dimarts, 26 de novembre de 2013
Avui, des de Newcastle ens arriba una dosi de punk que no sol ser molt habitual darrerement. L'actitud es mostra en totes les composiciones amb unes veus desafiants i uns acords primaris molt propis d'aquest moviment musical. A remarcar "We get by" i "Novo's"
divendres, 22 de novembre de 2013
Ghost Wave són de Nova Zelanda i, com és natural, graven a Flying Nun, segell mític del pop que es factura per aquelles terres. No abstant això "Ages" no és un disc de pop, sinó de psicodèlia i garatge a parts iguals. Un primer treball en format llarg després d'un primer Ep que ja ens havia posat sota la pista d'un grup a seguir. Es tracta d'un treball molt remarcable que conté enormes cançons com "Arkestra" i "Bootlegs" que ja han figurat a algun recopilatori mensual. Per posar a tot volum i .... enlairar-te cap a l'infinit.
Ghost Wave’s debut album, Ages, spins like a time machine caught in endless loops, sandwiching the liberating freedoms of the ’60s and the hazy psychedelic rock of Flying Nun Record’s ’80s catalog to manifest a lush rock ‘n’ roll force. While their first showing proves to appeal enough for a surface-level listen, it fails to pursue past that base enjoyment.
In an effort to make their retro-leaning rock relevant to today’s standards, Ghost Wave drives their instruments through distortion recalling modern, noisy psychedelia like Deerhunter, penning groovy jams that could last for hours. Frontman Matthew Paul leads the band to ”react to the change” as he coasts with a natural, laid-back rock demeanor and occassional sassy vocal punctuation. The band follows with a dominant forefront of distortion and a perseverance to reshape the leading melodies in unity. This is especially evident in “Bootlegs”, as they trade off between full-band ruckus and string-exclusive headbanging.
“Arkestra” serves as the centerpiece of Ages, an instrumental stratosphere of psychedelic warps, its dynamics fluidly shifting to intermittently excite and calm the ears. The album is loaded with a mastery of structure and instrumentation, but the band comes up short in breaking this stagnancy, the tracks too easily blending into each other in a forgettable wash.
The instant gratification from their instrumental highlights doesn’t last forever, either, which is all the more obvious when the band runs out of steam for the final two tracks. Instead of giving these tracks free reign for exploration, they’re cut short and overstuffed with too many tricks. Ghost Wave know their flavors, but they have to infuse some more spirit and variety, in order to do their talents justice.
Essential Tracks: “Arkestra”, “Bootlegs”
(Consequence of sound)
dijous, 21 de novembre de 2013
S'altre dia els vaig descobrir i he decidit que passarien davant de la llista de coses a publicar. The Band In Heaven són una d'aquestes bandes que et captiven a sa primera, per ses veus, ses guitarres és ritmes juvenils i aquesta alegria que traspuen les seves melodies contagioses. No han inventat res de nou, però el que fan ho fan molt bé. Ja sabeu que ses grans parrafades no són el meu estil, la música va per davant i, a més n'Eric Witt en fa una molt bona dissecció del treball a l'article que ve a continuació. Au idò, a passar una bona estona!
Caught in a Summer Swell, the first full-length from the band in Heaven, isn’t lamenting being trapped in an endless summer; it is wholly accepting it. Each repetitive, glowing progression is another step deeper into a sun-soaked, psychedelic landscape. These summer anthems of Caught in a Summer Swell are decorated with fun synths glossed with dreamy effects and sweet harmonies on guitar and vocals alike.
The album opener, “Dandelion Wine,” is a jovial first step into The Band in Heaven’s summer swell. It’s catchy, and each soaring riff builds into the next in the shoegaziest of fashions. The two singers plead that “the summer sun will set, won’t stay too long,” and as the song dies, the guitarist holds onto the main riff, as if to never let go of that setting sun.
The soft hum of an accordion sets the pace for one of the calmer tunes on this album, “Tunnel Into Your Dreams.” Though delayed guitars again take their important place, this track stands out among the rest with a higher level of maturity. Violins vibrate along with the melody, and even when the beat picks up, the song remains peaceful. “Tunnel Into Your Dreams” is the most original track on Caught in a Summer Swell.
On “Fairweather Friends,” the clean guitar and vibrato vocals elicit an R.E.M. vibe, and as the chorus bursts with joy from the morose verse, one can see the huge influence of bands like My Bloody Valentine and Modest Mouse.
On the track “Does it Show,” classic reverbed-out guitars and shimmering ’80s sound effects mingle with a distorted guitar and phased-out noises. “Does It Show” is exemplary of the band in Heaven’s sound, and its over-attachment to this sound. If the band asking, “Does it show?” then the answer is yes: this patchwork of classic sounds is clearly derivative.
It’s no fault of The Band’s that it has perfected its own collage of sound, though it leaves Caught in a Summer Swell feeling stale and caught in its own humid air. On the track “Music Television,” the band garners a particularly palatable sound that would be fitting on the channel it is ostensibly referencing. The drum fills are predictable and the youthful lament is trite (see: “Young and Dumb”).
For some, this sound comes at the perfect time and is the perfect blend of what a 30-something is looking for in music. For others, it’s standard, even in light of the talented songwriting.
The band in Heaven tagged itself on Bandcamp as Shitgaze, which sounds like just another uber-specific sub-genre to be lost in a sea of music snobbery, but somehow, it fits. It has the keenest of pop sensibilities, and every track has its own golden moment or melody that harps back to the sunnier days of the early ’90s. It’s perfect for its context, though this comes at the expense of original sound. (Eric Witt)
dimarts, 19 de novembre de 2013
Com sempre, els The Great American Novel end ofereixen una dosi extraordinària de power pop musculós. Un grup que crea addicció a sa primera amb la seva base rítmica potent, les seves guitarres engrescadores i les seves melodies irresistibles. En línia amb els recordats The Replacements amb això queda dit tot.
"Somehow they’ve managed to capture that early pop sound, a sound that so many in the modern music scene have tried to revive. They captured the sound and they pushed it further, a feat in any genre." - Dingus
"I dig the sound that Layne Montgomery creates, and he seems to be having a lot of fun, even when he’s singing about heartbreak." - Music Defined
"Described in 5 words: Catchy, fun songs about stuff" - the 405
"Their raw Arctic Monkeys-meets-Beach Boys sound...[is] a testament that these guys need to be signed. This album can’t be missed; it’s filled with beautiful lyrics, catchy music that’ll bring back memories of favorite 60’s rock bands, and a stellar rhythm section that pushes that 60’s rock sound forward into the 21st century." - Cracked Vinyl
"Relaxing music" des de Melbourne. Molt poc a afegir al bon article de Cool Perth Nights. Ells ho diuen tot.
This winter was another hard one for me, and then it ended on a particularly rough note with a whole bunch of life stuff that I shouldn’t talk about in this context. I have been forced to remember the transience of life, the lasting influence of love, and the power of creative expression. These are good things to remember, but it was a hard few things that lead to it. And it’s been cold. It’s been rainy, and windy, and grey as fuck.
But a few days ago, the sun came out, and the skies were blue again. And then, on the second sunny day, a dude I know declares that a project he played some guitar on’s new EP is up on bandcamp (10” vinyl available soon), and I went and listened to it, and wouldn’t you know, it was the perfect thing: perfect for an emergence in to spring, and perfect for a re-emergence in to my own sense of wellbeing. It was relieving to have this album all up in my ears as I went about my business on these sunny days.
Ambient and dream-poppy, with a twinge of the swamp-sound that bubbles under Melbourne’s musical landscape, this predominantly bedroom-written album is a bit darker than similar styles I’ve been hearing coming out of other cities in recent years. Hell, I’ve never actually heard a slacker/dream pop band from Melbourne before, so I’m pretty fascinated by this. It’s got layers of pretty things, and nice reverb, and twinkling stuff and one track (“Down Under”, the stand out track for me) even has guitars that sound like waves rolling along the coastline, if waves were more melodic than percussive.
Angus Bell is the dude behind The Galaxy Folk, joined occasionally by collaborator Isaac Wright, with instrumental contributions by Alex Burt, Abi Wright, Cale Foley and Mike Lillis in both live and recorded situations. Bell makes pains to emphasise the “electronic” nature of these recordings: “This is not a representation of a band, this is an electronic album”, I suppose for the sake of differentiating the act of writing/recording from that of performing. It’s a different feeling, and you can tell by these sounds that this guy takes his feelings seriously.
He keeps away from the noisier, fuck-it-all attitudes taken by many of his musical peers, though he is just as driven to express his disaffected youth-ness. Instead, Bell has withdrawn into a private world for his colder, darker moments; it seems aggression just isn’t in his nature, which is a seemingly rare trait in the circles I met him in. The melodies are wistful, playful, lovely, and relaxed, though tinged with a soft dispiritedness…
I believe him when he says on the band’s Unearthed page that: “the music gets me through”, because amongst the nice prettiness, I can also hear the bleakness of addiction. I can hear the needles that plague too many friends, and the years of hangovers, and the cigarettes, the depressive cycles and anxious thoughts. I can hear sleepy disillusionment. I can hear a struggle to be heard clearly, to express freely, to find meaning in his existence. It is a sweetly personal collection of songs, but it’s also a straight up chiller if you’re in to the poppier, cuter side of music making; especially if you’re a fan of Galaxie 500 or Seabear.
I asked Angus a few questions about the album and his background, and I think his straightforward response, which I’ve edited a little for make-benefit-reading online, reads better as a whole chunk than in broken up bits throughout the rest of this review:
“My dad played in a couple of bands in the 80’s. I remember he was still rehearsing in a band called (might have been) Beargarden when I was pretty young. I remember vividly when they were jamming in our study- I was playing along with a plastic Stratocaster with no strings, and my older brother was shredding like Warren Ellis on his violin.
My dad had a pretty big impact on my musical taste, one of those men who was very anal about the state of his sound system; there are always a few good “dinner table” albums that I revert back to when I want to feel nostalgic.
I was given a guitar for Christmas at some stage in 90’s, still riding the wave of Nirvana. “Come as you are” was the first riff I learned (little fact: Kurt Cobain killed himself on my birthday). Did a couple of years of mild guitar lessons in primary school, grew some pimples. Then ended up in a pseudo-reggae band with some printing factory work colleagues. Alex, Isaac, Cale, Bad Fingers and Moisty had all started up a band called “Cordyceps”. I somehow convinced them to let me be their “drone machine” player. Every song went for about 15 minutes. Alex even had a beard at the time (Tahlia’s note: Alex no longer has a beard, and I can’t imagine him with one; it would be weird).
Around this time I got pretty into song writing, and just started experimenting with recording my own songs at home. I experimented a lot with layers and layers of guitars and vocals, and obviously reverb, and got pretty obsessed with it.
I recorded a couple of EPs, and by the time I wrote an album I had the name “The Galaxy Folk”. I started up a 3 piece band, with the intention of playing the songs, but as the band grew we kind of just started playing our own kind of thing; it seemed a little sterile just to make everyone play exactly what I did for the sake of the acid test.
At the end of the day, I’m still making songs at home and making different songs with the band, I enjoy them both for different reasons; its just some kind of hybrid I guess.
In this day and age there is no need to spend all your time and money in a recording studio, with little resources you can pretty much do whatever you want. And I guess that’s what its about.” (Cool Perth Nights)
Si algú recorda els Ride o els Stone Roses dels 90s i eren bandes de la seva corda, aquest treball dels Invisible Days és molt recomanable. Un single d'avançament d'un proper treball en format Lp. Esperam coses noves seves properament. Molt interessants.
Brooklyn’s Invisible Days are a simple band, a trio whose two favorite things in life are “hamburgers and volume”. But over the course of just two releases, the Polaurora EP and the “Solitary Time” b/w “Stewards” single, vocalist-guitarist Sean Finnigan, bassist Alex Koch, and drummer Michael Petrucelly have taken that easygoing approach and forged a deceptively intricate blend of shoegaze. Inspired in part by ’90s pioneers like Ride and Stone Roses and contemporaries like Deerhunter and Kurt Vile, their sound is as assaultive and chaotic as it is poppy and alluring. For a taste, the band have unveiled the B-side single “Needles”.
While other entries in the catalog better display their affinity for dissonance, this latest number is firmly rooted in a pop tradition. The strummy guitar that slowly flows along, the dreamy, quasi-sexually ambivalent harmonies, and the overall breezy tone make for universal accessibility. But pervading that poppy core is an intensity and sense of restrain, as if any moment the dam could burst and out pours layers of righteous feedback. It’s that kind of subtlety and playfulness that makes their noise-rock more than mere bedlam.(Consequence of sound)
dilluns, 18 de novembre de 2013
Els amants de la psicodèlia en faran una vega d'aquesta entrada. Hi trobarem referències als 13th Floor Elevator, als Spacemen 3, als Loop i altres espècies del moviment neopsicodèlic. Un disc per escoltar tombat fumant alguna cosa agradable. Dens, amb multitud de capes sonores teixides com a teles d'aranya que et captiven de seguida i no et deixen tranquil fins que ha passat una bona estona des del seu acabament.
The sick part of the 60s came back to life in the 90s when a bunch of bands from the UK figured out how to do those supremely nasty Ron Asheton guitar leads, and that’s the sound of locals Drinking Flowers, too—two continents, two generations and probably the first two Stooges LPs all dissolved into one boiling ball of acid. (Thanks to my stomach doctor for that little image.) People may say there’s Spacemen 3 happening here, but this is way more like early Telescopes and even more like Loop, who made raw meat out of riffs and repetition. The guitars are produced perfectly for this kind of thing here—you can hear the friction and heat between every coil on the strings—and each song is its own study in psychedelic unraveling. The first three on this EP just saw away at you, and then it splits into a stomper called “Sink,” a viber called “Animals” that sounds like a Jesus and Mary Chain demo and an awesome wasted one called “Vibrating Violence.” Warlocks fans should check this out and Cosmonauts fans have probably seen these guys play already. The songs start to sting after a while, but that’s how you know they’re working.
The Moas vénen del Canadà encara que podrien venir perfectament de qualsevol país on el fred fos el protagonista però no precisament perquè la seva música sigui freda sinó precisamente per tot el contrari. La seva música es càlida en gran part gràcies a la veu de la seva cantant, na Sònia Dinkin. Tot i així en cap moment sona ingènua. Las cançons transcorren suaus i en acabar tens la sensació d'haver passat una estona agradable en companyia d'unes amistats entranyables.
There are times when the music leaps from your speakers and fills your ears with goosebump-inducing melodies. The first time that I listened to The Moas, it felt instantly familiar, yet refreshingly new. When you look back at the history of music, from The Beatles-led British invasion to Athens scene that produced REM to the Manchester scene championed by bands like Happy Mondays, there were always sections of the world that seemed to be the primary source of great music. Because music has become more global, bands seem to sprout from every corner of the Earth. To discover that The Moas are from Saskatoon doesn’t even surprise me at this point, even though they’re the first band that I’ve interviewed from that part of Canada. I stumbled upon them via Bandcamp, immediately fell in lust and then tracked them down, so that I could share them with the world. Meet The Moas. ( The dumbing of america)
dissabte, 16 de novembre de 2013
El tercer treball del grup de Washington és un digne successor dels seus anteriors treballs. Apte per a fans dels millors REM. Han sortit ja tres vegades als recopilatoris mensuals i era hora que també tinguessin una entrada pròpia. Rock de qualitat contrastada i que ja mostra una plena maduresa com a grup. Un luxe d'entrada sense més comentaris.
Three albums in three years? What is this, the 1970s? I suppose when you're not signed to a label that doesn't require you to tour nine months out of the year anything is possible. As I've mentioned in previous features for their Spark Flame Ember Ash and Winter Garden Light albums, this Terry Banks-led D.C. quartet are not about full fledged Wire worship, as their moniker might suggest. There are vague parallels (coincidentally in the vocal department) but as evidenced on the bulk of Half-Remembered Dream, Dot Dash are downplaying some of their chillier post-punk inclinations for a slightly more streamlined guitar-pop bent. Even when they're tamping down demons of yore on "Here's to the Ghosts of the Past" and decrying character flaws in "Shopworn Excuse," the actual delivery of these songs is fairly strident. Elsewhere, "Bloom/Decay" and "Do Re Mi" travel a similar sonic motif, simultaneously offering some of Dot Dash's boldest melodies to date. Half-Remembered's real corker would have to be the penultimate "A Light in the Distance," an incisive, power-chord driven slammer that propels the band into Superchunk-esque punk environs. The concluding "The Sound in Shells" brings things back down to Earth for a smooth touchdown. Perhaps not as dazzling as last year's Winter Garden Light, HRDmakes the case that's it still a great time to be a Dot Dash fan. (Wilfully Obscure)
All Dogs és un grup format per tres joves d'Ohio, dues al·lotes i un al·lot que en ofereixen els seu segon treball, encara en format reduït. Els seu pop punk resulta ben interessant i efectiu. Encara els falta trobar el seu camí definitiu però van ben encaminats. Tenen joventut i ganes i una vitalitat ben present.
Columbus, Ohio (they are sadly not from Defiance*) band All Dogs released their debut 7″ on Salinas Records earlier this month. The aptly titled 7″ is full of the band’s signature (can such a new band even have a signature?) downtempo pop-punk, distinguished by singer Maryn Jones’ sweet sincerity. You can buy the vinyl version from Salinas’ website or get the digital version from All Dogs’ Bandcamp. @emilywherever
divendres, 15 de novembre de 2013
dilluns, 11 de novembre de 2013
Els Long Faces vénen de New Jersey i amb els seu grunge pop ens han cridat l'atenció aquest estiu amb la publicació d'aquest nou Ep. Cançons que podrien signar els mateixos Posies o els Gigolo Aunts per no cercar massa enfora, n'Alex Chilton en podria ser una altra referència. Cançons que no tenen altra pretensió que fer-nos passar una estona agradable amb unes bones harmonies vocals i una dòsis justa de mala bava.
It is my pleasure to re-introduce Long Faces to the Dingus community with a new EP and a full-length album in progress. My first reaction while listening to the opener ‘Closer‘ was mild shock at how catchy and smart the hook is for a grungey pop song. With the stale format of 75% of indie-rock these days, it is refreshing to hear a track so well arranged and the 3 songs that follow serve as an equivalent experience. The band is about a year into their evolution and has stayed dutifully on track, cutting back on shows to dig deep into their repertoire and release music for everyone to get behind. This collection of songs is a great representation of the material, energy, and style Long Faces brings to the table and in short time people will be singing the lyrics and anxiously awaiting the full record. For now, do just that and be sure to check out their east coast dates over the next few months.@thinknotsleep
divendres, 8 de novembre de 2013
Back when I first started writing for Splintr, I used to do album reviews of stuff I found while trawling around Bandcamp. I haven’t done it in a while, and I actually kind of miss it because otherwise stuff like The Yum Dee Days’ “It’s All Happening” will remain under my radar. Good thing a friend brought them to my attention, which is a separate story in itself.
I come home from a long day at my other job to a Facebook message: “Do you listen to The Yum Dee Days? Because you should.” And this friend of mine knows my taste, so naturally I got curious and googled them and I came across their Bandcamp page. To say that I was blown away by the songs in “It’s All Happening” is an understatement.
With song titles like “The Future Is A Drag”, “King Slacker”, and “U R Heavy”, I was expecting a snarky punk record but I couldn’t be more wrong. The music is a mixture of Beach Boys and Neil Young, something completely not of this time. I needed to learn more about this band. So I searched around the internet, but I couldn’t find anything about them.
No information about who the members are, no interviews, nothing. The only thing I was able to find was another review of this record where the reviewer talks about not finding anything about the band either.
All we have to go on is this record (which CAN be downloaded for free, I might add), and frankly, it’s more than enough.
“It’s All Happening” opens with the psychedelic jam “Everybody Knows, Nobody Cares”. It is three minutes of psychedelic goodness reminiscent of Syd Barrett-era Pink Floyd. It’s only the first song in an album filled with great, memorable songs. The track is followed by the infectious organ-driven pop song “And There’s No Need To Pretend”, and it starts to become clear that we are not dealing with amateurs here. They clearly know what they are doing.
As soon as the bouncy “Hangin’ Out For Days” kicks in, with it’s perfect summertime vibe and beautiful melody, I can’t help but be transported back to the aimless summers of my youth, when me and my friends would “hang out for days”. Music is at its most special when you connect to it on a technical level and on an emotional level which is exactly what happened with me when I listened to this album for the first time.
Trust me when I say that it doesn’t happen to me a lot.
I didn’t even have to finish listening to this record before I decided that I should write about it. Eloquently or not, I have to write about this. As I am writing this, their anthemic “The Future Is A Drag” is playing on loop for a while now. While I gravitate towards this track the most, “It’s All Happening" is a perfect album with no weak tracks whatsoever. Every song is a high point, and when the incredibly catchy album closer “See About Me” reaches the final note, I can’t help but replay the album. Again. And again. And again. And again. For eternity.
In my review of Queens Of The Stone Age’s “Like Clockwork”, I was a little eager in calling it my favorite album of 2013. I was wrong. This album from a literally unknown band has managed to snag the top spot.
Now if only I can track down The Yum Dee Days so I can thank them and congratulate them for making what may very well be the best album of 2013. By Francis Cabal
dilluns, 4 de novembre de 2013
Aquest treball d'en Marc Neibauer mereixeria una entrada especial, es tracta d'una obra rodona que podríem comparar perfectament amb els treballs d'en Kurt Ville. Cançons perfectament definides, amb una massa corporal de pes, la veu serpenteja entre guitarres atmosfèriques en un clima de quietut continguda, és indie rock de cantautor de qualitat que no t'enganxa a la primera, l'hi has de dedicar un poc més de temps per gaudir-ne completament.
Marc Neibauer (formerly “Eat Your Birthday Cake”) writes pop songs dressed up as indie rock. An intimate and delicate voice cuts through swirling guitars and visceral drums, immediately drawing you in. “Playtime” is both alluring and immediately likable, yet like most of Neibauer’s songs, a simple melody hides lush harmonic and lyric content. Substantial and relatable themes about growing up permeate throughout his tunes, “Playtime” is no exception. It’s hard to trace Neibauer’s direct influences, but fans of Grandaddy, Pavement, and Sonic Youth will no doubt enjoy next month’s debut LP, “Don’t Fall Apart”.(Facebook)
Bridges és el projecte en solitari d'en Brian Franklin. Un disc lo-fi gravat al seu propi dormitori, directe, senzill i amb un encant especial per als amants del dream pop i l'indie més tranquilet. Destaquen sobre les altres, peces com "Tonight" i "Never loved you" però el nivell general del disc, tot i ser una obra primerenca, és bastant bo. Ideal per escoltar una migdiada de tardor.
dissabte, 2 de novembre de 2013
Pop- punk des de Columbusamb un grup de al·lotes que aquest estiu han autoeditat aquest artefacte en format split tape. Enegia i melodia per arrodonir un bon grapat de peces que inclouen fins i tot una versió d'un tema dels Muffs. Interessant primer treball.
Not to be one of those people, but since when has it been possible to discover a band via the internet before they have released a single song? But because of Twitter, and a Youtube video of a live performance, some of my Brooklyn friends were excited about the Columbus, OH band well before the recent release of their split with Slouch (who as far as I can tell have no online presence period). The split is pop-punk done right, by which I mean bouncy indie-pop vocals over a cheerful garage-punk soundtrack. And All Dogs is stopping by Brooklyn on August 17th to play Silent Barn with the likes of Swearin’, P.S. Eliot, and Radiator Hospital, which is a pretty good argument against anyone longing for the good old days. @emilywherever
Teen Mom són de Washington DC i han tret un treball brillant de pop rock melòdic que podria anar en la línia dels treballs de Dean Wareham tant amb els Galaxie 500 com amb els Luna. Ideals per a un capvespre gris de tardor.
Gilly, the sophomore effort from the Washington, DC based fuzz-pop trio Teen Mom, begins with an expansive cloud of guitar distortion, rumbling bass, and a triumphant percussive presence. The effectiveness of opener “Kitchen” is not too far removed from the heavy breeze of The Cure’s “Plainsong,” albeit Teen Mom coat their punk ballads with an elegant balance of grit and sweet melody. (Trip Mosterz)