"Just a Pup", The Very Most's little indiepop workshop

Just a Pup EP

This a review of a very special release, on a very special day (American time zone) for his main creator. Of course, I'm referring to Jeremy Jensen from The Very Most and his latest EP, "Just a Pup", that this blog had the honour to premiere. So, first goes first. Happy birthday dear Jeremy!

So, dear readers, this time I'm going to ask you to allow me to be a bit romantic, even naive, ok? In this fifth EP from the Boise band you're going to find everything what makes The Very Most's songs so adorable. In that sense, the band seems to be at top of their game. I know that in the digital era the following image is almost absurd, but to hell with that. Do you remember the tales your parents told you about Santa Claus? The ones that fascinated me were about the magic workshop where, with the help of the elves, he created the toys to deliver on Christmas Eve. I want to imagine Jeremy at the studio as an indiepop Santa Claus in his workshop, crafting the tunes surrounded by his cast of allies, hearing melodies in his head that he is capable to capture and translate into songs after picking the right instrument among thousands and setting tone, rhythm, voices, sounds evolving into perfect works as if they were there, waiting for him to be caught, suspended on air. The Very Most's little indiepop workshop. A haunting place where even the artwork and EP design stands out on its own (a blue wonder this time illustrated by ridiculously gifted Marta Tortajada), that now offers us another gift in the form of three new tunes, with an extra.

Because it is just a matter of seconds you recognise the always sweet and lush indiepop from Jeremy Jensen and Co. The trademark swirling melodies that in opener "Just a Pup" got a refreshing turning twist thanks to Seapony's Danny Rowland's guitar line halfway of the tune and Gia Trotter's vocals. I wrote it once and I'm going to do it again: it's a classic on its own. Another gem to add to an already stunning collection of indiepop gems.

But being charming and sweet in the sounds doesn't mean you can't get serious. And I'm happy as well as excited to see The Very Most is not afraid of getting political. "Idaho, America in 2049" and "We Don't Have Any Cuts to Waste" shows a different side of the band lyrically without losing its quintessential sound. As a matter of fact, "Idaho" deserves a mention on its own, as TVM blends two songs in one with blatant confidence. It all sounds mellow and relaxed, then it all stops to turn frantic and hallucinogenic before ending in its previous incarnation. Brian Wilson anyone? In the other hand, "We Don't Have..." is the more upbeat and shiny of the lot. Keyboards soaring, and that sense an epic pop stampede on the verge of exploding anytime... until you hear the lyrics, that is.

And we arrive to the end. I know, I said three songs when the EP has four, but the cover of Tom Jones' "It's Not Unusual" doesn't really work as a TVM tune. Nothing to blame the band for. On the contrary, it's understandable: if you are lucky to have Liz Hunt's from the irresistible The School singing, the result it's obvious: she's going to "steal" the show. 

I know it seems weird to mention Santa Claus when we just started summer and with the tremendous heatwave we are suffering in half of the States right now. But music lovers believe me, The Very Most is just offering us another indiepop gift. Go get it!

SCORE: 7,25/10

"Trouble Will Find Me", The National's revisited

Trouble Will Find Me

Here it is, "Trouble Will Find Me", the sixth album of The National, has arrived. Maybe you’ve noticed, but they are my favourite band, now that R.E.M. called it a day. So there’s no point telling you about my expectations with the record -my warning: this review will be long-. Disk of the year or great disappointment? Extremes of a debate that doesn’t make much sense for a band that has achieved its commercial success gradually and without renouncing its identity signs, in a transition to "first division of indie" accomplished with three consecutive masterpieces, “Alligator”, “Boxer” and “High Violet” -won’t admit any discussion about it-. Identity signs that are more present than ever with this new album, combined with a feeling, confirmed by the group in several interviews, that they have created their new songs in the most relaxed atmosphere of their entire career, more secure than ever of their position as musicians. The result is a calm, self-referential record. To put it simply, no one but The National could make “Trouble Will Find Me”. It's The National's revisited.

The first example that the Ohio-Brooklyn guys are convinced of the path they have chosen, indifferent to pressures and expectations, comes at the very beginning of the record. Three years ago, “High Violet” began with the expansive, explosive “Terrible Love” -only surpassed by its abysmal live version-, one of those tunes ideal for grabbing the attention of any listener, even the lesser fans. One would expect a tune of that magnitude on a LP that should consecrate them as a mediatic band. On the other hand, “Trouble Will Find Me” opens with “I Should Live On Salt”, close to the alternative country sounds of “Sad Songs for Dirty Lovers”, and “Demons”, an ode to depression by all means, with a bleak lyric -"Oh, everyday I start so great/Then the sunlight dims [...] When I walk into a room/I do not light it up/Fuck"-. Two magnificent intimate songs where simplicity is the key, also highlighting Matt Berninger's voice, one of the pillars on which this album specially holds onto, sharp and fragile on the first, telluric and gloomy on the second.

The speed increases, without exploding, with “Don't Swallow the Cap”, the second song we discovered as an advance of the album, and the sort of tune where The National excels. The accelerated and elusive rhythm from Bryan Devendorf’s drums, like a beating heart at the moment of maximum tension, escorts the stumbled recitation of Matt while one million small nuances are taking place –among them, although measured, shines the female voice that gives him his replica, still not disclosed if it is Sharon Van Etten, St. Vincent or Nona Marie Invie of “Dark Dark Dark”- colliding in a perfect chorus.

Next comes a new twist towards more delicate and direct territory with “Fireproof”, where the Dessner brothers, armed with acoustic guitars, extend the sonic mantle on which Berninger shoots one of his most vitriolic lyrics -reference to Elliot Smith included-. I don't know if you have had the pleasure -and stomach- to read Richard Yates, but after the ill-fated New York writer, few authors are able to dissect the darker parts of relationships as our bearded frontman does. Resentment transformed into a tune.

Then it is the turn to the also well known “Sea of Love”, where the band shows his more fierce and cathartic side, with a sublime set of "question-answer" with the chorus in the final crescendo, where, in addition to making us salivate imagining how powerful can be this song live, show us an unrecognized feature in their music: the sense of humor -"what Harvard did teach you?"-. Very dark one, of course.

However, “Trouble Will Find Me” clearly leans towards slower numbers and melancholic ballads. “Heavenfaced” and “This Is the Last Time” invite the listener to introspection. But while the first may be among the least remarkable of the album, with a Berninger throwing himself into a chorus too forced, typical of other bands, the second is simply wonderful. Again propped up with acoustic guitars, the tune is elegant, desperate, rich and subtle -the entry of the strings, the female voice, the final minute, etc-. Precious.

In an album much needed of upbeat tunes that serve as a counterpoint to such stillness, “Graceless” is manna dropped from the sky, with its turbulent urge and bleak lyrics -"I took the medicine and I went missing"- which breaks in a coda that is made to be echoed live. Instant anthem. But we return to the usual tone of the record immediately. “Slipped” is a simple theme built around the piano, being its main attraction Berninger, with a lyric -"I don't any help to be breakable, believe me"- debtor of another American literature's master, John Cheever, portraying the sense of frustration of the contemporary human being in everyday stories, though Berninger does not lose his sense of humor-"I'll try to keep my skeleton in"-. Much more significant is “I Need My Girl”, with guitars drawing an ethereal and enveloping atmosphere, resulting in one of the most exciting moments of the album.

And we arrive to the final stretch of “Trouble Will Find Me”, where we find “Humiliation”, a singular song, probably the less recognizable The National has ever written. A crazy, surreal lyric -I insist, the twisted humor of Berninger comes out definitely with this album- in a piece with a special, hypnotic, floating energy, where the particular sensory state of the character described on it fits perfectly with the music, “Blue Velvet’s" coda included.

More conventional, but equally impeccable is “Pink Rabbits”, romantic and emotional with the funereal piano -death is a recurring theme on the album- and that epic end in which seems to be both hope and learning about oneself. On the other hand, the actual closing of the record comes with the more discreet “Hard to Find”, solemn and beautifully orchestrated, but inconspicuous after the previous piece.

Compared with their three previous albums, “Trouble Will Find Me” surely loses out, due to a couple of tunes that doesn’t add much and to the accumulation of slow songs on a long album. Certainly, those who seek “Alligator's” visceral mood, or the fascinating repressed turbulence of “Boxer” will be disappointed. Also those who were waiting for a collection of “Bloodbuzzed Ohio” or “Terrible Love”, definitely opening them the gates of the charts. But The National have opted to follow his own path, preferring for complex compositions where small details prevail, and with a few exceptions, where the outstanding songs are not obvious, but there to be discovered and assimilated by the listener. In short, it may rate a bit lower than its predecessors, or it may not be the indisputable masterpiece we are used to receive from them. But it’s an excellent record (another one to add to an already mind blowing career) from a unique band.

Sorry about the long post. This was a special review for me.

SCORE: 8,25/10

"Village Green", as gorgeous as indiepop can be

Village Green 

Let me introduce you to the Village Ten Collective, a trio of wonderful bands: blog favourites The Very Most, recently discovered intimate pop geniuses Adam and Darcie, and new amazing finding Canoe. Released just a couple of weeks ago, the album is composed by six songs, with each band covering one tune from the other two. The result is a little indiepop delight. Each cover sounds unforced, completely natural, the result being extremely cohesive, coherent, honest, and what's more important, haunting.  

First song is Adam and Darcie's "Take Them All Away" covered by our beloved The Very Most. If you read this blog (thanks) you should know what Jeremy Jensen is capable of doing if he dreams a melody. Now think what he can do with a gentle paced, charming melody made by craftmanships Adam and Darcie's. Wonders that is. A cheerful, expansive, joyful tune that could fit perfectly on any TVM release.

Then is Adam and Darcie who covers Canoe's "Drip, Drip, Drop", turning the mellow and intimate folk-pop affair the tune seems to be on an unexpected epic voyage. Warm guitar lines and Darcie's voice rising above. If you don't get moved you're deaf, sorry.

And the first round of covers closes with Canoe's covering The Very Most's "Dodged Ev'ry Bullet Pt. 1" (what a cool title). Subtle and delicate, the song is transformed into a pastoral number that slowly grabs you.

Our imaginary side B opens with TVM again, now adapting Canoe's "The Caspian Sea". Right now might be my favourite of the lot, with these vocal twists, the simple but flamboyant chorus, and the irresistible upbeat rhythm once the guitars arise. Tune its followed by Canoe's take on "Never Been a Pilot" from Adam and Darcie, which is definitely a grower, with a mind-blowing guitar shimmering in the middle of it.

And closing the mini-album we have Adam and Darcie version of TVM's "You're in Love with the Sun". The original is already magnificent, but the lovely couple from Provo makes the tune their own. Intensity, that feeling of closeness with the listener, that rare feeling of being invited to a very private party. It's the ideal finale for an album that seems a celebration of three bands that share friendship and a genuine love for the music they play. Everything fits, even the beautiful artwork by Marta Tortajada is perfect. As gorgeous indiepop can be.

SCORE: 7,5/10  

Listen below and grab it while you can!

"Early Fragments", amazing band rising

Early Fragments

I'm going to be honest from the very first sentence. I think I'm in love with this band. Now, let me correct that. I'm in love with this band. My expectations about their hopefully coming soon debut album couldn't be higher. But for the time being, this compilation of their first singles, aptly titled "Early Fragments" does justice to the magnetic sound of this blossoming band.

And that's despite its first song, "Seer", the only new on this compilation, might be the less impressive for me. Sure, it is a pretty, more than alright tune, with its ethereal guitar, spectral choruses and martial drums, but this is the only time that I have to admit I hear echoes of The Cranberries, something that some reviews have pointed out... and scares me.

But the menace quickly vanishes, as next comes "Mosaic".  Awww "Mosaic". Already rated it among my favourites tunes of 2012, so what can I say? It's pure pop perfection. There's a trace of post-punk (the gloomy video and the speaking/yearning voice also helps setting that peculiar atmosphere) and the 80s, but the gorgeous voice of Jessica Weiss and the jangly chords transforms it into an indiepop masterpiece. Same qualification for "Your Side", where Jessica plays with her singing, adapting it to the cascading guitar lines and the humming bridge as she wish, before the tune ends with a mysterious outro.

"Green Sea" is another stunning piece. Haunting verses and a dreamy melody that are propelled to that explosive chorus, with Jessica's killer voice seeming to appear out of the blue, from a very distant place, fuelled by these echoing guitars and voices. Its another fantastic example of Fear of Men's incredibly catchy, yet at the same time substantial, enduring, indiepop.

And we have just reached half of the record. "Born" ups the tempo with wonderful results. Immediate, carefree, lightweight and soothing, something that contrasts heavily with its lyrics about existence (birth and death), love and sex. "Doldrums" is also upbeat, but with a more obscure and poetic touch. Dream-pop with a cinematic quality but letting the guitars ring inside your head.

The last couple of songs are also stunning. "Ritual Confession" is the most straightforward tune on "Early Fragments". Direct, embraceable pop, with that colossal CHORUS (big capital letters are in order). Dying to hear this tune live. "Spirit House" is a bit more oblique and lo-fi, with guitars acquiring a bigger presence on the mix, urgent and crispier than usual. But it gets compensated by the vocals and its bombastic finale.

Sorry if you think this wasn't a very impartial review, but I just think I found a band to love unabashedly for ages. And this is just the beginning!

SCORE: 8,25/10

"Waiting for Something to Happen", Veronica Falls do it again!

Waiting for Something to Happen

Veronica Falls has returned. For me it's one of the most anticipated albums of the year, but I decided to take my time to review it because I wanted to be as objective as possible. I have read some reviews criticizing the band has just repeated its successful formula... and you can't say these opinions aren't justified. But hey! "Waiting for Something to Happen" has 3-4 perfect tunes, another bunch of hyper catchy songs, full of hooks and in-your-face guitar lines... so how many bands have such a collection of spectacular songs with just two albums? At the end, what's more to ask?   

Besides, how am I supposed to resist and remain impartial if the first chords of "Tell Me" immediately makes me think of R.E.M. first albums? 10 seconds and I'm already smiling. Gentle and mellower than usual, this almost whispered opener is as inviting as promising. Damn it, I'm smiling again. Oh, that jangling guitar.

Second tune "Teenage" is the band sounding as their most recognizable, meaning: irresistible guitar-driven upbeat indiepop. One could say they are copying themselves, but please go to hell. And next comes the first knock-out. 2:24 minutes to create a pop masterpiece. That's all what Veronica Falls needs. As simple as that, "Broken Toy" is just disarming.

After a trio of wonders, "Shooting Star" comes as the first surprise (put that under quotation marks). Is the band flirting with grunge? I would say just incorporating some of its soundings to their music palette and making it look completely of their own, fitting with its more obscure side. Not outstanding, but curious.

It gets better immediately. "Waiting for Something to Happen", the song, is to me the second masterpiece of the album. Joyful and chiming, the chorus is pure bliss. And is coupled by the third gem of the album, "If You Still Want Me". What a bridge, what a chorus, defiant, passionate, these guitars resonating in your head. Heard both tunes live, and believe me, its impossible not to dance. Want more? Completing what's arguably the finest moment of the record comes "My Heart Beats", chosen as first single, so heard well in advance. Quintessential Veronica Falls' sound again, vital and uplifting. 

Unfortunately, at least for me, "Waiting for Something to Happen" fails to maintain its impressive amount of hits in its second half. "Everybody's Changing" is Veronica Falls reaching a middle ground. Indeed everything sounds too familiar here. Luckily is followed by "Buried Alive", another outstanding tune, among the sweetest/twee the band has penned and absolutely irresistible. But is the exception on a rather flat album last section.

The final bunch of songs shows us a band striving to diversify its sound, with average results. "Falling Out" is quite flat on that sense, and "So Tired" fails to define itself despite being much more interesting, again making me think of Peter Buck and its chiming guitars but not achieving its promise. Can't say the same about "Daniel", the slowest number of the record, and too short and half-baked to build its own momentum or produce a lasting impression. And final song, "Last Conversation", pales in comparison with debut album final number, the mind-blowing "Come On Over". To be fair, is an enjoyable song as everything Veronica Falls pens, but it borrows too much from its "elder sister", looking like a poorer version of it.

Despite 3-4 forgettable tunes, that makes the album rating a little bit lower than their glorious debut, "Waiting for Something to Happen" offers, again, so many amazing indiepop moments, so I'm very pleased to end this review just saying that Veronica Falls did it again!

SCORE: 7,5/10

"Pretty Decent Swimmers", Northern Portrait, jangle-pop champions

Pretty Decent Swimmers EP

Understatements or modesty are frequently virtues when we are talking about music (usually musicians or critics have serious problems of incontinence, delusions of grandeur or extra-huge ambitions). But I do have to complain here. Our favourite Danish band (along with The Raveonettes), Northern Portrait, is happily back with a new EP (a new record on the horizon too) entitled "Pretty Decent Swimmers", already available on the amazing Matinée Recordings. What an inappropriate, bad title this is!
 
Because if we are using the swimming reference with indiepop, they are nothing but Olympic Swimmers, not just pretty decent ones. They are the responsible of an incredible, mind-blowing debut album, "Criminal Art Lovers", plus a little collection of delicious EPs. And after hearing their new gorgeous four songs, they should be nicknamed the "Michael Phelps of jangle-pop"!

Come on, how many bands could return to action after three years with such a shimmering, joyful tune like opener "Happy Nice Day"? It starts unremarkable, but after 30 seconds the real song unleashes into n irresistible jangle-pop "beast". Stefan Larsen romantic voice, guitars ringing, a pulse that slows and rises like your heartbeat, a disarming chorus... all the essence of Northern Portrait summarized and perfected into a pop gem. Sure it will be up there among the best songs of the year (and I know we haven't finished January yet).

With such a great initial song, “Greetings From Paris”, pales by comparison on first listening. But that's a very unfair judgement for a subtler, more oblique and intimate number. Give the tune it's time and space, and it will show all its wonders: Larsen's graceful vocals, that guitar breaking in its middle section before the singer strikes back, that ridiculously simple end turning into a ridiculously affecting climax...

“Bon Voyage!” accelerates the tempo a bit, helped by ever-present guitars (this is jangle-pop folks) and looks, smells and of course sounds like a pop classic. What made The Smiths so immortal was that passion they brought to all of his parts: Morrissey's drama, melodies so unforgettable, guitars chiming or evoking known situations. Northern Portrait are capable of injecting that sort of magic to their tunes. Hear how they close the song. That piano...

We reach the end of the EP with “I Feel Even Better”, on which Larsen seems to step back a bit to let the music be on the forefront of the tune. Melody, together with the delicate arrangements are the guide here. With lyrics that are somewhere in between melancholy and the "first day of a new era", it might be the less the surprising of the lot, but it leaves the listener longing for me. Which is exactly what the best bands do. Northern Portrait add another unmissable reference to an immaculate career so far, could we be in front of the champions of jangle-pop? Have to see them live at the Madrid PopFest!!

SCORE: 7,75/10

Best Records of the Year 2012

As promised yesterday, after the EPs' list, here's the review of the year in what regards to the best records of 2012. In my humble opinion of course. Compared with 2011 I have reduced the number of albums because I wanted to be completely honest. Just records that I have listened and enjoyed fully.

The digital age is a blessing for music lovers, as the amount of music you can discover is virtually  unlimited. But it has a negative side: there's a compulsion, a dramatic acceleration on the way we listen to it. How many spins you give a record before moving to another artist? How many records you have stored in your computer of which you could only name 2-3 songs?

Don't know if the LP idea as we know is fated to disappear, but personally it makes me sad. Anyway, this sort of thoughts should go on a different post. But it serves my purpose to tell you why the records from Lightships, BMX Bandits, This Many Boyfriends, Corin Tucker or Motorama didn't make the list. They sound terrific on a first listen, or from what I have heard by now, and that's exactly why they deserve to be listened properly and not to be included on a list just for the sake of mentioning more albums. Having said that, here's the list!

25. Arts & Leisure- Baby Grand
24. Leaving All Behind- Partido
23. Falling- Seapony
22. Nocturne- Wild Nothing
21. Reading Too Much Into Things Like Everything- The School 
20. Sun- Cat Power
19. Rooms Filled With Light- Fanfarlo
18. Mr. E- Lambchop
17. Wild Peace- Echo Lake
16. Hits In The Car- Strawberry Whiplash
15. All Blackshirts To Me- Cats On Fire
14. Una Montaña Es Una Montaña- Los Punsetes
13. Over the Bluffs- The Holiday Crowd
12. Moth- ExLovers
11. Toy- Toy
10. Bloom- Beach House
9. Canines- Shrag
8. Sweet Heart, Sweet Light- Spiritualized
7. Sugaring Season- Beth Orton
6. Evans the Death- Evans the Death
5. Heaven- The Walkmen
4. Between the Times and the Tides- Lee Ranaldo
3. Europe- Allo Darlin'
2. Hospitality- Hospitality
1. Tramp- Sharon Van Etten

Want to check last year's albums list? Just click here

Best EPs of the Year 2012

After the books and concerts, is time to review 2012 in music releases. It's been a year full of wonderful EPs (only EPs, no singles, 3 to 5 songs), so they deserved a list of their own. Needless to say, this is a very personal list (comments on each band clicking on their links). Hope you enjoy it!

15. The Stammer- The Stammer 
14. Shy Little Jane Presents: The Dramatic Tale of Her Animals- Jane Joyd
13. The Belljars- The Belljars 
12. Baffin Island- Baffin Island 
11. Pale Lights- Pale Lights 
10. We Hunt- All We Are 
9. The Fake Stories About You & Me- Pale Sunday 
8. StarTropics- StarTropics 
7. Pure Bathing Culture- Pure Bathing Culture 
6. Young Romance- Young Romance
5. Ununiversalizable Us- The Very Most
4. The Distractions- Rose Elinor Dougall
3. Time Relentless- The Hermit Crabs
2. No Sleep- Fountains
1. End of Daze- Dum Dum Girls
 
The "Records List" coming shortly!

"Ununiversalizable Us", under The Very Most charms

Ununiversalizable Us EP

We have had an EP from The Hermit Crabs and another one from Baffin Island this year. So there was one missing. I'm referring, of course, to a new work from our beloved friend Jeremy Jensen, leader of The Very Most. "Ununiversalizable Us", out yesterday (released on a Spanish label, Little Treasure Records, there's still hope for us!), completes that triumvirate of releases, and does it so offering some unexpected fresh, adventurous new forms. At least in half of this four songs.

"Ununiversalizable Us", the song that also gives the title to the EP, is a very ambitious tune. Initially built on relentless synths that creates a mysterious melody and a simple but insidious percussion, then flourishes into an elaborated composition where guitars offer a radical departure from the way the song begun. There are cymbals and bells chiming, colliding in an explosive chorus where sweet female vocals appear. And sorry, but I have to write it down in capital letters, a MIND-BLOWING FLUTE! Not enough? There's more: a darker side, an edge that you can grasp in the lyrics, which makes the song even more haunting. You don't have to believe my words, just the check the beautiful and very blue new website of TVM and illustrate yourself. All in all, an outstanding song, from now on one of my favourites from the band.

"There's Nothing Missing" is a far more recognisable TVM tune, but I'm afraid it suffers from being next to such a fantastic previous tune, full of novelties. The slowest number on the EP, it is mellow and atmospheric. It's easy to imagine yourself on a quiet and crystalline beach as the sunset falls, warm and welcoming. The Boise, Idaho band has that trademark talent to capture a melody and provide an envelope of lushness and closeness to the listener, but the song doesn't arrive much further from that comfort zone.    

"Changed Me", despite being slightly more upbeat, seems to follow close in terms of atmosphere and sounding. But this time it is hard not to fall in front of its many charms. A graceful female-male duet, smooths, oceanic notes that seem to vanish slowly, carrying us to that unexpected inner burst that ends in a smooth but heavenly epic jam.

And finally, we have "Let Her Dance" a cover from Bobby Fuller that sounds cheerful and vibrant, a rush of vitality were intertwined male-female vocals shine again. The straightest tune of the lot, sure, but by the time the guitar solo appears... you know it's going to be in your head. For a long time. That's, at the end, the major strength of (good) pop music. Great tunes remain with you, grow on you, stuck on you. To find that sort of tunes is hard. Thankfully, we have bands like The Very Most. They have plenty of them. Like these new, very strong, ones. In all modesty, I won't give up in my attempt of "universalizing" their music as much as I can. They deserve it.

SCORE: 7,5/10

Baffin Island EP, near perfect indie pop equation

Baffin Island EP

Let's talk about maths today. Here's a very special equation for your indiepop brains: Half The Hermit Crabs + Half The Very Most= Baffin Island. 

I don't know what this equation equals in maths, but in music means gorgeous indie pop. Two of the most beloved bands of this blog joining forces again in another EP (remember that great debut on EardrumsPop?), out now in WeePOP!     

"Sorry For Myself" opens the EP with sweetness. It has the joyful music DNA of The Very Most, and despite Melanie Whittle's vocals are probably a bit hidden within the -delicious, shiny- mix, by the time the backing vocals appear, you already have fallen in love with the tune. Granted and certified by the combination of two bands that really now about pop.

"This Year" follows in a breezy, moody way, a perfect song for a grey day outside, or for last, crucial dance of the night party. Reminds me to Camera Obscura's slower tracks, even in Mel's vocals... but why it didn't last longer? It's a cruelty to end such a beautiful song that soon.

"That Summer Feeling" is a Jonathan Richman cover, something that I suppose has a lot to do with Jeremy Jensen's personal tastes. It's a fine tune, that fits really nice with Mel's vocals, but in my opinion is the less remarkable tune of the lot, as it gets a bit repetitive in its tone, probably because that plaintive beat, almost like a programmed pulse, over which the line "that summer feeling is going to haunt you the rest of your life" like a mantra.

But we quickly reach the final song, "We Were Meant to Meet", a more upbeat number that sounds closer to The Hermit Crabs to me, and its probably the stand-out of this EP. The drums rattling on the chorus, the magic interlude, the lush and bright crescendo near the end... All in all, a pure pop gem.

Aww, if all mathematics were as wonderful as this (music) equation!

SCORE: 7/10

"Time Relentless EP", pop feast with The Hermit Crabs

Time Relentless EP
Each time there's an email from Matinée Recordings reaching my inbox I smile. I assume, and it's almost infallible, their music proposal is going to be great. But this time the announcement was the long awaited comeback from beloved Glaswegian band The Hermit Crabs, so I yelled (I was at work at the office, luckily quite alone, as my colleagues are still on holidays). A yelling of happiness an excitement, that is.

It had been a long time indeed, although Melanie Whittle offered a dose of her talents thanks to Baffin Island, joining forces with members of another favourite band on this site, The Very Most. But three years had passed since the glorious "Correspondence Course EP" without new songs from The Hermits, so there were questions about how the band will sound after these hiatus.

But they quickly showed there was no reason to panic. This band has always showed their cards from the very beginning, without chances for "second thoughts". With them, beauty comes straightforwardly to the ears of the listener. And their new work is no different. "On the Spectrum" is a stunning opener, a strong statement saying the world "we are back", with a mesmerizing GUITAR work (written on capital letters because they deserve it, it's that big) and a killer chorus. Mel might be talking about the blues, but the feeling the song produces are the very opposite. A jangle-pop feast. 

"Time Relentless" slows the tempo with the band's trademark orchestrations and the addition of subtle keyboards. The visual lyrics are taken from a poem, suiting the contemplative mood of the piece. All seems to flow towards the wonderful chorus were Mel's adorable voice shines, acquiring an epic nuance while guitars arise in the mix, providing the tune a fantastic climax.

"Stop This Now" is a much more joyous affair in terms of melody, upbeat and contagious. Drums splashes and guitars flourishes, sparking the tune. After the instrumental section, vocal harmonies appear and you are expecting a longer-than-life finale. But it ends abruptly, leaving you wonder for me. A perfect pop pill of two minutes!

And finally "So Blue" concludes the EP with a mid-tempo that recalls their previous releases and their similarities with Camera Obscura (will you return soon too, Tracyanne?). Fortunately, the instrumentation steps up, helping the song to grow and closing the release on a high note.

If you didn't know The Hermit Crabs (very soon we'll have a band's retrospective on the blog), this EP is a great introduction into their music. And for us, fans, is a wonderful return to form. Jangle-pop, twee-pop and indiepop lovers, we are in luck. Welcome back Hermits!

SCORE: 8/10

Fountains, amazing new band to follow

Double review of the so far fantastic releases from Fountains, one of the most celebrated discoveries of 2012 on Bloodbuzzed!

No Sleep EP

Discovered them on March, and their debut EP has been on repeat mode since then at home and on my Mp3, being also featured on the playlist of best songs of the year so far. All this praise is well deserved, as the London group is capable of doing something really remarkable, and quite unusual nowadays: they really blow you out.

The EP opens with the slow-burner title track "No Sleep", that from the very first second carries you away to a very special place. It's a cold & grey place, but there are still glimpses of hope (careful listen to the wonderful backing vocals from Bex). The music soars, guitars and drums find their way to scatter the clouds and Jonathan voice rises like a mantra. Epic five minutes. I remember writing that it sounded to me like The Wild Swans meeting Joy Division. What an opener.

"Insecure" offers a different side: an uptempo melody, in which guitars take more prominence, delivering raw lines that share the anger and desperation of Jonathan's tone and lyrics. And explodes, and leaves the listener longing for more.

And it does come. "You're Not Welcome" begins like "No Sleep", the guitar intro suggesting a rumbling number that turns into an abrasive mist of sound. Jonathan spokes among celestial guitar and drum melodies. The tempo accelerates, the lyrics hurt. But Fountains decide to hide their final ace with a radical change in the melody, before the concluding, relentless assault to your ears. And you don't want the song to end. 

You can download the EP right now for FREE via bandcamp. RUN and do it!!!! Amazing debut.
SCORE: 8,25/10

Easy Led
If that isn't enough, since the end of July Fountains have a new single for you to enjoy. And what a single (you can order it here)! "Easily Led" is mesmerizing. It sounds like a proper companion of the "No Sleep EP": cascades of guitars, a majestic wall of sound, gloom and light. But the combination of Jonathan and Bex singing propels the tune to another dimension. I have to hear this song live, in particular it's last minute.

Second song of the single is "Repetition". Quite a slow intro that radically drifts into a song that recalls vividly to Interpol (from the good times) or another beloved band of this blog, Motorama. Atmospheric, opressive... Another impressive tune.
Fountains - Easily Led by Beautiful Strange

SCORE: 8,5/10

5 songs so far, 5 masterpieces. Needles to say, Fountains are a band to follow closely.

"Tramp", the triumph of Sharon Van Etten

Tramp

I relentlessly encouraged people to check out the music of Sharon Van Etten, even more after watching her live. Following the recommendation, I really wanted to review "Tramp", because is one of these rare albums that endures, sticks with you in a very special way. It gets inside, on a very intimate level. It is hard to define in words, but almost all of this tracks are the vehicle of expression of an artist reaching the audience with her talent, tunes and a brutal honesty, perhaps also exorcising her demons in the process too (you can search for her personal story around). As an obsessed music lover, few records are capable of reaching through your ears, your stomach, you mind and your soul. "Tramp" does.

It all begins when the drums arrive on "Warsaw", inoculating an unexpected vigour to the tune, wrapping Sharon's gorgeous voice, announcing "I want to show you". Indeed she will. Immediately, as a matter of fact, as "Give Out" quickly shows this is going to be an intense  ride. By the time the disarming couplet "You're the reason why I'll move to the city/you're why I'll need to leave" arrives for the second time, anyone listening to "Tramp" should experiment goosebumps (if you are human, that is). I assure you it won't be the last time.

Because then comes "Serpents", all tension, urgency, fire. Unresolved anger and a mesmerizing work where lyrics and sounds (I clearly hear the echoes of The National here, Aaron Dessner has been a major factor producing the record) bite at the same time. With such a powerful opener trio, its understandable the melancholic "Kevin's" might not as remarkable, although being a strung-out number where Sharon allows her voice to shine, works in a probably needed lighter affair within a heavily-charged record. Anyway, it serves well its purpose of anticipating "Leonard", the next and astonishing song. The combination of, I dare to say, a happy melody, with such a poignant lyric is breathtaking. How can someone put such tenderness and emotion into a song? The chorus is among the most beautiful things I have heard in my entire life.

"In Line", despite the compelling of its slow-burning crescendo with Sharon repeating those two words like a desperate mantra, might be the less memorable song of the lot. But like "Kevin's" before, it provides a shelter before the storm of "All I Can". Van Etten’s voice again rising while the music grows and grows, building an epic number (hear that brass section), in which the singer-songwriter delivers some of the most striking lines of her career. What an mind-blowing, compelling tune.

With the help of Beirut's Zach Condon "We Are Fine", follows on an apparently brighter way, at least musically speaking. It gives a refreshing sense of relief to the album, as well as shows another side of Van Etten's way of approaching the songs. "Magic Chords" also succeeds in providing "Tramp" some diversity in its style and tone. With its jazzy/waltsy vibe, it looks, smells and feels like a nocturnal affair full of emotional turmoil and possibility. Impossible no to fall in love with Sharon's voice right with this one.

"Ask" repeats the formula of "All I Can" with equally moving results, hitting the listener hard with the mixture of moving lyrics and bursting sounds. And its followed by "I'm Wrong", another epic number, that hides all its eloquence on a powerful and shocking droning sound. After the final track "Joke Or A Lie" concludes, sparse, breathy and unexpectedly (in my opinion) hopeful despite the final sentence "Believe me, I tried", you might as well try to dry your eyes, sigh and treasure "Tramp" among the most precious "properties" of your record collection. Here's a total triumph of an album, an incredibly powerful one, rich, disarming, fragile and intense as very few. The perfect demonstration of the immense talent and personality of Sharon Van Etten.

SCORE: 8,75/10

EardrumsPop & Young Romance= glorious indie-pop

ePop022- Young Romance

Any indie-pop lover knows that each time EardrumsPop announces a new release, it's time to go to their website and let your ears celebrate their (nearly immaculate) taste. But in this occasion, there was even more anticipation than usual, as the band featured in their ePop022 is Young Romance, a band already discovered on this blog, and one that got me completely haunted with just a bunch of songs. I was anxiously looking for their next step, and here it is, in the form of an  EardrumsPop EP. What a wonderful combination!

Previous tunes like "Swollen Hearts, Bitter Tongues" or "She, Me, Him and You" proved this London duo had a very special talent to inject a burst of real emotion and passion to their sweetest, utterly romantic indie-pop tunes. It seemed impossible to achieve, but with this EP they have reached a new level, Paolo and Claire have penned a couple of perfect songs.  

"Follow on Your Own" is sublime: slow burning verses, killer chorus where Claire's voice is disarming, a background of layers and fuzziness. Definitely one to rank among the best-songs-of-the-year list. And is followed closely by "Break My Heart By Morning". Listening Young Romance's tunes one has to believe Paolo's words (you can read them on the digital booklet also included on the EP) of "wanting their songs to capture the rush of feeling something for the very first time". Indeed.

Unfortunately, "Rose Tint", the song Young Romance chose to cover (the tradition of the EardrumsPop EPs is to cover a song the featured group considers it deserves more attention), from the group Lulu and the Lampshades (now just Landshapes), passes almost unnoticed. An ok song nevertheless, but pales by comparison with the couple of terrific songs. Oh! And if I may add another little complaint: unfortunately, the artwork doesn't do any justice to the beauty of this EP. Being completely honest, it is very close to be on the next Stop Awful Covers post. 

But let's concentrate on the positive. EardrumsPop did it again. A stunning free!!!! EP from Young Romance, a lovely duo that makes gorgeous indie-pop. Run (virtually) and grab it (Odd box Records will release a physical, limited edition of the single, cheers for that too!).

SCORE: 7,5/10

Listen them!!

Young Romance by Young Romance

"Hospitality", indie-pop debut of the year

Hospitality- Hospitality

Yeah, I know, a big statement on the title, but Hospitality's fun, hyper-addictive, catchy as hell and quite peculiar, quirky indie-pop, deserves that sort of title for a post. If there's a better debut album this year, then 2012 should be one to be musically remembered.

The start of "Hospitality", the album, is unbeatable, terrific. "Eight Avenue", "Friends of Friends" and "Betty Wang". Upbeat, intricate indie-pop that makes you smile and "charge batteries". Full of melodies that stuck in your head, this is the sort of music that fits perfectly to walk/wander around the city on a sunny day. It will be a matter of time you'll find yourself humming along one of its irresistible choruses ("But I've got friends that are new friends"), or some of the one-liners where Amber Papini's shines. "If you leave New York/ I don't care, I don't care!" 

Because Papini's voice is one of the "miracles" of Hospitality. Kind of funny and strange (on Merge Records website, their label, they explain she learnt to sing with the English accent of Bernard Butler while listening to Psychedelic Fur's "Talk Talk Talk"), but also sweet, she will amuse you first, and then, once you have been disarmed, it will haunt you. Her peculiar vocal range and tone quickly becomes a trademark of the band, allowing to distance them from indie-pop standards. And Papini is a fine lyricist too, explaining stories in the songs that are not that unfamiliar for a whole generation of of twentysomething's-thirties trying to figure out what's next in their life, always with a refreshing wit and humour, not taking things too seriously.

There's a particular groove going on during the whole album, giving it a cohesion. Despite finding more languid numbers in its "middle section" like "Julie" (maybe the less impressive of the lot), the delicate "Sleepover", or "Argonauts" and "Liberal Arts" with its wonderful harmonies, towards the end, there's also space for some more fast-paced tunes, where guitars keep shimmering, intertwined with trotting drums and keyboards on "The Right Profession", "The Birthday" or the closer "All Day Today". Songs are wisely combined throughout the record, helping to make it a joyous, very fluent one. Like the good albums, "Hospitality" gives the listener the impression it ends too soon. So there's no other option that going for another "spin". Da-da-da-da-da-da/da-da-da-da.....

SCORE: 8,25

"Roots and Bells", Town Hall keeps their promise

Roots and Bells- Town Hall

Bloodbuzzed friends' Town Hall are presenting their first album, "Roots and Bells" tomorrow, and this blog has been lucky to hear the full LP well in advance, courtesy of the band. I can guarantee you the NYC trio has met all the expectations. "Roots and Bells" is a very strong debut, with several moments of genuine beauty and with an ambitious scope, pointing the band towards several directions, very far from the traditional, and somewhat limited, indie-folk range.  

"Roots and Bells" opens with "Mary A. Longden" and "Swim Team". For the ones that have followed Town Hall's career, the start might be unsurprising, as first tune was already included on the extremely recommendable "Sticky Notes & Paper Scraps" EP, and the second was the first song premiered of the forthcoming album. But what a couple of fantastic songs they are, announcing all the wonders of Town Hall's sound: warm harmonies, intricate melodies with delicate and gentle additional instrumentation (flutes, violins, violas, cellos) and a precious sense of closeness with the listener (I bet seeing their live has to be a great experience).

"Fix this House" and single "Good Boy", that this blog already premiered, shows the different sides of the band. The mellow indie-folk of the first tune has little to do with the crispier, tense sound, more in the vein of a 90s alternative-pop of the second. It might be among the ones that prefer their more melodic side, but "Good Boy" announces a band with a more diverse musical aspirations, and its a refreshing counterpoint within the record.

"Small" is a gorgeous gem with Phoebe Ryan's voice breaking hearts, that right now might be among my favourites (love its constrained crescendo and beating tempo) while "Rockefeller" serves as the second example of the aforementioned ambition of the band, with their many changes of direction/music background.

Also included on the previous EP "Alright" and "Charlie" open the second half of the record, aligning themselves with the warm closeness of "Small". On the contrary, "The Strongest of Hands" upbeats the tempo  of the album, and should be considered as potential single, in my opinion. The cheerful vibe suits the childish voice of Phoebe Ryan creating a superb, joyful dose of folk-pop.

The trio of final tunes of the album has already known "Just Watching My Breath" as the standout track, with their vibrant, emotional peak at the end being one of the highlights of their music. "Food" benefits from its beautiful arrangements, while closer "Dahill Road" ends the album with an intimate note, just a delicate piano piece mixed with occasional "urban sounds" and Phoebe's singalong that made me remember The Innocence Mission.

Overall, "Roots and Bells" has plenty to offer. Full of enchanting sweet tunes, slow numbers prevail, but thanks to the wise sequence of the album, including the faster number strategically, it flows as a surprising solid whole. Town Hall are not just a new group to discover. After this album, they are a band to follow. You should run to their bandcamp immediately!

SCORE: 7/10

"Port of Morrow", The Shins' maturity record?

Port of Morrow

Five years have passed since The Shins' last record, the recommendable "Wincing The Night Away". And despite I loved "Broken Bells", his adventure with Danger Mouse, it was quite obvious we needed another dose of James Mercer, now the remaining member of the original band. Considering this fact, there were concerns about how this "new" The Shins were going to look like (better said, sound).

The mix between uncertainness and great anticipation quickly turned into extremely high expectations after hearing "Simple Song", the first single, premiered in advance of the album. Among the best things Mercer has created, in my opinion, the song is an instant classic, and the best appetizer for the record. But now that we have "Port of Morrow" in our hands, the tune is also a curse for the rest of the album, being its arguably greatest moment.

The "problem" is not at the start of "Port of Morrow", which is terrific. Opener "The Rifle's Spiral is brilliant, full of wonder and a lusher production (many little things going on). Then comes the aforementioned "Simple Song", followed by the first ballad, "It's Only Life", the first divisive song of the album. I admit I adore it, to me is one of the finest moments of "Port of Morrow", but I can understand some criticism that points this is a "docile" tune, not very far from AOR music or mainstream pop. Awesomely done (I like the reference I have read about Crowded House, a band, sniff, sniff,  that introduced me into pop when I was a teenager) for certain, but a bit cheesy.

That "issue", the slight feeling of dissatisfaction with the record worsens with the next trio. "Bait And Switch" and "No Way Down" are the usual beat, fast paced, psychedelic tunes from The Shins without a real punch, while "September" offers the acoustic, pensive side of the band. Don't get me wrong, they are more than ok songs, but for me they are a bit on autopilot mode, considering they are coming from the mind of James Mercer.

"For a Fool", seventh song, is the most worrying of the lot. Its' sad to write this, but this is an AOR ballad destined to become famous by some "emotional moment" on a TV Show, and if we weren't talking about The Shins I bet many "specialised" critics would have "destroyed" its composer. Compared to that, the lighter, happier "Fall Of ´82" sounds almost glorious (I definitely love the chorus and the trumpet solo). And "40 Mark Strasse", that turns from an unpromising number into a compelling tune with a soulful nuance and a powerful chorus (the falsetto part amazes me). Closer "Port of Morrow" is a ghostly, more experimental one, sounding like a Broken Bells tune, which ends the album on a very high and promising note.

"Port of Morrow" is not a bad album. It contains two masterpieces, "Simple Song", "Rifle's Spiral" and three excellent ones, "It's Only Life", "40 Mark Strasse" and "Port Of Morrow". But the rest of the album is a bit flat, ranging from the ok but unsurprising/unremarkable to the disappointing. Maybe this is the "maturity" record from James Mercer (frightened mode on) or maybe this is the first step, after a long hiatus, from a new band, a new The Shins, that still have a genial composer leading them, as half of the record proves. Welcome back James, next time don't take that long to return!

SCORE: 6,5/10 

"Colour of the Trap", addictive treaty of retro pop

Colour of the Trap- Miles Kane

I know I'm late reviewing the album, but being honest I didn't really paid attention to Miles Kane until a friend showed me a video past November, after he was announced as the support act of the Arctic Monkeys at their gig in Barcelona. Which is sad, because I was missing a very good one. Not anymore.

Yes, it has been said and stressed every time Miles Kane's name is mentioned. The shadow of his pal Alex Turner is huge (he's credited on six songs of the album as co-writer). But as i cannot really judge to which extent the Arctic Monkeys' leader has been helping, I will focus on the tunes, because there's plenty to choose and enjoy here. Put your best clothes on, practice your best, seductive looks, and prepare yourself to the coolest image of the 60s. We're not reinventing the wheel, but fun is guaranteed.

The album opener is ridiculously addictive. "Come Closer" and "Rearrange" are superb retro indie-pop tunes, easily among the best songs of 2011. Marc Bolan, The Kinks, Paul Weller, "Wooahs" and "ahhs" to inject blood to the biggest stadium (you could learn something Chris Martin), crunching guitars and unstoppable melodies. Certified and deserved hits. And before we discover the "trick", Kane offers a brilliant change of path with the charming "My Fantasy", joined by Noel Gallagher in backing vocals. What a terrific start.

The second trio of songs doesn't start as promising, though. "Counting Down the Days" is an ok tune, but is too "cool" for its own good, or maybe too devoted to The Last Shadow Puppets, lacking a bit of punch. Luckily, "Happenstance" appears immediately to restore the situation and the vibe of "Colour of the Trap" with a sexy, fun, and irresistibly catchy, "low-light" duo between Kane and French actress Clémence Poésy ("Harry Potter", "In Bruges"). "Quicksand" comes next, with its, poppy, playful and carefree vibe. We reach half of the record, and by then we are seriously hooked by "Colour of the Trap".

A furious guitar precedes the controlled storm of "Inhaler", a piece of indie-rock paired with soul-infused backing vocals and a sense of urgency that I can define in just one word: stunning. The review, kind of a treaty on the styles of British indie-pop, adds a a new chapter, the psychedelic, with "Kingcrawler", co-wroted with Gruff Rhys (Super Furry Animals), where the insidious percussion and the cracking chorus will knock you down. Unfortunately, the record keeps spinning with "Take the Night From Me", a pompous ballad that is completely forgettable and hurts the album as a whole.

The last section of "Colour of the Trap" starts with "Telepathy", another great song, that would fit on a Tarantino movie, fuelled by the appearance of Alex Turner. With "Better Left Invisible" I can't achieve the same level of enthusiasm, having the feeling it doesn't fulfill what promises. And finally, we end the album in a high note with "Colour of the Trap" a wonderful ballad with just one problem: it has Turner's dna written all over. It would fit perfectly on his "Submarine" soundtrack. But anyway, with just a real faux pas and a couple of "fillers", Miles Kane debut as a solo artist can only be praised as an addictive, enjoyable and really inspired album.    

SCORE: 7,25/10