dilluns, 31 de març de 2014
Els nostres amics de Clearance ens han deixat al correu un altre single amb dos temes nous. El grup post-Pavement segueix fidel al seu estil en aquestes dues noves peces. Un grup a seguir quan defineixi plenament el seu estil.
Hugh C. Woke up this morning to see an email from Bandcamp saying there is some new Clearance so I had to check it out and I'm so glad I did. These guys just keep growing leaps and bounds with each release. What I really like about this band is how each song sounds so new and fresh yet with just the right touch of familiarity to hook you in immediately. Lots of warm fuzzy guitars, great vocals and lyrics and a tight rhythm section to hold it all together. Buy it you won't be sorry!
divendres, 28 de març de 2014
Els Secret Motorbikes són de Glasgow i ens porten el seu garatge pop i com diu en LeahDingus són cançons perfectes per anar de copes amb alguna companyia interessant i després dir "quina nit més fantàstica". Els qui encara estau en aquesta edat ja sabeu de què us parlo. Una mica de pop rock ho acaba d'adobar tot.
Its songs like ‘All Over Again’ that make me smirk. When you hear cheeky lyrics like “I don’t want to be your friend, I just wanna get some lovin’”, you can’t help but laugh to yourself. We’ve all been there, we’ve all done it or have had this done to us. Rum Punch is full of relatable songs that you can’t help but dance to. The Glasgow band make me yearn for shows full of rock bands with a pop edge that make your feet tap and your hips shake. Secret Motorbikes are the band you go our for a drink with, you get into some late night shenanigans and wake up smiling, thinking to yourself “what a great night that was”. These are songs for those nights, songs for ALL of those nights. @LeahDingus
El Canadà és un país fred així i tot hi ha una certa tradició de grups de garatge amb les seves corrents més pop o més rock. Música calenta, vigorosa i temperamental. Avui presentam el darrer treball dels Average Times. Cançons directes a l'estómac, de durada curta i de nirvi accelerat propi d'aquestes composicions.
diumenge, 23 de març de 2014
Ara que ja tenim accés al disc sencer dels Surf Friends al bandcamp de Flying Nun és el moment de fer l'entrada al blog d'aquest preciós artefacte. Ja han sortit temes a diferents recopilatoris però feia falta una entrada que permetés escoltar el disc en la seva totalitat (fins fa poc només hi havia accés a tres temes). Aquí el teniu.
Beach po, com diuen ells mateixos al seu bandcamp, de d'Austin. Interessant.
It's been a great year for Austin's Shivery Shakes. From having a day named after them by Austin's mayor Lee Leffingwell on June 27th of this year, to releasing their brand new 7" as the inaugural release for the newly founded Punctum Records. The jangly guitar-driven surf pop from Shivery Shakes builds upon paisley 1960′s rock ‘n’ roll with a neon-laced 1990′s aesthetic for a sound that defies nostalgia. Their latest 7” single (Sidewalk Talk/So Long) makes a statement on what came before, while creating something distinct for this particular time.
In 2011, Shivery Shakes we’re sewn together by escapism and happenstance from members of two Austin bands, The Bubbles and International Waters. In March of 2012, they released their eponymous EP to local acclaim, which they supported on a national tour with fellow Austin-natives, Bobby Jealousy. Later in 2012, Shivery Shakes played official parties for Austin City Limits Fest and Fun Fun Fun Fest, supporting acts such as Surfer Blood and The Soft Pack.
In 2013, they continued performing and opening for national touring acts while they recorded their debut full-length to be released in 2014. In the meantime, their new single ‘Sidewalk Talk b/w So Long’ is out now through Brooklyn label Punctum Records and will be accompanied by a music video shot and edited by the band. (Jeremy Daniel)
Després d'escoltar "Spacespin" et queda un regust a les orelles que te fa tornar inmediatament a escoltar de nou el tema. Una mezcla de psicodélica espacial, grunge i power-pop totalment addictiva. Després les altres composicions van passant i, a la fi, te n'adones que has passat una mitja horeta a l'univers infinit i et costa tornar de peus al terra.
dijous, 20 de març de 2014
Fa uns dies que els vaig descobrir a un blog dels que segueixo normalment i me varen impactar tant que he decidit fer una entrada al nou disc que presenten aquest mes de març i una altra al seu anterior treball més directe i impactant si tan vols que aquest segon. Si hem de dir alguna cosa en negatiu d'ells seria que per definir la seva música ens hem de remetre a vaques sagrades com els Yo la Tengo, els Sonic Youth o els Galaxie 500 i tots els grups posteriors per on ha passat en Wareham. Els falta una miqueta més de personalitat per acabar de confirmar-se com a grup de culte, però en duen camí.
"Soft Opening" conté temes que no desentonarien gens en qualsevol disc dels grups anomenats abans i fins i tot, en serien peces destacades. Tots els fans d'aquests "grupets" no deixeu passar de banda aquest disc ni el que l'acompanyarà immediatament, el seu primer treball "Self-Titled". M'ho agraireu internament.
Els de Pitchford han dit d'ells coses com les següents:
Posse does not have some kind of marvelous origin story, there is no blood oath or volatile, undeniable chemistry. The songwriting duo of Paul Wittmann-Todd and Sacha Maxim met during a show at a Seattle lesbian bar and decided to collaborate because the former "didn't have a lot of other options." On their sophomore album Soft Opening, Wittmann-Todd and Maxim exhibit that same kind of non-committal camaraderie, as their vocals do not harmonize or intertwine or do battle; most of the time, they exchange one-sided conversations, acknowledging each other and going about their business. Every instrument is given enough space to do whatever it wants as long as it cleans up after itself. It's the musical equivalent of roommates who randomly linked up on Craigslist and totally worked things out. Whatever qualities this might suggest in Posse as people lend a lived-in bumminess to Soft Opening, imbuing its no-frills, rumpled indie rock with a discernible point of view and more importantly, a personality.
That’s important, because this is really no-frills indie rock. The most notable studio tricks Posse employ are a fuzz pedal, a tambourine, and the occasional echo on Maxim’s vocals. Either Wittmann-Todd is playing an extremely avant-garde solo during a portion of “Jon” or they simply didn’t feel like overdubbing a flubbed take. On the up-tempo numbers, Posse recall a rainy day Real Estate, a less bookish Galaxie 500, or Yo La Tengo driven by a equivocal, platonic friendship. On slower-than-slowcore “Talk", they’re all but mesmerized by their own torpor, situated somewhere in between Pavement’s “Stop Breathing” and Built to Spill’s “Cleo” in terms of uncomfortably numb guitar heroism. Similar to those bands, Posse make music that is lo-fi without sounding cheap, purposeful minimalism that can sound strangely expansive: Maxim and Wittmann-Todd’s vocals are barely projected without being off-key, and the guitar leads have an effortless melodicism whenever they take over. Even if most of these songs could be strummed out from a beanbag chair, Posse always add a chord that fancies things up just enough.
Posse describe their sound as “delay pedals and 27 years of disappointment”, which may not be factually correct; you hear a lot more of the latter than the former, and the second line of opener “Interesting Thing No. 2” is “You turned 25, so many things you haven’t tried.” It’s theoretically sound all the same, since Soft Opening’s self-deprecation is a big part of its appeal. For all of its invocations of 80s and 90s A-listers, Soft Opening is an of-the-moment record in the way it aligns with the sort of sitcoms that dominate the viewing habits of people Posse’s age: the actors involved are presented as friends, yet they don’t really seem to like each other all that much.
In the case of Soft Opening, nearly every song is a subtly hilarious metacommentary on some sort of communication breakdown. Maxim sings, “I know you’re gonna talk through this and not care,” and you can easily visualize the shoulder shrug, the eye-rolling, the internal defeat she anticipates with this interaction. With every repetition, it cuts deeper and deeper as an insult: you are someone who simply can’t handle sitting in silence with their own feelings. A song later on “Shut Up”, a drunk and bored Wittmann-Todd fantasizes about a time when he’s going to work up the nerve to tell someone to shut their yap, even if it’s himself: “I’m gonna watch you go outside now/ And make a stupid face/ And shut up."
And yet, none of this venting comes off as mean-spirited. In fact, most of Soft Openingunwinds with the casual bonhomie of three post-work beers over darts; the deleterious effects are minimal compared to the necessary release and bonding. And hell, if Posse seem to have a strange enjoyment for each other’s company in spite of it all, well, it’s because the outside world doesn’t have that much more to offer. “Cassandra B.” relates a date between overeducated, underfunded Seattlites as they down too much vodka, go to an “intelligent rap” show (“A bald white guy/ With a mumu onstage”) and lie about reading Willa Cather books that were bought at college and promptly shelved. As with every dryly hysterical line on Soft Opening, there’s never any “pitchiness”; it’s never trying to be any more droll and absurd than life itself.
Despite the litany of disappointments, misunderstandings, and aimlessness befalling the narrators in these songs, Soft Opening is a record of oddly stoic presence. For one thing, the austere sonics and plainspoken lyrics ensure that nothing gets glossed overso it's a tough record to tune out. But also, Posse sound exactly like the band they want to be—you don’t sense any musical ambition unmet, any word misplaced. It’s a modest record done confidently, enough to end with a six-minute guitar workout based around the lyric that perfectly encapsulates Soft Opening’s comforting sadness, its satisfied misanthropy: “Don’t touch me/ I’m in my zone.”
divendres, 14 de març de 2014
El març de 2011 va començar aquesta petita aventura de publicar cada mes un recopilatori amb aquelles cançons que m'havien emocionat més durant el mes. Aquest març del 2014 els recopilatoris compleixen tres anyets i ja poden començar anar a educació infantil. L'aventura continuarà mentres les ganes hi siguin presents i a voltros us vengui de gust fer-ne un tast. Les novetats que us present avui són molt interessants, amb mostres dels darrers treballs de gent que tant m'agraden com els Cloud Nothings, els Real Estate, els The War On Drugs, en Dean Wareham que es va fent major amb molta dignitat, en Micah P. Hinson, els Black Lips i molts d'altres amb un primer treball o que estan al principi de la seva aventura musical. Tota una sèrie de "mons diminuts" a descubrir. Com dic sempre: que us vengui de gust!
Com a petit autohomenatge he triat la caràtula del primer recopilatori per fer la d'aquest mes.
dilluns, 10 de març de 2014
Tal com diuen ells mateixos al seu bandcamp, fuzz pop des de Nova York. I del bo, afegiria jo. Segon treball dels Island Twins pura vitalitat i transparència. Temes immediats i de fàcil digestió, producció que ens deixa escolar un so directe i fora artificis seria una perfecta targeta de presentació.
Si t'agraden els Wilco menys experimentals i en general el country alternatiu no deixis d'escoltar aquesta petita meravella que ens arriba des de California. Deliciós, una petita joia de pop folk.
Des de Londres, els ja podriem dir veterans The Wolfhounds han editat aquest nou 7" a principis d'enguany. Apte per a fans dels mítics Hüsker Dü. Força i ràbia a parts iguals.
Following a fistful of essential singles including THE ANTI-MIDAS TOUCH, CRUELTY and HAPPY SHOPPER, plus 1987 UK Indie Chart Top Ten album UNSEEN RIPPLES FROM A PEBBLE, and follow-up BRIGHT AND GUILTY in 1989, The Wolfhounds split in 1990.
Reforming for an anniversary show in 2005, the band have continued to gig their peculiarly English take on the art-punk of Sonic Youth and the controlled aggression of Bob Mould’s Sugar.
Fresh studio material finally surfaced in 2012 (the three track EP001) followed by singles CHEER UP and DIVIDE AND FALL (the latter of which featured in The Mouth Magazine’s end-of-year list of twenty essential tracks from 2013). This year will see The Wolfhounds’ next album emerge, likely to collect together those singles and assorted other recordings from the past 12 months.
The band’s 1986 debut CUT THE CAKE was a highlight of Cherry Red’s award-winning indie compilation SCARED TO GET HAPPY last year. The band opened the mini-festival celebrating the release, setting the bar high for the rest of the event, and frontman David Callahan featured in an edition of The Mouthcast recorded at the gig. Listen again,here.
Another interview with Callahan, from around November’s release of DIVIDE AND FALL, can be found here.
The Romford group’s spiky FEELING SO STRANGE AGAIN featured on the NME’s seminal C86 compilation. An expanded edition is in the works and will be released later this year. (The Machine Mouth)
Moltes influències dels 60s són les que trobam al cinquè disc d'Any Version Of Me, un projecte del francès Guillaume Lepine que s'encarrega de tota la instrumentació i de les veus. Referències als Beach Boys i els Beatles en sentirem a moltes de les composicions. Un disc molt agradable d'escoltar en moments de tranquilitat i repòs.
This is the fifth album by this mysterious Frenchman, and here he slowly moves away from this Brian Wilson influences to incorporate a more rounded sound. The opener “Can’t You See” is familiar, but he shifts with electronic synths on “Six and Three.” The barebones acoustic title track shows us a folkie side, but “No Answer” is a much stronger tune and the up-beat “Why Feel So Blue?” is a real charmer, like a Left Banke tune. My favorite here is is “Goodbye” which is kinda if Sondre Lerche played The Monkees.(powerpopaholic)
dijous, 6 de març de 2014
Acabarem les entrades d'avui amb l'energia d'aquest grup portugués, els Wild Δpes i el seu Ep amb el mateix nom que han publicat fa poc temps al seu bandcamp. Energia i vitalitat són els atributs que m'han vingut primer al pensament. Cançons directes i sense massa producció, fresques i contagioses.
This is the fantastic debut EP from Portuguese indie rock band Wild Δpes.
It gets off to a great start with the fast-paced 'Wanna Kill' bouncing along a breakneck speed which also features a nice little breakdown before gathering speed again. Slowing the tempo a tad, next song glam-rocker 'Linger' has a brilliantly catchy 'you-oo-do-oo-oo-oo' singalong line. 'Child' begins in an understated manner only to erupt into a towering indie rock anthem. Last song, the majestic 'From Summer To Fall' climaxes with some soaring guitar riffs making sure the EP ends in triumphant fashion.((Route for the Underdog)
Què fa un grup de Seattle editant un disc amb el nom de "Detectius Privats"? No ho hen aconseguit esbrinar però el més important, la seva música sí que ens ha impactat. L'entrada de "My Ride" em va fer decidir a escoltar el treball sencer i la veritat és que no deceben en cap moment. Indie pop sense més pretensions que fer-nos passar uns moments ben entretenguts.
We first checked in with Seattle's Detective Agency early in 2012. I have no idea whether the four members have acquired experience in finding your lost cat or identifying your lover's lover, but they continue to make highly addictive garage pop. And that's the important thing after all. You can always find another lover, perhaps even one who already has a cat.
Detective Agency has just released Detectius Privats, a five-track fuzzy, buzzing adrenaline rush that may not earn the group high marks in Latin class, but earns full credit and honors from the music faculty. There is no filler, and there are no ballads. This one is a racing machine ready for your favorite music player.(When you motor away)
Des de Berlín ens arriben carregats de psicodèlia els Suns Of Thyme.
Suns of Thyme have built a harmonious bridge between the psychedelic rock of the ’60s and the dark excesses of indie rock of the ’80s and ’90s. Fortune, Shelter, Love And Cure may be not suitable for all rock and metal fans, but those who love Tame Impala and The Black Angels are guaranteed to get what they where looking for.
The heart of the project can be found within layered, endlessly inventive tracks like the Indian-sounding “We Got The Years Are Not Enough” and the catchy “Soma (God For Gods).” The hypnotic “One Song” and especially “Asato Maa,” in which singer Tobias Feltes’ voice sounds like a didgeridoo, are also representative for the rich variety to be found on Fortune, Shelter, Love And Cure.
It’s not easy to pin down Sun of the Thyme immediately to any one style. Shoegaze is paired with psychedelic pop, with some very dark atmospheric moments. The album is melancholic at times and the songs have a rather repetitive structure, but yet it remains lively.
Even when Fortune, Shelter, Love And Cure slows down and gets meditative, by the end, the listener is still taken on a roller coaster ride through so many different styles of music. Ultimately, the 40-minute musical journey here is almost too good to be true — especially for a debut. The record cover, by the way, was created by Lionel Williams, grandson of film composer John Williams.(something else!)
La caràtula ja ens indica per on van els tirs. Música calmada, quasi en acústic i temes que ens submergeixen en un estat de serenor i de tranquilitat. Tot transcorr sense ensurts i a l'acabament de la música quedes més relaxat. Ideal per a una migdiada. Indie pop i dream pop a parts iguals.
I know it wasn’t long ago that I wrote about The Arctic Flow. Back in November I wrote about one of the singles off the new EP, “Sunbathing/Stargazing.” It was a lovely track, wasn’t it? Well, the EP has finally been released!
Let me refresh your memory by quoting the adorable description listed on The Arctic Flows’ bandcamp page: “One boy on the beach, flying his kite in the summer breeze. The Arctic Flow is Brian Hancheck, the boy in question. Creating songs of love, loss, joy and sadness.” I think that’s the perfect summation of this solo project, bursting with references to the sea, summer, love and loss.
The new EP, “Sunbathing/Stargazing,” not only met my expectations but effortlessly exceeded them. The first opening lines of “It was a long cold winter and our lips were frozen. And we forgot all the promises that we made last Summer” instantly made me forget about the 2 feet of snow currently outside of my window. Instead, I’m dreaming of leisurely summer days to come. “Isle of Palms,” the single I wrote about in my previous post, is a strong opener. After so many listens, I still wish it was longer! “Bright Summer Days” is full of bright guitars and overflowing with melancholy while “You Never Will” is characteristic of those charming vocals I’ve grown to love. The EP continues on so naturally, packed with songs I wish I had written. The same elements I’ve grown to appreciate in previous releases by The Arctic Flow are still present, but the overall sound seems more mature and refined. It’s a positive and strong step forward for the band. The EP ends quite aptly with Brian singing to us “And this is the last song I will sing to you. And this is the last song I will sing.”
I think one of the reasons why I love indiepop as much as I do is because it allows anyone to connect with the community so easily. It may be a common stereotype that most indiepop fans are nice people, but that’s only been proved to me time and time again. Brian Hancheck is one of those sincere, friendly people. I know I’ve said it before and I’ll likely say it again, but Brian is also an incredibly talented musician. Those combined elements make me want to support him all the more. (rue something)
dimecres, 5 de març de 2014
Avui una banda ja veterana de power-pop amb un nom ben suggerent, Shake Some Action! (La gran cançó dels Flamin' Groovies). Són de Seattle però si no ho haguessim anat a cercar podríem pensar que són una banda aussie de Brisbane mateix. Guitarres i melodies ens recorden grans grups com els Hoodoo Gurus mateixos. Un gran treball en plena maduresa com a grup, i que duri l'espectacle!
Shake Some Action! It’s a band name, but for these Seattle jangle-pop merchants, it’s also a call to fans of all things melodic and groovy. Like a really cool vintage suit, their jangly guitar sound’s got an old familiarity without being retro to a fault. Their fifth full-length album, Catch the Sun, is full of catchy pop-rock numbers from top to bottom. “Colors Exploding” sounds destined to be a big crossover hit, while the end of “Never Want to Lose Again” is a treat for classic guitarheads. “Wings” has layers and layers of melodies, and sounds like what Oasis could’ve been if they weren’t always bickering. Australian-born singer-songwriter-mastermind James Hall’s voice is reminiscent of They Might be Giants’ John Linnell, and suits Shake Some Action!’s sunny hooks well. Catch the Sun is the perfect album for jumping in a convertible, cruisin’ down the highway, and forgetting all your troubles. By Jason Martinez
dimarts, 4 de març de 2014
Aquest sons garatgístics que tant ens agraden tornen una vegada més a una entrade dels nostres mons diminuts.
It feels good to be back! For my first post in what seems like eternity, I’ve decided to write about London pop group Love L.U.V.. Modern day 1960′s garage pop at it’s finest, ‘You Do Something’ is the track that caught my ear. It’s catchy, poppy, cool, I can’t help but tap my foot and bob my head to every second. Love L.U.V. are that dreamy band you imagine seeing in a small bar, that band that puts stars in your eyes and makes you fall in love. Well now thinking about it, their name seems quite fitting. @LeahDingus
Primer single d'aquesta banda que ene arriba de Dublin. Indie rock smb elements de shoegaze són les sedes senyes identitàries. Interessant primer treball i per aquest motiu ja formen part dels nostres recopilatoris mensuals.