Artigos com o marcador noise pop
The Fresh & Onlys – August In My Mind (2010)
07/07/10
BOOMKAT Last seen delivering top-quality garage-pop for Woodsist, The Fresh & Onlys move over to that other great home for scuzz-rock tunesmiths: Captured Tracks. Expect six songs filled with clattering ’60s psych-pop revisitations and astutely observed, melodious punk-rock detritus. “After some great records in 2009, theres a new album on In The Red due in the Summer, a bunch of super cool 7″s on a wide variety of labels, UK tour in May, ATP in May, 2010 will be the year that F&O broke…amazing stuff from San Francisco, skewed pop, with swoooping choruses and a real “punk” detail, really hard to pigeon hole, draw from all sorts of rock, psyhedelia, even Mid 80′s Australian / US indie rock stalwarts..but a furious brew of their own, 6 tracks on here..every one of them an instant skewed pop classic.”
My Rate: 8.5/10
Áudio de “Garbage Collector”
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The Mantles – The Mantles (2009)
28/06/10
ALLMUSIC The Mantles may hail from San Francisco and their self-titled album may have been released on Siltbreeze in 2009, but after listening to it, one would be excused for thinking the group hailed from Los Angeles and the album was released on Down There in 1986. Or that they were from Auckland and the record was released on Flying Nun in 1990. (Or even that they were from the Midwest, maybe Dayton, OH, and opened for Plasticland or Death of Samantha when they came through town.) They share the swirling guitar and organ textures of the Paisley Underground crowd, the chiming, chugging feel of classic New Zealand groups like the Chills, and the jangling, melodic songcraft of bands like Love and the Byrds (who inspired the Nuns and Undergrounders). The Mantles isn’t some studied nostalgia trip, though, despite how strong their influences come through. They escape it through strong songwriting, spirited performances, and the garagey energy that comes hopping off the grooves as the record spins. Songs like the pretty folk-rocker “Don’t Lie,” the surging rockers “What We Do Matters” and “Yesterday’s Gone,” or the a surprisingly soulful organ-led ballad “Look Away” make a strong case that the Mantles are almost on par with their inspirations. The rest of the album isn’t far behind, with the hits beating the duds 10-0. It’s an impressive debut album from a band that loves the past but doesn’t live in it. ~ Tim Sendra
My Rate: 8/10
Áudio de “James”
Wavves – King Of The Beach (2010)
18/06/10
Yeah, the sound is kinda different… a bit “cleaner” than his debut. Much, much better!!!
“There was a conscious effort going into this that I didn’t want to make the same record again. I already made the same record twice, with the same fucking cover art,” says Williams. “It wasn’t overbearing, but I didn’t want to recreate something I’d done. I wanted to make something bigger, something stronger.”
Tracklist
1. King Of The Beach
2. Super Soaker
3. Idiot
4. When Will You Come?
5. Post Acid
6. Take On The World
7. Baseball Cards
8. Convertible Balloon
9. Green Eyes
10. Mickey Mouse
11. Linus Spacehead
12. Baby Say Goodbye
My Rate: 8.5/10
Áudio de “King Of The Beach”
Top Surprise – Everything Must Go (2010)
17/06/10
EP produced by Lê Almeida. Do yourself a favor, listen to “More Than Cool”… fantastic track, fantastic band!
LAST SPLASH BLOG \\ Para a Top Surprise, o mundo parece ter começado nos anos 80 – quando seus integrantes nasceram, e as guitarras adquiriram um volume insuportável. Então, de certa forma, nomes como J. Mascis e Thurston Moore fizeram o big bang do que culminaria no som do quarteto da provinciana Juiz de Fora, Minas Gerais. Ainda nos anos 90, as gravações lo-fi do Guided By Voices transmitiram uma mensagem DIY muito mais contundente para as gerações X e Y (sim, é onde estamos agora) do que qualquer uma anterior. Mas a Top Surprise sabe que ruídos caseiros, ainda que maravilhosos, não enchem os bolsos de ninguém. Daí surge o contorno pop das melodias, que deixariam Phil Spector orgulhoso – ou talvez surdo.
Everything Must Go, estréia do Top Surprise, foi produzida por Lê Almeida (Coloração Desbotada) e Paulo Casaes (Fujimo) em dois dias de bebedeira no apartamento dos irmãos André e Daniel. Vocais foram gravados no banheiro, guitarras na sala e bateria no quarto do pai, para desespero dos vizinhos. O resultado soa tão forte quanto qualquer álbum recente rotulado como “shitgaze” – mas com um requinte estético que só quem trabalhou no ramo do telemarketing poderia conceber. Guitarras histéricas e batidas indelicadas explodem sobre as composições, com backing vocals femininos assemelhando-se a abelhas dentro das caixas de som. Da óbvia admiração pelo college rock americano a toques de pós-punk, o EP termina em uma incursão ao território de Jeff Mangum e Elliott Smith. Prova de que até mesmo a sincrética “geração Y” é capaz de momentos de ternura, ainda que em meio ao caos.
Everything Must Go é o segundo álbum da Pug Records. A versão em K7 está disponível na loja do selo. ~ Eduardo Vasconcelos
My Rate: 9/10
Áudio de “More Than Cool”
Fungi Girls – Seafaring Pyramids (2009)
16/06/10
PLAY PINBALL! What the fuck do internet-era kids do when they’re growing up in the middle of nowhere with an understanding of great music? What do they do when they’re cuttin’ their teeth on records that took you (and us) years to get into? What do you do when you’re desperate to leave the dunkest of the podunk towns you’re stuck in and find all that punk, stoner rock, indie and surf music you’ve only heard from some weirdo record collector who beats off to your myspace pictures? Where does that leave you when you’re too young to even drive to a show you were booked on?
It leaves you to get high and try and capture everything you’ve heard with everything you can get your hands on. In doing so, Fungi Girls have recorded a blistering album of concise and experimental songs ranging from shoegazing grooves and stoner rock riffage to psychedelic pop freakouts, channeling everything their teenage brains can handle. Eight songs round out their debut LP recorded and produced by Jason Kelly (The Wax Museums, Fergus & Geronimo) in March and June of 2009. LP limited to 520 Copies. 400 black vinyl, 50 fungi green vinyl (sold out), 50 gold vinyl (sold out), and 20 Denton/Austin-only purple vinyl(sold out) at 45RPM.
My Rate: 8/10
Áudio de “Pacifica Nostalgia”
Ganglians – Blood On The Sand 7″ (2009)
15/06/10
COLLECTIVE ZINE After that sweet debut LP i thought Ganglians dropped the ball pretty badly with the follow up, forgetting how to write anything resembling a tune. Fortunately they are back to form on this two tracker on the ubiquitous, some say omnipresent, Captured Tracks. “Blood on the Sand” is a stomper, all pummelling rhythm and wailing and a touch of a paranoia. The echoey production serves it well, with the thumping drumming taking center stage. Best bits are when it all sails off into waves of guitar and spookiness. Very impressed with that one. Flip for “Make It Up” which is catchy 60s garage / pop / psyche stuff. I enjoy this sort of music despite my complete lack of any useful reference points beyond the Beach Boys, but that is pretty weak in this case. This one rumbles off in several different directions, I particularly like when it settles into a hefty, repetitious groove about two thirds of the way in, with the vocals getting more insistent and everything spiralling around. ~ Andy Malcolm
My Rate: 9.5/10
Áudio de “Blood On The Sand”
The Babies – Meet Me In The City 7″ (2010)
11/06/10
SOUNDSXP Babies’ second single is as good as their first. ‘Meet Me In the City’ (Make A Mess Records 7”) is fast and dislocated pop, sounding very New York new wavey. Kevin Morby sings, Cassie Ramone adds backing but the best thing about it is the immense and uplifting join-in-able chorus. The flip, ‘Somebody Else’, is another great lo-fi DIY effort too, straightforwardly catchy with great minimalist guitar solos out of school-of-Pete-Shelley. Another corker.
My Rate: 9.5/10
Áudio de “Meet Me In The City”
Velocity Girl – Copacetic (1993)
10/06/10
ALLMUSIC Although Velocity Girl never made the major-label leap of bands like Belly or Veruca Salt, it certainly wasn’t for lack of talent. But it is difficult to imagine their first proper album, Copacetic, with anything other than indie-label production values. It’s essentially a post-shoegazer update of R.E.M.-ish jangle pop, which covers two of the most popular reference points in early-’90s indie pop. What makes Velocity Girl stand out is their songcraft and the way they constantly play with the balance of that equation. Sarah Shannon‘s girlish voice and sweet melodies are often wrapped in fuzzed-out white noise that simply wouldn’t have the same effect if it were polished up. However, the band doesn’t rely exclusively on it; some numbers trade the wall-of-noise guitars for straight-up collegiate power pop, but more often, they shuffle back and forth between the two extremes. As a result, perfect three-minute pop singles sit comfortably next to up-tempo rockers and dreamy, blissed-out slow numbers. Sure, the band is derivative of its influences, but those influences are smartly reassembled in a way that’s both typical of its time and very well-executed. And, with its shifting balance between melody and noise, lightness and haze, Copacetic is the album that best encapsulates Velocity Girl’s appeal. ~ Steve Huey
My Rate: 8/10
Vídeo de “Crazy Town”
The Frenchmen – Sorry We Ruined Your Party (2004)
09/06/10
ALLMUSIC The Frenchmen are a bit of an anomaly. Aside from not being all men or even from France, the band’s music would likely fit better with K Records than dream pop aficionados Clairecords. Nonetheless, the Sacramento band has its lo-fi indie pop down pat, recalling twee bands like Tiger Trap and Beat Happening. In fact, any of the brief, lighthearted songs on Sorry We Ruined Your Party could be mistaken as those bands. Full of jangly guitars and cymbal crashes, two-minute melodies like “Runaway” and “Crimes of Fashion” have the innocence of a party without the drugs. That may very well make the band come off as uncorrupted, but the quartet’s lyrics look at the downside of relationships, favoring songs about broken hearts and getting stood up rather than basking in the romance of holding hands. The vocals are sometimes a bit muddy as they get washed into the rawness, though that only adds to the sincerity. ~ Kenyon Hopkin
My Rate: 7.5/10
