вторник, 28 апреля 2015 г.

Pedro Parque "Pedro Parque EP"

Pedro Parque "Pedro Parque EP" (p)2014 La Gramola Netlabel
I came across this short album by occasion a couple of months ago when I was searching through the releases of La Gramola Netlabel. I've downloaded it and returned to it only the last week. There are only four tracks - and that's the worst thing that can be said about "Pedro Parque" because it's undeniably great. Really, it's not worth trying to find the convenient words or any. It's totally. Fucking. Great. The best post-hardcore I've heard since The Jealous Sound's "A Gentle Reminder".


Copiloto "Los Puentes Hundidos"

Copiloto "Los Puentes Hundidos" (p)2015 Grabaciones En El Mar
The fourth full lenght of Zaragozan singer/songwriter Javier Almazan who hides himself under Copiloto moniker is set to release 4 years since his previous effort "El Inicio, El Desencanto Y El Circulo De Confianza" was out. Such the long hiatus usually means a lot of time to think it all over, so there wouldnt't be any surprise if "Los Puentes Hundidos" sounded opposite to his past achievements. Fortunately, if Javier had an intention to start the new life in music with this new record, then apparently he had no plans to erase all his previous career out.
The rocker tracks such as "Crecer Es Matar A Un Nino?" easily resemble the Copiloto's first effort "Defensa Del Artista Que No Existe". In its calmer moments ("Fulminado","No Me Reconozco") the new album sounds comparable to more pop-oriented "El Inicio...". The ghost of Deluxe (mostly of "If Things Were To Go Wrong" era) is floating in the air somewhere behind the right shoulder. The quiet acoustic "Ella Dice" is followed by the stormy "Uno Vs. Mundo Formal" (possibly the loudest track ever recorded by Copiloto - in this moment the ghost of Deluxe takes a step behind being replaced by the vision of the Canadian indie glam superstar Hawksley Workman). The tempo changes like in this particular pair of songs could make you feel like you're on the boat trip rocking on the waves until the synth-based slowburner "El Miedo (II)" marks the end of the journey.
Generally speaking, the sound of "Los Puentes Hundidos" is seemingly less polished, more edgy and psychedelic than on the previous albums - and it's good cos it sounds sincere, and the overall quality of songwriting makes me regret about four-year long absense of any material from this talented and creatively free musician.

The best tracks: Los Puentes Hundidos, Crecer Es Matar A Un Nino?, Uno Vs. El Mundo Formal, Ella Dice

четверг, 23 апреля 2015 г.

Combray "Ullapool"

Combray "Ullapool" (p)2015 Foehn
Another classic Foehn release. Being as intelligent as intimate and as delicate as warm, the new album of Combray may sound like the wordless twin brother of I Am Dive but it works fine without any comparisons. Built upon the ethereal sound effects over the twinkling guitar arpeggios these six tracks of thoughtful instrumental music will lead you wherever you want (not only mentally but geographically as well, as 'Combray' and 'Ullapool' both are the real European locations), and it's hard not to follow.

The best tracks: Boira, Ullapool


четверг, 16 апреля 2015 г.

Destino Pluton "La Importancia Del Contacto Virtual"

Destino Pluton "La Importancia Del Contacto Virtual" (p)2015
This album covers several ages of electronic music - from Depeche Mode's "Construction Time Again" through the melodic trance/techno experiments of Sven Vath along with the post-triphop pop of 2Raumwohnung and finally to the perfectly crafted synth-driven lo-fi electro rock we got here. By all means a pleasurable listening, this album is cooked for us by Sevillan trio Destino Pluton whose members know how to construct the good melody and memorable song from the vintage sounds, synthetized voiceovers and the upbeat rhythm patterns.
One of the most memorable tracks from the album is apparently dedicated to DM songsmith Martin Gore.
The video for "La Importancia Del Contacto Virtual" includes the cameos of [at least] Clara Plath and Roberto Lopez from the Clara Plath band amongst other people whom I hadn't identified yet.

The best tracks: Mr. Gore, Burbuja De Vacio, Obsolescencia Programada


Destino Pluton en Bandcamp


вторник, 14 апреля 2015 г.

Los Rusos Hijos De Puta "La Rabia Que Sentimos Es El Amor Que Nos Quitan"

Los Rusos Hijos De Puta "La Rabia Que Sentimos Es El Amor Que Nos Quitan" (p)2015
How could I miss the band with such the significant name as "The Russian Sons Of A Bitch"? No way!
First I catched them two years ago - just when they released their "Hola" EP supported by the video for the album's most spastic track "Tu Mami" where the frontwoman Luludot Viento convulsed in the sands with her tits naked. The passed years made the positive impact on the band's abilities, and "La Rabia Que Sentimos Es El Amor Que Nos Quitan" is here not only to distress you. If "Hola" was just an invitation then "La Rabia..." is full-fledged tour into the convoluted world of the band. "Going the bad way towards something good" is their motto. It's strange, but somehow it describes correctly all that happens within these 30 minutes of spazz-punk coloured with the bursts of digital noise and occasional male vocals. Like on the previous release, Luludot roars, screams and shrieks like hell but now it seems like everything here has sense. Oddly attractive, this album is not going to be your guilty pleasure but the kind of madness you'd want more.

Monte Del Oso "Esto Tiene Que Doler"

Monte Del Oso "Esto Tiene Que Doler" (p)2015 Farmway/Underhill
A supergroup of sorts, the Navarran outfit Monte Del Oso has just prepared the first longplay "Esto Tiene Que Doler". The band consisting of Ion Minde (guitar, vocals), Luis Gomez (bass) and Edu Ugarte (drums) delivers the 90's indie at its finest - while listening to the album you may recall such the good examples of 20 years old independent guitar-driven music vehicles as Built To Spill or Buffalo Tom along with more familiar names like Sonic Youth (of "Dirty" era), Sugar and Dinosaur Jr. Possibly thanks to these reference points you'd get the idea - a lot of guitars, the catchy tunes, the ever-competent and visceral drumming from the former member of Half Foot Outside and Muy Fellini - as well as the owner of Underhill Records - Edu Ugarte. Being fond of old school American indie rock I admired the album starting from its first sounds. And the only thing that makes me sad about "Esto Tiene Que Doler"... oh no, really there's nothing to be sad about because it's clever, it's intense, it's natural, and - what is probably the most important thing - it sounds honest. 
Additionally, for those like me who weren't happy about the apparent dissolution of Muy Fellini, this album can be the good pain reliever.

The best tracks: Esto Tiene Que Doler, Te Ayudare Con Esto, Amigo Fuego, El Estado de Las Cosas

четверг, 9 апреля 2015 г.

Disco Las Palmeras! - Asfixia

Disco Las Palmeras! - Asfixia (p)2015 Sonido Muchacho
I have been living with the idea of 'rock español as the Next Big Thing' for seven years or so. I'm predicting it in livejournal or facebook posts, in conversations with the friends, right here in this blog as well. All this time I'm scanning the media surface trying to reveal the signs of my prediction come true. So here's the fact: less then a month ago Disco Las Palmeras! performed in Texas on South by Southwest festival (SXSW) - and I have no idea what does it mean. Was this invitation some kind of regular event for SXSW, or America really starts to turn the face to the Next Big Thing as I predicted? I don't know.
This Galician trio plays loud yet melodic rock music with massive guitars and hard-punching drums (and no bass at all). The new album "Asfixia" is their third. The first two efforts - "Nihil Obstrat" and "Ultra" - were released by the local Galician imprint Matapadre (whom I like alot), for the new work the band moved to Madrid-based label Sonido Muchacho.
It's some kind of offtopic, but the first thing I should point out: "Asfixia" has absolutely great cover.
Returning to music, it seems like this bassless band achived the highest limit in terms of guitar parts' density and intensity on their previous effort, so here they tried to diversify the sound to the results surely worth mentioning. While all the tracks of "Ultra" had pretty similar guitar attacks which made the album as a whole sounding denser, thicker and more 'metallic' - here the sound of guitars differs from track to track skipping from abrasive crust of "Tarde Y Mal" through the low-key bulldozer armageddon ("En El Agujero") along with the digital noise ("Elites") to the sharp-shaped explosive lightnings which could make Billy Corgan proud ("Rafagas En Mi Cerebro") and then back to the sandpaper crust ("La Calma"). The great feature of "Asfixia" is that the band managed to avoid the threat of tearing the album's canvas apart by the excessive usage of different tricks and approaches. This shows the band's ability to perform in the different keys without any negative impact on the cohesion of the whole record. So, definitely not the music for everyone, "Asfixia" is another good example of the solid and inventive alternative rock album made by bright and inventive alternative rock band.

The best tracks: Rafagas En Mi Cerebro, En El Agujero, Callate La Boca, El Final Del Circulo

BUY/LISTEN

понедельник, 6 апреля 2015 г.

El Lado Oscuro De La Broca "Beta"

El Lado Oscuro De La Broca "Beta" (p)2015 El Genio Equivocado
Take the icy cold post punk textures as a base. Then add unstoppable drum intensity of 'fast-to-very fast' range. Mix. Shake. Shake well. Add some slices of the detached 'long distance call' vocals. Then open the reservoir with the mixture and pour it over with the earbleeding abrazive guitar swirl. More. More. When you think that it's enough - pour it even more.
Do you remember Glasvegas, this Scottie band that tried to breath life into the body of guitar-driven indie rock also using that endless (but more polished) guitar swirl but was lost in the repetitiveness? Born in Zamora, 'the town of Romanesque art', the quintet El Lado Oscuro De La Broca (this means something like 'The Dark Side Of The Drill') makes Glasvegas sound like a pop band. The noisy hymns like 'Los Lideres Africanos' or [the occasional homage to the notorious Italian midfielder of the 90's] 'Dino Baggio' rush into your room breaking the doors out and then escape through the window leaving you there high and dry.

The best tracks: Los Lideres Africanos, Verdad Lebrel, Dino Baggio, Tropical