dimecres, 29 de gener de 2014


Power-pop des de Houston és el que ens proposen els Young Girls. Sempre són d'agrair aquest tipus de treballs immediants i gravats amb una certa qualitat. Les cançons dels Young Girls són senzilles, farcides de bons acords de guitarres i un nirvi sa que et contagia a l'instant.

THE BRITANYS. Hello Britany

La portada és horrorosa però el contingut és molt aprofitable. Gravat en dos dies, aquest Ep té el regust de les coses immediates. Una mica de power-pop, de blues rock i de indie rock formen una barreja d'estil propi dels grups que comencen. Han après bé la lliço dels mestres de cada estil i les seves composicions, tot i notar-se la joventut ténen una certa qualitat i es deixen escoltar amb molt de gust. Per cert, aprofit per fer-vos una recomanació de la pàgina de mamacocsfunkykitchen, perquè hi trobareu molts de groups novells de l'àrea metropolitana de NYC.

Hey, do you remember the 90’s? Like right before Pop-Punk was the only commercially acceptable form of Rock? Of course you do! And so do the Britanys. With their first release, “Hello Britany,” MCFK new boys The Britanys have made a fierce declaration of intent. A simple once-over of this new EP will bring you on a glorious nostalgia ride to the time of the Cranberries, Pixies and Smashing Pumpkins.

But don’t get me wrong! There is nothing stale or played out about this new sampling from the Britanys, with singer/guitarist Lucas Long’s powerful melodies soaring over slow builds, such as on the opening track, “Mama Says.” In fact, I could wax poetic about the young man’s vocals for pages and pages, as it is my firm belief that he possesses the most unique set of pipes in the entire MCFK family. And he’s a dreamboat.

Before I succumb to a hot flash let’s talk about the rhythm section, with Steele Kratt (what a name!) on the kit and Gabe Shulman on bass. The two provide a steady backbeat through all five tracks, driving the songs to epic climaxes, but truly show their prowess on the EP’s fifth song, “Blue Walls.” Altogether, the Britanys have given us something truly different, and they should be commended for their ability to bridge the gap between brilliant songwriting and the “fuzzed-out” aesthetic. A joyous celebration of melody and heart, go ahead and give the Britanys EP “Hello Britany” a listen.
-Jake Williams (mamacocosfunkykitchen.com)

HALF LOON. Swearword

Els Half Loon ténen alguna cosa d'especial, els seus sons psicodèlics ens conviden a pensar en personatges com en Syd Barret, l'ànima psicodélica dels primers Pink Floyd, o com els més actuals Flaming Lips. No sortiran a cap llista dels millors del mes o de la setmana però sí que són molt agradables d'escoltar.

You know that point where you're in the hottest bath, and for no other reason than that you can, you slip under the water, becoming totally cocooned in the womb-like warmth and all you can hear is the soft pounding of your heart and the gentle whoosh of the blood ebbing and flowing in your veins. You open your eyes and the familiar sights of the bathroom are suddenly far away and everything is swaddled in a view that is at once lysergic, melded with the clarity of a viewpoint of a brave, singular, new world? (No, then you should try it. Absinthe will make it easier to reach.) Then the soundtrack to this experience is the newest sound from Half Loon.

If you want a taste of normality, point of views, then look to Syd Barrett, MGMT, The Zombies and Flaming Lips. Then if that is just a little too straight, start running that bath and pouring that delectable green liquid. For this is this sound of 'Swearword' and I am going to go for the latter. If I don't come up for air, don't worry, for I am smiling wherever I'll be.(The Sound Of Confusion)

dijous, 23 de gener de 2014


Una mica de punk pop des de Vancouver i avui amb video inclòs.

Eating Out is what we would refer to as a Canadian supergroup, mostly because it features members of some of our favorite West Coast punk bands Nü Sensae, White Lung, and Peace.

Eating Out started in 2010 when Nü Sensae drummer Daniel Pitout wanted to get his frontman mojo going. He recruited his own guitarist Brody McKnight, Geoff Dembicki of Peace (drums), and Mish Way of White Lung (bass/vocals) to back his pop-rock songs. Last year, the band released a seven-song EP on California labelBurger Records and now have graced us with their debut music video, “Burn.”

“When I was writing the concept for the video, I was inspired a lot by alternative music videos from the 90s that I grew up watching on VH1,” says Pitout. “Bands like Smashing Pumpkins, Hole, etc. Those videos used to feel more like movies or stories [and are] really nostalgic and beautiful, which I never see much of anymore.”

Directed by Cody Fennell and Liam Mitchell, “Burn” follows a bunch of kids as they all try to meet up at a party. Every stereotypical character from every 90s movie is present, including those bitches from Clueless.

“We had over 40 cast and crew involved in this video,” notes Pitout. “I think everyone was just super excited by the idea of making a video which is essentially about youthfulness and being a bunch of weirdo teenagers, which we all were and still are.”

Eat your heart out, Billy Corgan.(Noisey)

dimecres, 22 de gener de 2014


Des de Suècia arriba avui aquest primer treball dels Star Horse. Un treball de dream pop amb elements de shoegaze molt ben parit. Veus angelicals i una base renouera bastant convincent són les senyes d'identitat d'aquest nou grup. Hi ha gent que els compara amb els Jesus and Mary Chain i no van massa mal encaminats, tot i no tenir la força dels seus mestres, signen un primer treball molt interessant. Un grup a seguir. "Magic light" és la meva preferida.

It's nice to hear from a band who remind you that there's much more to Swedish music than just sleek indie-rock and aurally pleasing pop. Hailing from Stockholm, 4-piece group Star Horse ply their trade in that magnificent yet under appreciated genre known as shoegaze. Their third and most recent E.P, "Devour", is a great introduction to the band, and one which should become a firm favourite for fans of all things gaze.

All the important elements of the movement can be found across the E.Ps 4 tracks. Hushed vocals buried in the mix? Indeed. Lyrics which appear to have been chosen more for their rhythmic quality than for the meaning? Indeed. Guitars which have been distorted into dreamy soundscapes? Indeed, indeed, indeedio. In terms of a highlight of the E.P, you could do far worse than opening track "Hope To Feel A Hand", a track that harks back to the sound of My Bloody Valentine and Jesus & Mary Chain whilst incorporating electronic influences from some of the so-called "nu-gaze" bands of new. (The Metaphorical Boat)

dilluns, 20 de gener de 2014

SETTING SUN. Be Here When You Get There

La primera peça, "Got it made" ja et deixa convençut per seguir escoltant la resta del disc. Un tema tranquil amb un cert regust també als Dinosaur Jr. , no per les guitarres sinò per la distorsió de la veu. En general es tracta d'un disc molt aprofitable, amb peces de rock alternatiu americà, d'indie rock o fins i tot del pop més intimista. Una gran entrada per al dia d'avui, tan especial.

It's been over a decade now since singer-songwriter Gary Levitt embarked on hisSetting Sun project; a band led by his songcraft with a rotating line-up of musicians contributing to the tracks. In that time many contemporaries have come and gone, and even more bands have followed the particular musical route that Levitt and his changing compatriots have trodden. New album 'Be Here When You Get There' is rightly described as a "crossover between indie-rock, folk and chamber pop music". There is no defining characteristic (with the possible exception of the vocals that Levitt provides) and the ten tracks here wander smoothly through the musical landscapes described, always competent and good quality, but never quite outstanding.

This isn't to say that 'Be Here When You Get There' isn't a good album, it is. What is needed to take this to the next level are a couple of undisputed killer songs that will lodge in your cranium and remain there. There are times when Setting Sun come close: 'Week Long Nights' is a very fine indie-rock track with hushed vocals and just a hint of Dinosaur Jr without the rich guitar layers; 'Got It Made' is another song of note and also recalls the US alt-rock scene of the 1990s, as does the semi-acoustic rock of 'Idiot'. There's nothing here that would have been better left off the album, in fact none of these songs are anything less than good, but none are quite outstanding enough to break into the big time, although there's nothing to suggest that was ever part of the plan.

'Be Here When You Get There' will most certainly have its fans, but these will largely be made up of people who tend to stick to this particular form of US alt-rock; you suspect that widespread appeal will escape Setting Sun for now, and that's despite the certain level of diversity. 'Leave A Light On' for example, is upbeat, catchy and makes for decent single material, but you doubt that those who worship at the altars of Arcade Fire, The National or even the aforementioned Dinosaur Jr will be changing allegiances any time soon. Instead they're likely to hear the maudlin, string-laden 'Seasons', the pretty 'Dream Next Door' or the country-tinged 'Selfish Love' which mixes things up nicely, almost bringing to mind Neil Young at some points, and give a deserved nod of approval. An album to be investigated and enjoyed, but one that just falls short of being truly cherished.(The Sound Of Confusion)


Avui mateix els de Take Turns han penjat el seu darrer Ep que duu per títol Sick Note. Segueixen en la línia dels seus darrers treballs ja comentats a aquest blog. Peces contundents, indie rock directe i sense més complicacions. Són de Leeds però el seu so no és en absolut el predominant en l'escena britànica. A destacar "Mantle" amb un cert aire a Dinosaur Jr.

diumenge, 19 de gener de 2014

UNITY FLOORS. Exotic Goldfish Blues LP

Tal com diuen al seu bandcamp, Exotic Goldfish Blues LP és una enorme col·lecció de deu temes elementals de rock aussie. Les peces sonen directes, sense massa producció, guitarres ben presents i una veu que, sense ser massa personal, acompanya els temes i els transmet un sentit especial. "Holy hell" és la meva preferida i ja ha sortit al darrer recopilatori.
Formed in 2010, long standing buddies Gus Hunt and Henry Gosling began making music as a means of passing the time and having something to do on a an otherwise dreary Wednesday night. Bonding over a similar appreciation of 80s/90s music, the boys played their first show as Unity Floors in late 2010.

Their debut LP, aptly titled 'Exotic Goldfish Blues' is a collection of eleven timeless and acutely Australian rock'n'roll songs. Following on from their 2011 EP 'Women's Golf', 'Exotic Goldfish Blues' is a continuation and a perfect staple of the archetypal, wholly unrestrained Unity Floors aesthetic.

Recorded sporadically over a few months in various locations including studios, their bedrooms and random hallways, EGB captures the carefree ethos of the band's musicianship; one that is fundamentally an extension of their own friendship and everyday lives.

A combination of introspective headier numbers and exuberant rollicking rock tracks, vocalist Gus Hunt delves into topics as disparate as forlorn romances and petty theft. Whilst the album still parades the enchanting blind optimism of earlier Unity Floors recordings, a sense of apprehension and maturity can be heard as Gus sings, "You better run for your life, you better settle down."

No ode to any particular band, genre or era 'Exotic Goldfish Blues' is Unity Floors' long awaited debut LP and is the product of two guys simply writing songs and playing scrappy rock music in their lounge room.


released 29 November 2013
Unity Floors are Gust Hunt and Henry Gosling (Bandcamp)

CHUMPED. Chumped

Una petita tapa d'indie punk pop des de Brooklyn.

Chumped knock out songs that are in an indie-pop-punk kind of vein, occasionally offering up some similarities to the mighty Lemuria although without sounding as if they’re trying to follow the exact trail that that mighty trio blazes. On the whole the songs are catchy, punchy and benefit from lyrics that are emotional without requiring a box of tissues to mop up floods of tears, however, they do manage to touch the sometimes cold and cynical heart of this old man!

That being said all of the songs are generally upbeat because there’s never that awkward maudlin moment, where the band feels the need to add some awfully contrived and badly written acoustic/slow song to show that they have emotions – Chumped are able to convey that without resorting to such pointless tangents and “Let Him Lie” is a prime example of their abilities in that respect.

The Lemuria comparison is heard most clearly on a trio of tracks “Union Square”, “Something About Lemons” and “Dear Emily Dickinson” both in terms of song structures, guitar sound and also the vocals of Anika Pyle, and this is a big part of what really make Chumped stand out to my ears. It might seem like a lazy evaluation of Chumped, but it’s difficult to listen to this without having that initial opinion though on future plays this does fade to a point where it becomes all about Chumped.

This is quite an impressive debut and if I had produced a list of my top ten favourite singles/EPs in 2013, this would have been on it with ease and would point potential fans to the track “Eleanor” as a first port of call. The vinyl version of this is a one-sided 12” which only the crazy postal rates from the US to the UK prevent me from getting hold of at the moment.( punknews.org)

QUITTY AND THE DONT'S. All of You / No Damage Done 45

Només veure la portada del disc ja podem tenir clar el seu contingut, psicodèlia dels 60s barrejat amb un poc de garatge, els Farfisa ben presents i una producció que segueix els postulats propis del treball. Tot ben perfecte per als amants del gènere.

The '60s never really died, they just came back with better haircuts and cooler names for their drummers (seriously, you're not going to find a better name than Quitty Bastardo). Meet Quitty and the Don'ts, Northern Soul revivalists with fantastic suits to match. The Brooklyn five-piece is channeling Mod better than most bands from across the pond for their latest 45", 'All of You / No Damage Done.' It just goes to show: music that's this much fun, belongs to every decade. Check out side B farfisa filled 'No Damage Done' below. - Mike Levine (@Goldnuggets)

dijous, 16 de gener de 2014

WILD MOTH. Over, Again

Post grunge se'n podria dir de la música dels Wild Moth, un grup de la costa oest americana, concretament de San Francisco. Música intensa, amb guitarres ben esmolades i un ritme contundent que ens diuen que no hi ha futur... Tendran raó?

Both Wild Moth's Mourning Glow and self-titled had me up in arms. They were fluently entangled in a distanced vibe that really made me understand what shoegaze meant, and more importantly, felt like. Over, Again has all these elements and more. It's detached, introspective and non-confrontational which adds so much to the surrealism that Wild Moth loves to dig at.

"Souvenir" drains you with the typical Wild Moth sound, that leaves you wondering how much did San Francisco really influence their music. There's no reinventing the wheel here, as each crack of the drum feels like a resurgence of emotion. Epic basslines and the pinnacle of what seems to be thestandard for shoegaze leaves you wondering how high the bar's been set - and all this from just one track. Undeniable and unbelievable. 'I feel the walls closing in / Blinded by a thick veil / Starting all over again / Idealized conviction / I feel the walls closing in / Designed to repeat itself spews forth the precious character of the band and they've distinguished themselves even more because they simply love to test their boundaries and push the envelope, by the record.

"The Dreamers," as colossal as it is with such a brilliant musical narrative, is reminiscent of a calmer Bloc Party, and Wild Moth love to contextualize their high-concept theories and influences, in such a cool, calm and collected manner. "Into Your Hands" follows a similar vein of technical superiority, reinforcing why Wild Moth need to be garnering much more acclaim at the moment. Their music is effortlessly catchy.

Playing off the predispositions of the band's sound, "Pt. Dume" closes to perfection. The smokescreen of the world and the miscellaneous tidbits that lead, connect or weave indie-shoegaze are played out in every lick and riff with this band, who at times come off a tad precocious and a tad pretentious on their existentialist vibe, but all in all, you can't help but love their music. It rubs you that well. Don't be afraid to jump in. Wild Moth have a record that'll take good care of you. Lovers of their old stuff and those who are venturing into new territory won't be disappointed. (punknews.org)


Un single que tenia perdit d'aquest estiu, des d'Aukland. Surf pop ben interessant.

SPORTS GUY. Break It Off

Gravat el 2012, no va ser fins a l'octubre del tretze que va sortir publicat a Bandcamp aquest primer treball d'aquest combo de NY. Música indie tranquileta i inofensiva. Té el seu encant i per aquest motiu l'he inclós al blog.

dimecres, 15 de gener de 2014

T54. In Brush Park

Si els edita Flying Nun, ja podeu saber de què va la cosa. Pop de guitarres melodiós gens agressiu i d'una qualitat més que acceptable. Aquest és l'àlbum de debut d'aquest grup i, pel que es pot sentir, hi haurà recorregut. Molt recomanable.

Noisy psych guitar pop is in abundance in New Zealand at the moment and the cream of the crop like Popstrangers, Surf City and these fine gentlemen, T54, are improving with each new release. Flying Nun is a natural home for the band as they deal equally and unassumingly in melody and adventurous sonics, soaking up the influence of their predecessors like 3Ds, JPS Experience and Loves Ugly Children while still carving out their own sound.

In Brush Park is the band’s debut full-length release and a very assured and mature-sounding one at that. There is little impression of them still still trying to find their feet stylistically, they’ve already arrived at it with woozy, chiming guitars alternating between beauty (‘O Nina’) and coruscating attack like the dissonant ‘Return Of The Worm’ and the punky ‘SW Chops’. Joe Sampson’s vocals add texture more than meaning in the context of the album. It drifts in and out of the frame adding angst, yelps and counter-melodies to the guitars and economical drumming.

Brutally efficient, In Brush Park only just hits the 30 minute mark yet it feels like a full and often overflowing album with more than enough swerves and variation to show the full range of T54’s writing and playing abilities. Its strength also lies in its toughness, its lack of soft indie shoe-gazing best exemplified by ‘Biscuit City Sisters’’ epic 7 minutes of driving krautrock that closes the album, the crowning glory of a very, impressive guitar rock record.

By Chris Familton

THE MITES. Washaway (single)

Una entrada=un single, des de San Antonio un grupet d'amics ens presenten aquesta petita meravella de dream pop una mica guitarrer.

divendres, 10 de gener de 2014

TAKE TURNS. Soft Skills EP

Aquests allots de Leeds practiquen un pop acceleradet de fàcil digestió i guitarres de les que tant ens agraden. Sense ser un treball imprescindible és molt recomanable. Directes i que enganxen a la primera.


Una bona dosi de pop-rock...

Tiny Planets are one of those bands that you listen to and appreciate just how good Wakefield music has it. The two tracks on new single Two Hearts are simple, great pop-rock. Title track ‘Two Hearts’ showcases loud choruses built up around light bridges, where both rhythm and lead guitar intertwine brilliantly to create a free-flowing sound. Craig’s vocals are also impressive throughout, although the shouting at the end of
‘Steeled to the Sound’ feels a bit lost; like a “what would Ryan Jarman do here?” moment. I don’t feel like it adds anything to the song, but it certainly doesn’t detract anything either.

Amy Walker

dijous, 9 de gener de 2014

WYLDLIFE. The Time Has Come to Rock & Roll

Encara que arribi un pic tard, no el podia deixar passar. Un disc de Rock & Roll amb la qualitat d'aquest no és fàcil de trobar avui. A alguna de les listes que pena la gent i que a mi no em van ni em vénen l'he trobat ben col·locat si això vos pot servir d'introducció. Un disc intens, d'aquests que transpuen suor i amb això crec que ja enteneu perfectament el contingut del treball. Si voleu un comentari més treballat el trobareu aquí abaix. Jo me pos a escoltar-lo novament!

The title is so apt for Wyldlife's debut album. It’s always time for rock and roll and these guys make sure to bring it to you. It’s hard to find this sort of fun, honest garage rock anymore. Everyone wants to be miserable or deep or angst-ridden. Why can’t we just have fun? That’s what I feel like these guys are asking now.
“The Right!” kicks off with a news broadcast-esque soundbyte - “At 10pm it’s time to party!” before launching right into the fun of this track. If you can keep your feet planted on the floor while the piano is just getting wrecked I have some bad news, you’re not human.
“Saturday Night” has a similar can’t-not-move vibe about it. I love this one, it’s about a girl who used to be living every day like it was Saturday night but has now become a total snorefest. It’s got a great beat and the guitar riff between the chorus is fantastic.
I’m sure we can all identify with “Wasted”. It definitely takes a backseat to the more upbeat previous two tracks. But it’s still a lively tune. I love the lyric “I’ve been drunk from the absence of stars”, it’s a sweet side to getting boozed.
That beat I was talking about before, it comes back in “Sonofabitch”. The crunchy distortion on the guitar is great as this song builds. David Feldman’s vocals are rock quality through and through.
“Guardian Angels” on the other hand is all about the music. The melody from the guitars as well as the undertones of the bass and the cheeky push and shove between the two is superb.
I found myself a little bored with “Trash”. A solid song with decent singing nonetheless but the oomph of the previous tracks didn’t find me. “Cowboys and Slutz” on the other hand would be fantastic live. I want to head bang but I’m writing this on a train and feel that may be inappropriate on public transport.
“Suspicion” is the token “Is She Cheating On Me?” song. This felt a bit more pop rock than garage. It’s not a crime, the song is naturally catchy, just not incredibly innovative.
“First Time’s the Worst” is wonderfully catchy too especially the way the lyrics and the tempo just roll right off. But if you pay attention the words are actually really tragic.
“Out On The Run” has a slower tempo, which does seem fitting for the conclusion of this album. But it’s not the best, there’s a hint of country (or is it western?).
Regardless of the last track these guys are a fun group from New York. They’re honest, they’re witty, and they’ve got my recommendation. http://www.theaureview.com

COURTNEY BARNETT. How to carve a carrot into a rose

Des de Melbourne ens arriba aquesta nova proposta de Courtney Barnett, una cantautora australiana amb una veu ben personal comparable als millors moments de Patti Smith o PJ Harvey. Les peces van variant des del blues fins al rock passant per moments més folkies. Un bon treball per acostar-nos a una veu femenina ben interessant. "Avant gardener" és la peça que més destacaria amb la veu que va lliscant suament sobre una base simple i una guitarra que va fent de les seves.

The term ‘slacker rock’ follows Melbournian Courtney Barnett around, and this puzzles me. The rocking lass has recently performed for Triple J’s Like A Version, collaborated with Jen Cloher, supported the likes of Big Scary and Something For Kate on national tours, and released a new EP. Slacker? It doesn’t quite do the trick.
How To Carve A Carrot Into A Rose is a product of her recent work. The EP opens with the smoky ‘Out of the Woodwork’, Courtney’s usual breezy style coated with bluesy piano. The song builds to a wonderfully cluttered finish, the piano tumbling over itself. The sulky mood softens with the jangly percussion of ‘Don’t Apply Compression Gently’, but the direct comments still hold a scathing edge: “I’m not individual enough for you, I replicate the people I admire, but at least I’m not bitter and sad.” This combined with her relaxed delivery on vocals makes for a tongue in cheek coolness, the raised eyebrow almost materialising through the speakers.
My favourite lyrics on the EP can be found on ‘Avant Gardener’: “The paramedic thinks I’m clever because I play guitar. I think she’s clever ‘cause she stops people dying.” The chilled tempo and lingering guitar licks create a deceptively chilled atmosphere for the almost-comical story of what happens when you decide to venture outside. The groove quickens as the rock kicks in on ‘History Eraser’ and ‘David’. Courtney’s vocals take centre stage on final track ‘Anonymous Club’; for the previous five tracks they are present but not upfront. The soft murmur of guitar and drums bask in the background. I don’t know how to produce the words to describe it but the eerie distorted guitar make the track, conjuring imagery of warm summer nights, orange street lights ambling past from the view of a car.
How To Carve A Carrot Into A Rose simmers with self-deprecation, wordy lyrics that she effortlessly wraps her tongue around and fuzzy riffs that float around you like dust; she is, as my mother put nicely “Patti Smith with a tune.” How To Carve is a familiar return, a warm welcome to arms of old yet proving to be an incredible boost for Courtney’s fanbase. Courtney sets herself apart with the down-to-earth pathos that saturates the EP, blending together rock, blues and surf. It radiates warm beer, sitting down with old friends in a yard with overgrown fruit trees and staying up late, doing absolutely nothing on a typical Australian summer’s day. Perhaps now I can understand the term ‘slacker rock’.

dimarts, 7 de gener de 2014


Un 7' amb una gran peça "Summer Reign" pop de gran qualitat.

Coastal Cities, the quintet from Buckinghamshire, are back with a new single that will have you longing for summer once more. “Summer Reign” shows a remarkable sense of maturity from a young group of boys who are still in the early stages of their career.
As soon as you press play, you’ll be swept away to by the lush backdrop that just screams of euphoria and warmth. I can imagine listening to this song on a warm summer’s night and drifting off into a state of bliss as those subtle guitar lines put my mind at ease.


No us deixeu enganar per la portada del disc. Això és pop rock vitalista amb una cantant que ens recorda molt la veu de na Patti Smith.Vénen de Brooklyn i van per molt bon camí. Intensos i potents a parts iguals.

Sharkmuffin, a brash and noisy trio from Brooklyn, are streaming their latest EP 1097. The 7 inch was recently released on Dazzleships Records and features four songs of ambitious garage punk.
These women aren’t messing around and draw from some pretty interesting influences. The first track, “Foul Play,” is a psychedelic go-go rocker that sounds like Butthole Surfers and The B-52s met up for a sweaty garage jam. Following that is single “Quarter Machine,” which is a fuzzy and fast pounder that is definitely reminiscent of 90s sweater crowd bands like The Breeders with a main riff that could have been on Bleach.
Then, breaking whatever tone had been set by the A side, comes “TEN TEN”. L7 wishes they could’ve gotten that noisy and out of control. Then, rounding out the EP is “Soft Landing,” which slows down the tempo and ends things with a distorted and climactic bang. It’s not often that I write a piece on a band after only one or two listens but these songs made me jump to my keyboard to make sure you loyal readers had a chance to get into this awesome band. (For The Love Of Punk)

GANGSPEED. What Do I Have To Lose? - EP

Una mica de rock alternatiu de tota la vida des de Canadà.


Al seu moment, no ens vàrem trobar. Ahir ho vàrem fer i no he pogut esperar gens. UN DISCARRO!!! feia estona no passava uns moments tan agradables. Transportat completament als anys 70s i a la psicodèlia dels 60s. NO EL DEIXEU PASSAR!!!!

Let the Moment Land, by Cosmonaut on Vacation, is an incredibly fun, amusement park of an album -- a confident, swaggering collection of '60s garage rock psychedelia and California space rock.  It rocks, shreds, echos, gets contemplative ("We Could Use A High Horse") and stretches out a seven minute instrumental jam ("Hallo(w) Gallo(w)").  The studio work, which I suspect is significant for an album like this, is excellent, and the entire proceeding benefits from that element that can be key, but often is forgotten:  A big dose of old fashioned rock attitude.

 Cosmonaut On Vacation is a product of the fertile Birmingham, Alabama scene, and was formed by former Through the Sparks and Stateside member Greg Slamen.  Through the Sparks seems to be on hold, but this album and Nelson's album under the name Dorado from earlier this year suggests that TTS' hiatus may prove to be a boon for us music fans... When You Motor Away...

divendres, 3 de gener de 2014

THE FAUNS. Lights (Exclusive Digital Edition)

Sens dubte, un dels millors treballs que he escoltat darrerement. Els ingredients per a l'èxit de The Fauns no per ser ben coneguts són menys efectius. El seu estil és una barreja entre shoegaze i dream-pop empapat d'ecos i reverbs. És, en altres paraules, un gran homenatge als bons temps del gènere, a noms com My Bloody Valentine i Slowdive. Espereu, doncs, veus etèries i flotants, amb efectes molt atmosfèrics, com en aquesta peça amb la qual obren el disc, "Point Zero". Però que ningú s'enganyi. Entre aquests sons més melosos que caracteritzen alguns dels talls d'aquest àlbum, també s'amaguen remolins de guitarra que recorden la seva pròpia portada. Perquè "Seven Hours" pot resultar dolç al principi, però les guitarres i una bona percussió s'encarreguen de dotar-lo d'un aire fer, com si ens estiguessin reptant a un duel. Comença recordant una mica a "When The Sun Hits" de Neil Halstead i companyia, però després la cosa vira radicalment. "Ease Down" és una història completament diferent. Aquí tenen estret el pedal de l'accelerador des del principi amb una Alison Garner una mica menys afligida que de costum. En "In Flames" tenen l'encert d'incorporar cors masculins que li donen major profunditat a l'aspecte vocal. "Nothing Ever" és d'un ritme mandrós com a pocs i gairebé podria passar per ser un tema de Mogwai i potser per això, per desmarcar-se més del seu habitual so, és on millors resultats obtenen. Tampoc cal menysprear la malenconiosa "4AM", que convida precisament a conduir de matinada cap enlloc. Queda clar, doncs, que encara que ens agrada la seva faceta sorollosa, ens quedam amb els seus moments més assossegats, com aquest tancament brillant i mandrós que respon al nom de "Give Em Your Love", que segurament causarà estralls en els concerts amb aquesta tornada que es repeteix insistentment.

Invada records are quietly yet quickly becoming a label you can trust, where you follow every release for you know that they are going to give you something special. From Thought Forms and College, Invada now deliver to us the gift that is the breathtaking second album 'Lights' from The Fauns. We are ushered in on a hushed, elegant, mesmerising soundscape like coming into dock from the edge of a supernova with 'Point Zero'. It sweeps around you, building on Vangelis synths, like the dawn breaking, casting golden hues across the land, holding you close and intimately before the rush that sends you skyward that is 'Seven Hours'. Here you have the first hit of the delicate, honey-coated vocals from Alison. They entrance with a magic not heard since you first fell for Hope Sandoval. Then 'Seven Hours' takes you up in its arms and dances you around the sun, filling you with a sense of awe-inspired, wide-eyed wonder. An irresistible tattoo of drums pushing you higher and higher, then as 'Seven Hours' reaches out to its wonderful climax and you fear that you may have to come down from this ride, 'Ease Down' shoots you to the stars. It is one of the most exhilarating hits you will feel this year. Filling every part of you with light of a thousand stars, close your eyes and you are riding solar winds while dancing in constellations.

Oft after such a triumvirate of songs you are let down. Here The Fauns show mastery of their craft by not trying to taking us any higher, but giving us the crunchier, near pop dervish of delight that is 'In Flames'. It has a touchstone in The Breeders, yet is still filled with a magic that is singularly their own. It has a sublimely massive hook that will have you spinning around with your arms open and its sudden end will leave you breathless and smiling. With incandescent guitars and sounds that are darker and more introspective, 'Nothing Ever' is a malevolent, brooding beast, lurching and sprawling, yet still utterly beguiling. Only Mogwai have harnessed the sonically sinister in a similarly captivating way. This is no pastiche and The Fauns are totally in control of the hydra-headed beast that is 'Nothing Ever'. And whereas the Scots would take the sound to a ear-bleeding morass of sprawling time, the beast is caged perfectly within three and a half minutes. On all of 'Lights', The Fauns show eloquent restrain, not one song outstays its charms, in fact at times you yearn for them to indulge you for longer.

The dark clouds are then parted with a scythe of kaleidoscopic light that is the title track. 'Lights' has the album's loosest feel, like a magical carousel ride. It embraces you with a sense of abandonment and gives you a shot of pure, unbridled joy. Then 'Rise''s sounds allow you to catch your breath, to centre yourself and allow you to absorb the exhilarating journey that you are on, while washing you with sounds of warmth, crimsons and ochre hues. A seductively, charming and loose-limbed riff, like something Peter Hook has been looking for since 'Technique', alongside a motorik beat are the foundations for '4am'. Perhaps the album's most accessible song, yet no less rewarding for it. It seduces you, curls around you, while working its way into your core. '4am' is the song that we were all hoping the second The xx album would have to melt their ice. The Fauns deserve to have found it and keep it. On any normal album it would be a stand-out, here it fits seamlessly into 'Lights'' beauty.

Urgent, throbbing, heavier, 'With You' stomps on you, drawing blood from its six-inch stilettos. It whips you into submission while we are told "you are beautiful". Its claws mark you, your heart beats faster with the intensity and pleasure. The chains are then broken and we are propelled in the sun with the breathless ride that is 'Let's Go'. Housing the perfect krautrock metronomic beat, and simply transcendent guitars, like riding at 400 mph through the city, tearing free of its clutches, escaping into the blinding sun. It pushes you harder, faster, higher and more, until you a free. Like the sky riding cousin of Secrets Machines 'Nowhere Again' and Primal Scream's 'Shoot Speed Kill Light'. And so the the end of this near perfect journey that is 'Lights' with 'Give Me Your Love'. It pulls you in, takes you to the time when you and your love's eyes are all that there is in the world. When you breath the same air, you loose yourself into them and fall into bliss. 'Give Me Your Love' is the sound of that singular moment. Then it is over. The journey is done. The light is switched off and you world is a little greyer again. The Fauns have given us one of the albums of the year. It is a breathtaking ride that simply has to be enjoyed over and over. (The Sound Of Confusion)

DOTT. Swoon

Una banda de Galway que practica una espècie de barreja entre pop, rock i garatge i que rep crítiques tan bones com les següents:

“Sunny garage rock with dash, shizzle and superfly choruses from Galway-based underground supergroup” – Jim Carrol, On the Record, The Irish Times.

“Glowing garage pop, catchy and super fun” – Niall Byrne, Nialler9.com

“Dott have some infectious tunes on their Button EP… “Leave Tonight” and “Let’s Do It” are especially good.” – Bill Pearis, Brooklyn Vegan

“Managing to sound at once like a classic garage band you somehow missed and as fresh as any current Irish guitar band, Dott have sound-tracked the summer for many music fans. With their style fusing distorted guitars and infectious lyrics, they have proven to be one of the bands to watch on the Irish music scene. They’re the kind of band that listeners want to claim rights to having been first to fall for their quirky charm. The stratosphere beckons.” – Paul McConnell, State Magazine

” ‘Button’ is a timely release – a perfect accompaniment to these balmy summer evenings, and a nice pre-cursor to a long-player to take us well into the night.” – GoldenPlec.com

“Dott’s pop goodies don’t just melt, they snap and crackle too. A lo-fi, fuzzy, more alternative sound merges with the band’s pop sensibilities.” – WeAreNoise.com

“it’s grunge in the nicest possible way… simple, sweet indie pop songs with a lick of fuzz wrapped in gorgeous harmonies.” – JustMusicThatILike.com

“Button from Dott is doing all sorts of funny sunshiny things to my head and heart, even more impressive considering the horrible grey clouds staring in at me through the window.” -TheGManWorld.com

“Let’s Do It will banish the glums, raise your spirits, lift your eyes, embolden your heart and part your lips to sing along all day to that super-catchy chorus.” – HarmlessNoise.com

“This is something to be heard. This is pure, unfiltered talent and it shines brilliantly through their original jams.” – TurningIntoObscure.com

TWIN PEAKS. Flavor b​/​w Come Bother Me

Un poc de glam està bé per començar quest any, des de Chicago quest single dels Twin Peaks.

Chicago punks Twin Peaks’ latest single, “Flavor” is brash and bold as lead singer Cadien James’ raw growl is accompanied by a tambourine and mod swagger. Compared to tracks on their full-length debut, Sunken, the boys have amplified their melodic, ’60s sensibilities with intricate instrumentation.

Hook after hook, two minutes of “Flavor” make the perfect, rock bite after a long day. Sun-drenched guitars shine on “Come Bother Me” as rolling acoustics offset the unabashed, drumming style of Connor Brodner. These midwest boys sound west coast, beach-bred as lo-fi buzz muddles the innocent tale of inviting someone over for a chill hang and some weed. Live long, eternal summer and do as the Peaks’ dudes do. (Jessi Roti)

HOUNDSds. Conduct

He trobat aquest Ep dels Houndsds a diversos blogs com un dels millors Ep's de l'any passat. Jo, que no sóc un gran amant de les llistes crec que tots ells tenen raó. A cops d'Ep, encara no han publicat cap llarga durada, van fent camí aquesta genteta de Brooklyn. Composicions emmarcades dins el pop rock de guitarres melodioses. Aprofitable al 100%, no deixis d'escoltar-lo amb deteniment, m'ho agrairàs

We previously shared with you the first single from Patrick McIntyre-fronted group HOUNDSds, the brightly lilted "Building A Better Jesus", and on release day of the Conduct EP, the remainder of his contributions are just as strong. The Conduct EP, which can be streamed in full below, is great morning music for walking around in the bright winter sun, and for the fans of dreampop, HOUNDSds will have you both tapping your toes and feeling your pulse for a newfound quickness. The seven songs grow and bend with jangly, unprocessed guitars, McIntyre's commanding midrange vovcals, and the occasional acoustic guitar to add some sensitive strums.(Dayna Evans)

dijous, 2 de gener de 2014

HEATHERS. Teenage Clothes 7"

Un poc de guitar pop per acabar les entrades d'avui, des de Los Angeles.

Imagine if Joy Division’s Transmission was hijacked from its gloom, pimped with a rough, jangling riff that knew The Byrds inside out and was driven by a teenage beat that crashed the cymbals into the sound booth.

That’s the slapdash pop-art pop of Teenage Clothes: punk’s energy meeting the broken-hearted crusade of 60s pop. It’s loud and it’s bright and it’s irresistible.

Heathers are probably named after the film, but their skittishness and zest reminds me a little of early Orange Juice (The Heather's On Fire). Even though they’re 3 blokes from LA, I want them – kinda like da Brudders Ramone – to all be called Heather. Anyhow, the b-side I Don’t Wanna Be Adored – more The Stooges’ I Wanna Be Your Dog than The Stone Roses – shows they’ve got a sense of humor.

GRANDSTANDS. Grandstands

Des dels primers acords del primer tema em varen venir a la memòria les composiciones dels meus estimats Felt i per aquest simple motiu ja vaig seguir seguir escoltant tot el disc i en vaig gaudir una bona estona. Guitarres simples i cristal·lines i una veu que va cantant-xerrant les lletres suaument. Un disc màgic per aquests dies d'hivern.


Una moquetta de punk des de Sydney "Stand and Stare" m'encantaaaaa!!

Australian garage punk outfit Royal Headache has a new single out for the track “Stand and Stare” b/w “Give It All To Me.” The band still brings their speed, energy, and soulful vocals to the table; however, the recording it a little clearer this time around, which is pretty nice. I’d say the songs are a bit more melodic as well–or at least the melodies aren’t drowned out like they were on the band’s reverb-soaked debut. Nothing much else to say other than we’ve got two solid tracks from a rock band worth rooting for! Enjoy! (theneedledrop.com)

WHITE LODGE. Forests / White Lodge Split 7"

Seguint amb la mateixa temàtica anterior, un poc més de garatge, des de Queensland, Austràlia.


Gran disc per començar aquest 2014. Com diuen al seu bandcamp: Brat pop / trash rock / garage / rock / punk / rockabilly / pop / surf / whatever. Una injecció de vitalitat per començar amb bona cara l'any. A veure si ets capaç d'escoltar tema rere tema sense moure un sol múscul! jejeje.

NYC’s female-fronted rock n roll trio Crazy Pills will self-release their 1st album ‘Restless‘ recorded by Jeff Berner at Galuminum Foil on July 27th. Their digital release party will be that evening at Cake Shop with Desert Sharks and Fan Tan.

After many years and lot of life changes, Amanda “Kitten” on guitar/vox, Jim of Clouder on Drums and Eddie of pow wow! on bass/backing vox are ready to release their soulful, guitar-driven music that pays homage to the R&B-influenced rock of the 60s, the grit of the 70s and the punk of the 80s. Tracks off Restless range from straightforward rockabilly/surf to power pop Motown-influenced ballads that will pull at your heart strings, sonically delivering something catchy, heartfelt and nostalgic that you’ve never heard before.

Check out their first single ‘Break it Down,’ which just premiered on the Dingus blog, raving “front woman Kitten breaks it down to you with her vocal style combination reminiscent of Lux Interior and Patricia Day from The HorrorPops. Complete with the positive message of not giving a fuck and just going for it being fed to you in the hookiest way possible, this track gives only a small taste of how incredible the record Restless is. (hellhoundmusic)