dimecres, 30 de desembre del 2015


La darrera entrada de l'any 2015 ens arriba de Glasgow i es diuen The Dirty Blonde i "Sugarmilk" és el seu segon treball. Escòcia sempre ha estat terra de bons grups i aquests en són un bon exemple. El seu estil musical el podriem definir com un encreuament entre els Teenage Fan Club i els Pavement. Dels primers agafen el màgic to de la melodia contagiosa i dels altres aquest tempo especial i un cert aire decadent de les peces. Un grup molt recomanable i que, tot i arribar a les meves orelles una mica tard, s'ha fet un petit lloc entre el millor d'aquest any que deixam enrera i que ha suposat la tornada d'aquest blog esperem  que per una llarga temporada.

Venturós any nou a tots els seguidors i ens seguirem veient al llarg del 2016!

From a neighbourhood in Glasgow, The Dirty Blonde carry on the tradition of making great guitar pop songs, while taking inspiration from the the likes of R.E.M. and DIY heroes Ween, an early exposure to Scotland’s folk scene, and twisting in elements of LemonheadsHusker Du and local heroes Teenage Fanclub. Also, reminiscent of the buzz gutiar heavy, sugar sweet indie rock of shoegazers like Swervedriver.

Take You Under‘, which was released as a single earlier this year, may sound like a staple indie dance floor filler, but it’s soon elevated by Danny Gallagher’s gravel-coated vocals allied to the beautifully constructed interplay between guitars, bass and drums.

Buzzin with musical energy from a young age, brothers Danny (lead vocals & guitar) and Paddy Gallagher (bass & vocals) along with Dean Canale (drums) and David Rybacki (guitar & vocals) were often kicked out of music classes at school, but refused to be discouraged as they experimented with a range of electronics, pedals and any other noise-making devices, as they attempted to push their sound to the limit.
The Dirty Blonde – Sugarmilk is a great album.  Full of energy, buzzin guitar, gravel vocals and sunshine smiles.  Sugarmilk is available via Two States Recording.(Buzzin Music)

dimarts, 29 de desembre del 2015

TEEN GIRL SCIENTIST MONTHLY. Girlfriend Friday Jewelry Show

Un dels nostres grups preferits de NYC treuen un Ep amb sis temes que no varen tenir cabuda en el seu llarga durada Hyper Trophy publicat el juliol d'enguany. Tot i que el nivell és un poc desigual es tracta de temes bastant aprofitables i algun d'ells diria que imprescindible com és "Grasp Mts". Evidentment segueixen la línia dels temes inclosos al seu darrer treball un pop de jugueta amb un to d'aparells electrònics propis dels seus darrers treballs. Particularment m'agradaven més abans però he de reconèixer que el canvi els impulsa directament a les pistes de ball. Tot i ser un àlbum de retalls mereix una escolta ben seriosa.

These are the 'leftovers' - six tracks recorded during the HYPER TROPHY sessions in 2014. When we knew they weren't going to make the final cut - for being too long, too weird and/or a retread of something already on the record - we set them aside to finish in August 2015. Since they were already odd, and together they were ill-formed for an album, we decided to have some fun with the production. We hope you enjoy! (Bandcamp)

diumenge, 27 de desembre del 2015


Acabant l'any ens ha vingut de gust completar una nou capítol de les Mixcloud amb temes que han estat publicats al llarg d'aquest curs, aquesta vegada més dance que mai. Esperam que us agradi.Amb peces dels Persian Rugs, Spring King, Young Rival, Hibou, Imagine Dragons, Beck, Club 8, Cafeine, !!!, Florence + The Machine, Cola Jet Set, I'm From Barcelona, Yawners, Lusts, Grimes, Hot Chip, ...

dimecres, 23 de desembre del 2015


Pop-punk de la mà de tres francesetes molt contagiós.

Kelly Kirwan
Say “New wave” to certain people, and you may just get your ass kicked. There’s the infamous tirade of French Journalist Kickboy Face (AKA Claude Bessy), explaining the post-punk, pop inclined genre was a figment of the imagination (and yes, that’s putting mildly). It isn’t surprising that one of the subsets of punk sparked such intense reactions, with their synthesizers and experimental approach—because the genre as a whole thrives off fierce, in-your-face opinions against the mainstream.
But whether or not you believe electronic elements dull the music’s hard edge, you can’t deny the clout of artists and bands like Billy Idol and Siouxsie & the Banshees. Not to mention the more recent new wave/punk inspired band, Decibelles, and their fresh EP Sleep Sleep.The three-piece, all-female troupe is a Lyon import (so “cold wave” may be more geographically specific when describing the movements that influenced them). True to their punk roots, their ensemble is stripped down and straightforward—Sabrina Duval and Fanny Bouland divvy up the vocals, along with their respective guitarist/drummer titles, as Emilie D’Ornano rounds out the trio with bass. Their tracks are frenetic and keyed up, especially the album’s eponymous opener.
"Sleep Sleep" wastes no time easing you in with an introduction—you’re plunged full-force into hard-hitting drums and guitar riffs. The lyrics are delivered in an undeviated, French-accented chant, “Dreams make my visions real / Everyone says you’re really strange” and embody that mindset of embracing alienation. Being misunderstood isn’t something to shy away from, it’s proof you’re one up over society. The EP’s agitated, confrontational feel makes its titles tongue-in-cheek. "Sleep Sleep" is not a sweet little ballad, lulling you into a dream state, just like "Glitter Sea" doesn’t evoke picturesque images of calm, sunlit oceans. These songs are taut and tense, evoking a kind of head-thrashing hypnotism.
One of the standout tracks is "Baloo Naked in the Jungle," which weaves hollow, percussive beats with light cymbals, as the Decibelles repeatedly work themselves into a dither after brief moments of relative calm. (Extra points if you caught the Jungle Book reference, which actually carries some anti-establishment themes if you take a hard look at it). Then there’s the album’s closer, "Vol de Nuit"—“Night Flight” in English—a five-minute track of low timbres that’ll build a knot between your shoulder blades. The first flurry of vocals comes at the one-minute mark with a flit of shrieks, and then continues on with its sullen, on-the-cusp-of-mayhem instrumentals. It feels like a feverish anthem for after-hours anarchy, and dispels any doubt about the Decibelles punk standing.
The electronic, power-pop nuances of their music haven't left them with a blunt edge. They’re still sharp tongued and fast-footed, and definitely worthy of your attention. And, let’s face it, whatever the controversy may be over “new wave” music, in true punk fashion, these girls probably don’t give a shit about labels 


dimarts, 22 de desembre del 2015

JUNK BOYS. Junk Boys Lp

Quan vaig escoltar aquest treball per primera vegada em vaig demanar si era un treball reeditat, però no, és ben actual. Me varen venir al cap grups coms els Hoodoo Gurus, els Talismen, el LAMF, i molts d'altres que a la dècada dels 80s 90s ens alegraven els capvespres i sonaven a la ràdio local. D'aquest treball se'n diu, un treball de rock amb majúscules. temes potents, riffs de guitarra addictius , una veu que vomita la lletra dels temes i la part rítmica fent de les seves. Vos recoman la seva escolta i a veure si sou capaços de no moure el cap.

Anyone mistaken enough to declare that rock and roll is stale, or that it’s missing something, or that it’s not what it used to be, never listened to bands like Junk Boys, whose debut LP just dropped this past Friday. The Brooklyn supergroup featuring ex-members of Organs, Brian Chillemi, and Hartwick Hanson, along with Russel Hymowitz (of Dream Police and MPHO, and formerly of Highway Gimps), and Alex Fippinger (of Yin Yangs), recorded ten songs at Brooklyn’s Seaside Lounge with Jonathan Schenke that rip through attitudinal, turbocharged power-chord riffage, with crude, impassioned soloing, and incensed vocal howls. “Arizona Nights” seems to capture all elements of the record, and the band’s sound, contrasting slick palm-muting and anthem-like ring-outs in a perfect balance that drags you straight to a 70’s rock club, kicking you to your knees and dropping an amp right on your head. The record is a perfect soundtrack for one of those slow-motion riot scenes in movies, with people looting and throwing things through windows, as the lyrics literally radiate, “take the money and run;” the camera capturing everything from the inside and having its world of protection shattered. (imposemagazine.com)

dilluns, 21 de desembre del 2015

BRICK TOP. Bored as Hell

Una tapa de punk per avui des de Washington. Els Brick Top no inventen res nou però fan un bon exercici pop-punk. Recomanat per a genteta que els agradin grups com els Bivouac, NOFX o els Jawbreaker de l'escena de Seattle dels anys 90

Last summer, D.C. punks Brick Top released a sparkling five-song demo that far outstretched the band’s relative inexperience. The hooks pierced deep and the lyrics beguiled its age. The band infused real darkness into its pop-punk; far more Jawbreaker than NOFX. On “Nothing On The Inside,” singer Chris Issapled for help in his proverbial examination of his own internal emptiness. “And if I find anything,” he sang, “it will be blind luck.” In D.C.’s robust punk community, there was little else quite like it. 
On “Bored As Hell,” Brick Top’s first official EP released online last week, the band continues to mine the existential depths for inspiration, and it finds plenty. The record’s first three songs speak again of scouring one’s own darkness for insights; of looking down from a high perch and deciding to jump; of the mundane, slow-motion trudge into middle age and seeing the inevitable conclusion. “I’ll probably have a heart attack before I’m 65/ By now I’ve lived out half my life but time keeps flying by,” Issa sings on “Heart Attack.”
The words describe such a human experience, there’s a real “you’re telling me!” relatability on the other end of the speakers, and much like Long Island punk stalwarts Iron Chic—perhaps the band’s closest musical kin—the deft, often bright pop-punk is the Kool-Aid that helps to swallow the pill. “All the songs on here touch on those themes a bit I think, that feeling of not knowing that the path you're on is the right one and grappling with that,” bassist Matt Carrier says. 
But midway through the six-song EP,  light pierces Brick Top’s dreary sonic landscape. Musically, the pace picks up. The distortion smooths over. Gruff vocals brighten and return to more traditional pop-punk octaves. Recorded at Noisy Little Critter studios outside of Philadelphia—where kindred spirits Spraynard and Sundials cut records, among others—the band deftly shifts tilts from the album’s rough beginnings to its smooth exit. The shift was intentional, Carrier says—the product of collective songwriting among the band members. “Given the songs we had, we wanted to have a clear transition, grittier to a little bit sunnier, between the A and B sides,” he says.
Sunnier might be a stretch, but lyrically, there are lighter moments. On the measured title track, guitarist and songwriter Chris Baker describes quiet seclusion as a chosen destination, away from poisonous social circles and the pressures they apply. Who needs all these kids? he asks. The couch is just fine. Like Brick Top itself: The darkness, Baker finds, can be a happy place.(washingtoncitypaper.com)

diumenge, 20 de desembre del 2015


Cada vegada que a aquest blog ens toca parlar d'un grup de garatge rock, la boca se'ns fa aigua. El cas d'avui és un d'aquests. Vénen del Canadà i ja havíem publicat un avançament seu amb tres temes. Aquí teniu el treball complet. Una bona dosi de garatge amb pinzellades de rock i de punk. Teniu a continuació dos articles que aprofondeixen un poc més. Jo qued aquí gaudint de la música

From St. Louis comes a true garage-punk/post-punk wonderland of an album from The Brainstems called No Place Else. With the opening song jamming true punk sloppy and the lyric of "I’m a mother fucking stallion" sung in a sort of nerdy punk voice that leads to another lyric of eating a croissant, there is no resisting this band. We need more bands like this.
The Brainstems didn’t begin too long ago and after listening to this one you can forgive them for starting out as a Ty Segall cover band. There is a heavy dose of irony and parody in their punk sound but after the first few songs, by God, this band gets better, with vocals very similar to the Parquet Courts, and St. Louis-specific landmark lyrics addressing racial redlines and the Art Museum and such, that are as deadpan, poetic, and observant as Ought.
The Brainstems aren’t just a punk band.  They jam along like the Meat Puppets and Butthole Surfers and any number of those seminal punk bands from the Ork label in the 70s.  But even on a near-ballad like the track ‘What it is’ they still capture that Lou Reed/Jim Carroll band sound, if not with a pleasantly rockabilly finale.  This is a modern scuzz band at its finest.
If your catalog is missing a bang it up garage band album of the finest order this year, give The Brainstems a listen.  A top album of 2015. (Jim Harris)

For over thirty-three minutes, The Brainstems‘ new album, No Place Else, blazes with unrelenting garage rock, post-punk rock, and indie rock. There are very few moments to catch one’s breath, as the quartet from St. Louis fire one blistering song after another. The tracks range from the outrageous and amusing (e.g., “Keep It Together” about losing one’s senses and how even tying one’s shoes becomes a chore) to serious topics (e.g., “Redline” that speaks to societal ills). It’s an approach that Parquet Courts have utilized to great success (with their latest album, Monastic Living, being an exception).
The Brainstems also incorporate the fire-brand of post-punk / garage-rock that Canadian bands such as METZ and Japandroids have employed. “Untold Heights” is a full-frontal assault on the senses with the colliding guitars and the exults of the band’s four members. The track then seamlessly bleeds into “Warm Skin”, another high-intensity, cathartic track. By now, you might be breaking into a sweat.
While most of the songs are fast-paced musically and lyrically, the band does sprinkle in some old-fashion rockers like on the awesome “Simple Joys”, which finishes with a cascade of fuzz and distortion. “What It Is” also demonstrates that The Brainstems’ influences and sound can extend beyond that of Parquet Courts or METZ. On this slow building and 70s-esque rocker, The Velvet Underground seems to be channeled. The tickling of the guitar strings and the gritty sound of the Manchester scene can easily be heard. “The People’s Joy” also has a Lou Reed vibe with the deadpan vocals and the cool, melodic undertones. “Time To Ride”, meanwhile, is a surprisingly melodic rocker, an easy-on-the-ears choice to end the album.
One could say that The Brainstems are a bit all over the rock map on No Place Else, but the songs are clever and the entire album is a blast. It’s the kind of album to turn on when one needs a boost or just feels like thrashing one’s head. Who needs a Red Bull when No Place Else provides the same jolt of energy? (therevue.ca)

dissabte, 19 de desembre del 2015


Els Honey Radar són originaris de Richmond encara que resideixen a Philadelphia actualment i la seva música està emparentada amb els Felt de ja fa temps o els Clientelle com a grup més actual. Una mescla de guitarres acústiques i elèctriques i unes bones veus conjuntades fan que el seu so sigui relaxat i harmoniós. Perfectes per una tarda de tardor-hivern com la d'avui. Dir que ja he rebut notícies d'un proper Ep que s'editarà al seu bandcamp properament i del que donarem complida informació al seu moment. Per ara gaudiu d'aquest 7".

One of the newest releases is this very small scale 7″ by Honey Radar, and I’ve got big expectations for this band’s sound. Not sure how one would really identify their sound, though you can hear all sorts of influences from lo-fi to jangling pop to art punk; it makes for a beautiful sound that I can’t believe more people aren’t clamoring over just yet. Guess that’s the price one pays for being ahead of the curve. (austintownhall)

dijous, 17 de desembre del 2015

dimarts, 15 de desembre del 2015

NO ALOHA. No Problemo

Des del Canadà ens arriben aquests No Aloha amb el seu segon treball que duu per títol "No Problemo", un exercici de surf pop i surf rock a parts iguals que destaca per la seva gran qualitat en la majoria de temes. El que més ens ha enganxat d'aquesta genteta ha estat el tractament que fan a tots els temes de les guitarres sempre presents en un primer pla. Tot i que no s'hi veu la qualitat d'un Minion o d'un Mercer dels nostres estimats Feelies, l'estructura dels temes és una mica semblant. Un treball que hem descobert una mica tard (es va publicar a finals d'agost) però encara que no sigui de rabiosa actualitat es mereix una entrada a aquest blog. A gaudir-ne!

It’s been a while since we caught up with the guys from No Aloha, the surf rock-inspired, pop-loving four piece formerly known as She’s. Between changing their name, going on tour, and grabbing the attention of arguably the world’s most famous skateboarder, they’ve had quite the busy year. And amidst all the chaos, they’ve even managed to crank out a brand new album, which they’ll be dropping at their release party on Thursday, August 20th at L’Escogriffe Bar Spectacle
Comprised of Canadian music scene alumni Andrew BatesBen GriffithsFraser Roodbol, and Marshall Vaillancourt (Lake Country, Annette’s Beach Party, Archery Guild), this Montreal-based foursome plays one hell of a show, and their EP launch promises to be one of their best yet. In celebration of their upcoming album, we spoke with Ben about the band’s recent success and what you can look forward to next. 
Before taking a surprisingly snowy tour through the East Coast last spring, the guys hunkered down here in Montreal to create their forthcoming sophomore album, No Problemo. After taking the winter to rehearse, record, and start mixing everything themselves, they came up with the cash to complete the EP by winning over an unlikely fan: Tony Hawk
no aloha“Tony Hawk’s film company bought one of our songs on Bandcamp, and then we got an email from them saying they wanted to buy the rights to it […] and we ended up getting a bit of money from that, which was awesome!” says Griffiths. “And because of that, we were able to pay Patrick McDowall (Director of recording at Concordia’s CJLO radio station and recording studio) to finish mixing the album, and we were able to get Jordan Koop (of BC’s Noise Floor Studio) to master it properly, so we were really happy.” 
The result is one killer sophomore effort that makes for the ultimate end-of-summer soundtrack. Bursting with jangly garage tunes, No Problemo features the kind of pop harmonies and power chords that get you psyched for lazy days and wild nights. And like their previous releases, the album was recorded live off the floor, capturing their infectious energy perfectly.
“We didn’t do any overdubs, which I think is good because it meant that we had to be really tight,” Ben explains. “You have to do everything in one take, so the songs that made it onto the album are songs we’re really confident in.” But the fact that it’s not too clean and pristine is exactly what makes their sound so endearing. As Griffiths humbly points out: “We are just a rock and roll band — it doesn’t have to be flawless.”
Though they’ve still got the same loveably gritty, high-energy sound, they’ve been playing under a new name since last summer, switching from She’s to their current title No Aloha. When asked why, Griffiths gives us a few good reasons, but one in particular really stands out.
10385185_10152225463316884_1214924996_n“Every time we’d say what our band name was people would be like, ‘Cheese?’ ,“ he says, laughing. “And it just got to the point where we were like, we can’t put any more effort into this, I’m not explaining this any more.” Taking their new name from a Breeders song from Last Splash—“it’s a great power-pop record, and we all love that kind of shit”—they settled on No Aloha and haven’t looked back since. 
With their new name, new album, and a few exciting new opportunities on the horizon, things are looking promising for these four loveable locals, and deservedly so. Along with recently winning the Greenland Music Award at the Montreal Fringe Festival, which secured them a mentorship with Greenland Productions, they’re already looking forward to recording their third album and have quite a few shows lined up as well, including their much-anticipated No Problemo launch party this Thursday. 
But even with all they have to look forward to, there’s still nothing more exciting to Ben than playing for a rowdy crowd. In his own words: “It’s just really cool to see that there’s people out there as excited about rock and roll as I am about Abba or Barry White.” (themainmtl.com)

divendres, 11 de desembre del 2015


Encetam aquest mes una nova secció que anomenarem Top Mensual i que estarà formada pels deu temes que més ens han cridat l'atenció en el darrer mes i que es troben inclosos en els recopilatoris mensuals juntament amb molts d'altres. Normalment seran temes del mateix mes, tot i que no implicarà que estiguin publicats exactament durant el mateix, de fet en aquest primer Top hi trobareu un tema que ja fa temps que està publicat. Això es deu bàsicament que a vegades descobrim un treball molt interessant que se'ns havia passat de llarg en el  temps en què es va publicar i no l'hem escoltat fins al moment present. Així mateix volem fer constar que aquesta llista no pretén ser un "Chart" comercial ni molt manco, només un petit reflex d'aquells temes que ens han agradat més a nivell personal i que per tant no pretenen ser cap "dogma de fe".


Acabam el 2015 amb un nou recopilatori mensual que compta aquesta vegada amb una imatge que na Neus Farrés ens ha cedit i que hem trobat adequada a aquest mes tan atípic, climatològicament parlant, amb uns capvespres assolellats i tebis. Com cada mes hi trobareu una mica de tots els nostres gusts musicals, power-pop, jangle, indie rock, shoegaze, punk ... i com sempre deim, escoltau i quedau-vos amb aquells temes que siguin més del vostre estil musical.

dijous, 10 de desembre del 2015


dimecres, 9 de desembre del 2015

AIRPORT. Heat Flash

Poca informació hem pogut trobar sobre Airport, llevat que són de Portland (Oregon) i que estan formats per: Vincent Furrillo, Jesse Van Sickle, Rachel Zakrasek, Jose Velazco i Ryan Lund. El seu indie pop resulta contagiós des de la primera nota i els primers acords. Els temes van passant un rera l'atre i el nivell es manté prou alt. Tenint en compte que les seves preferències musicals són Galaxie 500, Yo La Tengo, Stereolab, the Sea and Cake, MBV, Real Estate, Wild Nothing, Jesus and Mary Chain, Beat Happening, Seapony, Tender Age, the Velvet Underground i Fleetwood Mac com diuen ells mateixos al seu facebook, ja podem intuir quin tipus de material fabriquen. Si teniu un moment, no dubteu en escoltar els primers temes, hi quedareu enganxats de seguida si us agrada el seu estil musical.

(Church, 2600 NE Sandy) One of the handy things about being a bike messenger is that you can drop off your band's record at the Mercury office in between rounds. That's what Vincent Furrillo did with his band Airport's debut cassette, Heat Flash, and thank goodness he bothered. It's a fantastic, uplifting collection of dreamy, starry-eyed pop, with clean guitars strummed at deafeningly high volumes and heartache melodies arcing toward the sky like fireworks about to explode. Airport, formerly called Metropolis, celebrates the release of Heat Flash at tonight's show. The tape was printed in a limited edition of 50 from Brooklyn label Cryptic Carousel, which means they'll disappear fast. I feel incredibly lucky to have one. NL (Bandcamp)

dimarts, 8 de desembre del 2015

dilluns, 7 de desembre del 2015

diumenge, 6 de desembre del 2015


Freud and The Suicidal Vampires és el projecte en solitari de Calum Newton, cantant dels Lunatics in the Pogosticks. Es tracta per tant d'un projecte paral·lel i que podríem qualificar de "menor" encara que resulta prou interessant sobretot "What you wanna do" que estarà inclosa al recopilatori del mes de desembre.

dissabte, 5 de desembre del 2015


divendres, 4 de desembre del 2015


dijous, 3 de desembre del 2015


Posam en marxa un nou tipus d'entrada que anomenarem "avançaments" i on inclourem els primers temes que els grups van publicant de propers treballs que anirem comentant quan es publiquin sencers.

dimecres, 2 de desembre del 2015

DADDY ISSUES. Fuck Mary Kill

Les Daddy Issues són un grup de Greensboro a l'estat de North Caroline que duen ja un temps practicant el que millor saben fer, un garatge rock de molta qualitat, divertit i engrescador. Aquest és el seu darrer treball ple de petites joies com "Glue Sniffer" encara que podriem dir que el nivell el mantenen al llarg de totes les peces, algunes més "rabioses" que les altres que serien més jangle que garatgístiques. Un treball per passar una bona i agradable estona.

Unapologetic, irreverent riot grrrl punk is having something of a renaissance, and I couldn't be happier. Greensboro, North Carolina garage rockers Daddy Issues are squarely ensconced in this latest wave (they literally have a song called "Riot Grrrl," in case you missed the memo), and the beachy jams of their new LP Fuck Marry Kill take tongue-in-cheek defiance to a fantastic new level.
There's really no better introduction to the band than the lyrics of the album's opening track, "Glue Sniffer." In belted, hand-banging shouts, they admonish a friend to ditch her loser of a boyfriend: "He's in his mid-thirties and he ain't got a car / Spends all his money at a cheap-ass bar / He's always on Tinder but he can't get a match ... He ain't a catch." It's always a good sign when you end up chuckling to yourself within the first two minutes of a record, and the music itself is utterly infectious.
I'm reminded a bit of Chastity Belt's latest album, Time To Go Home, except where they tended to take a more serious approach to the content of their songs, Daddy Issues eschews most of the straight-faced stuff in favor of a more playful vibe. In fact, "Babehammer" almost feels like an alternate version of "Cool Slut"—where the latter directly addresses double standards concerning promiscuity, the former goes for more of a flippant, "you wish you could handle me" kind of empowerment.
Beyond the feminist overtones, though, Daddy Issues knows how to rock. Their songwriting is a flawless love letter to surf punk and DIY rock (bringing to mind other contemporaries like Hinds), and is digestible enough to play on repeat for hours. With only three tracks that break the three-minute mark, the album is as lighthearted sonically as it is lyrically. Fuck Marry Kill is a seriously fun record, and though its release date says November, it's sure to put you in a summery mood and keep you there. (Will Shenton)

divendres, 27 de novembre del 2015


Austràlia sempre ha estat font d'inspiració i lloc de trobada de grups d'estils diversos. Els The Brainstems els podem catalogar com a banda de garatge rock i com a tals dignes de la nostra més absoluta consideració. Els seus temes tenen la força i la qualitat suficient com per ressenyar a aquest blog. Avui mateix surt al mercat el seu darrer treball del que vos presentarem tres temes que es troben al seu soundcloud i que són representatius del que poden trobar a l'àlbum complet.
Leave it to St. Louis, where the current DIY scene feels less overburdened by stale trends than in other comparable cities and where there is still space for genuine weirdos that hasn’t been crowded out by people performing weirdness, to produce a garage band like The Brainstems, who sound more like one of the crop of quality Australian DIY rock groups than they do the franchised LA garage sound. 
Take a listen to their debut LP, No Place Else, which we premiere here today (speaking of the Australian sound, it was mastered by Mikey Young of Total Control, who I’m not sure sleeps and very well may be superhuman). There’s zero BBQ sauce here – this isn’t a PARTY DUUUUUUUDE, flamingo-with-backwards-hat-and-sunglasses, my-first-tattoo-was-a-neck-tattoo band. These are straightforward, well-written, hooky songs with just enough guitar solo – the solos here don’t feel hammy. If it’s party rock, it’s rock for a party full of your closest friends who you actually care about seeing, rather than a party full of drunk randos and jerks that talk too loud at you about things you hate and one naked guy running around violating everyone’s boundaries. 
The recording has the kind of scratchy surface this style calls for, but is otherwise remarkably clean. These songs feel finished, rather than carelessly tossed off. An album like this is proof even for those of us who are deeply weary of Straightforward Rock n’Roll that there’s still value in the formula, that it can still be done right. This is an album made for the love of playing music with your friends. That kind of honesty carries through. Jes Skolnik

dimecres, 25 de novembre del 2015

EIGHT. Eight

Poca cosa hem pogut trobar d'aquest trio llevat de què està liderat per dues components de Year of Glad i Amanda X i que és el seu debut. Aquest Ep de quatre cançons es troba en la línia de treballs com els de les primeres Breeders. Se suposa que es tractarà d'un projecte paral·lel i que la seva vida no serà massa llarga. Així i tot ens trobam davant un treball d'indie rock prou interessant, directe i contundent. Aquí no demanam molta cosa més per ser feliços.

The trio of Eight is scheduled to open Saturday’s show at the First Unitarian Church, which also includes Frankie Cosmos and All Dogs. The fledgling outfit is fronted by Mimi Gallagher (Year Of Glad, ex-Nona) and Cat Park (Amanda XBandname), and just shared its self-titled debut EP. The album offers a ripping glimpse at this new configuration, oozing with attitude and armed with a heavy bite, while constantly in motion. (thedelimagazine.com)

dimarts, 24 de novembre del 2015

MYSTERY WORLD. Mystery World

Si demanau avui en dia per un autor prolífic, el primer que em vendria a la memòria seria en Dylan Ewen, no hi mes que no trobi al correu alguna nova referència seva. En aquest cas publica un treball amb el nom de Mystery World acompanyat de: Steffe Welton (Vocals), Cooper Leardi (Guitar), Sean Duffy (Bass) i John Blank (Drums). Les peces són més reposades del que és normal en les composicions de Dylan Ewen però la qualitat es manté.
La meva preferida: "Pill Friends".

dilluns, 23 de novembre del 2015

POSTAL BLUE. Of Love & Other Affections

No és fàcil trobar un grup "unipersonal" encara que sempre adoraré els beneïts Sparklehorse que estaven formats bàsicament per en Mark Linkous (tristement desaparegt el març del 2010) que s'encarregava dels instruments i la veu en gran part dels seus treballs. Postal Blue és un d'aquests "grups fantasma", n'Adriano Ribeiro ho fa tot ell en aquest notable disc. Hi trobarem guitar pop i jangle bàsicament i reminiscències a grups mítics com els Byrds o més propers com els Felt o els Stereolab. No seré tan optimista com els autors de l'article ressenyat a continuació però si que diré que ens trobam davant d'un molt recomable treball que sonarà bastant de temps als nostres reproductors.

Brazil’s Postal Blue‘s new album has taken a very long time to make. The band started as a 4-piece in 1998, released their first – and until now only – album in 2004 and have released several EPs and singles on labels like Shelflife, Humblebee, Cloudberry and Drive-In Records. Today Postal Blue is a one-man band, where singer and songwriter Adriano Ribeiro does almost everything himself, – and he does it well!
The new album “Of Love & Other Affections” is definitely worth the wait. 10 lovely, well produced and well crafted indiepop songs that all are a real pleasure to listen to.
Most of the songs here are upbeat, classic indiepop, with strong sound references to the melodic, bittersweet jangly pop from Sarah Records and the early days of Creation, as well as 60s bands like The Byrds and The Zombies. However, it’s on the songs that take him out of the typical and familiar indiepop genre where he shines the most. “One Day” is so beautiful, and here Adriano really shows that he’s a great singer. I also love the violin parts by former Math and Physics Club member Saundrah Humphrey on this song. It adds so much depth and emotion. Another collaborator it is important to mention, is Shelley Jane from Derby, UK. Her backing vocals on the lovely “Still Blue” are superb, and reminds me a bit of the vocals on Stereolab’s “Dots and Loops”-album.
“Isn’t it funny” is also one of these slower songs that really shows his quality both as a singer and a songwriter. The chorus on this one is irresistible. Perfect!
It is rare to find an album where absolutely no songs are “fillers”. This is one of those few, and it is a strong contender to my album of the year list.

divendres, 20 de novembre del 2015

THREE MAN CANNON. Will I Know You Then

Des de Philadelphia ens arriben els Three Man Cannon amb aquest "Will I Know You Then". Un treball de només 6 peces però que no consideren un Ep. Si l'hagués de qualificar amb una sola paraula diria que és INTENS. Intens i una mica obscur pens jo coincidint amb l'apreciació que d'ells en fan des del blog "isthealternative". Un tema destacaria per sobre els altres, "Gold or Silver", un tema a cavall entre el rock americà de tota la vida i l'indie rock que tant ens agrada. Ells, al seu bandcamp, el qualifiquen d'indie punk però el primer terme no m'acaba de convèncer. Guitarres contundents en trobam a totes les composicions i una secció rítmica també potent i a la vegada camaleònica. A "Pushing People" hi apareix també un piano en el tema més tranquil del disc. En definitiva un treball molt recomanable i que de segur no estarà a cap llista de final d'any però que m'ha alegrat molts de moments aquests darrers mesos.
I don't know how to talk about this record. Will I Know You Then fills a void that only a method actor could. The songs sulk and brew with an intense amount of emotional potency. Three Man Cannon embody a new sound of indie rock that casually digests its former folk roots and spits out a more cohesive project. The album is being released through Lame-O Records.
The one thing I have to say is that this record takes a while to sink in. It's slower than most other albums I enjoy listening to and it trudges along with an intellectual passion not seen in many other acts. There are only six songs here but they encompass 31 minutes of music. The dark toned "Mood" is the song that brought to life my interest in this record. The song unwinds as the guitars grow in power, the drums pounding along as the vocals groan out, "spinning deeper into a dark, dark place. always together." It sounds melancholic and feels even more down. Three Man Cannon possess the power to make beautiful movements, such as the mid section of opener "Honest." The pianos and lead guitar melody hum along together against a steady rhythm section. 
A few of these tracks are hefty, with "Pushing People" being a six and a half minute pulse of arpeggiated chords. Closing track "Now Nothing" is the same way, but stretched out longer and filled in by more airy musical motifs. It can be either hit or miss depending on how the listener feels about this dark, almost emo revival jam progression. It's a rather perfect send off for an album I had no idea I would connect with. Will I Know You Then is a record more for people willing to lose themselves in a fit of sincere compositions. I still don't know how to talk about it, but I enjoy listening to it.

dimecres, 18 de novembre del 2015

THE JOHN CANDY. Ghostpedia

The John Candy és una banda brasilera formada per: Guilherme Almeida - guitars, acoustic guitars, vocals ; Vinicius Leal - guitars, keyboards, vocals ; Gustavo Cockell - bass i Joab Regis - drums i aquest treball ja és el quart que publiquen en deu anys d'existència. L'escena indie de Brasil ens sorprèn per moments perquè demostra una qualitat comparable amb la d'escenes molt més consolidades a nivell mundial. les etiquetes que trobam per al seu treball al bandcamp ens parlen d'un ventall d'estils molt ample i que van des del dream pop a l'indie rock passant pel jangle. Efectivament, el treball no destaca per la seva uniformitat, va variant una mica d'estil però mantenint un nivell de qualitat més que acceptable. Tal vegada les influències més destacables estarien envoltant els Dinosaur Jr o els mateixos Ride. En definitiva, un treball que es mereix una sèrie de sessions perqué no entra a la primera però va guanyant a cada escolta.

dimarts, 17 de novembre del 2015

WEEKENDER. “Floaty Feeling, Blue”

Ens ha arribat al correu la ressenya d'aquest nou tema dels Weekender que publiquen com a avançament del seu nou treball que sortirà el proper gener del 2016. En la seva línia, un pop eteri que ben bé es podria qualificar de dream pop encara que a certs moments s'endureixen una mica i treuen un poc ses ungles. El tema està bé per obrir boca i esperar impacients a què arribi el gener.

Philadelphia’s Weekender, led by songwriter Derek Sheehan, have announced their sophomore EP, Floaty Feeling, Blue, will arrive January 15, 2016 on PaperCup Music, premiering the title- track from the record today via IndieShuffle – share via Soundcloud. Floaty Feeling, Blue is a record of dreamy, textured pop tunes, soaked in psychedelic effects, recorded at Fancy Time Studios with co-producer Kyle “Slick” Johnson, who Sheehan worked with on the band’s debut, Spanish Peaks. Over the past two years, Weekender have built a loyal, local following, becoming the band to support touring acts coming through town, including Future Islands, The Growlers, Nothing, Surfer Blood, Israel Nash, Peace, and Field Report, amongst others.
Floaty Feeling, Blue is a natural progression for Weekender, with Sheehan now surrounded by a group of musicians, ready to take his vision forward, including Jesse Petas (drums, percussion), Steven Rosplock (Guitar, Vocals), Brendan McGeehan (Bass), and Dan Mudd (Synthesizer). As the band has shifted, the sound has progressed with the addition of heavy synthesizers. “I bought two ‘80s analogue synths, a June 106 and Prophet 600,” says Sheehan, “adding a lot of the finished tracks. The textures of the synths create space for guitar and vocals, and I really love how much is going on between the notes.”
Thematically, the record is about the connection between the human and the natural world. “The lyrics embody the balance we strike between the two, not only individually, but also with how we relate to one another in each world,” stated Sheehan. “The theme was not immediately apparent, but as the songs took form during the writing and recording process so did the meaning. I find that letting my subconscious mold songs as I write, is probably my favorite part about songwriting, and similarly in the studio. Being in the moment and letting things happen is what I love about it.”

Floaty Feeling, Blue track listing: 
01. Loving/Hating
02. No Time To Waste
03. Floaty Feeling, Blue

04. My Only Dream 05. Half Awake
06. When We Woke 

dilluns, 16 de novembre del 2015


Els beliefs són una banda de Toronto que acaben de publicar els seu segon Lp de títol "Leaper", un fantàstic execici de shoegazer de la mà del segell Hand Drawn Dracula. Si us ha agradad el darrer treball dels Lusts no dubteu en escoltar aquesta meravella dels de Toronto. En l'ona de les grans bandes shoegazers dels 80s com els My Bloody Valentine. Un gran segon treball que sol marcar les bandes novelles. Per als qui us agradi més la literatura vos deix amb la critica de David McElroy a xsNoize.

Toronto’s Beliefs release their second album Leaper on 13 November on the ever impressive Hand Drawn Dracula label. Leaper is an album of shoegaze influenced indiepop that pays homage to the likes of The Pixies, Sonic Youth, My Bloody Valentine and even The Wedding Present, who are a personal favourite of mine, so all the signs point to something very good. What you ultimately get is an album that is as fresh as a daisy, full of fuzzy guitars, great washes of noise and superb melodies, leading to an album that is surely bound to make Beliefs pop up on many people’s radars.
Opener Tidal Wave is as good an example of what’s to come as anything. An opening feedback squall leads to an MBV like drone of distorted guitar and your attention is grabbed from the off. I don’t know if it was deliberate or not, but the Dinosaur Jr referencing lyrics (“You’re living all over me”) are a nice touch. It’s a superb start, yet it’s trumped by the simply outstanding 1992 which is one of the best things I’ve heard in ages. Part Pixies, part joyous guitar pop, 1992is a track you HAVE to hear and you can so below – you can’t fail to love it. Colour Of Your Name comes next sounding like The Wedding Present circa Seamonsters but having fun. It’s a summery feeling track albeit one masked in wonderfully fuzzy guitars. Drown and the title track take the pace down a notch, focusing more in atmosphere albeit with added feedback and aggression in the latter which compliments the mood nicely before the excellent pop like Ghosts arrives, wrapping you up in its loveliness.
The album is basically a succession of impressive tracks that doesn’t relent at all. Morning Lightis another noise encased pop gem and it’s followed by Go Ahead And Sleep which reminds you of Ride at their most intense before they let Andy Bell have too much influence. The penultimate Leave With You perhaps suffers by comparison to the breathless opening nine tracks of the album but, that said, it still impresses. The record then ends on the brilliantly titled Swooner which starts off quieter than you might expect but builds to a booming, echo laden climax that ends the album perfectly.
As I said at the outset, Beliefs are band you are bound to hear a lot about soon given the quality of Leaper. There is no harm at all in making a record that pays homage to your influences, as long as there is enough of you in the record itself. Beliefs more than achieve that with Leaper and it is an album that you really have to get your hands on.