dilluns, 29 de setembre del 2014

CLEARANCE. Catalogue nos.

Un nou treball dels Clearance que van millorant a cada nova entrega. Aquesta ja no és gratuïta com les anteriors pero val la pena. En ella hi trobam una recopilació d'anteriors treballs de la banda,


Avui aquest grup ens compareix des de València i ens ofereixen un pop rock de guitarres molt aconsellable,

diumenge, 28 de setembre del 2014

SCHWERVON!. Broken Teeth

Schwervon! és un altre d'aquests grups que he dit que anava seguint i aquí vos deix el seu nou treball que m'acaba d'arribar al mail. Aquesta parella de guitarra i bateria seguiex publicant coses molt interessants.


Començam la temporada de tardor amb noves entrades dels grups que he anat escoltant aquest estiu i dels que anam seguint periòdicament com aquests Young Mammals que des de Houston acaben de publicar el seu nou trebal al bandcamp.

Alto Seco is the second album from Young Mammals, out October 7th, and the first by us here at Odd Hours.
There’s a charisma that radiates from Young Mammals, something they may not even be aware of. Childhood friends Cley Miller and brothers Jose and Carlos Sanchez have been have been making music together for years. It sounds organic because it is organic. A record of youthful enthusiasm and more adventurous than previous efforts. (Odd Hours)

dimecres, 20 d’agost del 2014

BIG SUMMER. Sessió Mixcloud

Una nova sessió smb música que he anat descobrint aquest estiu i que me venia de gust intentar mesclar. Esper que us faci passar bons moments.


dijous, 17 de juliol del 2014


Sota els pins de Capellans arriba el nou recopilatori de juliol, aquesta vegada un poc magre ja que no ha estat un mes amb novetats molt destacables. Així i tot, com sempre dic, escoltau i quedau-vos amb aquelles peces que siguin del vostre gust

dilluns, 23 de juny del 2014


Six years since we last heaped praise on them in a press release, one of our all-time favourite bands The Zebras re-emerge and exhale something that closely resembles a killer album.

Siesta derives its title from the hotel depicted on the album's cover art – a mock postcard from Cairns, the regional Queensland town where The Zebras' founding members grew up and where chief songwriter Jeremy Cole has largely drawn on for inspiration this time 'round.

And though, thematically, this is a set of reflections on a youth misspent soaking up the lazy vibes in the tropical north, musically, Siesta is no lying down matter.

Rich with all the jangle, driving bass and sublime hooks that filled their first two albums and 2008’s New Ways of Risking Our Lives EP, Siesta also heralds a considerable leap ahead in The Zebras’ evolution.

Bassist Edwina Ewins’ vocal is pushed to the fore on many songs, front and centre among the album’s high-gloss production — first single 'Try' is a perfect example of this.

Synth player Katie Geppert, drummer Dave Rose and guitarist Lachlan Franklin (formerly of The Smallgoods) fill out The Zebras circa-2014 line-up; Franklin's track, the cheeky 'High Art' is the band's first to be penned by anyone but Cole since their early-noughties inception, and it is indeed a highlight among many here.

Adding even more fire power, Cole has called on the hyper-pop expertise of Lachlan’s brother, Architecture in Helsinki’s Gus Franklin to preside over the final mixes; the result is an album Cole has always wanted to make but never quite had the nerve.


Heathers are releasing the tracks they produced for Part Time Punks as part of their annual John Peel celebration last year over on bandcamp. It’s available as a cassette or digitally with the latter being a free download if ya want. I Know features four Wedding Present covers – well three as Getting Nowhere Fast was originally by Girls At Our Best. It’s a popular song as it has also been covered recently by The Fireworks.

MOONBELL. Afterlives

San Francisco quartet Moonbell make faraway and trippy shoegaze with a very distinctive sound, one that makes the act's long-player Afterlives among the most singular dream-pop albums of 2014 to date. Its 11 songs carry copious reverb on nearly every instrument, and the unexpected wandering bass lines and schizophrenic patterns of this record add to its otherworldly nature. Opener "Never Seems" establishes a mood with loping snare work, and the drifting vocals and strings simultaneously disorient and engage. In an especially cool touch at 1:22, the tune transforms from electric to acoustic -- a solid example of the unexpected elements that Moonbell regularly employ. The title track, an album highlight, goes for a more monolithic approach, with punchy, slightly dissonant bass work reminding this reviewer of the colossal "Periscope" from Lilys' masterpiece In The Presence Of Nothing(which, as we wrote last month, may finally be getting the reissue it so dearly deserves). The vocals, while airy, bear the charmingly innocent and slightly out-of-tune feel of shoegaze greats like The Telescopes and early The Brian Jonestown Massacre -- a welcome revival of the style. Afterlives was released April 1 on the band's own Hypnogram imprint in a limited edition of 100 cassettes and as a digital download; purchase it right here. The entire set may be streamed via the embed below, and a new EP comprised of music recorded during the same sessions as Afterlives is slated for release this summer, according to this interview. Moonbell, which formed in 2010, previously released a digital single "The Golden Hour" and two EPs, Figurine and Parallel, all of which are available as free downloads via Moonbell's Bandcamp yert right here. The two EPs were packaged together for a CD release in 2012. But particularly based on the strength of its newest material, Moonbell's unusual blend of styles and sounds makes it a band to watch. Watch we will. -- Edward Charlton


THE IRENES. James Baxter EP

For fans of: Yoko & The Oh No’s, Young Buffalo, The Thermals.

Chicago-based trio The Irenes have just released their new EP, and it’s fantastic! The EP kicks off with “Crying For Addiction,” a reflective track riddled with a stand-out bassline and steady percussion. Frontman Max Loebman waxes lyrical about things he dislikes about himself, moaning, “I am restless, I am senseless…in the depths of my mind.” As the song gets it’s groove, the outlook improves, with Loebman crooning hopefully, “I’m a loser, honey, loser…and I will make it out alright…” Next up is “Fortress of Solitude,” a dark track that embraces the blues, speaking of being “numb down to the bone” and being trapped inside an imprisoned mind.

Following “Fortress of Solitude” is the EP’s title track, “James Baxter.” Easily one of the most complex songs on the album, “James Baxter” entangles intricate melodies with complex, layered guitars and heavy reverb. The EP wraps up with “Rabbit Holes,” which starts off as raw and simplistic before diving into a heavier, nearly du-wop-esque tune. Loebman speaks of his worries about losing himself in a new relationship, crooning on about a “femme fatale” who enraptures his heart. It’s the perfect semi-quirky track to a solid album, and we can’t WAIT to hear more!
(Jam Spreader)

OS DRONGOS. Night Drippers

This latest EP from Leeds based singer/songwriter Joshua McCarthy, AKA Soulmates Never Die is a truly awe inspiring collection of wonderful songs. Opening track Kyss Kyss sets the tone for the record with a great guitar line that really dives the song along at an excellent pace. The upbeat melodies of the sublime Boku-Maru can’t help but put a smile on your face as well as being one of the stand out moments on this fantastic EP. The emotive God Bless Rabo Karabekian! is followed up the great lo-fi track Two Lovers Tussling Tenderly Between Two Trees, which drawsNothing Hurt, Everything Was Beautiful to a fine conclusion.
Matt Hill

BEACH PIGS. Grom Warfare

Two adjectives that spring immediately to mind when feasting my ears upon the long awaited debut album from Auckland-based four-piece BEACH PIGS are fuzzy and jangly. And as cliched as it might be to say, there’s a definite debt owed to the forefathers of the Flying Nun Dunedin sound of yore, not that that’s a bad thing. At all.

Dahnu Graham’s vocals float in and out of bass and guitar melodic fuzzes, falsetto bf’s add the necessary sparkles to lift this from just another guitar-band album into something much more interesting and enthralling. This record is relentless, every song has been crafted quite perfectly to offer both immediate grabbing hooks and special sneaky surprises to be discovered repeated listens.

You’re at this party, right, and something funny / awesome / beautiful / special happens over and over again. It’s one of those parties that you’ve magically managed to keep your level of inebriation at that optimal level of never letting the buzz fade, yet never over-indulging to the point that you feel that you might need to have a lie down / spew. But, I dunno, your mate somehow convinces you to leave and head over to his friend’s place, and despite your reluctance and better judgement, you go along with it. And it’s inevitably shit. Usually, in this narrative you put up with the anticlimax and then complain, days later about leaving the party too early. But in an unexpected twist, you actually, instead, return to the aforementioned party, and it’s just as good, if not better than before, you hook up with a bunch of new friends and make some special connections. Well, that party is this album.

Highlights include the dreamy love song “You Again” the drifty and woozy portmanteau of “Big Peach”, the catchy-as-fuck “Catch Up” and the intensities of “333″ and “Mephedrone”.

Grom Warfare is going to be a party I come back to over and over again.

dijous, 8 de maig del 2014

PRIMITIVE HEARTS. Split 7" w/ Pookie & The Poodlez

Una miqueta de punk i de pop accelerat sempre ve bé per descongestionar una mica l'oïda. Si a més sons sons primitius com els d'aquest grup d'Oakland encara molt millor. Amb quatre minutets desenvolupen tres temes directes i contundents. Què més es pot demanar a un grup de punk, actitud, això és el que fa falta, i ganes de passar-s'ho bé.

FURROW. Dear Hunter

Des de San Diego aquest duet, Thom Snell & Richard Cartwright ens ofereixen dos temes que aniran inclosos en el seu primer 12' que publicaran el proper estiu. Noise pop lo-fi podria ser una definició del seu estil. Interessants sense matar. El seu segell Bleeding Gold Records és tota una garantia de qualitat. "Dear Hunter" la millor de les dues peces, amb un començament pausat i que va agafant connotacions a grups llegendaris com els mateixos The Fall. Un grup a seguir.

Buried deep in the corner of the internet lies a gleaming gem. I say gleaming, but really it’s a roughly cut, slightly grubby gem (in a good way) and it takes the form of ‘Dear Hunter’ by our new favourite band Furrow. The two piece specialise in creating ultra lo-fi noise pop that’s guaranteed to be the perfect antidote to any lagging house party, a bit like listening to The Fall through a blender full of margarita mix.
‘Dear Hunter’ is a full-on speaker rattler pulsing with jagged, fuzzy bass and window wrecking drums, all wrapped around a gloriously ramshackle pop hook. After numerous self released cassettes, Furrow have just completed a fresh EP, and if ‘Dear Hunter’ is anything to go by, it’s going to be pretty amazing.(Killer Ponytail)

dimecres, 7 de maig del 2014

LITTLE RACER. Modern Accent

Molts són els grups que beven dels anys 80. Els novaiorquesos Modern Accent en són uns d'ells. New wave i pop pels quatre costats.

Little Racer is a Brooklyn four-piece with a difference. Over the course of their Modern Accent EP, you may be reaching for comparisons to such ‘80s acts as the Cure, New Order, Joy Division and the Pixies. You may even go back further than that. “Fire Island”, one of the six tracks on this 24-minute EP, even sounds like a modern rendering of a Beach Boys song. Comparisons have been drawn elsewhere on the web to Vampire Weekend (which I really don’t hear) and Surfer Blood (a little more on the mark, but not quite). So there’s a whole raft of sounds that has gone into the sonic blend of the Modern Accent EP, and that’s what makes it so gosh darn enjoyable. Add to that the songwriting is top-notch. Even opening song “Fake French” might even have you reaching for the past with such lyrics as “When I was young / I was an idiot / Always getting my head messed up.”

But the real power on this album is the one-two opening punch of “Fake French” and “Vanessa”, both of which might be contenders for songs of the year. “Fake French”, with its shimmery, liquid guitar line and pulsating bass line, conjures feelings of listlessness and loneliness, all wrapped up in a bubblegum sound that will have you wringing your hands at how music like this just isn’t made all that often anymore. “Vanessa” is just as good, sounding like a long lost Pixies tune somewhere circa Bossanova, which is what I think is that band’s criminally underrated album. It’s just a damn catchy, bouncy song, with a chorus of “ohh ooh ohh’s” at the end sounding remotely Police-like. And while the rest of the EP falls slightly fall and hollow in its middle section, that’s not a criticism. The songs are still stellar, but the band has shot so high with those opening two tracks that anything else would be almost impossible to match. Overall, the Modern Accent EP leaves you in the end wanting more, more, more. I’d love to hear what else these four guys from New York have up their sleeves, but, until then, there’s always the liberal overuse of that repeat button to tide us over.(PopMatters)


Els Fireflies són de Chicago i la seva música no és gens estrident. Música relaxant perfecte per a migdiades de primavera. Uns sons clars, twee-pop en podríem dir. Les arrels de músiques dels anys 60 hi són ben presents. Un treball agradable d'escoltar.

”Hello, my name is Lisle and Fireflies is my “band.” I use quotations because I am the only person in the band. I grew up in the tundras of New England playing classical piano. I moved away to California to go to school and that’s how this whole thing got started. After I figured out a few chords, I bought a PortaStudio and started writing and recording songs; combining my love for simple, lo-fi recordings of the 1980s and 90s with my unrefined knowledge of classical structure and arrangement. I try to craft each song into a tiny snow-globe-sized universe you can curl up in and get lost for a little while.”
No one better than the artist himself to explain his music. My first contact wih Lisle and his project was back in 2008 when I reviewed the first long play he dropped: Goodnight Stars, Goodnight Moon. One long play and 2 EPs latter, In Dreams is released and all the passion for C86 and Sarah Records remains. Lisle delivers another collection of 12 lovely pop songs that could have been easily made in the 80s and we would never know it has just been recorded. Right on the second track he blesses us the indie-pop gem “A Chance Someday”, bringing light to ours memories Another Sunny Day, Field Mice, Razorcuts and any other fucking amazing jangle-pop band of that period. It’s incredible how it sounds so fresh. Keyboards by the end combined with xylophones are simply magical, leading to another great moment of this album, the piano-driven “Hiding Away”. The heart-beating arrangement building the riff at the beginning and the slow-paced atmosphere contributes to a relaxing yet shivering experience.
Without dropping the ball, Lisle hits hard again with “Fourth of July”, now with the help of a feminine touch to create vocal harmonies that are as amazing as some of best Ride moments. Once again, the keyboard plays a crucial role by the end prolonging the momentum. Although second part is not as strong as the first one due to being slower and a lot sadder, there are still some highlights to point out such as “Cartoons” and its sad break-up verses (I know it’s over now, but I don’t know how. I said that I loved you, but you just left and said goodbye“If I Tell You” and “September”. This is the kind of album where lyrics are essential to fully understanding the artist’s work, specially in this case where they seemed to be created for the 80′s youth.
As strange as it might sound, In Dreams is controversially sad and warm, evoking several feelings and emotions. Classic indie-pop can hardly get better than this.(The crystal lake)

BEACH SLANG.Who Would Ever Want Anything So Broken?

Després d'uns dies de reflexió personal, de demanar-te què hi fas aquí, tornam a publicar una entrada, en aquest cas des de Philadelphia. Un treball de punk rock de tota la vida i que no aporta res de nou sinó el plaer d'escoltar un treball senzill i honest. Aquests treballs que de d'aquí recomanan sempre.

"These books and bars and this honesty, they're all I've got," James Snyder concedes halfway through "Get Lost", the third of four heartbreakers from Beach Slang's debut EP Who Would Ever Want Anything So Broken? Snyder—a self-admitted "slave to fucking up"—spends most of Broken couching his confessions in a certain romance: "We're just some dumb kids getting wasted and knowing we're alive," he sings on "Kids." When the so-called "accidents, whores, and wrecks" that populate Broken aren't screeching it out with the cops, they're drinking down or snorting up anything they can get ahold of. Yet, when Snyder insists "the kids are still alright," he's onto something.
And Snyder knows a thing or two about "the kids": before Beach Slang, he spent the better part of the last 20 years co-fronting much-loved Bethlehem, Penn., punkers Weston. To a certain stripe of east-coast pop-punk fan, the Philadelphia-based Beach Slang must look something like a supergroup; Snyder's joined by Ex-Friends drummer JP Flexner and NONA bassist Ed McNulty. Between their pop-punk pedigree and their SPF-spackled moniker, you wouldn't be wrong to go into Broken expecting a little sunshine. But Beach Slang's got something stormier on offer: four self-described "sweaty prayers" set to hard-charging drums and heartbleed guitars.
"I watched your palm hug your guitar—it buzzes like a bomb," Snyder remembers most of the way through "Get Lost". There's a careening, about-to-explode urgency of the guitars on Who Would Ever Want Anything So Broken? that's every bit as crucial to these songs' emotional heft as Snyder's lyrics. Everywhere you turn, breathless rhythms crash headlong into blaring, yearning leads, a perfectly outsized complement to the widescreen, fucked-up-and-loving-it sentiments. What this sound lacks in subtlety, it more than makes up in desperation, and that tug between those darting leads and Snyder's whispered-in-your-ear vocalese is electrifying. "I gave you taste, and a spine," Snyder sings on "Filthy Luck". The music drops out just in time for Snyder to stage-whisper his kiss-off: "And I hope you drown." The guitars charge back in a second later, the perfect punctuation to his seething passion.
While it's tempting to try to position the wild-eyed desperation in Beach Slang's music somewhere between the fuckup glory of the Replacements and the finely tuned angst of Jawbreaker, there's a considerably less cred-compatible touchpoint towering above the rest: the Goo Goo Dolls. Believe it or not, the hardscrabble Buffalo rockers turned adult-contempo mainstays are all over Broken; not so much the soggy "Black Ballon"-era ballad-slinging Dolls, but the scrappy pre-"Iris" Goos of "Naked" or "Only One". The longing lead guitars, Snyder's closed-miced confessionals, those everything-is-riding-on-this-moment stakes? Textbook Rzeznik. Despite the current onslaught of 90s revivalism, few bands seemed less primed for cool-kid revivalism than the Goo Goo Dolls. But chasing coolness seems to be just about the last thing on Beach Slang's mind. They're an earnest bunch, and the things they sing about—outsized romances, youthful abandon, feeling pretty good about feeling pretty bad—deserve the kind of big, heartrending, leave-it-all-out-there drama this surging alterna-pop only amplifies. And, between you and me, "Long Way Down" still bangs.
Broken is tantalizingly brief: four songs, 10 minutes, and barely a wasted breath. Still, it's not without its flaws: you'd need to consult the dental records to tell the ripcord melodies of "Filthy Luck" and "Kids" apart, while the limp harmonies that pepper "Get Lost" don't quite generate the same kind of heat as the three songs that surround it. But even when their nuts-and-bolts songwriting concerns falter, their passion rarely does: these songs feel like they bounded out of these guys fully formed, brash and urgent and very much alive. The people in Snyder's songs aren't always so good to themselves, but Snyder's awfully good to them: he celebrates their flaws, toasts their smallest successes, holds back their hair after another rough night. It may stick pretty close to the down-and-out, but Broken's a fairly life-affirming record; these people aren't perfect, but they've got time to figure it out. For now, they're accruing scars, gathering stories, and getting by with a little help from their fucked-up friends.(pitchfork)

dimecres, 16 d’abril del 2014

HAILER. El Cósmico

"El Cósmico" és un treball d'un grup australià que es diu Hailer i amb una simple mirada ja vaig intuir de què anava el treball. Un altra disc d'americana vaig pensar, idò sí, un disc d'americana però molt interessant i amb una sèrie de grans temes que ens podrien recordar els millors moments dels Black Keys, sobretot a "Crucify the commodore" al meu entendre, la millor peça del disc. Americana "aussie", un cóctel que saben preparar perfectament aquesta genteta de les antípodes.

Hailer is a psychedelic rock band spawned from the innerwest of Sydney, Australia. Following the release of their highly-acclaimed 2013 album Another Way, the band toured the length of east coast Australia before continuing their journey to the USA. Hailer played over 40 shows in three months - from Florida all the way up to Boston, across to Chicago then down to New Orleans. From big cities to places you couldn’t find on the map, from venues holding over 3,000 to pizza joints and coffee shops… after all these shows it seems only a matter of time before they’re performing encores of Louie Louie with celebrity friends.
The tailwind of those gigs and highways blew them into the inland freak sanctuary of Austin, Texas, where EL COSMICO was recorded. It is a six track tale-of-tour mix tape, recorded and co-produced by Louie Lino (Nada Surf, Neko Case, All In A Golden Afternoon, The Wooden Birds). The music contains a raw, jangled-up energy that stems from serious time on the road. Weak coffee, sugary food, nutrient hits, lack of sleep, dust, smoke, beer, fumes and endless highways stretching out in front of the van.As Phil explains, “El Cosmico, or The Cosmic became our catchcry whilst on the last leg of the band’s 2013 US tour. Any spooky coincidence and slithery twist of fate was put down to the effects of El Cosmico. As we were driving back to Austin to play our final shows and record with Louie, we were confronted by the image seen on the album cover - a car by the side of the road, in the middle of nowhere, emblazoned with those now sacred words across the side panel. We most definitely saw this as a sign - we pulled our van to the side of the road, screamed "IT LIVES!", took the photo and there you have it - El Cosmico physically manifested, it chose us…” Sometimes sweet, cerebral, classic rock and stoned… other times noisy and unhinged. Stories, beats, melody, psychedelic rock and roll. It’s the soundtrack of an improbable and unexpected road trip.
Hailer is Phil (guitar & vox) Angus (bass & vox) Scott (drums). The songs of EL COSMICO are all moody – Cold Outside is a drifty pop jam, Crucify… is a wild dare, Digging Holes is radio-ready riff rock, Life Is Holy is classic rock Americana, Machinemusic is a synth-layered noise mantra and Symbol and Allegory is naked acoustic and piano twinkles. Dig in! EL COSMICO LIVES!(The unearthed)

MUMMY SHORT ARMS. Face Full of Sand

El single que ens ocupa és una cançó d'un grup escocès que engana al seu començament. Les primeres notes i acords no fan preveure el torrent que arriba a continuació. Tot plegat el trob molt interessant. El remix ja és una altra cosa, ja sabeu que sempre els me mir amb una certa distància, deu ser perquè n'hi ha molts pocs que em cridin l'atenció. Aquest pot anar, vaja, no mata.


"Fear" és una d'aquelles cançons que a sa primera t'atrapen dins les seves xarxes a base de guitarres clares i tonades que no deixen de ressonar al teu cervell. "Life is elsewhere" no es queda enrere i totes dues juntes formen aquest 7" totalment recomable. No diguis que no t'hagi avisat.

“Miserablist pop” trio Heathers are back with a sophomore 7″ featuring singles, “Fear” and “Life Elsewhere”, out now on Death Party Records. The darkness of anxiety-filled insomnia gets a throttling-guitar and drum driven jam on A-side “Fear”, while the tender confessions that begin B-side “Life Is Elsewhere” are swallowed up and turned about in a burst of noise, the hushed professions from Michael Francis turning to screams. If you think these singles are great recorded just wait until you hear them live.(The Grey Estates)

dimecres, 9 d’abril del 2014

WUSSY. Attica!

Wussy eón una de ses meves debilitats amagades, d'aquells grups que no saps com, però que quan obis la carpeta de cd's moltes vegades el treus com qui no vol la cosa i passes una estona agrable que se fa curta, el tornes deixar al seu lloc sabent que un altre dia et faran gaudir igualment. Un grup que no aconseguirà mai un concert ple de gom a gom, ni falta que fa. Després del memorable "Strawberry", ara ens ofereixen "Attica!" , una nova col·lecció de grans temes. "Teenage Wasteland", el tema que obri el treball ja et deixa un regust de dolçor a les orelles que no decau al llarg dels temes que el segueixen, tal vegada en destacaria "Rainbow and Butterflies" i el tema que dóna nom al disc, "Attica!". I així, tema rere tema arribes a l'acabament i a esperar una nova entrega.

Attica! is the 5th album from Cincinnati’s Wussy, and the first to be released in the UK following the 2012 compilation Buckeye. These 11 new tracks were recorded at John Curley’s (Afghan Whigs) Ultrasuede Studios, and mastered by Dave Davis at QCA, both of Cincinnati, Ohio. 2012 marked the first excursion outside of the US for Wussy’s Chuck Cleaver and Lisa Walker, and Attica! is partly drawn from their experiences. Former Ass Ponys guitarist John Erhardt joins the band as a fifth member on pedal steel, and the album as a whole sees Wussy incorporate new instrumentation including piano, organ, harmonium, synth, mellotron and e-bow. This, together with guests on Cello & Theremin, adds a greater range and depth to their sound.(damnably.com)

divendres, 4 d’abril del 2014


32 peces en un mateix disc només tenc record dels primers discs de Guided by Voices. Per aquest motiu el disc de Connections ja em va cridar s'atenció. Temes curts i directes d'un indie rock d'alta escola. El disc però no és tal ja que es tracta de tot el material editat pel grup al llarg del 2013. El seu debut "Private Airplane" el seu segon treball "Body Language" i encara un Ep que duia per nom "Tough City". En un any ja hi ha prou material i a més la qualitat no decau en cap moment. 

The Columbus lo-fi pop-rockers Connections had a very busy 2013. In addition to being named one of our 40 Best New Bands and taking their exhilarating live show on the road with fellow Ohio indie-rock greats the Breeders, they kicked out two spectacular LPs, Private Airplane and Body Language plus the Tough City EP — for my money, their crowning achievement thus far. A third full-length is already recorded and ready for mixing, but first, before the Connections catalog gets too unwieldy, the group’s significant discography thus far is being reissued as one massive compendium appropriately entitled Year One. It’s a handy starter kit for a band that specializes in bracing basement anthems crafted with pop precision but delivered with crackling rock ’n’ roll urgency. Stream the whole thing below.(Stereogum)

TIGER DARE. Wires Over, Wired In

Una altre del mateix estil i també de Nova York. Avui ha vengut així.