Este fin de semana os traigo un puñadito de discos. No me enrollo:
Red Sparowes - At The Soundless Dawn [2005]
Red.Sparowes.At.The.Soundless.Dawn.rar 
Muy cercanos a Godspeed you! black emperor o Explosions in the sky. Si te mola el post-rock (de guitarras y
crescendos) pincha.
Tracks:
01. Alone and Unaware, the Landscape was transformed in Front of Our Eyes
02. Buildings Began to Stretch Wide Across the Sky, and the Air Filled with a Reddish Glow
03. The Soundless Dawn Came Alive as Cities Began to Mark the Horizon
04. Mechanical Sounds Cascaded Though the City Walls and Everyone Reveled in Their Ignorance
05. A Brief Moment of Clarity Broke Through the Deafening Hum, but it was too Late
06. Our Happiest Days Slowly Began to Turn into Dust
07. The Sixth Extinction Crept Up Slowly, Like Sunlight Through the Shutters, as We Looked Back in Regret
Cita:
Alone And Unaware, The Landscape Was Transformed In Front Of Our Eyes is a beautiful opening instrumental composition that welcomes you in an exciting, dreamy and hopeful new world inside the musical landscapes. That world was born in the tuneful minds grouped together under the name Red Sparowes. The first time I heard this song I was driving homewards, cruising on the highway with the windows open, playing this loud as fuck. The setting felt perfect, as I drove towards a colourful evening skyline and reflections from the orange coloured streetlights fell through the window onto my dashboard. It fit perfectly as a soundtrack for nightly roadtrips. Once I got home I eagerly wanted to hear more of this.
The story continues in Buildings Began To Stretch Wide Across The Sky, And The Air Filled With A Reddish Glow which opens another world with a gloomy but still very hopeful touch. This song ranges from intimate sounds to rock driven parts that make you trip out on a different level. It ends with a mix of summer field recordings that make you miss the hot warm summer nights. It's kind of amazing how some of these songs make you instantly dream away on the hypnotic and epic waves coming out of the instruments of some of the geniuses involved in this band.
The Soundless Dawn Came Alive As Cities Began To Mark The Horizon is the shortest song on this cd. It is not that special in my eyes but, compared to the other songs, it definitely lays more on the psychedelic rocking side. It doesn’t really impress me, but it’s ok, cause honestly this must be the only song on this cd I can whine about.
Mechanical Sounds Cascaded Through The City Walls And Everyone Reveled In Their Ignorance is an eleven minute colourful waterpiece starting out with guitar fuelled drones and ambientesque minimal sounds. It reflects a dark but confident environment that finally results into a psychedelic post-rock composition. This epic instrumental masterpiece ends with haunting soundscapes. The thing I like the most about Red Sparowes is that their music gives me a positive feeling. It’s a feeling that’s often far away when listening to similar post-rock bands. This song is definitely one of my personal highlights on this record. I've been listening to it multiple times and it gave me thrills each time. I guess that’s the reason why I love music so much. It shows the well crafted musical skills from Red Sparowes in general.
A Brief Moment Of Clarity Broke Through The Deafening Hum, But It Was Too Late is a composition that starts out pretty mellow and laid back. Later, it evolves into straight up rhythmic hypnotic driven post rock.
There are definitely a few more highlights on this record that really impressed me, but telling you about all of them would lead us too far. What I really like about Red Sparowes is the fact that they will ultimately gain their own spot in this whole post-rock wave after all. They definitely have their own ideas about the musical genre they reside in. And although it might not be the best post-rock album I've been stumbling upon recently, it definitely is a different sounding one and that only makes it better. These songs don’t water down in endless crescendos and decrescendos, no, Red Sparowes stays focused and hits you where you need to be hit.
In the end this is way better than the recent Isis stuff I heard. It grew on me from day one, and I feel like I will seek this record on late summer nights. At The Soundless Dawn almost gave me the same thrills as when I listened to Tortoise's Millions Living Now Will Never Die for the first time, just because of the hopeful emotion that band also gave me. That's exactly what sets them apart from most of the more desperate acts in the post-rock genre.
One beautiful record from a band that only can get better in the future. Gimme more. -- Semtexinc.com
Lorna - Static Patterns and Souvenirs (2005)
Lorna.-.Static.Patterns.&.Souvenirs.(2005).-.Indie.rar
Un poco más tranquilos (en la línea de Low, Mojave 3, Coastal) estos britanicos nos dejan un disco ideal para dormir (en el buen sentido) o para un dia de resaca.
Review:
Lorna, an English band, is something of a paradox. First, as an English band, it is signed exclusively to an American label. Secondly, the sound has quite a Midwestern feel to it. Nothing I hear from this band stands out to me as being English. And finally, when you listen to a Lorna song - any Lorna song for that matter - you will hear a variety of genre-based influences that are somehow sewed together to create a wide variety of songs their either haunt, sooth, or hurt the listener.
The paradox continues on Static Patterns and Souvenirs. With this new release, Lorna brings the wow factor in so subtly that you find yourself slowly being seduced in and out each song. Mixing elements of electronica, slow-core, Midwestern blues, dreampop, and classical music, Lorna's members prove themselves to be musicians with exemplatory vision. The group brought in some additional artists to help record the album, using a pedal steel guitar, violin, trumpet, a frugel horn, harmonica, and french horn. They bring everything together in one of the most flawless albums I have heard in quite a while.
Static Patterns and Souvenirs opens strong with "Understanding Heavy Metal parts I and II," a melodic two-songs-in-one dreampop track with a pinch of alt-country twinge with male/female vocals. The song features everything from harmonica, vibraphone, horns, and drum loops. "Remarkable Things" is a beautiful and haunting Americana folk-inspired song about a small English town. "He Dreams of Spaceships" is my favorite standout track, which is a song about Laika the Soviet space dog.
Each track on this release features male/female vocals that are very easy to decipher. The music arrangements coupled with the production quality is quite sophiscated if you really listen to all of the different instruments come in go in seamless fashion. Yet, while there is quite a bit going on, the music and vocals are very easy to listen to. There's a Twin Peaks-meets-Resevoir Dogs soundtrack quality to it that makes you imagine calm, creepy, or violent scenes.
While there are many indie bands who can do slow-core and dreampop sound, I dare someone to find an equal to Static Patterns and Souvenirs. Lorna has a knack for the majestic and brings it on like a champion heavy-weight boxer or a strong glass of wine. Put on the headphones and have a listen. This release will knock you out. I guarantee you that Lorna will put you in a trance-like mind fuck. (Jason Wilder - Delusions of Adequacy)
Sons & Daughters - The Repulsion Box (2005)
Sons and Daughters - The Repulsion Box 2005 Domino by Dado.zip
Desde Glasgow, llega este grupo formado por ex-colaboradores de bandas como Belle & Sebastian, Arab Strap.... Nos traen un disco bastante movidito y bailable para lo que yo pensaba.
review:
Already feted on the indie scene, and held in as high regard on Glasgow’s ‘indie I-Spy’ game as spotting members of Belle & Sebastian and Franz Ferdinand, Sons & Daughters are finally slipping in to the mainstream, courtesy of this, their debut long-player The Repulsion Box.
Taking a little of Franz’s new-wave sound, but adding their own twist, the angular, energetic guitars and martial beats are given a Gothic, twilit make-over, never exploding like you wish they would, rather remaining taut and aggressive bundles of frustrated energy and inexplicably folky guitars. Over the top of these is the stunningly enticing vocals of Adele Bethel, simply the indefinable ingredient that pushes the band into another stratosphere. Her voice - part coquettish vixen, part petulant teenager, rich with its Scottish lilt - is the band’s most striking artefact; instantly blending with its backing, but equally standing out. The interplay with backing singer Scott Paterson simply adds another dimension, equally welcome.
The songs themselves range from the Smiths-y "Taste The Last Girl" to "Medicine" to the insanely catchy single "Dance Me In", all of which has enough angst and sing-along choruses in equal measures to appeal to both the average indie fan and their emo-loving sibling.
Wilderness - Wilderness (2005)
Wilderness - Wilderness.rar
Este todavía no lo he oido, pero tiene una pinta cojonuda.
review:
____.:: I n f o ::.___________________________________
Every few years, there's a trend among bandnames, a recurring word or theme that hits the underground's collective consciousness like a slap on the forehead, only to saturate record shelves and concert bills to the point of parody. For British alternapop groups in the early 90s, Jesus saved, while those bearing giddy power-pop later in the decade were invariably dubbed "super." Lately, there's been an influx of repetition (Xiu Xiu, Man Man, Yeah Yeah Yeahs) and "black" bands (Black Dice, Black Keys, Black Eyes, Black Mountain), but increasingly, groups find themselves indebted to creatures of nature (Gorillaz, Deerhoof, Doves, Caribou, Pelican), and particularly wolves. So in a period during which the animal kingdom permeates the independent aesthetic, it's hard not to admire the band that takes a big-picture approach: Welcome to the Wilderness.
Formed three years ago in Baltimore, a city increasingly known for its thriving club music community, the art-rock four-piece builds off the history of pre-adolescent post-rock-- not the academic jazz-inflected instrumentals or orchestral crescendos associated with the genre today, but rather post-rock as defined in the early 90s by music journalist Simon Reynolds, a scene in which bands like Talk Talk, Bark Psychosis, and Disco Inferno applied guitars more for their aqueous, saturated textures and tones than for rigid pop structures.
Like those bands, Wilderness deploy spacial, dream-like atmospheres and ominous ethereality over cymbals that shimmer and splash against tom-heavy drum patterns. Brooding, artstruck guitars ring out from the depths, echoing the swirling neo-psych of Echo and the Bunnymen and the Teardrop Explodes. But when frontman James Johnson breaks like headlights through the mist, the picture shifts from bliss-out watercolor to black-streaked oil canvas: Channeling the primal weirdness of a young David Byrne, or the unhinged proclamations of Public Image Ltd's John Lydon, his words are more announced than sung, and like a number of Eno-era Talking Heads tracks, he often relies on distinctive sing/speak cadences in lieu of tightly structured vocal melodies.
Rising, falling, and lifting again, Johnson's silvery howl rides the band's iridescent, rainswept instrumentation like a cresting tide, obscuring lyrics that alternate between abstract expressionism and fatalistic, anti-political rhetoric. It's a fantastic technique, but also a risky one: On cursory listens, many listeners could find the album beautifully lush-- even pioneering-- yet still be somewhat put off by the seeming atonality of Johnson's unusual style. But that's where the pleasant surprise lies: As these songs begin to settle in deeper, his vocal topography unexpectedly yields tons of melody where there initially may have seemed to be very little.
Kicking in with an authoritative snare, a pause, and an explosive combination of smashed cymbal, walking bass, and stratospheric guitarwork, "Marginal Over" brightly broadcasts Wilderness' arrival, but it doesn't take long for things to turn darker: The doom-stricken "Arkless" lies at the heels of the opener, and just around the corner from that is one of the album's greatest-- and gravest-- standouts, the urgent, desolate "End of Freedom", which finds Johnson at his most animated and desperate, insistently commanding "the hand over the fist." Later, in "Fly Further to See", the band ascends from the murk, emerging with triumph and radiant guitar lines, before closing out the record with the experimental solo piano piece "Mirrored Palm".
Of course, while Wilderness are certainly unique, and prove themselves dynamic within their own strict parameters, a bit more variety wouldn't hurt, nor would more of the kind of melodic infusion found at the apex of "End of Freedom". But considering the original sound they've created-- and at such an early stage of their career-- it's difficult to find too much fault: Even given this level of sonic consistency, the album only drags once, briefly, during the eight-minute centerpiece "Post Plethoric Rhetoric"-- and that's at the beginning, before the track manages to get fully off the ground.
What Wilderness really seem to signify-- and what makes them important-- is a shift back towards the more cerebral end of the rock spectrum. Every extreme has its antidote, and just as it's been rewarding to see artists loosen up, enjoy themselves, and have some fun for once, it's also refreshing to hear them aspiring, just as passionately, to music of a more serious persuasion. In an environment that's reveled so long in the comfortability of tradition and flavor-of-the-month transitiveness, this kind of substantive art-rock is ripe for exploration. If Wilderness aren't quite kings of the mountain yet, it might just be that few others have yet traversed their fertile domain.
-=www.pitchforkmedia.com=-
Por ahora el disco del año para Pitchforkmedia. Confío en ellos.
Bueno, ya no pongo nada más, quizá mañana o pasado. Espero que os molen.
Saludos
