The JangleBox

Indie, Noise, Shoegaze… Music

Man on the Moon – DARREN HAYMAN: 12 Astronauts (Wiaiwya, 2019)

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“Among the many tributes commemorating the 50th anniversary of the historic Apollo moon landing,Darren Hayman‘s whimsical pop song cycle 12 Astronauts stands out as a true curiosity. During his prolific career, the English songwriter has applied his imagination to a range of eccentric subjects, dedicating full albums to Anglocentric concepts like Britain’s open-air swimming pools (Lido), Thankful Villages (Volumes 1-3), and the 17th century Essex Witch Trials (The Violence). While the gaping frontier of space travel might seem like a significantly broader theme by Hayman‘s usual standards, he manages to zoom in on the finer points of interest concerning the 12 men who have stood on the moon, devoting a single song of historical fiction to each of them. It seems the gentle-voiced indie pop auteur who loves trains, English history, and will paint a watercolor portrait of your dog for a reasonable commission is also a lifelong space aficionado.
Meticulously researched and brimming with melody and color, 12 Astronauts sees Hayman stepping away from the bucolic folk tone of his last few outings to create one of his most engaging releases in years. Through his unique lens, one of humankind’s greatest achievements is refracted to instead focus on human elements like Neil Armstrong‘s reluctant celebrity (“Spaceman No More”), Buzz Aldrin‘s alcoholism and rocky marriage (“Low Orbit”), and Pete Conrad’s preflight anxieties back in the NASA enclave where most of the astronauts’ families lived (“Timber Cove”). From its detailed production to its unusual narratives on a familiar subject, 12 Astronauts is a creative triumph forHayman and a deeply listenable set that honors the men, flaws and all, who risked their lives in the advancement of science and human capability” (All Music)

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

THE BLACK KEYS: Let´s Rock (Nonesuch, Wea; 2019)

Resultado de imagen de the black keys lets rock

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El último trabajo de THE BLACK KEYS es calificado por algunos como el primer disco en el que los de Ohio parecieran notar ligeros síntomas de desgaste, quizás por el uso reiterado de un determinado tipo de patrón sonoro, quizás por el hecho de que aparentemente nos encontramos con un homenaje a lo más granado de bandas tótems como Lynyrd Skynyrd o Led Zeppelin (e incluso JJ Cale, ya me contaréis o al clásico de Stealers Wheel “Stuck in the middle with you”), a quienes en determinados momentos parece que nos encontramos con algo más que homenajes más o menos velados.
Ciertamente, hay instantes puntuales en los que podríamos escuchar una hit radio de los setenta. Bueno, quizás los Keys se han ganado la credibilidad suficiente como para tener un cierto bache compositivo e incluso creativo. Lo que no podemos negar en su indudable energía y su espíritu rockista en prácticamente cada trabajo que han ido publicando. 

“Like many couples embarking on their second decade together, the Black Keys decided they needed to spend some time apart. Once Dan Auerbach and Patrick Carney wrapped their supporting tour for 2014’s Turn Blue, the pair went their separate ways. During the next half-decade, neither musician laid low, busying themselves with production work and, in Auerbach‘s case, releasing two albums of new original material (Yours, Dreamily was the 2015 debut of his second band the Arcs, while 2017’sWaiting on a Song was his second solo record). All of that extramarital wandering pays great dividends on Let’s Rock, the duo’s first album in five years. Lighter and leaner than Turn Blue — and, ironically, considerably more colorful, too — Let’s Rock doesn’t so much find the Black Keys trying new recipes as revisiting old favorites with fresh, elevated ingredients. Blues, garage, and old soul remain at the foundation of the group’s sound, but they’ve swapped jammy excesses for over-saturated fuzz guitars and stacked vocal overdubs. Only two songs on Let’s Rock threaten to break the four-minute mark: with its lava lamp psychedelic swirl, “Walk Across the Water” drifts for a luxurious length, while the brightly skipping “Get Yourself Together” gets there quicker. This concentrated brevity makes the album play a bit like a fantasy jukebox, spinning out hooks and harmonies with abandon. Sometimes, the Black Keys accentuate this pop undercurrent — “Tell Me Lies” feels as if it’s flirting with Fleetwood Mac‘s “Little Lies,” “Sit Around and Miss You” glides down a gilded highway — which helps give the album a dreamy weightlessness even if it’s doused in layers of electric guitars. Scratch the production gloss a bit, and it’s apparent those six strings are balanced by clever drum loops and other digital flair that give the album a modern vibrancy, even if its sensibility is unabashedly retro. Perhaps all these glowing, percolating sounds don’t rock as hard and heavy as the earliest Black Keys album, but Let’s Rock has an appealing ease to its execution. It’s a good-time record designed for daylight and, after the murky Turn Blue and its ensuing hiatus, it’s refreshing to hear the Black Keys step out of the dark and into the sunshine” (All Music)

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10 agosto, 2019 Posted by | The Black Keys, Uncategorized | 1 comentario

DOIS: Fenómeno (Discos de Kirlian, 2019)

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La verdad es que DOIS suenan interesantísimos. No les conocía hasta que recibí un mail de su discográfica, Discos de Kirlian, editores de algunos de los mejores trabajos de la escena Pop actual en nuestro país.
Estos gallegos suenan a PopLoFi, tienen esa sonoridad arrastrada tan norteamericana, lo mismo me evocan a Pavement como a The Feelies o al Niño Gusano por aquello del carácter surrealista de muchas de sus letras. Interesantísimos.

“Óscar Raña, José Nóvoa, Fer Areal y Guillermo Portas ensayan cerca de Portugal y en los descansos juegan con Sancho. Les gustan las melodías pop y las guitarras limpias. Su música suena a colores cálidos y luz de agosto.
Este EP es su tercer trabajo. Grabado en el Estudio Terraforma por Ibán Pérez (Fee Reega, Selvática, Chicharrón…) y mezclado y masterizado por Nathaniel Higgins y Shimby McCreery (productores de Omni), son 6 temas que incorporan a su fórmula habitual los suaves punteos de Fer y una dosis extra de coros, arreglos de percusión y teclados” (Nota de Prensa, Discos de Kirlian)

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6 julio, 2019 Posted by | Uncategorized | Deja un comentario

Dreamers – DEATH AND VANILLA: Nothing is real (Advanced Single, Fire Records, 2019)

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Etéreos, libres, espirituales… DEATH AND VANILLA son una banda sueca ya conocida en TJB que van a presentar en breve nuevo disco: Are you a Dreamer?, en la disquera Fire Records. Su música está impregnada por lo mejor del Dream y del Shoegaze. Lo esperamos con ansiedad.

“Prior to recording their new album ‘Are You A Dreamer?’, they scored several soundtracks, that process undoubtedly influencing the new album’s dreamlike euphoria built with added mellotron and affected electric guitar. Expanded with bass and drums in their quest for the grail, Death And Vanilla’s songs are longer; more plush and pampered; more hypnotic and haunting” (Press Note)

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20 abril, 2019 Posted by | Death & Vanilla, Uncategorized | Deja un comentario

Parental Control – NO FUCKS: No Fucks Lp (Discos de Kirlian, 2019)

DK67 NO FUCKS - No Fucks LP

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“Cualquiera que haya pasado su juventud en una ciudad de tamaño medio del norte, como Gijón, entenderá el hastío de la vida y la idealización de un verano eterno y soleado que nunca ha vivido que atraviesan como una constante las letras de NO FUCKS.
Con Wavves y Los Punsetes en los oídos y Hora de Aventuras y el Visual Kei en la mente, Elisa y Stephen (que montaría Axolotes Mexicanos por esos años) se juntaron en 2012 con más ganas que destreza para grabar una maqueta (“whatever”), la cual se compartió casi tanto como la de Estopa en su día. Apadrinados en sus comienzos por Linda Guilala, grabaron su primer 7” que fue editado por High Five Discos. A partir de entonces se sucedieron conciertos con bandas como Juanita y Los Feos, High Dive o los mismísimos Punsetes, historias locas por Vigo que acaban en tatuajes, otro 7” con Discos de Walden, colaboraciones y toda la pizza barata que seas capaz de imaginarte. Después de todo ese frenesí vinieron unos años en los que Stephen se fue a currar a Barna, la banda se quedó sin bajista y Elisa fue a descubrir la ruina que es vivir en Madrid con 0 vacas y sidra a 5 pavos la botella.
Así que para no morir del asco, se pillaron a Dani, otro asturiano que andaba perdido por la capital y se pusieron a pinchu de nuevo con la banda, grabando unos temas con Linda Guilala, otros con Jorge Muñoz de Doctor Explosion y un par de ellos en su casa, para sacar, al fin, su primer disco, que viene a ser un resumen de todos los años de vida de NO FUCKS condensados en dos caras: una de un pop brillante para peña que ve la vida muy negra y otra de lofi ruidoso y destartalado para quien quiere aprovechar el último día de playa antes de volver al pozo del curro” (Nota de Prensa)

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

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

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