Stand out tracks include the gritty opener ‘Do You Wanna’ and epic psych rocker ‘Heat’, to the softer alt-country embellished ‘Birds’ and the electronic introspective of ‘Slow’.
Album closer ‘Hid In The Beat’ delivers an intense crescendo to finish what is an impressive mix of psych pop / Manchester inspired rock” (Press)

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7 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

No Fails – LOS MARCIANOS: Nuevo orden cósmico (Clifford, 2018)

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LOS MARCIANOS  están en pleno proceso de madurez musical y compositiva. Sus presupuestos sonoros son sencillos y directos: Power-Pop de guitarras con grandes dosis de Noise y distorsión y cierto aire de desencanto en sus letras. Vamos, la fórmula infalible del Indie-Rock de toda la vida desde los tiempos de JMC, Pixies o Lemonheads.

“Corren nuevos tiempos para el pop y LOS MARCIANOS se apuntan a contribuir con sus canciones, estribillos, melodías, ruido e historias. Todo ello se puede encontrar en Nuevo Orden Cósmico (Clifford Records, 2018), una nueva entrega en formato 10″ en el que la banda viguesa nos pasea por pasajes un poco más oscuros que en su anterior trabajo, pero sin perder esos estribillos pegadizos tan marcadamente pop y el desenfado tan propio al que nos tienen acostumbrados. Producidos por Carlos Hernández (Los Planetas, Triángulo de Amor Bizarro, Airbag…) LOS MARCIANOS nos cuestan historias universales, envueltas en mágicas melodías y en muros de guitarras que demuestran que la banda se siente cómoda en el noise pop y el shoegaze, y que destina a este Mini-LP a formar parte de las estanterías de fans de Jesus And Mary Chain, The Pains Of Being Pure At Heart, The Cure o Los Planetas” (Ibán Marciano)

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3 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

The Fog – THE STARGAZER LILIES (Graveface Records, Single, 2018)

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Brumas guitarreras y ensoñaciones vocales.

“(…)You are my
You’re my everything
Everything I love
My love
And all I love to hate”

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2 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

Luminiscencias – TEEN DAZE: Bioluminiscence (Flora, 2019)

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“Striking a balance between the digital and the natural has always been one of the main purposes of Jamison Isaak’s, Teen Daze project. BIOLUMINESCENCE, the producers’ sixth proper full-length, is perhaps his most cohesive example of this. At times cinematic and atmospheric, and at others pulsing and danceable, the album weaves its way through eight deeply emotional, melodic tracks. For every synthesized noise you hear, there is the sound of a rock hitting water; digital synths are paired with the sound of the Pacific Ocean. This album attempts to find a harmony between those two worlds, and with this in mind, Bioluminescence becomes a very fitting title” (Press)

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1 febrero, 2019 Posted by | Uncategorized | , | Deja un comentario

Retro-Futurism – DEERHUNTER: Why hasn´t everything already disappeared? (4AD, 2019)

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El octavo trabajo de DEERHUNTER es otro clásico más de la banda de Bradford Cox, que de nuevo vuelve a epatar con un disco atípico con todas las trazas de convertirse en un youngtimer, en un clásico adelantado a su tiempo (como casi todo lo que llevan editado hasta el momento). 

Un disco de tonos algo desesperanzadores envuelto en un halo sonoro de nostalgia, de instrumentación del Pop más barroco: clavicordios, teclados definitivamente retros, baterías acústicas… Y unas guitarras en un segundísimo plano. Todo esto no hace más que acrecentar la idea de que los de Atlanta fueron unos adelantados a su tiempo y que se empeñan en demostrarlo a cada trabajo que publican.

“How do you describe an album out of time, concerned with the disappearance of culture, of humanity, of nature, of logic and emotion? Why make this album in an era when attention spans have been reduced to next to nothing, and the tactile grains of making music have been further reduced to algorithms and projected playlist placement. Why wake up in the morning? Why hasn’t everything already disappeared? 
Deerhunter’s eighth LP forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across North America. It comes home, restructures itself and goes back to bed to avoid the bad news.
From the opening harpsichord and piano figures of Death in Midsummer, it is impossible to tell where the record came from. Is No One’s Sleeping an outtake of an aborted Kinks recording session in 1977 Berlin with Eno producing? No. That is 4ADnostalgia. If there is one thing Deerhunter are making clear it is that they have exhausted themselves with that toxic concept. 
What they spend their time doing instead is reinventing their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.
The result is as thrilling, haunting, and unpredictable as anything in their roughly 15-year career. 
Deerhunter have made a science fiction album about the present. Is it needed right now? Is it relevant? Perhaps only to a small audience. DADA was a reaction to the horrors of war. Punk was a reaction to the slow and vacant 70’s. Hip Hop was a liberated musical culture that challenged the notions presented wholesale about the African-American experience. What is popular music today a reaction to?” (4AD)

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30 enero, 2019 Posted by | Uncategorized | , | Deja un comentario

On the Hill – BLACK SEA: Disappointed sunset (Burger Records, 2017) / Low Life (Future) (Single, Burger Records, 2018)

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Ambientes fríos, brumas sonoras y muros de guitarras. “Music for driving as fast as you can at 3am

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28 enero, 2019 Posted by | Uncategorized | | Deja un comentario

Hey POP – GLORIA: Hey Gip (Ample Play, Ep, 2018)

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GLORIA cerraron el año pasado publicando un nuevo Ep en el que los galos hicieron alarde de nuevo de ese aire Retro tan elegantemente ejecutado y al que tanto partido saben sacar. El mejor corte es Dancehall nº3, en el que la banda es capaz de sacar el mayor partido a su creatividad.

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27 enero, 2019 Posted by | Uncategorized | Deja un comentario

Postcards – THE CHILLS: Scarred (Single, Fire, 2018)

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“The latest postcard from The Chills’ epic journey is an album about “consolidation, re-grouping, acceptance and mortality,” claims the chief Chill.“Hopefully a kind of Carole King ‘Tapestry’ for ageing punks.
On ‘Snow Bound’ lost heroes are lamented, relationships are re-evaluated, atonement is sought, mortality is mulled over and fake news is undercut. It’s serious stuff, the thoughts of a dysfunctional 50-something wrestling with maturity and discovering that their post-punk DIY beliefs still have a real voice that resonates between the fans of their early years and which can now pass down to the next generation”
(Press)

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29 agosto, 2018 Posted by | The Chills, Uncategorized | Deja un comentario

Malditos Bastardos – THE TELESCOPES: As light return (Tapete Records, 2017)

As Light Return

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Una auténtica patada a las entrañas del Indie es este último trabajo de la banda de Stephen Lawrie, THE TELESCOPES. Un disco en el que dan un giro de ciento ochenta grados a su poducción anterior, gestando un trabajo absolutamente epatador: una sinfonía de Noise y de guitarras a un sonido insano. Un gusto para oídos habituados a los sonidos del Noise y el Pop más oscuro. 

The Telescopes‘ 2017 album, As Light Return, is an almost 180-degree turn from their previous album, Hidden Fields. That record was their most song-based effort in years, with melodies and hooks poking out through the gnarly waves of guitar noise. In contrast, As Light Return is an almost unbroken wall of guitar noise, with nary a song to be found. Stephen Lawrie is joined by members of the band St Deluxe and together they craft an oppressive, claustrophobia-inducing album made up of tortured guitar drones and feedback, a rhythm section that sounds like it’s stripping its gears, deeply buried vocals, and an overall feeling that lands several stops past menacing. Four of the five tracks break the seven-minute mark and only the slightly shorter “You Can’t Reach What You Hunger” comes close to resembling a song. It’s a far cry from Hidden Fields, but it’s in line with things the Telescopes have done before. Lawrie has always been a restless musician with a need to experiment and push boundaries. When he wanted to make a pop album, it was the most shimmering and bright thing ever (1992’s self-titled album); when he wants to make something more abstract and stark, As Light Return is the result. It’s gloomy, bleak, forbidding, and not much fun to listen to, but it’s impressive all the same. The undulating white noise is off-putting at first, but once you surrender to the harsh reality of it, the effect can be soothing in a strange way. Listening to the four-part suite that makes up the bulk of the album is like crawling inside the shuddering hull of a giant piece of industrial machinery, being pummeled unmercifully, and then taking a long, dreamless nap. Not something one would want to do every day, but for when that experience seems like the best course to choose, Lawrie and his collaborators have you covered. As Light Return might not be the most inventive or exciting record the Telescopes have made over their long career of defying expectations, but it is the purest expression of their dark and twisted, noise-battered souls, and for that reason alone it is worth hearing at least once” (AllMusic)

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24 agosto, 2018 Posted by | The Telescopes, Uncategorized | Deja un comentario

Rebirth – DOT DASH: Proto Retro (The Beautiful Music, 2018)

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Pues con su reforma a trío, DOT DASH se ha revelado como una banda de espíritu Proto-Punk, pero con más sangre Janglie en sus venas, e incluso con cortes cercanos al Surf-Pop. Su sexto trabajo así nos lo confirma.

“Coming off of 2016’s amped-up, fuzzed-out Searchlights, the 12 track Proto Retro sees Dot Dash taking a poppier, janglier direction but one that retains the punky, garagey energy that has marked the band’s previous releases. Proto Retro was recorded at Inner Ear and The Bastille in Arlington, Virginia and produced by Geoff Sanoff (Lloyd Cole, Darlene Love, Television).
Dot Dash is a Washington D.C.-based trio — Terry Banks (guitar & vocals), Hunter Bennett (bass), and Danny Ingram (drums.) Ex-bands within the Dot Dash orbit include power-poppy indie rockers Julie Ocean; harDCore pioneers Youth Brigade and The Untouchables; indiepoppers The Saturday People, Tree Fort Angst, Glo-Worm, and St. Christopher; plus Swervedriver and Strange Boutique” (Press)

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17 agosto, 2018 Posted by | Dot Dash, Uncategorized | Deja un comentario

Fantasmas – MOON: Moon (Ep, 2017)

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Mucho LoFi, mucho Fuzzy, mucha intimidad en esta demo en solitario de Etai Fuchs. Poca información al respecto, pero muy buena música.

13 mayo, 2018 Posted by | Uncategorized | Deja un comentario

FOUR SINGLES FOR THE PRIZE OF ONE

DENNIS KALLA – Beautiful Mistake

GLORIA: Heavy / The Rain is Out

Trummor & Orgel – Imaginary Friends

DUNGEN & WOODS: Loop

 

4 marzo, 2018 Posted by | Uncategorized | Deja un comentario

A lo Carlos Cano – FLAMARADAS: Flamaradas (El Genio Equivocado, 2017)

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“En su nuevo trabajo, la banda barcelonesa liderada por Daniel Magallón, presenta la versión más ambiciosa de su folk psicodélico.
‘Esta vez hasta hemos ensayado’ dice Daniel Magallón, la cabeza y la voz detrás de Flamaradas, intentando resumir lo que supone en su carrera su trabajo homónimo editado por El Genio Equivocado. El tercer disco largo del de Sant Joan Despí, recoge todo aquello que había sembrado en sus discos anteriores “Cancionero Saturnino” y “Pasaje entre las cañas”, pero poniendo de relevancia sus muchos aciertos con una producción más cuidada.
Flamaradas es una rara avis del panorama de la música alternativa española. Podría ser, a la vez, un cantautor, un cantante folclórico y un rockero psicodélico. Aunque probablemente, tal y como refleja fidedignamente en su nuevo disco, es la música de un tiempo y de un lugar muy concretos. En “Flamaradas” encontramos un catálogo de las melodías con las que ha ido creciendo Magallón: desde la jota navarra a Elvis pasando por The Doors. Todas ellas viajan desde su bagaje emocional a las canciones que canta con una voz que, después de dos discos y un EP, ya le es totalmente propia y le sienta como un guante. Es la copla que trajeron los emigrantes andaluces al área metropolitana de Barcelona, que chocó con el punk de La Banda Trapera del Río, que creció con el folklore de las músicas latinas de Atahualpa Yupanqui y que se distorsionó con el post-punk Joy Division. Todo eso pasó allí y Daniel Magallón estaba para escuchar sus ecos.
Que nadie piense que el esfuerzo en la producción, a cargo de Ferran Resines y Cristian Pallejà, ha hecho perder a las nueve canciones que componen el disco la frescura que caracterizaba los anteriores trabajos de Flamaradas. En esta ocasión los temas han sido compuestos en su práctica totalidad en el propio estudio, lo que les proporciona inmediatez y naturalidad a las ocho canciones originales que se completan con una versión de “Juramento”, del Trío Matamoros.
El disco tiene su adelanto en “Agitando los brazos”, una de las melodías de un regusto folclórico más marcado y, a la vez, una de los más accesibles. Por el camino nos encontramos también con temas con un pie en cada continente, como “Cerca de aquí” que nos acerca a una versión castiza de los Calexico, y otros que nos remiten tanto a las canciones de la posguerra (“El día en que vuelan las alúas”) como al tango sui géneris de Alberto Cortez “El puente”. En todo caso el disco suma a la herencia tradicional todas las fuentes de las que ha bebido Magallón: el Nick Cave que asoma la cabeza en “La luna llena y el vendaval” o el Tom Waits que saluda desde el ritmo de “La vía láctea descansa”. La grabación se completa con una confesional “Todas las vidas que no viviré” y con la inquietante “Regreso con los animales”, que nos ofrecen una de la cara más accesibles de un disco redondo” (Nota de Prensa)

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8 enero, 2018 Posted by | Uncategorized | Deja un comentario

Is or not…? ROME IS NOT A TOWN: I´m in a brand (Startracks, Single, 2017)

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 ”It’s sorta post-Riot grrrl, post-No Wave, experimental music and completely engaging from beginning to end.”Thurston Moore (Sonic Youth) in NME

… Cuando lo dice éste, que sabe algo del negociado… algo de razón tendrá. Lo cierto es que la banda tiene ese tufillo Sonic Youth mezcladete con un cierto aire Post Grunge bastante interesante. Su debut aparece a finales de este mismo mes. Estaremos atentos.

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29 septiembre, 2017 Posted by | Uncategorized | Deja un comentario

Intimismo en casa – HIBERNALES: Tu casa es mi casa (Single, El Genio Equivocado, 2016)

Intimismo para no salir de casa, bajo una luz tenue y poniendo el pickup a volumen moderado. Adelanto del nuevo trabajo de Hibernales, a publicar en breve.

“El tema fue grabado en su ‘home studio’ con el primer ampli y la primera guitarra deEloy, y esto no es casualidad, haciendo de esta canción un paradigma. Las pequeñas cosas que te hacen sonreír en la vida son, habitualmente, detalles que pasan desapercibidos. Uno los valora más cuando los tiene lejos. Se trata pues de una bonita canción que pretende ensalzar esos detalles. Destellos cotidianos que vienen y van en el resto de canciones del disco” (Prensa)

5 diciembre, 2016 Posted by | Uncategorized | Deja un comentario

Three Dimensional Tanx: El ataque de los desmelenados – Attack (Sunstone Records, 2016)

Three Dimensional Tanx son una agrupación del norte de Ingleterra, concretamente de Lancaster. Ellos se autodefinen como “Psychedelic-Garage-Punk-Rock”. Pues ahí está la quintaesencia de lo que puedes encontrar en su sonido: cierta fiereza, guitarras desbocadas, teclados furibundos y una fuerza bruta que brota de su buena sección rítmica. Mezclan con habilidad los sonidos Garajeros con la Psicodelia y una actitud absolutamente rockera. En su segundo trabajo, este Attack, los Tanx prácticamente no conceden tregua, y su audición resulta igual de adictiva que anteriores trabajos.

“Three Dimentional Tanx have a sound that is the essence of garage psychedelia, a heady mixture of freak out and manic energy delivered via a kick ass rhythm section, lysergic wah wah guitars, krautrock synths/ 60s organ and a lead singer who may very well have lost his mind. If you need comparisons, try early Who or Sonics dropping cheap speedy acid with the Television Personalities. No, on second thought, that doesn’t even come close. These guys are great.” (The Active Listener)

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 Sep 03
The Golden Eagle
Chester, UK
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Salford, UK
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London, UK
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3 septiembre, 2016 Posted by | Three Dimensional Tanx, Uncategorized | Deja un comentario

Jaguwar: II Ep (2016)

Enseñanzas de Shoegaze a base de guitarrazos.

“Germany’s fuzzy shoegazers Jaguwar are set to release their second EP “II” on April 1st. The EP takes abrasive and dreamy elements and constructs them into their own brand of shoegaze power pop. They take their new EP to new heights and experiment with heavier guitar riffs that forms itself into a wall of sound and finishes in melodic bliss. It will leave you in a chaotic dream state “

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7 abril, 2016 Posted by | Uncategorized | Deja un comentario

Invisible Harvey: La Puerta Giratoria (El Genio Equivocado, Single, 2015)

Retomamos las viejas costumbres de TJB. Como lunes que es, le dedicamos nuestro espacio semanal al Pop español o en español, aunque no siempre necesariamente elaborado en España.

Invisible Harvey es el proyecto unipersonal del gallego Dimas Rodríguez, quien firmó con El Genio Equivocado para editar en este mes de Enero el que será su álbum de debut. 
La Puerta Giratoria es su primer sencillo, bonito y agradable tema de Folk-Pop de atmosferación campestre y ambiente ameno. Le prestaremos atención.

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25 enero, 2016 Posted by | Uncategorized | Deja un comentario

Absolutely Free: Absolutely Free (Lefse Records, 2014)

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Estos canadienses que han tomado su nombre de un disco de Frank Zappa, en mi criterio han podido hacer un disco absolutamente delicioso de Pop fumado y fumable (Pop Psicodélico, para entendernos), pero según qué momentos, deciden tirar por el camino de la electrónica y es cuando desvarían hasta decir basta. Evidentemente, me quedo con la primera faceta (Striped light, Beneath the air, Window of time, My dim age) antes que con la segunda (Burred lens, Earth II, Vision´s, Spiral jetty). Además, ese cambio estilístico coincide más bien con la segunda mitad del disco, con lo que te la puedes ahorrar sin remordimientos…


“(…) Where the group’s early singles favored extended ambient intros, impulsive structural shifts, and blown-out finales, the songs on Absolutely Free tend to patiently linger on a single idea and see how it naturally evolves. Singing drummer Matt King’s vocals are also less of a driving force here; rather than lead the charge, he seems more willing to let his existential ruminations reverberate out into the cosmos. But while the band have reined in some of the volatility that made those introductory singles so exhilarating, there’s a cool consistency and newfound accessibility to Absolutely Free that makes it an easy, enchanting front-to-back listen, the songs locking together to form a smoothly contoured album arc. Even the most chaotic elements—like the spinning-radio-dial dissonance woven through the opening reverie “Window of Time”—eventually fuse into the album’s steady wavelength. That’s not to suggest Absolutely Free aren’t still shooting for the moon; they’ve simply activated the cruise control so that they can better savor the trip and enjoy the view.
These are the sort of songs that oh-so subtly build a snowball into an icy boulder: the sleigh-belled, drum-thumping pop of “Beneath the Air” and “Striped Light” initially suggest the sequel to Andorra that Caribou never made, before gradually adding layer upon layer of counter-melodies and textural disorder to shatter any ’60s-retro illusions. “Burred Lens” works itself up into a pink-smoked synthphony as engrossing as anything on The Terror; “Earth II”—presumably a nod to the 1971 sci-fi flick, not thenamesake doom-metal masterpiece—is the sort of deep-space kosmiche-rock odyssey that they’ll be blasting on the Orion in 2025 when cruising for other intelligent life in the universe.
However, the closing eight-minute epic “Spiral Jetty” suggests Absolutely Free’s newly holistic aesthetic is already being subjected to a deconstructive rethink, with a jagged drum beat that cuts through the song’s glass-dome synth sheen and seemingly liberates the band from the more conventional song structures they imposed on themselves for much of the record. After all, DD/MM/YYYY decided to break up the moment they felt their unpredictably spastic, instrument-swapping art-core attack was becoming a routine unto itself; don’t be surprised if the greater focus in effect on Absolutely Free is simply a means for the band to identify the peripheries yet to be explored” (Pitchfork)

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22 mayo, 2015 Posted by | Uncategorized | Deja un comentario

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