dimecres, 30 d’octubre del 2013


En escoltar aquest treball de Yelephants ens vendrà segurament un regust a The Strokes, efectivament, si haguessim de cercar una referència propera, el grup de NY en seria un candidat ideal. Veus, guitarres i tipus de composició són semblants però els Yelephants tenen una cosa en el seu favor, ganes i un cert amateurisme que fan de les seves composicions unes peces per sobre de la mitjania. Molt recomanables.

Following a free download single earlier this year, New Orleans band Yelephants have now put out their debut EP, 'Tart', also as a free download (well, name-your-price, and to be honest you probably wouldn't mind paying for their shambolic form of garage-rock). The quartet state that they haven't been together for that long but have already played a good few shows, and judging by the DIY enthusiasm that's thrown into these five songs you could probably bet that watching them would be a heck of a lot of fun. Even on record they sounds as though they're about to unravel in front of you, but that's all part of the charm.

They have good songs too, and the lack of studio sheen only serves to add an endearing quality to the EP. Take 'Jason'; a song with muffled guitar and bass that's just about glued together by a beat and has a good dose of melody from the vocals. It sounds a bit like The Strokes after they've been on a three day bender. 'Girls' has a classic punk riff and the vocals sound like Marc Bolan singing under a duvet; it's really quite good. They drop in what we assume to be a tribute to Burt Reynolds in the aptly-titled 'Burt Reynolds' but the vocals are indecipherable, so we're guessing really. Despite this it's another great track with a nice melody, as is the surfy 'Balloons', and once again any clarity is joyfully brushed aside in favour of making a superb racket instead. There is a slight break in style for final track 'HBMFS' but all in all 'Tart' is a triumph of tunes and passion over polish and professionalism. (The Sound of Confusion)

CAN'T DANCE. Comfortably Dumb Ep

Una bona dosi d'indie alternatiu des de Pittsburgh. Un disc que signarien segurament ara mateix els Pavement de la seva millor època, s'assemblen en la deconstrucció de les seves cançons i en la manera de tractar la veu i les guitarres sempre presents. Un bon descobriment d'aquest estiu que vos present ja dins la tardor per donar un poc de calor que ja ens ha deixat de forma definitiva en aquests dies.

Can’t Dance, previously known as Like Noise, is a three-piece “Indie-Rock” band based out of Johnstown, Pennsylvania. Drawing influences from such great acts as: Pavement, Built to Spill, Dismemberment Plan, and Cloud Nothings, the band has gained a strong guitar-driven 90’s Alternative sound; using youthful imagery in lyrics and crunchy guitar riffs to drive energetic song structures.
Can’t Dance formed in early 2011, using a cabin in backwoods redneck western Pennsylvania as a practice space. The music has evolved rapidly and the band has grown a lot as a whole. While the band members may be young they are constantly writing and rehearsing new material; always looking to the future, determined to make something truly great. Can’t Dance is comprised of: Garrett McKee- Guitar/Vocals, Jordan Gorsuch- Guitar/Vocals, Kidd Kovach - Drums/Money

Can’t Dance, while unsigned, is due to release their 7-track debut EP “Comfortably Dumb” on June 11th. With this EP the band aspires to increase their fan base through live performance in surrounding cities, along with various online promotions thanks to Banter Media Management!

“These Like Noise kids from ‘Johnstown’ might be lacking in the production department, but they got spunk. 90’s style spunk.” ( Marc Z. Gold, Gold Soundz Blog)

dimarts, 29 d’octubre del 2013


Indian Rebound és una bande Brooklyn que ens duuun treball per emmarcar en un estil blues rock amb algunes pinzellades de psicodèlia.

Things (in this case artists) come and go so quickly when running a music blog that occasionally (okay, often!) I completely forget about an artist before being totally blindsided when they’ve just released a new EP or LP. In a way, it’s very awesome because it breaks up the interminable wait for new music. In other ways I feel bad, because sometimes I find the new work late…or not at all.

I didn’t find the new EP from Indian Rebound too late – it dropped on July 22nd, but I was pleasantly surprised to find it there at all. I’ll go on record and say that Los Flamingos is a great (though intriguing) effort by the Brooklyn band, though I suppose I was as surprised by the content as I was to find out that there was a new EP at all.

Unfortunately, my initial view of Los Flamingos was colored by misplaced expectations – I thought “Bowery Brats” was the style of Indian Rebound, when it appears they are more firmly rooted in bluesy rock with some psychedelic undertones. Los Flamingos is a slow burner for a solitary night by a bonfire. Your friends are gone, your lady is away or non-existent, and all you’ve got left is some beer, some flames, and your thoughts.

As I recall from my time researching this trio previously, most of their music before “Bowery Brats” had absolutely disappeared off the face of the internet. That’s pretty strange for this day and age, but it goes a step further in solidifying my view that Indian Rebound didn’t set me up – I set myself up. I had previously compared the band to Arctic Monkeys, but it turns out they are more akin to Miles Kane. He crafts beautiful music too, it’s just not as immediately catchy and infectious as his mate Alex Turner’s band. It’s a little more thoughtful, a little deeper. That’s the Indian Rebound that I’ve found on Los Flamingos.

Expectations re-aligned, there are some tracks I love on this EP. “Those Flamingos” is beautiful and lonesome, a sub two minute interlude that stands out as being one of the better tracks I’ve heard this month. “One Of The Few” slots in as the poppiest track on Los Flamingos (along with being the album opener), igniting the album with a blues infused strut that never really leaves. The other standout for me is “So Strange”, which fuels the Wirral, England comparisons for this intrepid blogger. While not my favorite, “So Strange” may be the best track on the entire EP. It’s entirely hard to describe, but the craft put into this single track seems a cut above.

If you enjoy Miles Kane or other artists like him, you won’t want to miss this EP. Indian Rebound have a very similar approach. For a band you’ve likely never heard of, they are just as well polished. (Sirens of Decay)

GOD TINY. Fearless

Una entrada per una cançó, però val la pena. Amb aromes a anys 70s, moviment hippy, festival de Woodstock, ….

diumenge, 27 d’octubre del 2013

DIOS MIO. Tough crowd

Un dels descobriments del passat recopilatori. Una altra veu femenina ben peculiar que recorda veus i grups amb veu femenina dels 90s. Són de Londres i aquest treball és encara una demo.

And so we are told "if it ain't broke, don't fix it". Such a statement may leave you a bit puzzled when talking about music, but Dios Mio's wonderfully fresh and bright new songs come with the description of "demo" attached to them. Seriously there is no need to change a thing about these songs. Leave them as they are. For certainly this is no scratchy, two-track affair. Instead we are given two hits of enchanting, bewitching, sugar-rush treats that simply will melt you away. We are ushered into 'Tough Crowd' with a spiralling cinema organ; a stately guitar takes us fully inside, then the velveteen vocals of Helena simply dissolve you away in a golden haze. 'Tough Crowd' has hints of mid '90s alt-gems such as Luscious Jackson and Lush, but this is no retro-tinged step-back. 'Tough Crowd' is crafted with such style and grace that it is at once contemporary and near timeless. A delicious bass lead, Pixies-style break delights and charms, pushing things up high, then the golden haze washes over once more, coaxed back in on some perfect harmonies.

Stepping back, this would be a double A-side release, for 'Lions' is every bit as marvellous as 'Tough Crowd'. Fittingly it has a deeper bite and its claws are sharp, but coated with the deepest red polish. It has glistening irresistible sense of urgency housed among its sparkling guitar and those enticing vocals. With a wicked spark and glint in her eye, we are told how, "no-one will ever make me feel as lucky as you", before we are treated to a peak of delectable venom in pure Karen O-style with a beautiful howl of "be lions". And then with a final flourish that Marr would be proud of, it is over. All we can hope for is that Dios Mio have many more of these delights to regal us with. (The sound of confusion)

CHARLY BLISS. A lot to say

Sota una veu femenina angelical s'amaga un treball contundent d'aquesta banda de Nova York que es va crear el 2011. Aquest és el seu primer Ep farcit de peces rodones que et faran passar uns moments agradables. Les guitarres són presents a cada una de les cançons compartint protagonisme amb la veu de n'Eva Hendricks. Treball molt recomanable per assaborir aquest capvespre de diumenge.

In children’s literature, the classic riddle asks the question as to ‘what came first, the chicken or the egg?’  When you’re talking about new, up-and-coming artists in the music industry, that question becomes ‘what came first, the band or the songs?’  In the case of the NYC-based quartet who call themselves Charly Bliss, the answer to that question is the latter.  The group came into being when the group’s future frontwoman Eva Hendricks approached friend and future band guitarist Spencer Fox with a few songs that she had written.  After recruiting Kevin Copeland to play bass and her brother Sam Hendricks on drums, the rest as they say is history and the band released their debut A Lot To Say EP on February 15th.
There is something both subtly nostalgic and keenly original about the way that Charly Bliss goes about their business.  There are some hints of mid-90s style indie rock inherent in what they do, but what most stands out right from the start is the deft hand that the band executes their craft.  The songwriting is fully fleshed out, each hook with enough muscle to stand toe-to-toe with seasoned indie rock veterans.   What sets them apart from other bands of their ilk is the range and maturity that marks their songwriting over the course of these four songs.
These guys are not merely one trick ponies; their blend of indie rock reveals a dynamic sense of composition that many groups spend years searching for.   Each of the EPs four tracks stands apart and shines for different reasons.  The title track “A Lot to Say” crashes through your speakers with an energetic frenzy that calls your attention from the start, while the massive sing-a-long chorus of “Friends” is so well designed that it will get stuck in your head for days.  ”Safe” (featuring Fox on vocals) is the most complex of the four, adding elements and building on the song structures before changing things up on the bridge and selling it’s merits once and for all.  At the end, the controlled, noisy crunch of “Wait” offers a fitting exclamation point for the record.  All the while, the arrangements feel almost perfectly set-up, the instrumentation never seems out of place, the production is clear without sounding too slick, and Hendricks’ sweet but strong-willed coo rings out with a seemingly signature presence.
The truth is that it’s not very often that you find a band who so early in their existence sounds like they’re firing on all cylinders, but that’s what Charly Bliss have presented us with here.  And if this is any indication of what we can expect from the band in the future, I suspect we and many more listeners will be hearing about them for a long time.  I suggest you hop on board now so that you can say you were there from the start. (Striker Bill)

divendres, 25 d’octubre del 2013

TV COLORS. Purple skies, toxic river

Segon treball de punk que presentam avui, aquests són australians de Canberra i "Purple skies, toxic river" és el seu debut en format llarga durada. Guitarres potents, veu emprenyada i actitud hostil formen part de la seva targeta de presentació.

When Assassins 88 disbanded with nothing more than a status update in April last year, they became yet another Canberra band to have a brilliant yet short career. For a brief moment, it actually made me wish I lived in the nation’s capital so I could have seen their outrageous live show more often. After TV Colours’ debut album was constantly delayed, I was convinced that they too would enter an early retirement, leaving behind a legacy of just over five minutes.
But it is rather apt that this album was six years in the making; the exact time it takes a person to make it through high school. That period where plenty of naïve 12-year-olds are transformed into pessimistic young adults eager to escape the wasteland that surrounds them; the same place they were once proud to call their neighbourhood. This album explores the dichotomy of high school: enjoying the most carefree and fun-filled years of your life while simultaneously coping with a sense of oppression and social isolation.
The album opens with two high-energy tracks that celebrate the reckless abandon of youth. “Let’s hit the fucking freeway!” Bobby Kill screams on ‘The Neighbourhood’, while ‘Lost Highway’ consists of anguished cries that are largely incoherent. This fervent desire to escape is contrasted with later tracks ‘The City’ and ‘Livin’ After Midnight’, which are both lonely soundscapes of passing conversations and checkout beeps, showing that the teenage dream is often at odds with the reality of shitty part-time jobs and underage drinking in parks.
Much of Kill’s lyrics are filled with standard teenage angst, like “I don’t wanna go to school!” on ‘Run With the Creeps’ and the repeated shouts of “I just don’t care anymore!” on ‘City Nights’. On paper it can come across like a mild temper tantrum from a bratty kid, but delivered with passion and intensity it illustrates the emotional volatility of adolescence.
The album opens with two high-energy tracks that celebrate the reckless abandon of youth. “Let’s hit the fucking freeway!” Bobby Kill screams on ‘The Neighbourhood’, while ‘Lost Highway’ consists of anguished cries that are largely incoherent. This fervent desire to escape is contrasted with later tracks ‘The City’ and ‘Livin’ After Midnight’, which are both lonely soundscapes of passing conversations and checkout beeps, showing that the teenage dream is often at odds with the reality of shitty part-time jobs and underage drinking in parks.
Much of Kill’s lyrics are filled with standard teenage angst, like “I don’t wanna go to school!” on ‘Run With the Creeps’ and the repeated shouts of “I just don’t care anymore!” on ‘City Nights’. On paper it can come across like a mild temper tantrum from a bratty kid, but delivered with passion and intensity it illustrates the emotional volatility of adolescence. 
by Mitchell Judge

GIL DE RAY. Malibu and Gil

Sa primera entrada d'avui correspon de Gil de Ray, autor d'un artefacte sonor d'aquells que et fan aixecar de la cadira. Emmarcat dins el punk manté viu un esperit que feia temps que no trobava en cap composició. Escoltau "Infect the culture" i sentireu el que vos dic. Bon material per recordar vells temps.

dimecres, 23 d’octubre del 2013

TAPE WAVES. Tape Waves

Jarod Weldin i Kim Hart es diuen les Tape  Waves, un duet de Charleston que practiquen un pop tranquil i inofensiu apte per passar un moment agradable i poca cosa més, que ja és molt avui en dia.

They may hail from South Carolina, but it's Manchester (the UK one) record label Box Bedroom Rebels who will be releasing the duo's debut 7" single this summer. Until then, Tape Waves have a couple of tracks available for free via their Bandcamp page, and it all sounds promising to our ears. Along with other beach/sea/sand referencing guitar-pop bands that are doing the rounds, Tape Waves (which might not actually refer to waves in the sea, but still...) have a lo-fi sound and make warm fuzzy tunes with plenty of melody.

What's noticeable about the two tracks here is just how relaxed they sound. Not in a can't-be-arsed kind of way, more a totally comfortable kind of way. 'Ready Now' bobs along without a care in the world, with some ringing guitar and shuffly drums, the vocals being sat right in the middle of the mix and sounding soft and gentle. They possibly have a better song in 'Wherever I Go', another tune that's made from those same ingredients, but here the vocals are treated differently and handclaps join in, both adding a little extra zing. All in all, Tape Waves appear to be a very soporific band, but in the best way possible. (The Sound of Confusion)


Tornam reprendre la publicació d'entrades que havien quedat pendents d'aquest darrer estiu i que encara no havia trobat moments per presentar-vos. Començam amb el Tyrannosaurus Dead que aquest juliol ens varen alegrar amb la sortida d'aquest meravellós Ep. Cançons farcides de grans melodies i un contrapunt de mala bava que domina tot el treball. A cada nova entrega van a més i serà un dels grups a seguir en un futur proper.

With a handful of early releases hidden in obscure corners of the internet, it could be that 'Pure//Apart' will be many people's introduction to noisy London indie types Tyrannosaurus Dead, in terms of adding to their doing-quite-well-already-thanks fanbase this EP could be just about perfect. Producer Rory Atwell wasn't exactly known for making "tunes" when he was a member of Test Icicles, but recent production work with Veronica Falls, Yuck and Male Bonding amongst others would suggest he knows how to keep fans of DIY guitar scuzz-pop happy. To our immense joy this new EP takes us on a voyage through similar sounds but with a new identity fronting them. Tyrannosaurus Dead aren't a second-rate Veronica Falls, they're a first-rate Tyrannosaurus Dead and have drummed that fact home here by presenting us with high calibre songs.

It's 'Buried In The Ground' that kicks-off the EP, and if you don't like that then why on earth you're showing an interest in a website that deals with an awful lot of fuzzy guitar music is beyond us. It's near pop perfection and has a cracking guitar solo; there almost doesn't need to be a track break between that and 'Soft', a song with the same tempo and made of the same components but with a different melody. Maybe Pterodactyl Dead would be a more suitable name; they're in full flight here. Then they actually do do away with the track break between 'Soft' and 'Sadie', the two songs segue into each other seamlessly. The tunes are all the same make and model but the sheer energy on display is exceptional. By now, something resembling a half-time break is needed, and this is supplied in the grunge-pop of 'Matthew'. Or at least for the opening minute, then the song takes off again with astonishing consistency and power. It's hardly worth saying that 'Splinters' is high-octane fizz-bomb pop that packs a melodic punch. Usian Bolt would have trouble keeping pace with these guys. Then, just as your record player is about to pass out through exhaustion, they finish things with a no less guitar-heavy but a little less frenetic closer 'Pure & Apart'. The temptation is there to just head straight back to the start and take this ride again, but we're gonna need a little lie down first. (The Sound of Confusion)