After a week abducted with work, I'm back on full mode. Two blistering videos/tunes to get back on track! First, The National's "Sea of Love" official video. What a mind-blowing song. Got tickets to see them in L.A.!!!!!
And more love with Editors' new single "A Ton of Love". Wasn't expecting much after the last record and their internal issues, so I'm extremely excited about this Echo & The Bunnymen-U2 sounding tune. Great to hear Tom embracing the world with his furious voice again!
We'll run like we're awesome, totally genius...
Saturday, May 11, 2013
Sunday, May 5, 2013
Discoverer 60: new indie findings
The 2013' harvest is being amazing so far. Here's another round of great findings!
Legs. We start in Oakland, CA, with Jeffrey Harland and Matt Bullimore beginning a personal recording project in the winter of 2011. But the batch of finished songs keep growing and with the help of friends and the addition of vocalist Amelia Adams, the quintet was born and an amazing debut album got its final shape. "Pass the Ringo", out since April, is a ridiculously solid collection of jangly guitar pop tunes drenched in reverb, so full of sun-soaked harmonies and hooks as armed with tones of vintage sounds and hazy layers that will keep you smiling all summer. What a shimmery, pleasant indiepop record. Immediate love.
The Airplanes. Second discovery comes thank to the wise people at Indie Pop Saved My Life (to put it simply: they are infallible). This band is the work of Joshua Vest, who hails from Fayetteville, Arkansas. In October 2012 they released their self-titled debut EP (name your price download here) with a second feature, "The Jingle Jangle" EP, out since April on the great Manic Pop Records. Vest music has an irresistible, contagious vibe. Upbeat, catchy and carefree tunes. Straightforward, infectious indiepop that can be the ideal soundtrack for the summer.
Skelocrats. And our third proposal comes thanks to a classic on this blog: EardrumsPop and their wonderful free EPs. On ePop034 they introduce us to this band from Dublin, active since 2012, and members of the Popical Island collective. With three releases to date, two EPs, "Whip Crack Away" and "Hot Yoga", also available together on the exhaustive collection "The Complete Skelocrats", plus now the trio of blissful tunes courtesy of EardrumsPop (including a version of French standard "Poupée de Cire, Poupée de Son") we can already make a solemn statement: this folks know how to make a pop tune. A burst of brisk and addictive indiepop to your ears.
Skelocrats. And our third proposal comes thanks to a classic on this blog: EardrumsPop and their wonderful free EPs. On ePop034 they introduce us to this band from Dublin, active since 2012, and members of the Popical Island collective. With three releases to date, two EPs, "Whip Crack Away" and "Hot Yoga", also available together on the exhaustive collection "The Complete Skelocrats", plus now the trio of blissful tunes courtesy of EardrumsPop (including a version of French standard "Poupée de Cire, Poupée de Son") we can already make a solemn statement: this folks know how to make a pop tune. A burst of brisk and addictive indiepop to your ears.Saturday, May 4, 2013
Primavera als Bars 2013: Big Summer + Les Sueques
As it happened last year, the Primavera Sound Festival warms-up the city with a series of local concerts in pubs and unusual places before the big event takes place. Here's a very quick chronicle of yesterday's double gig, courtesy of our beloved friends from El Genio Equivocado, with two exciting bands from their roster!
Big Summer. C3Bar, Barcelona, May 3rd
El Genio Equivocado latest signing is by far their most international combo, sounding intensely contemporary and full of promise. With their debut EP "Bone and Arrow" just out now, the young trio (a quartet on stage) presented live a noteworthy set of songs that, unfortunately, muted into something much more rockier and noisier than what they have recorded on CD. It's understandable they wanted to sound heavier on a venue that was quickly packed and chatting was constant (for once, I can understand). But their indie-rock charms, at least to me, are in the great melody lines that tunes like "Real Thing" or the mind-blowing "Morning Sun" have, a sun-soaked affair that immediately recalls to the great Real Estate. In that sense, an excess of volume like what they choose Friday reduces the impact of their music, kills a bit the magic of their graceful tunes. Nevertheless, Big Summer is a band to follow closely.
Les Sueques. C3Bar, Barcelona, May 3rd
And the second gig was also my second time watching Les Sueques in two weeks, when they were the support band for Allo Darlin' at the 24th Barcelona Guitar Festival. With the venue completely full, at least at the front rows, the quartet quite an exciting show. Without the sound issues they had at the BARTS Espai Club their pop-punk sounded filthier, messy, carefree and playful. Guitars, screams, occasional and intriguing odd sounds coming from theremins and other toys, and the magnetic stage presence of lead singer and bassist's Blanca, the band had fun, and so did the public. Riot girls with a bunch of addictive tunes -"Ningú" sticks in your head like a hammer, "Beix" makes you shake you head mercilessly, "S.F." knocks you out-, and a healthy dose of humour.
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| Big Summer. Photo: Bloodbuzzed |
El Genio Equivocado latest signing is by far their most international combo, sounding intensely contemporary and full of promise. With their debut EP "Bone and Arrow" just out now, the young trio (a quartet on stage) presented live a noteworthy set of songs that, unfortunately, muted into something much more rockier and noisier than what they have recorded on CD. It's understandable they wanted to sound heavier on a venue that was quickly packed and chatting was constant (for once, I can understand). But their indie-rock charms, at least to me, are in the great melody lines that tunes like "Real Thing" or the mind-blowing "Morning Sun" have, a sun-soaked affair that immediately recalls to the great Real Estate. In that sense, an excess of volume like what they choose Friday reduces the impact of their music, kills a bit the magic of their graceful tunes. Nevertheless, Big Summer is a band to follow closely.
 |
| Les Sueques. Photo: Bloodbuzzed |
And the second gig was also my second time watching Les Sueques in two weeks, when they were the support band for Allo Darlin' at the 24th Barcelona Guitar Festival. With the venue completely full, at least at the front rows, the quartet quite an exciting show. Without the sound issues they had at the BARTS Espai Club their pop-punk sounded filthier, messy, carefree and playful. Guitars, screams, occasional and intriguing odd sounds coming from theremins and other toys, and the magnetic stage presence of lead singer and bassist's Blanca, the band had fun, and so did the public. Riot girls with a bunch of addictive tunes -"Ningú" sticks in your head like a hammer, "Beix" makes you shake you head mercilessly, "S.F." knocks you out-, and a healthy dose of humour.
Wednesday, May 1, 2013
"Dog Eat Dog", crime and mayhem
Dog Eat Dog- Edward Bunker
Second consecutive book on the criminal world, again rescued by Sajalín, an editorial that is really shaping and showing a very personal voice while it gives the opportunity to discover new (for us) and vibrant authors. Like the case of Malcolm Braly's with "On the Yard", here's a writer that really knew what he was written about. He was there (ex-convict), did that, suffered its consequences... but survived the mayhem.
Because aside an absorbing depiction of the main characters, in particular the complex and tortured Troy Cameron, the chaos and mayhem associated to this underground, outside crime life are the real highlights of "Dog Eat Dog". Bunker disarms the reader thanks to a simplicity and word economy that balances so well with a bleak voice. Don't expect a harsh novel, but also don't look for a book too keen on their characters. Bunker portrays the impossible last crime of this impossible outlaw trio and their accolades with a resonant verisimilitude. Everything reads true. Not just the jargon, but the sense of being incapable of become part of society, the feeling that violence can appear at any time (Mad Dog McCain is another character brilliantly built in this sense), and that criminals can't have a live they control. While reading, I couldn't help myself but think on several 70s movies. Then making a bit of research on Bunker's life, I realised his novels were transformed into films like "Straight Time" (with an enormous performance from Dustin Hoffman) or "Animal Factory". Both films, like "Dog Eat Dog" are brave to show an odd, disconnected human nature: the one that's forged in prisons.
Unfortunately, "Dog Eat Dog" doesn't have the most intriguing of plots, and despite being unquestionably addictive, with some dark and poignant passages described with a genuine and urgent narrative pulse, there are moments where the book decays. Like on a Tarantino film (Bunker was Mr.Blue in the overrated "Reservoir Dogs"), it is so full of speeches and dialogues that focus gets eventually displaced, so when the resolution arrives, some of the punch, some of the strength has been lost. A bit of shame really, because otherwise "Dog Eat Dog" would have been an absolute must. Nevertheless, a noteworthy author that I'm happy to have discovered.
SCORE: 6,25/10
Second consecutive book on the criminal world, again rescued by Sajalín, an editorial that is really shaping and showing a very personal voice while it gives the opportunity to discover new (for us) and vibrant authors. Like the case of Malcolm Braly's with "On the Yard", here's a writer that really knew what he was written about. He was there (ex-convict), did that, suffered its consequences... but survived the mayhem.Because aside an absorbing depiction of the main characters, in particular the complex and tortured Troy Cameron, the chaos and mayhem associated to this underground, outside crime life are the real highlights of "Dog Eat Dog". Bunker disarms the reader thanks to a simplicity and word economy that balances so well with a bleak voice. Don't expect a harsh novel, but also don't look for a book too keen on their characters. Bunker portrays the impossible last crime of this impossible outlaw trio and their accolades with a resonant verisimilitude. Everything reads true. Not just the jargon, but the sense of being incapable of become part of society, the feeling that violence can appear at any time (Mad Dog McCain is another character brilliantly built in this sense), and that criminals can't have a live they control. While reading, I couldn't help myself but think on several 70s movies. Then making a bit of research on Bunker's life, I realised his novels were transformed into films like "Straight Time" (with an enormous performance from Dustin Hoffman) or "Animal Factory". Both films, like "Dog Eat Dog" are brave to show an odd, disconnected human nature: the one that's forged in prisons.
Unfortunately, "Dog Eat Dog" doesn't have the most intriguing of plots, and despite being unquestionably addictive, with some dark and poignant passages described with a genuine and urgent narrative pulse, there are moments where the book decays. Like on a Tarantino film (Bunker was Mr.Blue in the overrated "Reservoir Dogs"), it is so full of speeches and dialogues that focus gets eventually displaced, so when the resolution arrives, some of the punch, some of the strength has been lost. A bit of shame really, because otherwise "Dog Eat Dog" would have been an absolute must. Nevertheless, a noteworthy author that I'm happy to have discovered.
SCORE: 6,25/10
Tuesday, April 30, 2013
Primavera Sound 2013: Timetables, 2nd attempt
After the previous days unveiled last week, Saturday timetables for the Primavera Sound 2013 just announced..., so after a quick check, this is how my PS 2013 looks like on that day:
Saturday, May 25th, Parc del Fòrum
18:35 Adam Green & Binki Shapiro (Heineken stage)
19:45 Rodríguez (Primavera stage)
20:55 Band of Horses (Heineken)
23.30 Camera Obscura (Ray-Ban)
01:05 Los Planetas (Primavera)
Not very lucky with the schedule. Nothing really interests me between Band of Horses and Camera Obscura. Same after Los Planetas...(maybe Crystal Castles?). And again the feeling/worry about moving from Heineken to Primavera stages. We'll see...
Sunday's timetable is still missing, and I assume more changes and few more announcements to be made, so this won't be the final schedule for sure!
Saturday, May 25th, Parc del Fòrum
18:35 Adam Green & Binki Shapiro (Heineken stage)
19:45 Rodríguez (Primavera stage)
20:55 Band of Horses (Heineken)
23.30 Camera Obscura (Ray-Ban)
01:05 Los Planetas (Primavera)
Not very lucky with the schedule. Nothing really interests me between Band of Horses and Camera Obscura. Same after Los Planetas...(maybe Crystal Castles?). And again the feeling/worry about moving from Heineken to Primavera stages. We'll see...
Sunday's timetable is still missing, and I assume more changes and few more announcements to be made, so this won't be the final schedule for sure!
Sunday, April 28, 2013
Discoverer 59: new indie findings
Another round of our Sunday's proposals. Big music crushes for your listening pleasure!
Brothers In Law. So happy to go back to Italy and the We Were Never Being Boring collective (when is Be Forest coming back?) now with the discovery of this band from Pesaro, active since 2011. Formed initially as a duo, they released a s/t EP, then became a trio, put out a single and prepared their debut first album in late summer, coming out early this year. "Hard Times For Dreamers" is a hidden gem. Post-punk hints, dream-pop open chords, a youthful, jangly spirit, mundane and recognisable lyrics, and the feeling the right influences have been astonishingly absorbed and channeled into something completely of their own. Knock-out mini-album. Band to keep close.
The Adelines. We move north to Swansea, Wales, to meet a quartet formed in 2011 (borrowing the band's name from their neighbour's cat). Two singles, "Little Games" and forthcoming "Alleyways", out in May 6th on Kissability Records, are their only releases to date, but what a couple of spectacular tunes. Defined by the label as "sepia summertime indie pop perfect for an indie shuffle", this is instant, classic indiepop drowned in the best of the 90s, propelled by Jennie Morris sweet vocals and guitars soaking with reverb. Comparisons with a poppier version of the Throwing Muses are still excessive, but the potential and promise is there.
The Birthday Kiss. And out third proposal hails from London/Leeds. Formed in 2012 by Ben Siddall (former member of the great The Lodger) and Sarah Williams (ex-The Research), the group has been creating a handful of songs (don't miss the chance of hearing "Choking"), and now they release, on Death Party Records, their official debut, a double A side 7" single, "Can You Keep A Secret?/ Worth It", while announcing they are currently working on their first album. Charming indiepop with a beat and soulful vibe, that quoting the always wise Skatterbrain's blog definition sounds like "some kind of perfect Saint Etienne cum Language of Flowers territory". Mostly irresistible.
The Birthday Kiss. And out third proposal hails from London/Leeds. Formed in 2012 by Ben Siddall (former member of the great The Lodger) and Sarah Williams (ex-The Research), the group has been creating a handful of songs (don't miss the chance of hearing "Choking"), and now they release, on Death Party Records, their official debut, a double A side 7" single, "Can You Keep A Secret?/ Worth It", while announcing they are currently working on their first album. Charming indiepop with a beat and soulful vibe, that quoting the always wise Skatterbrain's blog definition sounds like "some kind of perfect Saint Etienne cum Language of Flowers territory". Mostly irresistible.
Saturday, April 27, 2013
Guitar lessons with Lee Ranaldo
Lee Ranaldo (+ Murnau B). La [2] de Apolo, Barcelona, April 24th.
Spring is always the best time for live music. April its been a month pretty full of gigs and May looks, happily, even busier in that sense (Primavera Sound is just around the corner, folks). Past Wednesday it was my second chance watching live a veteran stage legend, that to me is a recent discovery. I'm referring to Lee Ranaldo, Sonic Youth's guitarist, responsible of one of my favourite records from last year, "Between the Times and the Tides".
Ranaldo's gig was supported by local band Murnau B, an instrumental trio aiming to create dense, cinematic and dark no-wave tunes. They sounded solid and fierce, but this is just a matter of taste I guess. To me every tune was too similar to the previous one (only exceptions the couple helped by keyboards), a bit grunge, and sorry to say, pretty boring. In my opinion.
But then Lee Ranaldo took the stage. It wasn't going to be a surprising gig, and we quickly realise that, once again La [2] de Apolo was going to frustrate our aspirations of enjoying a great sounding performance. Instruments were crystal clear, but Ranaldo's vocals were pretty average. I can't really understand why there's such a huge difference in what regards to sound quality between the two Apolo rooms.
Having complained about that, the gig was almost flawless. Ranaldo and his band were amazing, and the whole place vibed with the heavily-charged electric tension propelled by guitars (Ranaldo was backed by Alan Licht and Tim Luntzel) and Sonic Youth Steve Shelley's relentless drumming. Songs like the shiny "Off the Wall" or "Lost" are priceless, and played with that level of intensity live, they inoculated euphoria on the listener. The veteran musician combined this more straightforward pieces with angular, longer and more oblique rock pieces, like "Xtina As I Knew Her" or "Shout". Ranaldo makes me think about R.E.M.'s "Document" era or their most abrasive, rockier tunes. I even hear traces of Stipe vocals on Ranaldo's way of singing. That, combined with his skills, a gentle little chat there, and a a bit of show with his guitars (that couple of moments destroying the strings playing the instrument as if it was a violin) made the night absolutely remarkable. Guitar lessons with a maestro.
Ranaldo and his band weren't shy to offer new tunes (a couple of them sounded really exciting) plus a cover of The Byrds "Everybody's Been Burned", written by David Crosby, and when the time came for the end, with the majestic finale of "Waiting On a Dream", after a generous hour and half gig, the overall feeling was easy to define: total satisfaction. Even despite not having the best sounding.
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| Ranaldo in BCN. Photo: Bloobuzzed |
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| Murnau B. Photo: Bloodbuzzed |
But then Lee Ranaldo took the stage. It wasn't going to be a surprising gig, and we quickly realise that, once again La [2] de Apolo was going to frustrate our aspirations of enjoying a great sounding performance. Instruments were crystal clear, but Ranaldo's vocals were pretty average. I can't really understand why there's such a huge difference in what regards to sound quality between the two Apolo rooms.
 |
| Steve Shelley. Photo: Bloodbuzzed |
 |
| Guitar heroes. Photo: Bloodbuzzed |
 |
| Up & close. Photo: Bloodbuzzed |
Ranaldo and his band weren't shy to offer new tunes (a couple of them sounded really exciting) plus a cover of The Byrds "Everybody's Been Burned", written by David Crosby, and when the time came for the end, with the majestic finale of "Waiting On a Dream", after a generous hour and half gig, the overall feeling was easy to define: total satisfaction. Even despite not having the best sounding.
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