WING DAM.Thick Phase / No Splash

"There are serious pop hooks going on underneath all the thick yet detailed sludge of guitars. I keep hearing early 90s Dinosaur Jr. & Smashing Pumpkins with out all the drama, bombast and crazy tempos. There’s room to take a breath. And there is an articulation to the songwriting one can totally sink their teeth in to."
- Mat Leffler-Schulman (Mobtown Studios, Baltimore MD)

ARCHERY GUILD. Din

A new discovery from the NXNE festival lineup is local Montreal based big indie ensemble,Archery Guild. The band has 2 tracks that are up streaming on their bandcamp in promotion for their upcoming full-length and are making their way over to Toronto this June to take part in the festivities. Chaotic and lovely at once, over 9 members permanently make up the guild although just as many outsiders have taken part to record and perform on tracks. Let’s not even think about the funding it’d take to get these dudes on tour. Cool songs though…a little heavy on The Arcade Fire and Broken Social Scene (blame Canada) sound but always fun to hear a bunch of energetic youngsters gang together with numerous instruments from horns to strings to guitars and anything else they can get their hands on. @thinknotsleep

COLD FRONTS. Pretty American + Singles

Raw, fun and DIY are the three terms that come to mind when first listening to Cold Fronts. The Philadelphia quartet gives an indication that they’re playing music they love for the right reasons. Therefore, the following statement describing the band from vocalist Craig Almquist seems quite fitting: “[Cold Fronts is] a group of All-American boys who don’t really fit with todays digital era of dub-step, loops, and MacBooks onstage. Instead, we play loud instruments and make girls go wild.” That last part is probably accurate as well.

If there’s one thing for certain about Cold Fronts, it’s that they have a knack for writing hooks. The garage rock band’s latest release Pretty American, is full of them. The guitar driven “Heart Attack”, courtesy of Almquist and guitarist Shaky Jake, shows their characteristic warm tones which flow all the way through the upbeat track. Complementing this is the organic range and nature of Almquist and the steady drums of Alex Smith. The work of Smith travels through the EP consistently, keeping the beat to a well written and thought out 16 minutes.

“Ready To Go” turns the catchiness up a notch as Almquist sings, “I’m leaving and I’m ready to go,” in reference to nostalgia for Philadelphia whilst living in Brooklyn. Amongst unique riffs, the song also explores relatable topics such as friendships and relationships. Relatable concepts continue in “Strange Architecture,” and although I adore rain and winter and therefore can’t totally relate like most, I particularly like opening line, “Well I say fuck the rain / let’s forget the weather / and let’s get together ‘cause I need a change.” It’s a good thing I like it too, because Cold Fronts’ ability to write catchy tracks means this has been swirling around in that head of mine for a few days.

Pace is slowed down with “Prime Time” to show the dynamic ability of the band, but closer “Catch” brings back the memorable, riff driven Cold Fronts we’re familiar with. Whilst these are two solid tracks, I find them a little weaker and less catchy in comparison to those before them. However, that’s not to say they’re bad in any way.

Despite not being my usual genre of choice, I have been completely won over by Cold Fronts and will certainly keep returning to this new discovery. I guess they do make girls go a little wild. (Halley Hill)

ANNA BRADLEY. The Last Great Day Before the Body Was Found

NVC indie rockers Anna Bradley have embraced the EP as their favorite format. Their latest is called The Last Great Day Before the Body Was Found, a quircky lo-fi take on the likes of Television and Husker Dü.

They've obviously worked hard on their harmony vocals and it has paid off handsomely, deepening the sound. Mashing garage with prog guitar it will find its way to the music geeks who can appreciate the adventure and loosely applied textures in their songs.(Entertainment Magazine)

This is the second release I’ve covered to come out of Oliver Ignatius’ Mama Coco’s Funky Kitchen studio—a place that I’m now willing to say consistently releases absolutely gorgeous sounding albums. And The Last Great Day Before The Body Was Found is more that just gorgeous – it is almost overwhelmingly lush, and drops a substantial payload in terms of guitar riffs and songwriting. The Last Great Day Before The Body Was Found is one of the most surprising, and symphonic-minded, pop rock releases that I’ve had the pleasure of reviewing.

These songs are production gems, with a full and chamber-y sound usually reserved for small orchestras. ‘Head For Heights’ has an almost Pere Ubu haziness to it, and contains the EPs most brazenly intricate guitar work. Though The Last Great Day Before The Body Was Foundis certainly more of a vocal and atmospheric showcase, the EP is also resplendent with involved and engaging guitar parts courtesy of Kabir Kumar and Daniel Fisher.

The brief ‘Deserter’ has a very millenial sound, and is filled with expressive guitar swoops, nestled smartly in tones reminiscent of The Police on Ghost In The Machine. There is something very early ’80s to the entirety of The Last Great Day Before The Body Was Found—reminiscent of an era when guitars were taking on the tones of the synthesizers that they were quickly being forced to compete with, and producers were starting to realize that the tone and atmosphere of what goes on between the notes was just as important and influential to an album’s sound as the instruments themselves.

EP closer ‘Safflor Rouge’ is as reverent of late ’90s pop punk as it is of more subversively weird acts like Abe Vigoda. It’s hard to believe that Anna Bradley is a four-piece, because most of The Last Great Day Before The Body Was Found sounds like the orchestral exuberance of a band like Broken Social Scene.

It’s great to hear guitar rock that isn’t concerned with sounding raw and harsh, but still puts a lot into the idea of sounding live and natural. Anna Bradley is a band that has grown from a very singular project into a dialogue amongst musical peers. The instruments play off each other with fanatic gaiety on The Last Great Day Before The Body Was Found, and the whole EP could stand under careful scrutiny from fans of intricate guitar work. With an already extensive discography for such a young group of musicians, Anna Bradley is poised to continue producing spellbinding guitar pop.

@HemlockShaw

THE SHONES. The Shones Ep

Oh, what a perfect blend. These sincere patrons from Boston blend punk, blues, rock’n'roll, garage and surf together, which elevates into a fantastical emotional outburst. Coloring the world with their aesthetics, freely floating away in the summer breeze as the wind takes a hold of them. Yet another sign that Spring is here and that Summer is coming, as this will probably be the tune of these seasons entry into our lives once again. Let the catchiness of their songs reap what it sows, let them into your world as you gracefully swing your feet to the melodic and rhythmic content. The Shones is Paul Arbaje, Henry Stoehr, Franciscus Pobar Lay, Alex Leeds and Chevy Mathews. Also, this is more than a story about changing seasons, emotional outbursts and good music in general – it’s a story about a re-located band and sound. (Invisible Guy)

MORKKIS. Dream Sick

Dream Sick are as much garage rock or shoegaze as the Replacements were punk. In other words, they're a songwriter's rock 'n' roll band with superficial trappings of current styles. This is hardly detrimental to their new album, Morkkis. At its core, Morkkisfuses passionate performances and light experimentation with strong, anthemic songs that groups like the Replacements did.

This record is full of tales of frustration, omnidirectional anger and introspection that are the stock in trade of young 20-something bands, and Dream Sick's mastery of the form makes these familiar themes just as vital as those of any of their predecessors.

Lead singer Jess Matsen hollers all over the place, hoping he's not a fool, breaking windows so his girlfriend might understand him, while the rest of the boys pound along in post-adolescent fury. Tracks like "Photoframe" and "Unwind" are particular standouts on a record that really has no weak spots.

The two-guitar, bass and drums format always works well for these types of story songs. But after a few listens, the psychedelic window dressing becomes integral to the music, leaving the guitar feedback to scream the post-grad blues when Matsen stops for the moment. (Joshua Levine)

THE KUMARI. The Kumari

“a brilliant garage-psych anthem that will blow your mynd...you'll beg for more” - Lost In Tyme

“repeated spins uncovered sparkle and promise...will appeal to nocturnals. Buzzingly authentic” - Shindig!

“A masterclass in sixties guitar pop” - The Active Listener

““one of the best new records for a long time”- G45Central


The story began in March 2012. The band have already shared a stage with The Moons, Temples, Charlie Boyer & The Voyeurs, and The Hypnotic Eye.

MENACE BEACH.Too Pure Singles Club Double A Side

New year, new Too Pure Singles Club – twelve 7″s in a number of colours hitting the hall doormat throughout the year. With the advent of mp3s you don’t even need to play them as you’re emailed virtual copies too; keep them pristine for your heirs! Sell them for vast profits and buy a small island! The choice is yours …

Two slices of quality garage rock here on the follow up to last year’s Dream Out ep, by this agglomeration of members of the likes of Hookworms, Sky Larkin & You Animals. The baby blue vinyl belies the fully adult nature of the sound they’ve managed to come up with on a work that makes you wonder what they could get up to if they concentrated on this project full time.

America rather than the UK is the spiritual home of the music on the double A-side – ‘Drop Out’ instantly bringing The Dandy Warhols to mind (they’d be lucky to produce anything this good again themselves) whilst ‘Tastes Like Medicine’ will sit well with all right thinking fans of Dinosaur Jr. (Kenny McMurtrie)

THE YOUTH AND YOUNG. The Youth And Young Ep

The Youth and Young EP is a little different than the stuff I’m usually bringing to you. It’s sweet and folky, it’s powerful without getting too loud, it’s beautiful. The Youth and Young are perfect for those quiet mornings when you want to open your eyes slowly and let in the light little by little. No need for a shocking burst of sun, let’s take it step by step and enjoy the daytime. [Free Download] @LeahLovecat

NATURAL BRIDGES. Good Medicine

Malhauradament, després de patir un accident en una cursa de ciclisme, només puc utilitzar el braç esquerre per escriure i se me fa molt dificil, així que durant un mes aniré publicant les entrades només amb comentaris en anglès, la segona llengua del nostre blog bilingüe. Fins aviat.


I choose this album for my sunset drive through Big Sur on our way to play a show LA. With the windows rolled down, it was all Rhodes, Phaser, Neo Soul goodness. Good Medicine indeed. Matthew confirmed my suspicions that the album was recorded to a Tascam 388 Tape Machine, ya feel me. Coincidentally, we drove past Natural Bridges State Park and saw a few along the way. Matthew’s vocals sits high in the register and glides effortlessly over soulful reggae riffs, that it makes me swoon. (Natural Bridges Tumblr)

THE RAW NERVES. Sunburn Ep

Per completar la santíssima trinitat, viatjam ara fins a Nova Zelanda, concretament a Auckland i ens empassam la tercera entrega de garatge punk rock, aquesta en trossets de ben curta durada però directes a s'estómac. Res més a dir que genials en el seu estil. Avui horabaixa ben divertit!!

Punk really isn’t dead. I’m not talking post-card mohawk-bullshit punk – that can, generally, go fuck itself. But garage-punk with irreverent humour and thrashy-trashy-skuzz-pop melodies and social commentary lives on with the likes of The Raw Nerves – and their new Bob Frisbee recorded EP.

Opening with the line “Saw that girl in New Idea / Now I’m scared of serious drugs”; Rory sounds, in moments at, I think his vocal finest and reminiscent of Pete Shelley. Then there’s the brilliantly weird guitar solo smack in the middle of the opening track which is teetering on genius – not to mention the poppy “ooooh’s” backing up the couplets “I don’t get shot in the face / I don’t wanna OD” – just brilliant! Fuck Brooklyn isn’t the shortest song on the EP at 59 seconds – it is, though, invigorating and those three syllables recall Rock Lobster for me.

Not Gonna Try, the longest song, and EP centre point at 2min39 is a brattish punk tongue-in-cheek ode to apathy in the finest of punk-traditions. Then they get punk-do-wapped with their song of heart-break That Rapper Stole His Girlfriend – brilliant – before the uncompromising and thrashed Popularity closes the EP off with 40 seconds of joyous hell. (Cheese on toast)

EL TORO!. Creatures

La segona entrada d'avui va en la mateixa direcció garatge punk de la mà de El Toro! un grup de Liverpool molt interessant per als amants d'aquest gènere. Un disc que és tota una delicia i que ens fa viatjar allà pels anys 60s quan el fenòmen de la psicodèlia i del garatge estaven en plena efervescència.
Au idò, a tornar una mica més jovenets.


SHINDIG MAGAZINE says "...Liverpudlian quartet who cross LinkWray and the Ventures with the Sonics and The cramps for a sweaty set of '60's snarl and grind rockers. Anthemic shouters like "I wanna Know" and "The Note" mingle seamlessly with the big phat twangin' instro "The Boss Sound", while "Vendetta" wears it's white punks on surf charm on it's sleave..."
Liverpool Psychedelic garage surf!

LAMBS. Lambs

Poca cosa per explicar d'aquest grup. Són de Cambridge i practiquen un rock psicodèlic molt interessant. Els podriem emmarcar en l'ona dels grups de garatge que solen ser convidats moltes vegades de les nostres entrades. El so, per formar part d'aquest estil, és bastant net i les guitarres sonen prou punxants. La veu de Sean Houston sona com pertoca en un grup de psych rock, amb prou arestes. Me costa definir una composició com la millor, són totes semblants i d'una qualitat prou equilibrada. Un treball, en definitiva, molt interessant.

OUTLAW BOOGIE. Hazed and confused Ep

Poca cosa sabem d'aquest nou projecte de Michael-James Dent, simplement que és un projecte en solitari d'aquest personatge de Londres que abans formava part del grup de punk Yoofs. Es tracta d'un treball que no encaixaria massa dins aquest estil però que sí que té la qualitat suficient com per haver-nos cridat l'atenció. Es tracta de sis temes bastant pausats i que es mouen dins un estil pop rock de baixa intensitat. Molt recomanable per a moments del dia en que et ve de gust fer una becadeta. talment ara mateix.

Outlaw Boogie is the project of Michael-James Dent, formerly of Bournemouth based punks Yoofs. Now living in North London, Outlaw Boogie is a solo project in every way - written, sung, and played by Dent and recorded immediately on to his phone, offsetting the late night heartbreak of the songs on Hazed & Confused with an immediacy and punk energy.

Hazed & Confused is the debut release by Outlaw Boogie and is available exclusively on Bandcamp now. (Alt sounds)

PROPELLER. Don't be sorry again

Quan amb un disc no fan falta paraules, millor és no dir res i deixar que soni la música. Un grandíssim disc de power-pop amb majúscules, un disc que si l'haguessin editat als anys 70 o als 90 grups com els Posies o els Sugar s'hagués convertit en un èxit rotund. Crec que el millor que podeu fer és clicar sobre la primera cançó i vos assegur que aguantareu fins al final gaudint de cada acord i de cada tema. Disc GENIAL el miris per on el miris.

Within the first verse to chorus, Propeller set out their manifesto for 'Don't Be Sorry Again'. Rich harmonies, crunching, infinitely melodic guitars and lyrics longing for 'that' girl to come back, as on opener 'Gone Too Far.' Bringing to mind classic American alt-rock/pop of the Posies, Lemonheads with a dash of 'Copper Blue'-era Sugar. Second track 'Don't Want Anything From You' is ushered in with vibrant handclaps and choppy, fizzy guitars; a track with a sense of urgency recalling prime Redd Kross. It has a strong sense of its self and doesn't dissolve into becoming slightly cloying from its own sweetness. Its following track also manages to remain bright and urgent. 'Away She Goes' is all stuttering drums with flashes of chiming bells as 'that' girl is chased down again.

'Summer Songs' epitomises Propeller's search for that endless summer of youth, all sun-dappled sounds and songs "causing us to fall in love". But by now you can almost second guess the song, and are starting to either wish you were on that Californian beach or they bring a variation in their groove. 'Don't Be Sorry Again' happily picks up with the Lemonhead-like 'Used To Hang Around'. Here Propeller show mastership of their craft and the song codas out with those rich harmonies and an almost Replacements' sense of abandon. The next couple of tracks slide through with an overly sweet taste. The 'na-na-nas' of 'She's Out There' strive to lift the song, but are lost. Similarly 'Never Going Back To You' opens all fresh and breezy but settles into what is now an all too familiar open-topped ride. As you reach this point you end up craving a simple break in the bubblegum groove and a change of tack. Anything! A counterpoint female (such as Dando/Hatfield) or a change of pace. 'Never Going Back To You' comes close with its harmonised late refrain, but like tasting the raspberry milkshake you loved as a kid it starts off exciting, tingly, then becomes a bit too sweet and sickly which you struggle to finish.

'It Ain't You' updates those Replacements sounds heard earlier and adds a welcome rawness and Westerberg groove. Here, Propellers sound like they have given up on the girl had a few drinks and are just enjoying a new found freedom. They carry on with the lyrical longing, but now it's tempered with a shrug and another drink. 'Little Charmer' falls back into the sweet sticky stuff and is forgettable. 'Calling Out For You' is the most riotous track on the album with a 'Mrs Robinson' rollicking, head-shaking rumble. It manages to keep its tapping foot the right side of a 'Friends' soundtrack. And in the world of Californian love movies it should end there, as our guy gets the girl in a hot steamy, inevitable, embrace. But they eke out the template one last time on 'Might Never Be The Only One' and add that sticky sauce that no-one really likes. (Thesoundofconfusion)

CYANNA. The Undressed Ep

Una banda de Grècia que després de publicar dos àlbums amb Sony, és capaç d'autopublicar-se un Ep  com el que estam comentant ens deixa astorats. Està compost per quatre temes d'una qualitat extraordinària. No conec els dos treballs que havien publicat abans però han demostrat que són capaços de fabricar grans temes i es mereixen més oportunitats. Escoltau "To love forever" i veureu voltros mateixos. Hi trobareu detalls dels National, del crooner Nick Cave i fins i tot pop de cambra estil Tindersticks ( sí, ja sé que són paraules majors). Crec que l'únic defecte que tenen és que són grecs, si haguessin sorgit del Regne Unit possiblement la cosa hauria anat d'altra manera.

This self-released EP comes after two albums on Sony Music Entertainment – two failed attempts at latching onto temporal paths to success through emo-gone-bro electro party music in JUSTACRASH(2008), and the socio-political sentimentality of what I propose to describe as “neuticle metal” in 2010’sThe End is Near. The latter has a pregnant belly on the cover and features the worst of the worst “I Wanna Be Your Dog” cover of all time. But let’s move forward, as Cyanna, hailing from the capitol of the dangerously overleveraged country of Greece, has attempted to do with their national economic narrative in tow. The Undressed EP finds them “stripped down,” and if that translates to switching off their synth, and sounding absolutely nothing like the band in previous albums, I’ll buy it.

It seems the recession did them a small artistic favor, as this EP is one rung above a lateral move stylistically; still, it has deposited them at bad Nick Cave or the only kind of Tom Waits, with strip-mall circus slummer alt country Americana. Absent are any girl problems or references to modernity. The only sign of the times is how squarely any of these four songs would befit network original series theme music: namely, Longmire, Breaking Bad or Boardwalk Empire. We should all hope these avenues reach out to them, not only because the music is so categorically that, but for all the money they would get, and how tidy an industry peripeteia it would make. (Elizabeth Murphy)

KURT VILE. "Walking on a pretty daze"

Quan ja vaig sentir per primera vegada el single avançament del nou treball de Kurt Vile ja vaig preveure que ens trobaríem davant d'un dels discs d'aquest any. El treball complet no ha fet més que reafirmar-me amb les meves suposicions. Un treball llarg i dens, molt dens, amb composicions que superen quasi totes els sis minuts de durada. Un treball sense estridències, amb un ritme tranquil però farcit d'arestes i de cantonades màgiques que t'absorbeixen. Encara que pugui semblar a primera vista que pot arribar a cansar, res més allunyat de la realitat, el disc t'atreu cap a ell i et fa submergir en aigües poc transitades. Un autèntic plaer per als sentits i, sens dubte a col·locar devora el darrer treball dels Yo La Tengo com allò més important publicat en aquest any.


Phiily's Kurt Vile founding member of indie rock band The War on Drugs has a new album 'Wakin On A Pretty Daze' coming out April 9.
This 69-minute double album is comprised of sweeping, expansive songs that are both very intimate and conversational. Wakin On A Pretty Daze is a timeless record that would have sounded great 30 years ago, sounds great today, and will still sound great in another 30 years’ from now.

Beautifully produced by John Agnello, the record is filled with hazy, swooning guitar lines and dreamy, beatific, and occasionally sardonic vocals. It is summed up by the staggeringly gorgeous 9-minute opener, Wakin On A Pretty Day. The song is also the first video, directed by Jonathan Demme in the spirit of his landmark Springsteen video “Streets Of Philadelphia.”

The record has other connections to Kurt’s home town. Steve Powers (ESPO), the renowned Philly street artist, painted the cover mural on an abandoned building near the Northern Liberties. The album is being announced via a mini-doc of Powers creating the mural with Kurt’s commentary, and the two of them talking about Philadelphian music and visual arts. The mural will be re-created in London, Los Angeles and New York.

RECOPILATORI ABRIL 2013

PROÏSME A

PROÏSME B

SALAD BOYS. Salad boys

Els primers acords d'"Eighteen forty four" me duen venut aquests darrers dies. Els neozelandesos Salad Boys segueixen el cami marcat per bandes com The Chills treballant de manera genial un pop rock de baixa intensitat i molta emotivitat. Les guitarres ocupen un primer pla en tota la seva obra i els riffs de la majoria de peces són d'aquells que et marquen profundament. Una de les "entrades del mes" sense cap dubte, un plat deliciós cuinat a NZ.


Christchurch's Salad Boys are members of a music collective called Melted Ice Cream.  The collective includes a number of bands and all of the members of Salad Boys appear to play in some of the other projects in various combinations.  However, the reason that this band attracted my attention first should be clear to any regular reader here after the first few bars of "Dream Date" -- these guys have the south island New Zealand sound down.  Sure, their version has some personal quirks, and I think I hear some similarities to NZ band Surf City as well, but it all sounds fresh and great.  And for a young three-piece, the performances are assured and the sound is full.(When you motor away)

PUEBLO PEOPLE. The first four moons

Aquests italians  facturen una indie rock bastant potent sense arribar als límits del grunge però amb una força que feia estona no escoltàvem. Aquest és el seu primer treball i ens ha sorprès prou. Vos deixam el seu enllaç al bandcamp ja que ofereixen el seu treball de forma gratuïta. Una bona manera de començar un camí nou.


Pueblo People are a three piece band from Italy who formed in late 2012.  Pueblo People is a new project featuring people from Agatha and Vulturum.  Pueblo People play a great style of dark and moody garage rock/indie rock.  The First Four Moons is the band's debut four song EP which was self released by the band on February 22, 2013.  Pueblo People give nods to bands such as 13th Floor Elevators, Neil Young and Nick Cave And The Bad Seeds to more contemporary dark garage/indie rock bands such as Pygmy Lush, Tideland, and Passing Phases.  Overall, these four songs are dark, fuzzed out, jangly, bordering on being almost psychedelic.  Overall First Four Moons makes for a refreshing listen.  Great stuff.  Enjoy! (The elementary revolt)

SESSIÓ Dj. Sessió de Sant Vicenç (Que no serveix per Sant Vicenç)

REBEL·LIA

Aquí teniu la segona sessió de Dj Boscana en format per a descàrrega. El tracklist el trobareu a l'enllaç amb Mixcloud. Està penjat avui mateix amb tota la intenció.

Dj Boscana 2 by Dboscanas on Mixcloud