The JangleBox

Indie, Noise, Shoegaze… Music

Rescue – ALLAH-LAS: The earth won´t hold me (From “Covers#1”, Mexican Summer; Nov. 2017)

 

“Following their 2016 album Calico Review, Allah-Las return with Covers #1, the first in a series of EPs exploring tunes near and new to the band. For the debut EP in the series, the band offers renditions of George Harrison’s “Fish On The Sand,” Kathy Heideman’s “The Earth Won’t Hold Me”, 90s LA cult band Further’s “JO Eleven”, and Television’s “Hard On Love,” an unreleased song from the band’s Marquee Moon recording sessions.
Allah-Las recorded Covers #1 at the Pump House in Topanga Canyon while working on material for their next full-length release. The selections are comprised of old faves and newly discovered tracks that became ubiquitous sounds in the studio between album takes. The EP will be released on Mexican Summer on Nov 3, 2017″

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19 septiembre, 2017 Posted by | Allah-Las | Deja un comentario

BIRKINS: Fundido a negro (Vídeo-Single, El Genio Equivocado, 2017)

La desaparición del “The” en su nombre ya anunciaba que, aunque la influencia del pop británico siguiera presente, era improbable que les escucháramos cantando en inglés en este nuevo trabajo. Y así será: “Aquí hay dragones” está cantado en castellano y, en menor medida, francés, algo que casi abanderan como seña de identidad y hecho diferencial junto a la influencia de la chanson. A este cambio de idioma se sumaba también un giro más oscuro y afilado en su sonido anunciado desde el sello en el que vienen siendo editados, El Genio Equivocado. Y aunque dicho giro era bien visible en “Chantal (o como dar de lado a una canción)“, primer adelanto lanzado allá por julio, recula un poco en este nuevo tema que estrenamos hoy, titulado “Fundido a negro”.
El adelanto viene acompañado de un videoclip dirigido por José Lozano, entre otras cosas miembro de Murciano Total, que explica en sus propias palabras la idea general: “Cuando me propusieron hacer el vídeo, y al escuchar la canción, me vinieron a la cabeza todas aquellas películas de catástrofes que estaban de moda en mi juventud, en las que siempre había una pareja en la que alguno de ellos era el héroe de la película. Así que me pareció bien situar a esos amantes en un contexto catastrófico, en el que bailan para olvidar todo lo que les pueda ocurrir” (Mondo Sonoro)

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18 septiembre, 2017 Posted by | The Birkins | Deja un comentario

Calidez Glacial – GLACIERS: Living right (Meritorio Records, 2017)

Jangle-Pop desde Australia.

“Tras unos años difundiendo algunas maquetas por Internet han llegado a su punto de cocción presentando once canciones de pop señorial tan cercano a la candidez de unos Pastels o de cosas de Sarah Records —imposible no recordar el tran-tran de Sea Urchins, por ejemplo— como al empaque de Go-Betweens, en la línea de otras bandas recientes procedentes de las antípodas como Twerps o lo magníficos Prophet Hens. Habrá que ver cómo evolucionan, claro, pero este primer capítulo les muestra sobrios y certeros, con guitarras muy bien puestas, esa desazón al cantar tan seductora como típica de aquella zona y ese punto de elaboración justito para no perder el encantador toque amateur” (Ruta 66)

“Living Right is about the things people do in their 20s; getting jobs, making and losing friends, dealing with responsibility and generally just trying to get by. With Glaciers developing a tighter pop focus over the last four years, Living Right comprises eleven catchy songs about navigating your way through life”

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17 septiembre, 2017 Posted by | Glaciers | Deja un comentario

Fuzzy Checo – DIV I DED: Transformation (2017)

Vienen de la República Checa y se han conseguido hacer un huequecito entre la gran cantidad de grupos que facturan sonidos semejantes. Su sonido tiene un poquito de Fuzzy, un poquito de Rrriot Girls, un poquito de Dream, algún detallito Shoegazer, se animan incluso con la electrónica y tienen algunas canciones irresistibles: Wasted, Glittering island, Transformation u Open the door son para derretirse.

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16 septiembre, 2017 Posted by | Div I Ded | Deja un comentario

Sugar – BEACH FOSSILS: Somersault (Bayonet Records, 2017)

Con el título de uno de los cortes de Somersault titulamos el post sobre este último trabajo de BEACH FOSSILS: Somersault (Bayonet, 2017). Un título (salto mortal, voltereta), que no tiene mucho de cierto, pues la propuesta musical de los neoyorquinos no ha variado sustancialmente desde sus comienzos. Y ello nos congratula, pues su sonido continúa tan fresco como en sus inicios, añadiéndole, eso sí, ligeros toques de producción, arreglos de cuerdas, algunos metales que le dan al conjunto una coherencia mayor a la par que un más que interesante visión.
Somersault es una estupenda continuación a la ya interesante trayectoria del trío, que continúa, básicamente, en la estela del Jangle / Surf iniciada en 2010 con el glorioso álbum homónimo de preciosa portada de madera.

“The sleepy-eyed longing of the band’s breakthrough self-titled debut are a distant memory. In its stead are frequent surprises. The confident lead track and first single “This Year” recalls Real Estate’s jangle and infuses it with a driving rhythm section, and when the strings cue to punctuate its outro, Payseur’s vision sounds more ambitious than ever. The orchestration is a recurring feature on the record, accentuating the backing vocals of Slowdive’s Rachel Goswell on “Tangerine” and turning the mid-tempo “Saint Ivy” into the most nuanced composition that Payseur has ever recorded. Its coda marries a weepy George Harrison-like guitar solo with string swells, as Beach Fossils traverse the chasm between its previous brand of dream pop and the retro AM radio vibes that Jonathan Rado, one of the record’s engineers, is known for producing.
“Wanna believe in America, but it’s somewhere I can’t find,” Payseur sings on “Saint Ivy,” which is as directly political as the record gets. But reality bubbles up subtly as Payseur casually mines his personal life and relationships for stories. There’s something real in how the country’s hardships are inescapable in 2017: Even when Payseur wants to focus on friendships or temporary escapism, he looks down at the concrete to see “A.C.A.B” (All Cops Are Bastards) in the song “Down the Line.” The encroaching claustrophobia of the world is reflected in the record’s more unusual moments, like a Cities Aviv-led spoken-word diversion on the introspective “Rise” or the rudderless harpsichord of “Closer Everywhere.”
Still, Payseur has written some of his best songs to date here. WhenSomersault reaches its unfettered climax, the five-minute-plus tension-releasing eruption of “Be Nothing,” it’s clear that the project has overcome its greatest burden” (Pitchfork)

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14 septiembre, 2017 Posted by | Beach Fossils | Deja un comentario

BARK PSYCHOSIS: Hex (Reissue, FIRE RECORDS, 2017)

Fire Records se ha especializado en los últimos tiempos en la reedición de álbumes capitales en la historia del Pop de las últimas décadas. 
El aclamado debut de Bark Psychosis: Hex, es su último lanzamiento.

The recent release of Jeanette Leech’s book ‘Fearless: The Making Of Post-Rock’ (Jawbone Press) celebrates post-rock and its origins. Finding new inspiration, bands were beginning to experiment with techniques as the digital age took over.
A case study in her new book, Bark Psychosis were one of the most innovative bands of their time and as legend has it, saw the first use of the term ‘post-rock’ by music critic Simon Reynolds.
Following several singles and EPs, the avant-garde soundscapes built around drones and samples of 21-minute stand-out track ‘Scum’ arrived just two years before their seminal debut ‘Hex’ (1994). Frustrated by the mainstream, ‘Scum’ was a huge statement that set them apart from the beginning.
Bark Psychosis’ sound was born out of their improvisations at makeshift studio within St John’s Church in Stratford. Taking a year to complete‘Hex’ left the band on the brink of collapse and by the time of its release they had dissolved.
Hailed as a masterpiece, it’s “mysterious, haunting, and breathtakingly visionary” (Allmusic). Breaking down their songs and rebuilding them in the studio brought distinguishing ambient soundscapes and an atmospheric experimental sound. Last year Fact Magazinedeservedly gave the album further recognition with it claiming top spot in their ’30 Best Post-Rock Albums Of All Time’.
Following ‘Hex’and the disintegration of the band, Graham Sutton went on to create seminal Drum ‘n’ Bass as Boymerang and hugely acclaimed production work for the likes of These New Puritans, British Sea Power, Silver Apples, Jarvis Cocker and East India Youth. He revived Bark Psychosis at the turn of the millennium, eventually releasing another album, the equally extraordinary ‘///Codename: Dustsucker’

13 septiembre, 2017 Posted by | Bark Psychosis | Deja un comentario

Country para todos – LEGENDS OF COUNTRY: Anything but country (Single, 2017)

Un repasito por la historia del Country de las últimas décadas de la mano de Jof Owen, ya sabes, la mitad creativa de The Boy Least Likely To que se transforma en LEGENDS OF COUNTRY  para editar canciones como ésta.

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12 septiembre, 2017 Posted by | Legends of Country | Deja un comentario

Melted – WURLD SERIES: Air Goofy (Melted Ice Cream, 2017)

Un trallazo de emociones DIY  y guitarras aristadas, grabadas con una sencilla Tascam 424 MkIII. Emociones a flor de piel, auténticos temas epatantes y un sonido que es un tiro. Todo un descubrimiento…

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9 septiembre, 2017 Posted by | Wurld Series | Deja un comentario

Reverence – ROBYN GIBSON: 5D (Single, 2017)

 

Creo que oyendo esta versión sobran las palabras. Sólo se me ocurren algunas como Excelencia, respeto, amor… o reverencia.

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8 septiembre, 2017 Posted by | Robyn Gibson | Deja un comentario

Love Control – VIDEO AGE: Living alone (Inflated Records, 2017)

Video Age son un dúo de New Orleans especializados en una suerte de Pop a lo DIY, con ciertos aderezos de sintetizadores y arreglos ochenteros. Buen descubrimiento para amantes del Indie de guitarras.

“Video Age is Ross Farbe and Ray Micarelli. On Living Alone, the New Orleans-based duo combines classic guitar-driven pop with synthetic sounds to create upbeat music with gritty undertones. Much of the record was conceptualized last summer while Farbe was living alone in a sparse neighborhood by the train tracks…
“It was a beautiful shell of a house with no insulation, missing windowpanes, and rain always leaking in,” said the lead singer and guitarist. “Being alone for that long you start to see yourself clearly. But I never felt completely alone because the walls were so thin.” (Inflated Records)

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7 septiembre, 2017 Posted by | Video Age | Deja un comentario

Recalling – GUGGI DATA: Pop/Rock (Luxury, 2017)

Pequeña sorpresa oculta en el correo. Un disco sencillo, de concepción Indie/Pop clásica, estructuras para nada complejas pero lleno de emociones, optimismo y Pop saltarín. Muy al gusto de ese Pop escandinavo que nos inundó durante el comienzo de los dos mil. ¡Anda! ¡ Pero si Guggi Data es el guitarrista de Makthaverskan y de Westkust… !

“It’s like Makthaverskan are dividing and multiplying! Guggi Data makes a giddy, headlong form of indie-pop” (Stereogum)

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6 septiembre, 2017 Posted by | Guggi Data | Deja un comentario

Insobornables – HALF JAPANESE: Hear the lions roar (Fire, 2017)

Insobornables a cualquier tipo de sometimiento crítico o musical. Algo así como los grandes outsiders del Indie-Pop de los últimos treinta años. HALF JAPANESE son tan aristados como auténticos. A estas alturas de la película juegan siempre en casa, y hacen lo que les parece. Nadie les va a pedir virtuosismo ni construcciones más o menos standards, así que la banda de los hermanos FAIR se concentra en darle una vuelta de tuerca más a su visión del Pop, acaso de la forma más ácida posible.

Hear the Lions Roar reveals that he and his latest edition ofHalf Japanese are still a weird but glorious force to be reckoned with. Where they were once proudly inept, Half Japanese now sound elemental but emphatic, a scrappy rock & roll band that can get an audience up on their feet, even if this group is still not interested in flashy solos or the conventions of commercial pop music. And while many of these tracks feel homemade, Fair and his bandmates obviously rehearsed this music before hitting the studio, and the songs are tuneful rather than just serving as a framework for Jad‘s various lyrical rants. As for Jad, after losing interest in horror movies for a few years, his preoccupation has returned on Hear the Lions Roar, and his tale of “zombie hippies” in “The Preventers” sounds like a flick worth seeing on a Saturday night, while “Attack of the Giant Leeches” and the werewolf tale “It Never Stops” further suggest Fair ought to consider pitching his ideas to some low-budget producer with a vision. (Hey, if Sharknado can get financed, why not this stuff?) But it’s the tunes in which Fair and company celebrate the joys of living and the powers of belief (such as “Wherever We Are Led” and “On the Right Track”), and even the possibilities of love (“It’s Our Time”), that really bring Hear the Lions Roar to life. And why not? On Hear the Lions Roar, Half Japanese demonstrate that after nearly 40 years of music-making, they’re still creating some of the most engaging recordings of their lives, and that’s truly something to believe in” (All Music)

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5 septiembre, 2017 Posted by | Half Japanese | Deja un comentario

Post-Adolescencia – BLEACHED: Can you deal (Ep, Dead Oceans, 2017)

Fuzzy post-adolescente y rabia guitarrera para este cuarteto de Los Ángeles que facturó esta primavera este Ep rabioso de cuatro temas urgentes cargados de distorsión.

“Los Angeles-based sister duo Jennifer and Jessie Clavin knew things were going to be different for their band Bleached’s sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join them and their bassist Micayla Grace in the studio, but the sisters had been crawling out of their own personal dramas. While emotionally spinning, they dove head first into music.
In the studio, Chiccarelli and co-producer Carlos de la Garza (Paramore, YACHT) helped the band perfect their fervent songs into fearlessly big pop melodies. They drew inspiration from the iconic hits of everyone from Fleetwood Mac to Heart to Roy Ayers. The result is an ambitious rock record with a new found pop refinement that somehow still feels like the Shangri-Las on speed, driven forward in a wind of pot and petals, a wall of guitars in the back seat.
After touring extensively worldwide and finding success with their hit single “Wednesday Night Melody”, Bleached is back with four new blazing tracks on their Can You Deal? EP. Fueled by the experiences they’ve had as women in their calling for music, Can You Deal? takes on the complexities of issues female musicians encounter in an industry dominated by men. With this fire in their bellies, they connected with Alex Newport (Bloc Party, Mars Volta) to produce the EP. With their singularly triumphant mix of sunny melodies, thrashing guitars and lyrics highlighting the darker sides of life, Bleached continues to demand your attention” (Press)

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TOUR
Sept 2 Garrick Centre Winnipeg, MB *
Sept 3 Louis Pub Saskatoon, SK *
Sept 5 Union Hall Edmonton, AB *
Sept 6 Marquee Calgary, AB *
Sept 8 Vogue Theater Vancouver, BC *
Sept 9 The Showbox @ The Market Seattle, Wa *
Sept 10 Wonder Ballroom Portland, Or *
Sept 12 Ace of Spades Sacramento, Ca *
Sept 13 Regency Ballroom San Francisco, Ca *
Sept 14 The Fonda Theater Los Angeles, Ca *
Sept 15 Glasshouse Pomona, Ca *
Sept 16 The Observatory North Park San Diego, Ca *
Sept 17 Van Buren Phoenix, Az *
Sept 19 Sunshine Theater Albuquerque, Nm *
Sept 21 Tricky Falls El Paso, Tx *
Sept 22 Paper Tiger San Antonio, Tx *
Sept 23 Granada Theater Dallas, Tx *
Sept 24 White Oak Music Hall Houston, Tx *

3 septiembre, 2017 Posted by | Bleached | Deja un comentario

Energy-Gaze – SNOWBALL II: Flashes of Quincy (Doughnut Records, 2017)

Mezclan la complejidad musical del Shoegaze primigenio de Ride con las guitarras y la energía y el Power-Pop de los Posies de los noventa. Todo un hallazgo…

“Songs about breaking your ankle on halfpipes, drinking chai tea and heartbreak; must be the nineties!? Or is it ‘Flashes of Quincy’ by Long Beach based power pop band Snowball II? An album that combines the more rock-influenced shoegaze sounds of bands like Ride and the heavy strum and meddling of a genre one can only identify as a specific type of garage power pop. Throw into these musical nods to a by-gone era the lyrical recipes that shot many alternative bands to the top of charts around the world; such as skating, girls and being generally awkward about things. It’s a smart and satisfying album because it injects an originality into a time period and sound (power pop) that make it sound as fresh as ever; you can see the influence, but it’s mostly covered by originality and creatively diverse songs, ideas and sounds” (The Primal Music Blog)

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2 septiembre, 2017 Posted by | Snowball II | Deja un comentario

Aurora – LAMAGAIA: Lamagaia (2017)

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Desarrollos e improvisaciones dentro de un amplio marco que abarcaría el Shoegaze, el Space-Rock y algunos vientos jazzísticos.

“Sophomore full length from Sweden psychsters features 35 minutes of brain-crushing, throbbing deliciousness split across two sidelong tracks. ‘Aurora’ pummels forth like that proverbial train that kept a-rollin’ down the line, awash with fuzz-frying, dive-bombing guitar, stutter-stepping drums, and head-throbbing basslines. … ‘Paronama Vju’, a veritable somnambulistic trudge through the Milky Way on a cloud of stardust. … It’s like a Quicksilver-meets-Grateful Dead jam…on steroids. Just sit back and enjoy the trip” (It’s Psychedelic Baby Magazine)

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1 septiembre, 2017 Posted by | Lamagaia | Deja un comentario

Come to the Valley – WAVVES: You´re Welcome (Ghost Ramp, 2017)

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Reconozco que me acercaba a este último trabajo de Wavves con cierta pereza. De encontrarme con clichés y patrones ya conocidos. Pero qué narices, Nathan Williams tiene una capacidad innata de producir himnos de tres minutos y de facturar estribillos absolutamente epatantes, a base de ingenio y buenas dosis de humor. Canciones que quizás no transciendan a la posteridad, pero que tienen un cierto poso de permanencia, de perdurabilidad; y ahí está ya la década de trabajo que la banda tiene a sus espaldas.
Me encantan cortes como You´re Welcome, No shade, Million enemies, Animal, Stupid in love (¡qué verso, por dios!), I love you (todo una preciosa mirada al pasado) o la hilarante Come to the valley, una manera perfecta de demostrar que cualquier tiempo pasado (al menos musicalmente) pudo ser mejor…

” It’s still super-catchy and fun, like Wavves at their best usually are, but it’s warped in a very interesting way. The care Williams and Herring put into the sound of each song, the use of odd samples and sounds, the dynamic tension they make sure each song has — it all adds up to something a little more impressive than a bunch of songs all played at maximum volume. Sure, there are a couple of knockout rockers, like “Dreams of Grandeur” and “Exercise,” but even these have weird little production tricks and glitches that make them really stick. The songs that fully give themselves over to the samples are really fun. “Come to the Valley” is a loping pop song with what sounds like a sample of a vocal choir from the ’50s; “I Love You” kicks off with a snippet of an old doo wop song, then segues into a reverb-drenched ballad that sounds like the most honest expression of emotion they’ve ever put on wax. A couple other highlights are the glittery, ’80s-damaged “Million Enemies,” where it sounds like Herring whipped out some of the sounds he used when producingTimbuk 3, and the Alex Gates-penned “Animal,” which sounds weird in context just by being straightforward indie rock. Nathan Williams could have kept cranking out fun and frothy albums like Vwith little effort; it’s good that he decided to stretch his creative muscles a little on You’re Welcome. It’s even better that he came up with a smart and compulsively listenable update on the Wavves sound that kept all their rambunctious energy, but also added some fun tricks and treats” (All Music)

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30 agosto, 2017 Posted by | Wavves | Deja un comentario

Handmade – Modern Studies: Swell to great (Fire Records, 2017)

Un estimulante (y relajante) proyecto a base de Neo-Folk y música de raíces nórdicas grabado y mezclado con el cariño de lo artesano.

“A stimulating approach that melds the old and new through their instruments, delicate harmonies and rich compositions that are steeped in traditional and contemporary folk music. The restrictive process even had their wheezy founding member, the harmonium, controlling the pitch as the intrepid band members tuned their tools accordingly.
Recorded in Harvey’s studio, Pumpkinfield in the rural surroundings of Perthshire, the quartet’s songs are embedded in the sea and the landscape of the shoreline.
Emily Scott’s tender lead vocals soar over the sweeping cello, bellowing harmonium and gentle percussive crashes on ‘Black Street’, ‘Bottle Green’ and ‘Sleep’, while hidden in its depths Rob St John, whose distinctive vocals recall David Thomas Broughton, experiments with tape loops that are buried within the layers of their orchestral arrangements. St John, known for his field recordings and art-science projects, cites as his guiding inspiration Brian Eno’s experimentalism and pop sensibilities.
Unfurling bucolic stories come with Scott’s lyrics for each song, ‘Supercool’ sets the tone with an immediate sense of yearning, moving into more contemporary folk-pop on ‘Father Is A Craftsman’ and ‘Dive-bombing’ evokes images of summer frolicking on the shore. The record includes an exceptional and haunting ode to Shirley Collins’ rendition of traditional song ‘Bold Fisherman’ that featured on the Earth Recordings ‘Shirley Inspired’ compilation” (Press Note)

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29 agosto, 2017 Posted by | Modern Studies | Deja un comentario

Life WITH Soundz – CLOUD NOTHINGS: Life without sound (Wichita, 2017)

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El tradicional Pop de tintes acelerados y proto-grunge de Cloud Nothings parece que continúa indemne al paso del tiempo. Los de Ohio se mantienen fieles a una fórmula eficaz y que les promete en cada disco tres o cuatro trallazos melódicos con los que no suelen defraudar…

“After the ragged angst of their last two albums, it’s not surprising that Cloud Nothings opt for a lighter approach on Life Without Sound — if only to give Dylan Baldi‘s vocal cords a much-needed break. On their fifth album, Baldi and company sand off some of the rough edges that defined Attack on Memoryand Here and Nowhere Else, and more often than not, it adds nuance to the tug of war between defiance and acceptance that drives their music. However, smoother sounds don’t always mean a smoother outlook, and Life Without Sound finds Baldi soundtracking his quarter-life crisis with songs that try to reconcile past with present, youth with growth, and grit with polish. “Up to the Surface” begins the album with piano, an instrument that is often overused by rock bands to convey thoughtful maturity, but coupled with the track’s heavy drums and Baldi‘s gravelly baritone when he sings “I knew peace in the terror of the mind,” Cloud Nothings actually do sound thoughtful and mature as they contemplate the moment when abandonment turns into letting go. Helping the band achieve this perspective is producer John Goodmanson, whose work with Death Cab for Cutie feels like a major influence. IfAttack on Memory and Here and Nowhere Else built on ’90s grunge, then Life Without Sound could be seen as carrying on the tradition of neatened-up early-2000s indie, when acts like Death Cab andModest Mouse made it big. Though the resemblance is closest on “Modern Act,” the album’s glossiest moment, the chiming melodies that steered Baldi through his crises since Turning On also take the lead on “Internal World” and “Things Are Right with You,” where the chorus “Feel right/feel lighter” feels like a mantra. Cloud Nothings don’t forsake fiery outbursts entirely; “Darkened Rings” could have appeared on Here and Nowhere Else. Still, songs like the darkly cathartic finale “Realize My Fate” and “Strange Year,” a tangle of recrimination and regret that boasts the album’s most throat-shredding vocals, aren’t quite as raw as they could have been, emphasizing how the band’s focus has shifted. By letting go of a little of their rage, Cloud Nothings let more light and shadow into Life Without Sound with promising results” (All Music)

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26 agosto, 2017 Posted by | Cloud Nothings | Deja un comentario

Satsuma – MERMAIDENS: Perfect Body (Flying Nun, 2017)

“Mermaidens burst onto the scene with their widely acclaimed debut EP O in 2014 and went on to release their debut album Undergrowth in 2016. As a result, they were offered dozens of shows and international support slots, which led to them being picked up by Flying Nun Records.The Wellington trio offer a mesmerising dip into the realms of post-punk and psych, defined by intricate songwriting, boldly raw – yet increasingly refined – studio production, and a hypnotic live synergy that leaves audiences enchanted.
Perfect Body features many of the familiar characteristics of the Mermaidens’ sound, with twinkly, reverb-laden guitar lines, rich vocal harmonies and vibrant drums. They have expanded on these sounds, bringing in even more dynamic elements, building richer melodic layers and a wider range of guitar textures, as they explore different levels of dissonance. The record is already garnering rave reviews from around the globe. God is in the TV gave the record a staggering 9/10. “Perfect Body is a delicate filigree of an album… the New Zealand trio tackle themes of personal and artistic growth as well as the acceptance of maturity… It is, in fact, quite perfect” (Press Note)

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25 agosto, 2017 Posted by | Mermaidens | Deja un comentario

Borrascas – THE CHERRY WAVE: Shimaru (Lamppost Records, 2017)

Los diez cortes de Shimaru, el segundo álbum de los escoceses The Cherry Wave se pasa por delante de nuestros oídos como un ciclón de distorsiones y guitarras a volúmenes nocivos. Una borrasca de sonidos cercanos al Shoegaze pero con clara influencia del Fuzz y del Power-Pop al estilo noventero.

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24 agosto, 2017 Posted by | The Cherry Wave | Deja un comentario

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