The Bloodbuzzed Jukebox Week 268

Another extremely disgusting political week, thanks to far-right politicans here and there keeping with the destruction of democracy in order to retain or (miserably) obtain power. But here comes music to our rescue, a little glimpse gathered in our TOP TEN JUKEBOX. Whatever you want, we have you covered. Brilliant sociopolitical statements enveloped in knocking angular riffs, courtesy of Lawn's and Tough Age (sign us beloved Flying Nun!). An exciting dose of new discoveries, including Blog's trademark antipodean sounds. Ace newbies by Kevin Morby and dear Phil Sutton. Even a great cover of a Pulp's masterpiece by friends Desperate Journalist. A lot to get fuelled (and/or) distracted for a while from this somber times... Have a great weekend ahead, and remember to join us at our Soundcloud page!

BloodBuzzed · Bloodbuzzed Jukebox 268

Direct links to 2020 Jukebox playlists

Week 250  Week 251  Week 252  Week 253 Week 254  Week 255  Week 256  Week 257 

Week 258  Week 259  Week 260  Week 261  Week 262 Week 263  Week 264  Week 265

Week 266  Week 267

The Indie Anthology 71: essential songs

Back with our Anthology and more than ready to write down our humble tribute to one hell of a band, with a long and superb career that, inexplicably, has always been ranked as a "second-class" act. Sit down, get your headphones on and waltz around with one of the greatest pop groups. Here's James calling!

Song: Runaground
Artist: James
Year: 1998

A tone of anthemic tunes, a zillion of immediate, contagious pop hooks, a killer live show (please come back to Barcelona soon!), a superb frontman with an incredible voice in the charismatic Tim Booth (from the sweetest melancholy to the most exhilarating joy in a matter of seconds). I will never understand why James has never made it into these ubiquitious "best-of-lists" (not even close of the top positions and, I'm afraid, a rather-to-vastly unknown band outside UK). They have everything and proved it on a very constant basis for many many years. I discovered them by the time 'The best of...' came out, with my brother and I getting so impressed with tunes like 'She's a star' or 'Runaground' we recorded them in as many "Compilation Music Clips" (those were the VHS times, kids) as we could. I'm choosing 'Runaground' it partly because it was the first one that got me completely, and partly because I simply cannot choose in which James' tune is my favourite. That guitar line, the growing tension, the way Booth sings, and how it explodes... Here was a band in which you could (can) hear hints of R.E.M.'s, U2, Pulp, The Smiths, Housemartins, the Britpop's efervescence, Madchester... altogether without being exactly any of them. They were and still are (which is amazing) exciting. And I'm sure they will as long as they want. Long live James!

United We Can: A Playlist

As you might know, today is General Election Day here in Spain. A day that hopefully means the beginning of a new form of government for my country. One where corruption is not the norm and putting people (as Bernie would say, the 99%) first becomes the fundamental doctrine. One where neoliberalism is not a mantra and public service recovers its true meaning. One ruled by the unity of the people, not the will of the few powerful and rich. I'm not shy of sharing what I'm voting (I have always voted the real left) but, I'm hopeful this time we have a real chance to determine politics in Spain (as is already happening in cities like Madrid and Barcelona). So I have prepared a quick playlist with some politically charged and personally meaningful bands and songs (tried to skip the most usual political artists, like Dylan or Marley, and Sam Cooke/ Creedence have a lot to do with what my father taught me) for this long and important evening. So, if you don't share my political views, at least I hope you enjoy the music!

The Indie Anthology 58: essential songs

It's been a great shoegazing weekend, so why not keeping up with the vibes in our anthology? Here's one of my favourite bands from that period. Ear-exploding sounds!

Song: Sweetness & Light
Artist: Lush
Year: 1990

Lush is my (original generation) second favourite shoegaze band, right after Slowdive (no one beats Rachel Goswell).It's kind of funny because I first got into the band thanks to Britpop, in particular Jarvis Cocker and his collaboration in 'Ciao!' (my brother was and still is a big Pulp fan, even bigger than me). And they did pen wonderful pop songs (Single Girl', 'Ladykillers', '500')... but one started to dig into the past and kaboom! What a heavenly band! Take 'Sweetness and Light' for instance. These chiming guitars with the otherworldly vocals echoing the melody, the inviting tempo, dream and ride at the same time. The subtle moment the tune stops (2:30) and there's that watered (or is it glass?) noise before the instrumental section arises. This is how the music must sound in space. Haunting, mysterious, unapproachable, irresistible. Shoegaze takes you places. Places full of emotion. Don't miss the trip.

The Indie Anthology 55: essential songs

It’s the comeback of the year without a doubt. Well, let me correct. It’s one of the comebacks of the decade, right there with Pulp and Slowdive. So, the first tune of our Anthology in 2015 was a no-brainer. It had to be one from Sleater-Kinney. Ready?

Song: Modern Girl
Artist: Sleater-Kinney
Year: 2005

Riot grrrl bands are, in terms of music style, always associated with rage, anger, bitterness, loud guitars and screamy vocals. But luckily, Sleater-Kinney’s music have never been that easy to categorise. Their fantastic arsenal of tunes doesn’t exactly fit into a single category, yet you can always recognise a common, genuine essence. A collection of beasts awaiting to be unleashed, but the attack can arrive in very different forms: a voice howling from the wilderness, a guitar erupting fireballs of magma, a drum beat thundering the night. Or in a completely unexpected way. That’s ‘Modern Girl’.

Sweet, simple, tuneful, a pop little tune with hints of folk (that guitar, the harmonica throughout the track) that it’s cheerful and overtly happy…. Wait, happy? Keep listening please. What makes this modern girl joyful? At first, her joy seems base on the acceptance of her lover “My baby loves me / I’m so happy / happiness makes me a modern girl”. Then it’s a TV which makes her closer to the world (reality is what we see on screen). Then it’s a doughnut with a hole as big as the Planet. A fake, depending identity based on image, things you can buy (you are always hungry) and man’s romantic love. That’s what define a woman? Of course not. Not with Sleater-Kinney.

Drums enter, Brownstein’s vocals get transformed. Music and lyrics announce the change. Rebellion is here. Against all the cliches and despicable social limitations upon woman. The almost lullabesque coda has now changed “My baby loves me / I’m so angry / Anger makes me a modern girl”. A REAL modern girl has to be angry, has to be committed against the role society has designed for her. “My whole life was like a picture of a sunny day”, Brownstein summarizes. An empty postcard (that you see everyday on videoclips, ads, Tv, movies, etc.) of a life that’s not your own. But luckily, there’s a riot going on, leaded by riot modern grrrls. Never a song so sweet on the surface has said so much about how fucked this world is. Still meaningful (in my opinion, more than ever), Sleater-Kinney are not just another great band that has returned. They are a great and NEEDED band.   

Discoverer 108: new indie findings

We reach December, so it's time to prepare our best-of-the-year-lists. But before the drama begins, three more proposals at our Discoverer Series for your ears only. Enjoy!

Fire Island Pines. Thanks to the always excellent Blog Don't Eat the Yellow Snow I can introduce you to this sextet from Wadebridge, Cornwall, UK. Formed in late 2010, they made their debut with 'Bratislava' EP a year later, followed by another EP, 'Rickie Lee Jones' on early 2012. After the limited 7" '1915 / Midwest' on our dear Manic Pop! Records in 2013, this year we can finally enjoy their first full album, entitled 'True Grit' and available since July through Firestation Records. Go check it out. You're going to find Jarvis Cocker-alike-vocals, jangly guitar lines, irresistible melodies and... trumpets! A truly great indiepop find!

Childsaint. Back to Perth, Australia to meet this all-female quartet, initially, in early 2013, a project for songwriters Chloe McGrath and Jane Azzopardi but expanded into their full form band in 2014 with drummer Ashlyn Koh and bass player Rhian Todhunter. A couple of tunes surfaced online in February 2013, followed this year by 'Dessert' anticipating single from 'sick' EP their debut release, out since September. Four exciting tunes, buried in haze, fed in dreams, darkness and beauty comprised within intriguing music pills, with a style that can remind you bands like Warpaint or Hella Better Dancer. Haunting pop hypnosis.  

No/No. And we end in Milwaukee, USA, with a band recently born from the ashes of The Delphines, named one of the best local bands of the 2010s and with a very recommendable album 'Hush', out in early 2014. But focusing in this newborn group, with first EP 'Drag' out on Milwaukee Record since late October, and another one, entitled 'XO', to arrive next week, now we have at least 8 great reasons to be excited. No/No makes instantly catchy, contagious music. Pop very high on added vitamins merging 80s new wave, waves of reverb with softly whispered vocals. Dark and sweet. Bubblegum candy, all-dressed in black. The most pleasant surrender.

"Pulp", singing for the common people

Pulp: A Film about Life, Death & Supermarkets
Beefeater In-Edit 2014, Chapter I

Our first rockumentary at this year's In-Edit was a highly expected one. I could develop my argument properly, but just let's say that anything involving Jarvis Cocker interests me. Besides, the movie was receiving quite a lot praise, being saluted as somewhat innovative and exciting. Unfortunately, it doesn't fulfill the expectations.

For starters, Florian Habricht's documentary is not that shocking. It's an insight take on a final concert, in this case the last (hope we are wrong) Pulp gig after their most celebrated comeback. With the addition the show takes place at home, at Sheffield. While he approaches the band while they prepare for the show... and to say goodbye to play as one of the fundamental pop bands of the last twenty years, the director tries to dissect what means Pulp, and their music to their fans (some of them, quite quite hardcore fans), their hometown and it's common people.

I know, I know. That doesn't sound bad at all. And, despite its originality is dubious, it is fair to say that's not your average music documentary. And I agree some of the inhabitants of Sheffield interviewed are really genuine and/or deadly funny (freaks, venerable old women with a knack for humour, sensitive and fragile human beings). And they like to sing (the musical scenes where they singalong the band tunes are charming) But it's hard to see the supposed sociological depth or even the testament to a city and HIS band in an amount of jokes for hipsters (the one with the kids is particularly annoying). Entertaining? For sure. Enlightening? Ummm...

So, what we got instead? Several Jarvis Cocker' witty comments, in particular the ones looking/hiding from the camera while he talks about the pass of time and on the subject of fame ("it didn't agree with me – like a nut allergy" he sentences). Jarvis Cocker in diverse and kind-of-cool situations, the best one involving his concert wardrobe and aid kit, which is priceless. Few revelations from the rest of band members, including the über cool Richard Hawley. And a mind-blowing, absolutely fantastic concert footage. Is that enough? Well, thanks to Jarvis charisma and the great tunes, it is. But the best film of the Festival? Or the movie Pulp deserves? It just fails short for that...

SCORE: 6,5/10

Bloodbuzzed-Chella, the Perfect Festival

I couldn't resist the temptation. I've been seeing too many fake Coachella posters out there not to make mine, so here it is: BLOODBUZZEDCHELLA, a dream-like Festival, full of impossible gigs & unbeatable comebacks! It has been very fun but extremely tough to complete. Many bands missing of course, and others were not included because I've seen them recently, or like Basia Bulat and Savages, because they are playing in Barcelona in the coming months... Coming with us?


* Van Morrison performing "Astral Weeks"
* The Beautiful South with Jacqui Abbott
* 10.000 Maniacs with Natalie Merchant
* Monkey Swallows the Universe
* The Concretes with Victoria Bergsman

Best Songs of the Year 2013: 50-26

Chapter III of our favourite 100 tunes of the year. The next 25 songs, now comprised between positions 50 to 26. Again, you have the complete (21 tunes) playlist at our newly created Soundcloud page, and if the song isn't available there, you'll have an alternative direct link. As we explained on the previous list, only three songs per band, so we've been able to include more groups (bands "affected" by this limitation are The National, Savages and Go Violets). Fourth and last part coming very soon, with the best 25 songs of 2013. Stay tuned!

50. Send Them Away- Beaches
49. Ken- Ex Cops
48. Pretty Colors- Chalk and Numbers
47. When It Happens- Wax Idols

46. Rue Savage- Dub Noir
45. Are You With Me Now?- Cate Le Bon
44. Next Stop- Bleached
43. New Life- Jim James
42. San Francisco- Foxygen
41. Waiting for Something to Happen- Veronica Falls
40. Sleeptalking- Hella Better Dancer
39. Youth- Daughter
38. Miracle Mile- Cold War Kids
37. Jean’s Waving- Amor de Días
36. Wolf Pack- Arts & Leisure
35. Little Games- The Adelines
34. New Year’s Resolution- Camera Obscura
33. After You- Pulp

32. Amarillo- Wiggum
31. Timothy- Tennis (link to video)
30. Morning Sun- Big Summer
29. It Can’t Be You- Basia Bulat
28. I Am the Past- Eleanor Friedberger (link to video)
27. She Will- Savages (link to video)
26. Graceless- The National

Click here to check the SoundCloud playlist!

A weekend full of music (part II)!

We end our summary of this special last two days with what happened yesterday, a celebration day!

Record Store Day
Finally, an imported idea that seems to fits nicely here (and despite some silly debates on its "ownership") and has grown steadily. It was very pleasant to realise how music lovers (many posers too) were willing to take the streets (literally "my" streets) and invaded the majority of the record shops located in the centre of Barcelona. Although I personally didn't buy much (grabbed a bargained copy of The Decemberists' "The King is Dead") I did have a great morning wandering around the city record stores together with the two gentle masterminds from El Genio Equivocado.

Wiggum live. Photo: Bloodbuzzed

On the afternoon we went to the cosy Ultra-local Records at Poblenou's district for the live presentation of "La Guerra Mundial", Wiggum's sophomore release. I told you recently on this blog, this band is one to watch. Now I certify it: you must watch it before they get too big. Even on a limited format (they were just three) and with a reduced setlist, they just proved their new album has several guitar-driven alternative-rock hits and they know how to play them. Songs like "Amarillo" or "El Caminar" are really "serious stuff".

With my cute bosses, the Pin&Pon djs!
Photo: Bloodbuzzed

After Wiggum, we went to Jane Joyd's gig at Music Hall. As explained on the previous post, her performance was splendid, a genuine music experience. But it wasn't the end of "our" record store day. We still had a fun party at a very peculiar place, the Generator Hostel of Barcelona, with the Pin & Pon djs (owners of El Genio Equivocado and my "bosses" at Indienauta). I can assure three things: First, although the place wasn't prepared to dance, these lovely couple could make you move with ridiculous ease. Second, Pulp's "After You" is a colossal tune. Third, and probably not the best part, after hearing many classics from my youth, I realise how old I'm becoming!!! It was a fun way to end this couple of days.

"Live Forever", the days of britpop

Live Forever: The Rise and Fall of Brit Pop

My teenage years were the britpop years. It was a very fun and exciting time even from the distance, Spain, because there was music on tv (quite a lot if you compare with the desert that is now tv in that regard) and Oasis, Blur, Suede, Pulp, etc, were also artists able/capable of topping the charts then. Something unthinkable now. Those were better times (thanks technology for the internet though, you have made tv completely useless for music, which is something good, considering how awful it is here in Spain). I will try to restrain my nostalgic impulses from now on, although nostalgia is an important factor on “Live Forever”, the documentary.

“Live Forever” tries to analyse the “boom” of popular music in the UK on the middle 90s, and its importance/weight on the British cultural and political landscape. It bases part of its strength on the contributions of the artists themselves: Noel and Liam Gallagher of Oasis, Damon Albarn of Blur and Jarvis Cocker of Pulp, with occasional interventions from Massive Attack’s 3D and Sleeper’s Louise Wener, among others (Damien Hirst, Ozwald Boateng, music journalists and members of the industry).

There’s a lot of fun in this “rockumentary” about this unusual period on the recent history of music. In particular, Noel and Liam are two fantastic comedians on their own, justifying watching the film with their opinions (Liam is hilarious). The film flows with rhythm despite the amount of interviews. But director John Dower is able to go much further than just the battle of Blur vs Oasis (Albarn’s reaction to the question speaks by itself) or the records. “Live Forever” aims to be a study of popular culture in the UK.

It almost achieves that ambitious goal. The renaissance of British music is clearly contextualised. Thatcher (always Thatcher) spent more than a decade to destroy the country, and, of course, that included the annihilation of culture. But after her, at the beginning of the 90s, the landscape changed, first slowly (Noel saying how bad was the electronic-house music on the clubs is amusing), with the landmark gig of The Stone Roses, but then accelerated, to the years of madness, from 1994 to 1997. A reaction against the conservative period, the Americanization of culture, and the reinvention of “everything Brit” to adapt it to the emerging momentum are well documented, resulting in a very engaging documentary.

It gets even better, when the bastard of Tony Blair appears and the so-called New Labour's tries (with significant success) to seek the alignment of britpop with them. When the term "Cool Britannia" appears. And when the consequences of the huge and sudden triumph arrive (the obvious presence of drugs, Jarvis comments about the struggle while making “This Is Hardcore”) before the inevitable, also sudden, fall of the movement, replaced (with cruelty) by Pop Idol and Robbie Williams. Its even more depressing if you consider that, 15 years after, we are still surrounded by the same kind of rubbish (I would add sadly multiplied).

Unfortunately, “Live Forever” is also a “hit & miss”. The film dates back from 2003, and many things seem outdated, or incomplete with the perspective of time. Think on Oasis' split, on Blur, Pulp, Suede and The Stone Roses reunions... Think on the current vindication of the 90s in music (in particular American indie, neglected on the documentary). Think on how awful, terrible is mainstream music nowadays, when during the 90s, britpop was the mainstream... That is not covered by the documentary.

But if that’s understandable, what it is hard to assume is the limited scope in what regards to bands. Sure, Oasis, Blur, Pulp were the leaders of the movement, but where are the rest? Just to name another big name, where’s Suede? Where are the precursors of the movement, in particular The Smiths/Morrissey? And the vast amount of groups that were also part of it, or jumped into the britpop bandwagon, with more or less fortune? And the ones who didn't want to be related with them (Radiohead, PJ Harvey)? Also, if “Trainspotting” was so referential, why there’s no interview with any of the people involved? I could keep going on and on... but I think you get the idea. Too many interesting things are presented, but very few are sufficiently explored, while others are ignored. It is one of the rare occasions when the length of the film is evidently not enough to "fulfil its promises".

“Live Forever” is a highly valuable documentary. It offers quite a lot in a quite engaging way, and benefits from the interviews of some of the fundamental artists of the music movement, that are revealing and/or very funny. But it falls short. Like being in front of an iceberg named brit pop, you know you are only seeing a relatively small part of the whole thing. Hoping for a bigger, bolder, better documentary covering that music period soon.

SCORE: 6,5/10

"The Beat is the Law", Sheffield, not Pulp

The Beat is the Law: Fanfare for the Common People

The extraordinary Beefeater In-Edit, the local music documentary Festival, teamed again with the San Miguel Primavera Sound, offering a highly recommendable offer of rockumentaries as another complementary activity prior to the days at the Parc of Fòrum. And in principle, the movie programmed on Monday couldn't be more engaging: a film, premiere in Barcelona, about Pulp's story? Count me in.

But unfortunately, that wasn't the case. It might be very bad advertising, or perhaps, intentionally, a way to make it more attractive for bigger audiences, but "The Beat is the Law" is not about Pulp, is about Sheffield music scene, from the 80s to middle 90's.

Director Eve Wood starts the documentary tracing a quite ambitious, for a music film, overview of how it was living in the 80s in Sheffield, not precisely the friendliest city in the world. Unemployment and few hopes for youth clashing with the Margaret Thatcher totalitarian regime, explained by the opinions of Sheffield musicians and people related with the music industry/business of the city.

Right. Among the people interviewed you'll find Pulp members Russell Senior, Candida Doyle, Nick Banks and Jarvis Cocker. And of course, you'll be hearing part of their story as a band struggling to survive, virtually not existing while the city deals with a social agony provoked by the governmental policies and then against a vibrant music scene that exclude them, until the circunstances/luck/opportunity change so much they will become the forefront of the britpop movement in the middle 90s. But this is just part of the film.

"The Beat is the Law" is also the (partial) story of Richard Hawley, of the Longpigs, of Chakk, of Rob Gordon and the Warp label, of Clock DVA, of acid house, dance and the club culture. With all that material and the cooperation of so many artists the film could have been amazing. But there's no balance on it. After almost an hour of documentary devoted to politics and the evolution of a music scene in Sheffield during the 80s, giving a lot of the film length to dance and house growing movement, Pulp reappears, almost out of the blue, for a homecoming gig. And then they headline Glastonbury in front of 80.000 people? Wood also allows the Longpigs to explain how they failed in a moment when they seemed capable of "making it" too. But again it fells so short compared with the previous hour of film. There's no real analysis of what/how/why britpop exploded. And after Glasto's performance, the film abruptly ends. So you cannot say this documents Pulp's career.

Overall, "The Beat is the Law" gives you a quite blurred image of these times. Its lack of definition and scope gives the spectactor an undefined picture, with social and historical remarks, artists and band members (some very relevant, some barely known outside UK) sharing their view on the city and music evolution. Many are interesting and engaging, but cannot help the sense it fails as a whole, as a cohesive music documentary.

SCORE: 5,5/10

Coachella 2012 announced: pure envy

I was preparing a movie post, but I'm too shocked/depressed by the lineup of the Coachella Valley Music & Arts Festival 2012 revealed today, to finish it. What at an amazing catalogue of bands! Sure, there are a few ridiculous, unacceptable (I'm being polite) facts, like The Black Keys (awesome band) headlining instead of Pulp or Arctic Monkeys, or the inclusion of names as awful as David Guetta, Dr.Dre & Snoop Dog (worse, they headline too) but man I count at least 16 names that I would love to see, and the same amount of bands that interest me. It's funny (ironic mode on) to see that some names showed in a very small typography are almost headliners in some Spanish festivals. Now seriously, please tell me something bad about that Festival, because right now I envy everyone who will attend!!

Friday April 13 & 20 April
The Black Keys, Swedish House Mafia, Pulp, Refused, Arctic Monkeys, Mazzy Star, Afrojack, Explosions in the Sky, M83, Amon Tobin, Cat Power, Madness, Jimmy Cliff & Tim Armstrong, GIRLS, The Rapture, Madeon, M. Ward, The Horrors, Frank Ocean, James Alesso, Sebastien, Yuck, Neon Indian, Dawes, Black Angels, Deathgrips, Wu Lyf, Breakbot, Atari Teenage Riot, Feed Me, Givers, Other Lives, Band of Skulls, R3hab, Wolfgang, Midnight Beast, EMA, Ximena Sarinana, Kendrick Lamar, The Dear Hunter, Honeyhoney, Hello Seahorse!, Sheepdogs, LA Riots

Saturday April 14 & 21
Radiohead, Bon Iver, The Shins, David Guetta, Noel Gallagher’s High Flying Birds, Kaskade, Miike Snow, Jeff Mangum, Sebastian Ingrosso, Andrew Bird, Feist, Firehose, Godspeed You! Black Emperor, St. Vincent, Martin Solveig, Subfocus, Sbtrkt, Flying Lotus, Manchester Orchestra, Kasabian, AWOL Nation, Azealia Banks, Squeeze, A$AP Rocky, Buzzcocks, Kaiser Chiefs, Destroyer, The Head and the Heart, Laura Marling, Tuneyards, Grace Potter and the Nocturnals, Black Lips, The Big Pink, Childish Gambino, The Vaccines, Zed’s Dead, Grouplove, Jacques Lu Cont, We Were Promised, Jetpacks, Gary Clark Jr., Borgore, Dragonette, We Are Augustines, Mt. Eden, Destructo, Suedehead, Keep Shelley in Athens, Pure Filth Sound

Sunday April 15 & 22
Dr. Dre and Snoop Dogg, At the Drive-In, Justice, Florence and the Machine, AVICII, La Roux, Beirut, The Weeknd, Girl Talk, The Hives, DJ Shadow, Calvin Harris, Nero, Wild Flag, Modeselektor, Dada Life, Porter Robinson, Santigold, Flux Pavilion, Dr. P, Gotye, Seun Keti, Egypt 80, Beats Antique, Fitz and the Tantrums, Araabmuzik, Company Flow, Real Estate, Zed, Le Bucherettes, Greg Ginn, The Growlers, Noisia, Morgan Page, Gaslamp Killer, First Aid Kit, Oberhofer, Lissie, Thundercat, Metronomy, Wild Beasts, Housse de Racket, Fanfarlo, Spector, Gardens & Villa, Airplane Boys, Sleeper Agent

Green- Definetely seeing them. Absolute must

Orange- If there are no overlaps (in particular with the green ones), I'll be there for sure

Yellow- Curious about it/"on research mode"

Best Concerts of the Year 2011

It's been a year with many concerts and Festivals, so I thought it was appropriate to list my 10 favourite live performances of this 2011. Great memories!

10. And So I Watch You From Afar (FIB Festival, Benicàssim, July 17th)
Not my music taste, ages from it. We were killing time waiting for the gigs we wanted to see that Sunday, but very soon this four Northern Irish lads unleashed a thunderstorm of noise. Their brutal math-rock was like a shock therapy. When a band plays with such passion, it can only receive gratitude from an audience.
9. Veronica Falls (Primavera Club, La 2 de Apolo, Barcelona, November 23rd)
Seen them twice this 2011, but in Barcelona they weren't just one of the year's most promising bands, but the authors of one of the best debut albums I can remember in a long time. Also, by then I knew all their songs, a fact that makes their music achieving another dimension. Uplifting, hyper vitaminized indie-pop to hum along.
8. Alela Diane & Wild Divine (La 2 de Apolo, Barcelona, October 27th)
She had been on my must-seen artists list for many years, so I couldn't let the occasion escape this time. And although I'm not that fond of the record she was presenting on the tour as I am of "To Be Still", on stage, brilliantly joined by great and familiar musicians, Alela was terrific, more diverse than expected and soulfully vibrant.
7. Basia Bulat (Caprichos de Apolo, La 2 de Apolo , Barcelona, February 11th)
Anyone who knows me a bit knows I can't be impartial with Basia Bulat. Alone with her instruments and her amazing voice , and not with the best possible sounding at Apolo, she delivered, again, an incredible performance. Her version of "I Put a Spell on You" on the piano still haunts me 10 months after. She's in a league of her own.
6. Mojave 3 (Festival Plaça l'Odissea, Barcelona, April 30th)
What can I say? I never expected I would be able to hear Slowdive's "Alison", or wonderful tunes like the sublime "In Love With a View", "Some Kind of Angel", "Bluebird of Happiness" or "Sarah" live. But I did.  Bringing Mojave3 was an unexpected gift from this free Festival.
5. Beach House (Fly to the Moon Festival, Poble Espanyol, Barcelona, July 28th)
Another key event organized unexpectedly by the people of the Primavera Sound, giving us the chance of seeing Beach House for (my) the first time. It was a short gig, but simply magical, proving that "Teen Dream" is among the peaks of the ethereal style called dreampop.
4. Elbow (Sala Apolo, Barcelona, November 20th)
If it was just a matter of performance and charisma, Elbow's gig would top this list. Leaded by one of the best frontman I have ever seen, Guy Garvey, a relaxed and joyful band engaged the audience and let them be the guests of and intimate and unique celebration of great music: the 20th anniversary of one of the best bands of the last 15 years.
3. Mercury Rev (Primavera Sound, Poble Espanyol, Barcelona, May 29th 2011)
After five days full of gigs, I wasn't expecting to be overblown by the last performance of the PS11. But I was happily wrong. Between fantasy and epic, between indie-rock and a magical soundtrack, sumptuous and ethereal, Mercury Rev recreated in all its majesty "Deserter's Songs". A glorious,extraordinary experience.
2. PJ Harvey (Primavera Sound, Fòrum de Barcelona, May 28th)
Technically, I had seen PJ Harvey at the ousted Summercase Festival. But "White Chalk" wasn't my record and the stage where she performed was obviously inadequate, so I left after a couple of songs, putting health ahead. But in 2011, PJ Harvey has offered the world her best record, best of the year in my opinion, "Let England Shake", and thanks to the coincidence with the UEFA Champions League Final, I was able to have a privileged seat from where to enjoy the gig. Everything they say about Polly live is true. She's among the best.
1. Pulp (Primavera Sound, Fòrum de Barcelona, May 27th)
Objectively, PJ Harvey's or Mercury Rev were better, in terms of comfort (the overcrowding at this gig was nearly unsustainable) or sounding, but having the chance of seeing Jarvis Cocker and co. performing some favourite tunes of my teenage and adult years makes this top spot deserved. As expected (he's one of the greatest frontman ever, period), the gig was all his but he had the time of giving back their hymn, "Common People" to the audience, dedicating it to "los indignados", ultimately then, to the people. "Something Changed", "Sorted for E's & Wizz", "This Is Hardcore", "Do You Remember the First Time?"... Put it simply: I finally saw Pulp.

The 25 greatest artists of the last 25 years: the top 10

And after the first batch of groups... the top ten!!

10. The Divine Comedy. The gentleman of indie and one specially beloved. An incredible songwriter, witty, clever and bright, and a unique talent for creating that tune that sticks in your head while hits your heart, something Mr. Hannon has been doing for 20 years now. And always with a smile.

9. Arcade Fire. From terrific hype to most beloved indie band to universal music stardom, the Canadians have been capable of achieving massive success without losing any of their idiosyncrasy. On the contrary, they arguably did with their richest and most interesting album, "The Suburbs".

8. Arctic Monkeys. They revolutionized music industry with their brilliant debut album, and consistently proved they weren't a hype, but one of the best bands of the past decade. The superb "Suck It and See" is the last evidence Alex Turner's band is fated for greatness.

7. Oasis. They ruled the world a few years in the mid-90s, but don't forget that behind all crap that surrounded brit-pop, "Definetely Maybe" and "What's the Story (Morning Glory)" are just masterful rock albums. And Liam's voice still captures something very few singers can. A generation sung through his throat.

6. Belle and Sebastian. They have lost some charm with their last records, but "Tigermilk" and the immaculate "If You're Feeling Sinister" are still central chapters of the "indiepop Bible". Their influence among other bands is so easy to trace. The world would be a much awful place without them.

5. Pulp/Jarvis Cocker. Pulp was, with the perspective of time, the best band of brit-pop. In fact, they were way more than that. They are a music treasure coming from Jarvis' unique, genuine mastermind.

4. PJ Harvey. Probably, the best solo artist of the last two decades, that keeps challenging herself after twenty years of amazing career, as the indispensable "Let England Shake" has proved.

3. The National. "Alligator", "Boxer" and "High Violet". Enough said. In my opinion, and without a doubt, the best band of the new century, millennium or last decade.

2. R.E.M.. Starting at 1986, "Murmur" doesn't count, but we have great albums like "Life's Rich Pageant", "Out of Time", "Up" and their final "Collapse Into Now". Plus, of course, THE ALBUM: "Automatic for the People". They will be forever missed.

1. U2. Two undisputed (and personal favourites) masterpieces, "The Joshua Tree" and "Achtung Baby", an excellent album like "Zooropa", and many many great songs from other records. Ambition and ideas translated into the best live show, "Zoo TV". A band that was capable of reinventing and challenging themselves. Still hoping they are able to do it again.

Bands/artists deserving a mention although didn't make the list: Phoenix, Lambchop, Stone Roses, Pixies, Pavement, Primal Scream, Pearl Jam, Damon Albarn, My Bloody Valentine... Hope you enjoyed!

A Playlist for an Indie Wedding

Back to posting after a wedding weekend. It was a nice celebration (best wishes for the married couple), but what was that song selection? An instrumental version of Metallica's "Nothing Else Matters" and an Indian mantra (chill-out version) for the ceremony? That "wasn't in order" (not to mention the dance's setlist). Now I have the perfect excuse to think on better indie music choices for the soundtrack of such a day. Here's the playlist!

1. Beautiful Day- U2
2. I Was Made for You- She and Him
3. One Day Like This- Elbow
4. Harmony to My heartbeat- Sally Seltmann
5. You & I- Wilco
6. The Book of Love- The Magnetic Fields
7. I Love Everything- The School
8. Into My Arms- Nick Cave and the Bad Seeds
9. Sea of Love- Cat Power
10. Flowers in the Window- Travis
11. Lovesong- The Cure
12. All I Want from You Is Love- Let's Go Sailing
13. Oh, My Darling- Basia Bulat 
14. You Are the Only One I Love- Jaymay
15. Cartoon and Forever Plans- Maria Taylor
16. Something Changed- Pulp
17. It's Love- The Softies
18. First Day of My Life- Bright Eyes
19. You Are the Everything- R.E.M.
20. Anyone Else But You- Michael Cera and Ellen Page (Juno's version)
21. Songs of Love- The Divine Comedy

The 90's playlist

And another proposal that I turned into a challenge to create a new post. This time came from the adorable Zooey Deschanel's facebook, so it was impossible to say no. It was simple question: what was on your 90's playlist? In no particular order, and just choosing one song per artist, that's how my discman looked like then......Oh memories...

1. Travellers Tune- Ocean Colour Scene
2. Even Better than the Real Thing- U2
3. Common People- Pulp
4. Novocaine for the Soul- Eels
5. Stolen Car- Beth Orton
6. The Universal- Blur
7. Man On the Moon- R.E.M.
8. Slight Return- The Bluetones
9. Trash- Suede
10. Friday I'm In Love- The Cure
11. Rotterdam (Or Anywhere)- The Beautiful South
12. She's Losing It- Belle and Sebastian
13. Lucky Man- The Verve
14. Driftwood- Travis
15. Only Happy When It Rains- Garbage
16. Let Down- Radiohead
17. Goddess on a Hiway- Mercury Rev
18. These Are Days- 10.000 Maniacs
19. Mellow Doubt-Teenage Fanclub
20. Lightning Crashes- Live
21. Race for the Prize- The Flaming Lips
22. Runaground- James
23. Distant Sun- Crowded House 
24. Vuelve la Canción Protesta- Los Planetas
25. Champagne Supernova- Oasis

The Perfect Bloodbuzzed Music Festival

Yesterday, on a radio programme, some music journalists talked about their perfect Festival line-up. Social networks also had their say, and aside of an entertaining hour, it forced me to think what would be mine. Took me a while, but I finally have my selection.

To be "professional", I considered a "draft" schedule and copied the five-day structure of this year's Primavera Sound Festival, with a very special line-up on the opening and closing days. It has been impossible to include everyone, but it has been a lot of fun doing it. Welcome to the first edition of Bloodbuzzed Music Festival!

Day 1, at the Impossible Stage
17:00 Angelou
18:00 The Softies
19:15 Mazzy Star
20:45 Nick Drake
22:15 10.000 Maniacs with Natalie Merchant performing "MTV Unplugged"
00:00 Bob Dylan (back in 1975)

Day 2, at the Perfect Stage
17:00 Kat Flint
18:00 The Very Most
19:15 The Mynabirds
20:45 The School
22:15 Camera Obscura
00:00 The Divine Comedy
02:00 Pulp

Day 3, Perfect Stage
17:00 Fanfarlo
18:00 Cat Power performing "You Are Free"
19:15 Beirut
20:45 PJ Harvey
22:15 The Decemberists
00:00 Arctic Monkeys
02:00 Yeah Yeah Yeahs

Day 4, Perfect Stage
17:00 Motorama
18:00 Sufjan Stevens (excluding "The Age of Adz")
19:15 Beth Orton
20:45 The Walkmen
22:15 Doves
00:00 The National
02:00 R.E.M.

Day 5, back at The Impossible Stage
17:00 The Concretes with Victoria Bersgman performing "In Colour"
18:00 Monkey Swallows The Universe
19:15 Saint Jude's Infirmary
20:45 The Beautiful South (Jacqui Abbot period)
22:15 Oasis, performing their two first albums
00:00 Joy Division

What would be yours?