dijous, 30 de maig del 2013


Un grup amb nom de galetes i una primera cançó tan impactant ja compleix els requisits per dedicar-los una entrada. Aquesta genteta de Baltimore, a més de tot el que hem dit factura un indie pop prou recomanable encara que llevat de "Black cat" les altres cançons no aguanten el nivell. Serveixi aquesta introducció per donar-los a conèixer ja que la informació que circula per la xarxa és molt breu.

dilluns, 27 de maig del 2013

TAKE TURNS. Dice Palace Ep

Són de Leeds i practiquen un power-pop melòdic molt interessant. Impossible trobar més informació sobre el grup ni al seu facebook ni al tweeter. En continuarem fent un seguiment.

diumenge, 26 de maig del 2013

COATLE. Asymmetrical World

 Poques coses poden dir d'aquest grup de Londres, practiquen una espècie de power-pop electrificada en certa manera, la qual cosa els lleva part de contundència però se'n surten de manera brillant. Així i tot m'agraden més les peces, com "Fruits of Labour" on no apareix aquest component elèctric. M'agrada més el so clàssic del power-pop. Les harmonies vocals de "Anomie" ens recorden a grups com els Byrds i aquí i allà hi trobam petits detalls que fan d'aquest un treball molt recomanable per passar una estona agradable.

Sometimes when I listen to a band the thought of “wow, that was a really tight recording” pops into my head. That happened while I was listening to Asymmetrical WorldEvery track is just so on the spot and beautiful. There is a really nice harmony between garage rock and electro/power pop that makes Coatle quite the commodity. Its rare to find a band that does this combination well but when you do, its important to spread their music like wildfire. [Free Download] @LeahLovecat


Teen Girl Scientist Monthly és un grup que ja havia aparegut en algun recopilatori mensual i, ara que han editat el seu primer treball en llarg, en voldria fer una menció especial dedicant-los una entrada. Ells són un grup de Brooklyn format per sis jovenets que ens proposen això mateix, una sèrie de temes juvenils, alegres, desenfadats i contagiosos des de la primera vegada que els escoltes. "Summer Skin" va ser el primer single que ja havia sortit a un recopilatori però voldria fer menció d'un altre tema "New Age" que sortirà al recopilatori del proper mes. Un tema molt addictiu, amb un ritme que t'atrapa i et fa moure els peus quasi sense voler. L'alegria juvenil de "Hear Boys Talk" és una bona mostra del que us he parlat al començament de l'entrada, un disc fresquet, bo de digerir i que representa un treball més que decent per una banda que acaba de llançar la seva primera obra amb pretensions. Dedicau-los un temps prudencial i ja veureu, hi quedareu enganxats si teniu el cor jove.

Teen Girl Scientist Monthly is the kind of band name that sees you saying it twice just to make sure you got it right the first time. In contrast, their new album, from the strong bass and feisty vocals of the very first track, makes it easy to understand what they’re all about.
Modern Dances is the soundtrack to every unmade indie rom-com. It’s the backing track to wild parties where kids say meaningful stuff while drinking out of red plastic cups, and it’s the refrain that drives the camera through the corridors of a bustling American high school.
The tilt-a-whirl synth and hyped electric guitar of opener (and first single) ‘Summer Skin’ gives way to the similarly driving beat of ‘It’s On’ and suddenly it’s apparent that TGSM alternate between the peppy vocals of Morgan Lynch and those of male vocalist, Matt Berger. Though in a lot of cases this arrangement may come off as gimmicky, it works here because it creates a noticeable difference between tracks that otherwise begin to bleed into one big vivacious sparkly blur. But then again, maybe that’s the point.
The whole album feels like a kind of call to adventure for the youth of the Michael Cera generation.
When looked at outside the context of the album, each song does have its individual charms. For instance ‘Little Fur’ comes across as folksy, backed by violins and more stripped back, clanging guitar. But played as a whole, the album seems to require intervals, if only for the sake of you taking a breather and re-lacing your dancing shoes.
The most epic moments on Modern Dances come with ‘Faith’ and, later, ‘Your Kind’. With Lynch’s vocals swinging from vulnerable to punchy and back again throughout, these tracks have a kind of anthem-like rock opera quality to them that stands out for all the right reasons amongst the dancier tracks on the album.
But, in saying that, TGSM do dancey pop and they do it well. It’s because of this that I can’t blame them for sticking to a formula of insistent beats and bouncy riffs for the majority of the record.
They’ll be selling their very own choose-your-own adventure book at shows this Spring. But if you don’t get your hands on one of them, you’ll always have Modern Dances to set your house party/night on the town/spontaneous road trip in motion. The songs may at times seem transitory, but so are the moments that they conjure – and that’s what makes them worthwhile.

By Elyssia Bugg

dijous, 16 de maig del 2013


Segons la definició del diccionari, monomania és una follia exclusiva per una idea o per un sol ordre d'idees. Cada disc dels Deerhunter m'ha suposat una mania que ha durat temporades llargues. en aquest cas ja dura un temps més que acceptable. A mesura que el vaig escoltant més vegades hi vaig trobant nous detalls, no és un disc que entri a la primera, llevat d'algunes composicions més assequibles. Cada peça de Monomania està farcida d'inquietuds, de temors i preocupacions, sentiments que envaeixen normalment les composicions de Cox i Pundt. En aquest treball hi ha quelcom d'inquietant en l'atmosfera que l'envolta i que el fa diferent de treballs anteriors.

“Leather Jacket II” en tot el seu desenvolupament transpira punk pels quatre costats i ens recorda, encara que sigui de lluny, els primers Stooges. “Pensacola” la podríem enquadrar també en el mateix estil, una peça sense massa ornamentació, directe a l'enteniment.

Els moments més accesibles “Sleepwalking”, “Back to the Middle” o “The Missing”, ens porten al treball anterior, "Desire lines",

A “Neon Junkyard” podem escoltar: “Everything is the same as it was but now there’s nothing left to change”; tots una declaració d'intencions de Cox i la seva banda. “T.H.M” és impressionant: “Ever since I was born I have felt so forlorn I always knew this day would come, hey you lose and you win some”.

La cançó que dóna nom al disc és un vertader merder de renous, renous de follia, renous de maniàtic que et sacsegen i només hi pots trobar força i desordre. Un vertader caos encisador.

El disc es tanca amb “Punk (La Vie Antérieure)”, una cançó perfecta per arrodonir un treball que encara ha superat obres anteriors i que et fan meditar sobre on es poden trobar els límits d'una gran banda.

The press release for Deerhunter’s Monomania included the cryptic line describing the record as “avant garde(?) but only in context not form.” It’s a confounding statement meant to confuse and add spectacle, though neither are necessary. Such is the way of Bradford Cox,Deerhunter‘s enigmatic frontman who has grown into his own as both rock star and entertainer. His artsy tendencies have been traded in for his love for American music, making Monomania a mix of not only Deerhunter’s artsy and pop sensibilities, but also an intriguing combination of recent musical tropes. The result is arguably Deerhunter’s best album and one of the highlights of the year.
Cox’s sudden, and very vocal, appreciation for American music has positioned Deerhunter as the apparent heir to the indie throne previously occupied by bands such as Sonic Youth andR.E.M. Even R.E.M.’s own Michael Stipe has taken to mentoring Cox, helping the young singer get through his newfound fame just as he did with Thom Yorke and Kurt Cobain. This in turn has had the affect of smoothing out Deerhunter’s sound, allowing for Cox to become more introspective, while the group’s instrumentation has tightened up considerably.
Monomania begins loose and off-kilter, with random noises and that old avant-garde sensibility on the opening track “New Junkyard.” It’s a nod and a wink to the band’s earlier albums, notably the noise of their debut Turn it Up Faggot. But, then the band begins to tighten and, if you listen closely, you can hear it happen throughout the first song’s run-time. By the time the tune ends, the noise is gone, giving way to a clearer sound that could signify Cox’s new-found peace of mind.
Through its 43 minutes, Monomania reveals some incredible songwriting chops. “The Missing” jumps out almost immediately, its swirling chorus bringing to a dreamlike state to the proceedings. The tune is sung by Lockett Pundt and was a highlight on his side project, Lotus Plaza’s, last tour. Then there’s “Pensacoloa,” an awesome rave-up that twangs and swings like a fried country classic. Bits of Cox’s other band, Atlas Sound, have crept into Deerhunter’srepertoire, giving the band a diverse repertoire that has them going from country to noise then back to rock within a few songs.
The middle section of the album is something to admire. “Dream Captain,” “Blue Agent,” and “T.H.M.” show a band at its peak, showing off it muscle and diversity, while breaking down the corners it may have painted itself in on previous records. Cox boldly plays with themes of sexuality and gender, making for an interesting contrast with his mentor Stipe, who was far more coy and abstract about sexuality during his band’s prime. The album’s title track, “Monomania,” brings those issues to a head in one spellbinding song that sees the band turn in a squealing mess as Cox repeats the words “monomania” repeatedly.
On the surface, Monomania is both accessible and avant garde. But, underneath these two extremes is a band that has found its groove, taking their influence and creating sound that is truly their own.  Monomania is an album that grabs you on first listen and will only deepen with every subsequent spin.

dimecres, 15 de maig del 2013

THE YAWNS. The Yawns

Guitarres semblants a les dels nostres admirats The Feelies són les que caracteritazen aquest primer treball dels escocesos The Yawns. Una música senzilla que et manté tranquil, sense estridències, amb una melodia que et contagia serenitat. Esperam molt d'ells en un futur proper.

The point of a new music blog: to point people in the direction of new music they might like that they otherwise might not have heard. It's fun, I like doing it, but I tend to not find enough time to commit to it properly which results in a blog updated sporadically featuring music that turns out to be not that new after all. Still, let's ignore that this album from the Yawns has been on bandcamp for a good few months. Let's ignore that the band have been around since 2011. Let's ignore that I've been listening to it and not getting around to writing about it for that time. Let's ignore that this blog post comes just as they finish a tour of the UK rather than, more usefully, just before they start one. Let's ignore that both Gold Flake Paint and Song By Toad managed to include it in their albums of 2012 lists. Let's ignore that even R. Stevie Moore liked them before me. Let's just focus on the fact that this is a really bloody good album. 

They're a band from Glasgow apparently made up of some of Copy Haho (not that that is especially important) who write jangly, woozy, slightly shoegazey pop songs with lovely guitars and ace vocals and stuff like that. It's so good that the lovely people of Records Records Records decided it deserved to get pressed to vinyl. It does. Enough blabbering, listen below.(Basement fever)

dilluns, 13 de maig del 2013


A la fi puc començar a escriure amb la mà dreta i deixar novament els meus comentaris a les entrades. Ho encetam amb els comentaris al recopilatori del mes de maig, una selecció musical ben carregada de novetats d'aquelles que sortiran a moltes llistes a finals d'any. Hi trobareu l'elegància de les peces dels The National, The Airbone Toxic Event, Cyanna, l'ingenuïtat dels Vampire Weekend, el meravellós power pop de The Propellers, la influència beattliana que es repara en els God Tiny, una mostra dels nous treballs de Deerhunter, Primal Scream, French Films, Best Coast i Oberhofer el primer single que arriba a les nostres orelles dels suecs Pixie Carnation, ... tota una delicia per a orelles preparades. Que passeu tant de gust escoltant-lo com jo l'he passat de preparar-lo i fins al mes proper.

dijous, 9 de maig del 2013

SURF HARP. Galápagos

Aquesta és l'unica informació que he pogut trobar. El treball és molt recomanable.

Artist Name: Surf Harp
Location: Baltimore, Maryland, US
Release Date: 16 April 2013
Tags: fuzz pop, garage pop, lo-fi pop, noise pop

dimecres, 8 de maig del 2013


This washed up on my pile of submissions quite awhile ago and, with due apologies to the band for taking so long etc., this here is a fuckin' fun LP. Building on and progressing from the scuzz-fi-mired EP No Fun, Shape Breaker has carved out a warm, feedback-soaked little niche for themselves somewhere between the Stooges and MBV.

The former reference is due to the singer. He does a knockdown splendid job of sounding like Iggy at his soberest (is/was Iggy ever sober? The gods know). That means that he sounds like the lewd, crude, quite rude drunk leering at you as you feebly pass out in a puddle of your own puke on another wasted Saturday night. He only has the right to jeer at you because he's able to stand on two feet, and you, well, you're a feeble no-legged cripple at this particular moment.

Shape Breaker decided on a guitar sound for this LP, and followed it out to the absolute limit. Instrumentally, the record sounds like a mine shaft: it's all sorta the same, rocks 'n' dirts 'n' sounds like The Band in Heaven 'n' whatnot, but each level you bore into yields more weirdo enjoyment.

Holy hell, boppers, am I blasted outta my mind on this good Chianti red I've been guzzling like Night Train. (Drug punk)

dissabte, 4 de maig del 2013


Howly rock and roll from Paris? GIMMIE, GIMMIE, GIMMIE!! Be My Cavegirl pays homage to vintage rock and roll. The kind from better days when people actually cared, when people attended a live show just for the heck of it and not because they know the guitar player. This little EP is for you to jump around to and smile from ear to ear. This is for all you looking for a little fun. [Free Download@LeahLovecat

X-RAY FIENDS. Beat Machine


Throwbacks are easy, and arguably essential in the life of music, but they aren’t always a bad thing in the music world. Most people revert to nostalgia because they want to relive times past, or because it’s simply good to stay put in one place for an extended period of time, well after it has moved on. As much as people berate it, most of the time it’s harmless and – perhaps more importantly – fun. Hipster/geometry jokes aside, Sudbury five-piece The Almighty Rhombus are quite obviously a blast from the past, but they sound like their having nothing but a great time when hurrying their way through their miniature own numbers.
For all the content available (just this one self-titled EP at the moment; a full length called Lucid Living is due out in the summer), there’s undeniably something pocket-sized about the group: the five tracks here take up just twelve minutes, and just one track teeters over the three minute mark. In fact, that’s perhaps the only main gripe with the EP, in that’s so short and sweet. Listening through, it’s easy to dive in at any moment’s notice, but when you do, it can feel fleeting as you reach the end of the disc and still remember hitting play a few minutes beforehand.
Still, as said, those moments that entice you to dive in are plentiful. “She Didn’t Want Me To” begins with the EP’s most obviously nostalgic moment, fading in some fuzzy guitar, like a tape from a decades past playing in the background before the band get kick-started. From there they dose the listener with guitars and organ as the rhythm section steps back a little to let the other two have it out. When the band all come in for backing vocal duties, it sounds like they’re cheering them on. Ninety-second “Even Though” is just as likeable, if not moreso, not wasting any seconds to say what it has to, with a dose of those fuzzed-out guitars coming back into the picture.
“Kamikaze” offers the EP’s only respite, fading through from “Even Though,” but it sounds stodgy more than anything else; singled out it can be a bit of slog to get through. Before long, though, the band return to release highly sugared doses of peppy energy on “Honest Liar.” With riffs that seem to blow everything else preceding it out of the water, it sustains the momentum and sounds like the band charging forward. The song also has the best lyrical features to it, playing out with a homophone or two at the end of the verse: “You’re an honest liar ‘cause the lie you tell are white.” You could hear it as “wise”, too, but more than likely it’s “why” so as to fit in with the next line which descends quickly down the key (“you don’t want to hurt me”). It’s probably silly and unrequired to read into the lyrics here, as they tend not to verge on anything ground-breaking (“Make sure and tie up your boat/ Or else all your dreams will all float…”), instead just remaining simple enough to sing along to after one or two spins, but they’re there to play with, too, should you want something else to do with the music.
Comparisons to the likes of Fang Island are such are easy to use here, and they’re in no way off (especially during the pummelling chug on the latter side of “Even Though”) but again, going back to the brevity of the whole thing, it feels unnecessary to bother with such things. It can be lastingly satisfying when a great release from power-pop/rock (or whatever genre you want to call it) comes along, and while The Almighty Rhombus EP isn’t Fang Island, there are many worse ways to spend twelve minutes of your life. And if you give it the time it asks for, then you might find yourself reliving those same twelve minutes over and over.(beats per minute)