dissabte, 22 de febrer de 2014
DOCUMENTA. Latvian Batman EP
Una altra banda de Belfast, els Documenta, que ens presenten un 7" amb dues versions ben especials, una dels The Perfect Disaster i una altra dels Slapp Happy. Vos deix el seu bandcamp i les dues peces originals. Les versions són molt bones.
Quan vai llegir l'article del blog The sound of confusion ja vaig tenor clar que els Yoofs m'agradarien. Aquest és el seu primer llarga durada i tot i que encara es nota una certa falta de "rodadura", el resultat és més que esperançador. Tots els que estimam els Beatles i la seva música ens veurem atrets de segur per auesta genteta de Bournemouth. per una informació molt més completa vos deix amb la crítica de soul1, l'editor del blog The Sound of Confusion.
The debut album by Bournemouth duo Yoofs has been one we've been looking forward to. Their single 'For Her' promised jangly indiepop. Not exactly the start of a whole new movement, but they did it well. Then came recent single 'Toy Organ' which remained in a similar realm, but added the slightest of psychedelic twists, something which led us to believe that this wasn't just another straight-up guitar-pop band after all; they may have more ideas than that, we might not get a dozen variations on the same theme. We guessed right. Both those singles are included on 'Something' and it is indeed a dozen songs long, not that that was a particularly crazy bet, it's a pretty standard length.
Those two terms, indiepop and guitar-pop, are relevant at every point here, but Yoofs do give us that welcome deviation as we journey through classic jangles and '60s-influenced pop songs, all done in a timeless indie fashion. Typical of this is 'Do You Feel The Same?'; it's one of those songs that could have been written at any point in the past 50 years, and this is a compliment, not a criticism. That psych aspect doesn't take long to appear either, with second track 'Shady Acres' sounding like the work of a band on classic independent labels such as Postcard, Sarah and even New Zealand's Flying Nun. 'It's A Secret To Everybody' combines that bedsit indie with the credible British pop/rock of Squeeze, giving us yet another dimension to their writing skills. The title-track is more classic pop; it borrows from folk, psychedelia, and the mellower parts of the back catalogues of Teenage Fanclub or the Paisley Underground movement. For other songs like this you could look to 'The First Time' (a personal favourite) or sentimental closer 'It's Been Fun' (or most of the album, frankly).
There are points on 'Something' where Yoofs take things even further, again this is a plus point. 'Deja Vu' pulls in a little blues and a little country. The result is part Simon and Garfunkel and part early Neil Young, with the laid back vocals of modern faves TV Girl. For a band who have such a loose, almost lazy vibe to them, they pull off some neat harmonies. The clipitty-clopitty 'Take It From Me' shares some of these fixtures. Musically it could be a The Mamas & the Papas cover given a modern dusting down, but the with just two voices it doesn't share that band's vocal prowess (to be fair, that could be said of pretty much any band). They delve deeper into the garage and freakbeat scenes on 'It Ain't Over ('til It's Over)'; again it's borrowed sounds, again it's a great track. 'Show Me The Money' fits the very same description, albeit in a different way. Whether or not Yoofs have actually listened to, studied or tried to replicate any of the groups mentioned above we can' tell you, but whether they have or not, it doesn't really matter when the consistency of your material is as good as this.(The Sound Of Confusion)
ACTIVE BIRD COMMUNITY. Mooncalf/Open Up
ACTIVE BIRD COMMUNITY. Astrophobia/Eidolon
Rock de Nova York sense més presentacions. Bona qualitat.
Active Bird Community has the sound of a band that might hit you over the head if you mistakenly get too close to them. But their music is so inviting, you might end up in dangerous proximity for one of their electricity driven explosions. A word of advice: don't let their softer tracks like 'Eidolon''s crashing waves fool you (smooth as the song may sound), or the anthemic rise of latest track 'Mooncalf.' This is the calm before the storm of 'Astrophobia' or the relentless charge of 'Open Up.' This quartet does indeed mean business. I recommend listening to as much of this impossibly catchy band as possible, and with any luck... perhaps we'll get a full-length release out of them soon. Mike Levine (@Goldnuggets)
SEA PINKS. Exploded View EP
Els Sea Pinks són de Belfast i la seva música la compararia amb els meus admirats Felt. Música quasi en format acústic, mitjos temps i tranquilitat. Alguna pinzellada de noise acaba de fer un cóctel molt interessant.
The new Exploded View EP from Northern Ireland's Sea Pinks is now available, and it is as good as I had hoped and expected. Four tracks of jangling guitar pop with good melodies, and you can find welcome reminders of the early Creation records sounds here.. This isn't new territory, as fans of band from New Zealand, Glasgow, California and Seattle well know. But are always happy to herald another band in this space, especially when it is done as well as Neil Brogan and his buddies do it.
The title track and "Magpies Eyes" are the two noisier tracks, with the latter displaying some appealing guitar muscle. "PST" and "Pretty Pass" are gentler tunes that we haven't showcased on these pages before.(When you motor away)
JOE SAMPSON. Joe Sampson
És un disc que va sortir el setembre del 2013, però havia quedat perdut en la meva llista de preferències, ara el recuperam i el vos present com un treball d'aquells que se'n diuen honests. Sense gaires mitjans, en Joe Sampson es multiplica i grava quasi en solitari aquest trebal ben recomanable. Música indie lo-fi en podríem dir, agradable d'escoltar i sense cap pretensió d'entrar en alguna llista de "greatests hits".
THE VALERY TRAILS. Australia Day 2014 E.P.
Com es pot veure a la portada, cap membre de The Valery Trails s'assembla a cap membre dels R.E.M. però de segur que si començau a escoltar "Starsong" amb els ulls clucs no vos serà gens difícil imaginar a Michael Stipe i companyia tocant aquesta peça. Amb aquesta presentació crec que ja sobren més paraules, una gran Ep. Al seu bandcamp se'ls compara també amb els Psychedelic Furs. Bé, amb això queda clar que no hi ha res de nou en la música d'aquests houstonians, però que el treball és plenament satisfactori en podeu estar ben segurs.
Imposible trobar informació sobre aquest grup més enllà de la seva pàgina de facebook o el seu soundcloud i la veritat és que trob que haurien hagut de tenir més ressó ja que els seus temes tenen molta qualitat. Un rock una mica ampulós tal vegada podria ser el seu minúscul pecat. Tot i així els vos recoman, val la penar donar-los una oportunitat sobretot a temes com "Chapter 174" i "Lush Surrounded"i la que obri el treball, "Honour Receipt".
CLEARANCE. Greensleeve (7")
Ja no només el tipus de música dels primers Pavement s'atreveixen a treballar, la portada del seu treball també té molt de similar amb la de "Slanted and Enchanted". Ells són els Clearance i el seu disc una èspecie de doctorat. Han estat més que uns bons alumnes, els temes són molt interessants i sobretot, l'esperit dels començaments de Pavement estan perfectament recollits. Ara els manca una mica més d'iniciativa personal i dotar les seves composicions d'una personalitat pròpia, com a copistes es mereixen una matrícula d'honor.
"Nobody writes them like they used to/So it may as well be me," Belle and Sebastian reasoned on Get Me Away From Here, I'm Dying. Clearance don't actually say that, but the intention is clear: breathe new life into Pavement.
It makes sense: Pavement are gone and, Mirror Traffic aside, Malkmus's solo work has been inconsistent, and Preston School of Industry's brilliance wasn't repeated by Spiral Stairs' one album.
But these 5 songs don't stray into pastiche. Firstly, they're too good; secondly, Pavement didn't exist in a vacuum. So there's the bold hooks of Big Dipper and the crisp pop of Let's Active in here and given a different slant.
Quite simply, the reason I bought this 7" and not Stephen Malkmus And The Jicks' Wig Out At Jagbags album is Greensleeve sounds better and fresher and hungrier.
Clearance probably aren't helping themselves by using artwork so close to Slanted and Enchanted for this single, but get past that and this record has magic all its own.(did not chart)
dimarts, 18 de febrer de 2014
SURF CURSE. Sad Boys EP
Els Surf Curse tornen a aparèixer per aquest blog amb un nou Ep editat a través de bandcamp. Surf rock en clau lo-fi com no podria ser d'altra manera amb el nom de presentació. Peces lluminoses amb la millor tradició de grups que com els Beach Boys es varen decantar per aquest estil d'imatges de platges californianes.
Forget the snow, Surf Curse is taking us straight to the California shores. Following up their well received debut full length, Buds, this six-track EP, Sad Boys, is campy surf rock at its best, complete with reworked refusals to interested ladies (“I’m Not Making Out With You”) and invites for late night beach escapades (“Beach Whatever”).
Surf rock is always more enjoyable when the music doesn’t take itself too seriously, when the fuzz and reverb can come blasting from your speakers, providing an escape into a world of fun. Sad Boys is a perfect pick me up, and even when the duo does explore their serious side it still comes packed with an energetic blast that will have you humming along (“Forever Dumb”). (The Grey States)
CARB ON CARB. Eden Terrors
Els Carb on Carb, naturals d'Aukland ens presenten ara un single (també literalment) com sempre amb el seu humor una mica corrossiu.
TRIOLIAN. In Your Head EP
Coming to us boxfresh from London (they got together in November, so in band terms are still very much in nappies) are Triolian, which if you think about it, is a somewhat puzzling name for a duo. Perhaps they have their sights set on recruiting a third member eventually, it may help when it comes to live performances. There may just be the two of them, but they have the sound of a three or four-piece indie-rock band, so how that transfers to the stage isn't clear, but they have live gigs planned. The title-track is a top way of marking your arrival; it's pacey, well-recorded, makes good use of the dynamics of sound, and is an all-round good tune. The title fits it nicely, as it does contain some barbed melodies that ensure it's not instantly forgotten.
With drums, multi-guitars and multi-voices, the pair must have recorded these songs in sections, yet they've captured the essence of a full band really well and you wouldn't know this was the work of just two guys. Adding a little funk to their guitar-pop is 'After Dark', but it stops short of diving into the '80s sounds that the music world seems so reluctant to let go; it's the never-ending revival but Triolian want no part in it. In fact, listening to 'Till The End' they sound more in tune with the spiky guitar revival of ten years ago, but it doesn't sound dated, all the EP sounds fresh and also very accomplished considering how new they are. Ending on a more indiepop note, 'Learn To Love' almost has a nostalgic feel to it. Make no mistake though, Triolian might be able to write quality tunes and they might be a guitar band, but they're not trying to be anyone else.(Thesoundofconfusion)
JUST HANDSHAKES. Kiwi / Sink In
GOLDEN GLOW. Beauty / Duty
Una cert to obscur és el que trobam en aquest treball de Golden Glow, un projecte en solitari de Pierre Hall i que ell explica perfectament al seu perfil de bandcamp. Res més a afegir, la seva presentació vos pot servir de guia.
Golden Glow, the solo project of singer-songwriter Pierre Hall, is set to release a new 6-track EP, ‘Beauty / Duty’ on 27th January via Bleeding Gold Records, with a sound that echoes the laid-back, idyllic melodies of Real Estate and Wild Nothing.
After a series of releases on small boutique labels (Vollwert, Spanner, Holiday – the latter being the label run by U.S. surf-pop band The Drums) those demos became Golden Glow’s first album, ‘Tender Is The Night’ released on Bleeding Gold Records (Flowers, Songs for Walter, Just Handshakes) as well as Mush Records (Bibio, Daedelus, Aesop Rock) in June 2011.
Although low-key, the release garnered praise from a wide range of publications including support from the NME, The Guardian, Popmatters, and Rolling Stone France resulting in Pierre and his band made up of various members of Manchester’s music scene being invited to play a coveted slot at the prestigious Manchester International Festival as part of Dave Haslam’s True Faith Series. Other gigs and support slots followed with friends and contemporaries such as The Drums (the band were invited to support them at their debut album launch), Wild Nothing, Crystal Stilts, The Pains of Being Pure at Heart, Tim Burgess, Yuck and The Wave Pictures to name a few.
After some full band recording sessions with an outside producer, Pierre decided the sound was becoming almost too clinical and lost some of the magic that comes with the limitations of using more basic equipment. Pierre decided to abort the sessions and go back to the four-track, the result being the new 6-track EP, ‘Beauty / Duty’, influenced by Felt, New Order, Arthur Russell, Velvet Underground, The Cure, Unknown Mortal Orchestra and Captured Tracks' records. (Bandcamp)
SUN CLUB. Dad Claps at the Mom Prom
Sun Club són un grup de joves de Baltimore que acaben de publicar aquest Ep de títol inquietant "Dad Claps at the Mom Prom". El seu estil va en la línia d'un pop rock enèrgic i vitalista. De ritme ben marcat, les seves composicions són alegres i divertides. Hi ha sempre present una certa urgència pròpia de la seva edat. Bon treball per alegrar-te el matí.
dilluns, 17 de febrer de 2014
GOLDEN ANIMALS. Hear Eye Go
Una portada que m'agrada molt i unes tonadas psicodèlique que et captiven des del primer inastant són les senyes de presentación d'aquest duet de Brooklyn. El millor que podeu fer és deixar de llegar i sumergir-vos en aquest oceà musical. Un autèntic plaer musical.
Heavy guitar-drums duos aren’t exactly a rarity these days; from The Black Keys to Japandroids to Shovels & Rope, cacophonous couples play every genre from every spot on the map. Golden Animals, on the other hand, remain unique with regards to how their geographical diversity impacts their 60s-infused blues-rock sound. Guitarist/singer Tommy Eisner originally hails from Baltimore, and drummer/backup vocalist Linda Beecroft was born in Sweden. Since forming in 2006, however, the band has split time between Brooklyn and the California desert, and those locations have paved the road for Golden Animals’ aesthetic journey.
Working on the long-overdue followup to their 2008 debut, Free Your Mind and Win A Pony, Eisner and Beecroft hunkered down in a California cabin and canned an entire album. Though the location was a fitting well-spring for their Doorsian desert-psych, they were unsatisfied with what felt like a handicap of their songs’ potential. So they set off for Brooklyn – Williamsburg, precisely – and Vacation Island Records. There, engineer Matt Boynton (MGMT, Kurt Vile) added a sense of New York energy to their Mojave contemplation. The end result of this cross-country effort is Hear Eye Go, due out September 24th via Austin Psych Fest’s Reverberation Appreciation Society label.
More than the sum of the band’s physical, emotional, and crowd-funded drive, Hear Eye Gois most impressive because Eisner’s guitar and Beecroft’s kit are the only instruments heard. Sure, there’s a harmonica deep in the mix on opener “All Your Life” (courtesy of Oak Munson), but that’s it. The aforementioned track sounds like a Danger Mouse-produced Black Keys cut, equal in compulsion even as it’s the lesser in personnel. “The Letter” trips about in familiar psych waves, while “You Don’t Hear Me Now” ambles through the peaks and valleys of a spaghetti western. Elsewhere, “Tender Hearts” twangs on smokey club blues and “Save Your Love” stomps in a murky city corner.
With little more than their own prowess and resolve, Golden Animals capture all their musical and locational influences in succinct bursts of haunting psych-rock. (consequence of sound)
Els Haybaby són de Brooklyn i practiquen una espècie de grunge pop interessant amb la veu de Leslie Hong present sempre al primer pla de totes les composicions. El contrast entre la seva ingenuïtat i la presencia d'un so de guitarres bastant brut dóna un cert atractiu a les composicions d'aquest Ep.
Haybaby’s newest EP SUPERPRESENT reinforces the band’s talent for mixing grungy guitar with sticky sweet girl/boy vocals into a sophisticated combination that’s addictive and complex. Along the lines of the Pixies, their girl/boy vocals shy away from cute, and their catchy hooks take on edgy pop-qualities reminiscent of Pavement. While every song of this 4-track EP are winners, “Weather King” particularly shines. The bass line is suppressive and teasy allowing the explosion of bright guitar and Zack Ellis’s animalistic shouts during the bridge to induce chills and goose pimples.(Pretext)
THE MOAS. The Moas
What is going on in Saskatoon these days? There seems to be a creative force weaving through the Cypress Hills and across the plains of Saskatchewan as the province’s musicians continually produce some of the great new music this country has to offer. The self-titled debut album by The Moas is no exception. This eight-track LP offers up a solid effort from start to finish with catchy melodies and pulsing rhythms, which remind us all of the open sky the western plains have to offer.
The first thing that you will notice about this release is the influence that Stereolab has on it. From the vocals to the musical aesthetics this album is littered with them. However, The Moas offer a more rock-infused feel using fewer synthesizers effects giving it a more straight ahead feel.
The laid back airy vocals with which Sonia Dickin’s sings are infectious; they’re a real treat and a highlight of the album. Her vocals warmly guide you through the tracks offering a nice compliment to the musical sensibilities of the band, much like those of Laetitia Sadier, although seemingly less harsh.
Some album highlights include the catchy “All The Time”. Shimmering guitars lead us slowly to Dickin’s soothing vocals, which surrounds and engulfs the aural-scape while singing “Oh, I got all the time in the world”. In contrast, the rhythm section forcefully pushes the track forwards towards a pleasing crescendo.
“Blue Light” begins with a grunge-like guitar riff before the music settles to crunching in the background, allowing for the smooth vocals and catchy melody to take over. This song is a real gem.
“No Colonial”, delves to seemingly darker places than much of the rest of the album offering a nice musical contrast.
This album showers us with glimpses of the possibilities of what The Moas have to offer. Their strength lies in their ability to construct tracks that allow Dickin’s vocals to shine through. This is a very strong debut and I look forward to hearing where The Moas go from here. (CJLO)
dijous, 13 de febrer de 2014
THE CHAMBERMAIDS. Whatever Happened Tomorrow
by John Foy
It’s seems like only great bands come from Minneapolis. The Chambermaids are no exception to this rule. The group was started by the brother-sister duo Neil and Martha Weir. Their latest release, Whatever Happened Tomorrow, is the band’s first in four years and was recorded at Neil Weir’s own Old Blackberry Way studio.
The band creates an atmosphere of emotions through thick sounds of distortion and hypnotic guitar riffs on the new album. Over the years there have been personnel changes in the band. The current lineup consists of Neil Weir(guitar), Martha Weir (bass), Nate Nelson (guitar) and Alex Rose (drums).
Fans of shoegaze and indie rock are going to love this album. The smoky vocals provided by the siblings will leave you in a melancholy haze. You can hear the influence of bands like My Bloody Valentine, Sonic Youth, The Jesus and Mary Chain and Ride in their music. Key tracks are “Whirlpool,” “Whatever Happened Tomorrow,” “Electric Sky,” and “China Blue.” (Speaker Creatures)
dimarts, 11 de febrer de 2014
THE FIREWORKS. Runaround
CHINA RATS. Don't Play With Fire EP
Actitud punk és el que trobam en aquest Ep dels China Rats, himnes juvenils amb una certa dosi de mala bava i que prediquen que no es jugui amb foc que és just el que fan els nostres governants, fins que tot es cali foc i els moviments socials els desterrin per sempre. Au! aquí queda escrit i voltros gaudiu de la música que és el més interessant.
The punk explosion that began in the UK in 1976 wasn't just to wipe the slate clean. There was a new generation of kids growing up who wanted something for them. This is something we know through reliable first-hand accounts. Unlike much modern punk, many of the class of '76 and '77 focused anger and dissatisfaction into their music; the bands that mattered had a message, and that message was aimed at the government and its grave failings. During the '70s (personally I was alive for a few months as an embryo, so can't speak first-hand) there was huge inflation, the three-day-week, caps on public sector wages and unions going on strike. The situation wasn't far from what we have now. Can punk music express the current dissatisfaction, or, like the rationing of electricity by the coal miners' industrial action, is it out of date and should be the reserve of dubstep, grime and so on? The music developed by a new generation.
Leeds group (and former Band To Check Out) China Rats answer that instantly on the 'Don't Play With Fire' EP. 'N.O.M.O.N.E.Y.' is a blistering, blitzkrieg of a tune and one which, while not having the venomous vocals of a Johnny Rotten, is tackling the similar situation with some style. As we know it's clichéd and worthless trying to "stick it to the man", the band avoid doing so, preferring to talk about more personal experiences. It's proper earworm material. 'Deadbeat' is based around the same problems, and the option of getting out of your minds rather than looking for work due to having "no self-esteem" (and probably no chance). Same shit, different decade. Those scratchy riffs keep coming, lifted by chiming guitars and a likeable vocal, not to mention very good quality songs; and 'Get Loose' talks of having "nothing to do".'Reeperbahn' nicks the drums from 'I Am The Resurrection' and heads in a brilliant indiepop direction, showing they don't just have one agenda. It's a real highlight and a quite beautiful song. Slightly changing tack again, they finish with the beat-group-by-way-of-punk 'Green Tears' and conclude what is a stunning EP. (THE SOUND OF CONFUSION)
THE DEATH OF POP. Two Thousand and Thirteen
I love The Death of Pop. I am unashamed to admit this. They make the kind of music that I love. It’s catchy, lo-fi, hook heavy, fuzzed out guitar genius. I’m so impressed with everything of their that I have heard that I get worried when they release something in case I don’t love it. So far this hasn’t happened.
This morning when I woke up I got a message saying that as they are one year old today they’ve bundled everything that they’d released last year to commemorate. This year just keeps getting better and better! Out of the 21 tracks contained in it, I can’t pick a favourite. I decided to go with Laugh Now I’m Weak. Its four minutes of woozey, swooney, echoey dream pop. It’s just bloody brilliant. As soon as I hear it I start to sway. It fills me with a euphoria that few songs can. When I hear it I think as long as we have bands like TDoP 2014 will be great.
As I drew this entry to a close, please join me in raising a glass (or cup of tea as it is only 11:38 am) and singing “Happy birthday to you, happy birthday to you, happy birthday dear Death of Pop, happy birthday to you!” If this is the quality of their output in 2013, I can’t wait to hear what they do in 2014! (—thisyearinmusic)
divendres, 7 de febrer de 2014
SESSIÓ Dj. "LOVERS CAN'T DANCE"
Aquí teniu una nova sessió de Dj que ja me feia ganes. Això de cosir i enganxar no sempre em ve de gust, Sempre he pensat que el tipus de música que surt pel blog és un tipus de música per escoltar sencera, però, tal com he dit abans, ja em venia de gust posar-me als plats (és un dir) i confeccionar una nova sessió. Donat que la setmana vinent serà dia 14 de febrer he pensat que un títol apropiat podria ser el de "Lovers can't dance" perquè tal com diuen els de Maniobra de Q: "Ahora que estoy condenada a serte fiel toda la vida quemaré este vestido delante de tu familia bien vestida para la ocasión. Qué dolor!...Me voy y no sé si volveré a estar contigo".
Que us aprofiti i compartiu-la amb les vostres amistat si us ha agradat.
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