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Category Archives: 2010

Encuentro en el estudio es una excelente serie del Canal Encuentro en la cual numerosos artistas de primer nivel establecen un diálogo intimista y relajado con el conductor Lalo Mir, recreando la magia de grabar en los míticos estudios ION junto al histórico técnico Jorge “Portugués” Da Silva, cuyo nombre figura en tapas de discos, desde Spinetta a la Negra Sosa. “Hoy tiene 75 años y sigue en plena vigencia, sabe cómo enfrentarse a grabar a un power trio como Divididos o a la sutileza del Chango Spasiuk“.

“La música forma parte de la cultura de los pueblos, expresa deseos y emociones, refleja las identidades de época. Y son los músicos quienes encarnan esa rama del arte. Por eso, Encuentro presenta un ciclo de entrevistas exclusivas a músicos destacados que gravitan en la escena nacional desde diferentes géneros, realizado en los estudios Ion y conducido por Lalo Mir.

El programa recorre la historia esencial de los artistas, buscando descubrir la poesía detrás de las canciones, desgranar las armonías en un clima intimista, y encontrar el lugar que cada músico ocupa dentro de la sociedad.

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White Wishes is the solo-project of Nikita Pavlov‘s conjuring of daydreams, cold Berlin winters and warmth of sincerity into simple pop songs. continue→

Having come from a small town near St. Petersburg in Russia, Nikita escaped to Berlin where he met Australian bass player Andrew Knox during the winter of 2010. They quickly recorded a group of songs before Andrew had to move back to Sydney, where he later joined the band “Made In Japan”. These recordings ended up being the “Hold Your Hand” single that was released for free online.

In the same year, Nikita returned to Russia where he then completed his first EP titled “Today” and had the songs fine tuned with the help of a friend named Maxim Polivanov of the band Motorama.

The winter is just beginning and White Wishes is the perfect companion to bring an extra bit of light to the shortness of day.

White Wishes will release their international debut as part of Shelflife Record’s “1000 Series” in Spring 2011, which will feature some new and re-worked older recordings.

For fans of Galaxie 500, Felt, St. Christopher, The Radio Dept., Tears Run Rings, The Legendary Bang

Praise for White Wishes:

“Happy and Afraid was the first song I heard and I was hooked. The EP is the perfect backdrop to the wintry weather that many, including me, are experiencing right now. The songs give off a dreamy, shoegaze-y sound with floating vocals and guitars from Nikita.”
– Killahbeez

“Sounding like a cross between Minks and Real Estate, White Wishes continues to deliver relaxed tunes coursing dreamy guitar riffs and oozing soothing vocals.”
– Escucharemos

“…the perfect soundtrack to the recent snowy weather we have been enjoying here in northern England. It is reminiscent in parts of bands like The Field Mice and Galaxy 500 but also has it’s own sound which is very much today.”
– Burning World

“I’m not often at a loss for words when it comes to music, but regarding White Wishes let me say this: if this is what they are choosing to just give away, the official release should be phenomenal.”
– Tympanogram

“The lush and airy vocals soar right over the big reverb-y percussion, as the jangly guitar-hook sits quietly in the background. It’s warm and inviting, a gentle touch.”
– Flashlight Tag

“Here’s a wintery song for the wintery weather. White Wishes come from Berlin, and play in a style similar to Deerhunter or Minks maybe. Stay warm and comfy during the snow attack, everyone.”
– Zen Tapes

“…absolute gem from a German band called White Wishes. I know nothing about them, but this has a touch of shoegaze, a touch of dream pop and for all it didn’t grab me immediately, the band match The Scottish Enlightenment’s knack of letting a song have time to sink in, rather than rushing to splash the Big Main Riff all over the place as soon as possible.”
– Song By Toad
Shelflife

White Wishes es el proyecto solista de Nikita Pavlov, un conjuro de sueños, fríos inviernos de Berlín, y el calor de la sinceridad en simples canciones pop. Procedente de un pequeño pueblo cerca de San Petersburgo en Rusia, Nikita se escapó a Berlín donde se reunió con el bajista australiano Andrew Knox durante el invierno de 2010. Rápidamente grabaron un puñado de canciones antes que Andrew regresara a Sydney, donde más tarde se uniría a la banda “Made In Japan”. Estas grabaciones terminaron siendo el single “Hold Your Hand” lanzado online gratuitamente.

En el mismo año, Nikita volvió a Rusia, donde completó su primer EP titulado “Today” con la ayuda de Maxim Polivanov de Motorama.

El invierno acaba de empezar y White Wishes es el compañero perfecto para llevar un poco más de luz a la brevedad de los días.

Recomendable para fans de Galaxie 500, Felt, St. Christopher, The Radio Dept., Tears Run Rings, The Legendary Bang.

Shelflife

Elogios para White Wishes:

“Happy and Afraid fué la primera canción que escuché y me ha enganchado. El EP es el escenario perfecto para el clima invernal que muchos, incluido yo, estamos experimentando ahora mismo. Las canciones desprenden un sonido dreamy, shoegaze de voces y guitarras flotantes de Nikita. “
– Killahbeez

beauffering..

The very idea of a covers album may have connotations of a concept employed by waning pop artists taking a stab at swing music. However, this collection of re-readings from post-Britpop neo-glam bastions Placebo is an entirely different entity. continue→

A smattering of B sides, live favourites and other rarities make Covers a one-artist compilation album as opposed to a from-scratch covers project, and it functions all the better for it.

Originally released as a bonus disc to accompany 2003 album Sleeping With Ghosts, then given a limited standalone push in 2007, Covers finally warrants a full release in its own right. And headed up by their sullen, cerebral take on Running Up That Hill (a long-established Placebo catalogue staple), its appeal, unlike its sporadic life as an album thus far, is immediate.

An interpretation of Depeche Mode’s I Feel You is among the more dependable covers, as is their 20th Century Boy, originally recorded for the Velvet Goldmine soundtrack. Elsewhere, a radio session take on the Pixies’ Where Is My Mind – surprisingly polished for a live version – operates as both a tribute and a display of fandom towards a band whose influence in Placebo’s output is unmistakable.

Its decade-straddling compilation aspect makes Covers all the more extraordinary, its constancy completely steadfast. The lone exception to the brilliance comes via an oddly faithful version of Boney M’s Daddy Cool, which has to be consumed as the side dish to a sizeable main portion of irony to stomach; and yet, its clunky audacity is admirable.

Where an album of this type is often one for the fans, it’s doubtful there’s a Placebo devotee that doesn’t already have a copy of Covers knocking about. Rather, it’s something to turn the heads of the music fans for whom Placebo have never fully broken the surface, and even more commendably for an album without a solitary Placebo original, it sells their incomparable brand of dark, licentious rock beautifully.

La sola idea de un álbum de covers puede tener connotaciones de un concepto empleado por artistas pop en decadencia. Sin embargo, esta colección de re-lecturas post-Britpop, por los bastiones del neo-glam, Placebo, es enteramente diferente. Un puñado de caras B, algunos favoritos en vivo y otras rarezas hacen que el álbum sea un recopilatorio en lugar de un proyecto de covers.. y funciona mucho mejor.

Originalmente lanzado como bonus de Sleeping With Ghosts en 2003, y luego en digital en 2007, finalmente consigue Covers su propio lanzamiento. Encabezada por su hosca, cerebral toma de Running Up That Hill (un clásico de Placebo de larga data), su atractivo, a diferencia de su esporádica vida como álbum, es inmediata.

Una interpretación de I Feel You de Depeche Mode es de los más fidedignos, al igual que 20th Century Boy, originalmente grabado para la banda sonora de Velvet Goldmine. Una toma en la radio de, Where Is My Mind de Pixies, sorprendentemente pulida para una versión en vivo – funciona de homenaje y muestra de fanatismo hacia una banda cuya influencia en la producción de Placebo es inconfundible.

Una década a horcajadas de compilados hace del disco lo más extraordinario, su tenaz constancia. La única excepción a la brillantez viene a través de una versión extrañamente fiel de Daddy Cool de Boney M, que tiene que ser consumido como plato de acompañamiento, una buena porición de ironía estomacal, sin embargo su torpe audacia es admirable.

Cuando un disco de este tipo es a menudo para fans, es dudoso que un devoto de la banda no tenga ya su copia de Covers golpeando alrededor. Más bien, es algo para voltear las cabezas de los amantes de la música que nunca han roto la superficie de Placebo. –Al Fox

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**Mientras lees esto alguién más está disfrutando de Jonquil**

¿Quién?

Jonquil son un grupo de Oxford, Reino Unido, que incursiona en math rock y folk pop de una manera que ellos describen como “Paul Simon tocando The Smiths”.

¿Cómo es?

Muy muy bueno.

Tanto si escoges aceptarlo o no, hay un rincón de tu cerebro y resquicios en tu corazón que quieren amar a Jonquil. Su mezcla intrincada, y llena de matices de gnómica indie-pop, es efervescente, atemporal, y totalmente resplandeciente. Como una versión más inteligente de Vampire Weekend, son confiables, despreocupados y absolutamente cautivadores. El primer single “Get Up”, es gaseoso, soleado y engañosamente astuto. En sus primeras escuchas la canción es ligeramente decepcionante, no tanto por su ritmo y su viraje, sino por la inclinación a murmurar de su vocalista Hugo Manuel. Como si tuviera la boca llena de canicas, sus expresiones y versos a menudo pueden ser reprimidos, templados y francamente alienantes. Pero con un poco más de escuchas la canción nada por el torrente sanguíneo.

El synth-fueled de “Fighting Smiles”, es uno de los picos más altos, un falsete cargado de guitarras arremolinadas, percusión íntima y un estribillo dulce y conmovedor tan fuerte como cualquiera lanzado este año. Por el contrario en “Get Up”, la voz de Manuel es cristalina, enlistada y controlada. En pocas palabras, es tan perfecta como cualquier cosa en el EP. No todo es una exageración sin embargo. “It Never Rains”, y “Pillow Quest,” son un confuso caos en el medio del disco y si no fuera por la dinámica de “Compound”, la hermosa “I Don’t Know, I Know”, y el acordeonado “Lions”, este EP probablemente no valdría la pena mucho más que por “Fighting Smiles” & “Get Up”. Afortunadamente ese no es el caso y este es un EP vale la pena revisar.

Read the Original Here

Whether you choose to accept it or not, there’s a corner in your brain and crevice in your heart that wants to love Jonquil. Their intricate, highly nuanced blend of gnomic indie-pop is effervescent, timeless and utterly resplendent. Like a brainier version of Vampire Weekend, the four bucks that make up Jonquil are confident, carefree and wholly captivating. Lead single “Get Up,” is fizzy, sun-drenched and deceptively sneaky. On its first few listens the song is mildly underwhelming, not so much for its rhythm or its swerve, but mostly for vocalist Hugo Manuel’s penchant for warbled mumbling. As if he has a mouth full of marbles, his utterances and verses can often be repressed, foggy and downright alienating. But sure enough a few more listens and the song swims into the bloodstream.

The synth-fueled “Fighting Smiles,” is one of the EP’s true peaks, a falsetto-laden affair with swirling guitars, intimate drumming and a sweetly affecting chorus as strong as any released this year. On the contrary to “Get Up,” Manuel’s vocals are crystalline, controlled and on the mark. In short, it’s as close to perfect as anything on the EP. It’s not all hyperbole though. “It Never Rains,” and “Pillow Quest,” are a muddled mess of a middle section and were it not for the dynamic “Compound,” the gorgeous “I Don’t Know I Know,” and the accordion-laced “Lions,” this EP probably wouldn’t be worth much more than “Fighting Smiles,” and “Get Up.” Thankfully that’s not the case and this is an EP worth revisiting.

While the trio leans decidedly towards Afro-pop, they aren’t exactly Vampire Weekend 2.0. More importantly, they’re all quite young (all members are in their early 20s) and are just now hitting their stride. That very fact means the future is decidedly bright and the music world can certainly rejoice for Jonquil’s future releases. Even you, dear reader, even you.

o en Absolute Punk

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Duncan Stump y Nick Woolfs son los nombres reales de estos dos activistas sonoros más conocidos como “Mock and Toof”.
Alcanzando cierta popularidad dentro del mundillo del club, la electrónica fina y el dance por sus remezclas en 12″ de temas de gente como “Hot Chip”, “Telespazio”, “The Juan MacLean” o “Groove Armada” para los sellos “DFA”, “Mule Musiq” o “Tiny Sticks”, sello este último en el han decidido editar su primer lp.
Y la puesta de largo no ha podido ser más espectacular. Y no os dejeis engañar por ese aire inditrónico con el que se abre el album porque “Tuning Echoes” es una colección de trece temas si relleno en el que el dúo se empeña en descolocarnos estilisticamente y en el que lo mismo reparten por el lado más pop, que nos desarman con un espíritu groovero que va desde el quirky-pop al disco-punk pasando por el mejor electropop vocal.
Pedazo de disco de unos tipos que parecen encontrarse cómodos en todo tipo de géneros. Los Mundos De Fede
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Si nadie me hubiera dicho que The Trees & The Wild es una banda de Yakarta, Indonesia, yo no lo sabría. Hubiera pensado que son alguna banda indie de Nueva York haciendo rondas en algún bailable club de jazz o una de esas bandas en aumento del folk canadiense alternativo.

Joanna & Co. abrió para ellos durante un show reciente en la tienda de Badger. Todavía estoy ahora en este momento, obsesionado por los Trees y su acústico en Badger. Es muy difícil para mi clasificarlos, a veces sonaba como un indie pop lo-fi, y otras veces con un ambiente épico post-rock, pero también sonaba muy alternativo y popular con algunas pizcas de jazz juguetón.

Read the Original Here

If nobody would have told me that The Trees and The Wild is a band from Jakarta, Indonesia, I wouldn’t know. I would have thought that they are either some New York indie band making rounds at some hip jazzy club or one of those rising Canadian alternative-folk band. I went to they show not knowing what to aspect, and what a pleasant surprise that was.

Joanna & Co. opened for them during the recent show at Badger shop to a sizable crowd. The crowds starts to really build up later on when it was Trees and The Wild turn. Some of them had come for more after had seeing them just the day before at Limkokwing University Monophone 2011 event. This time it’s a smaller venue organized by Frinjan and hosted by Badger, a renown street wear fashion brand in Malaysia.

I am still now at this moment haunted by The Trees and The Wild acoustic performance at Badger. It’s quite difficult for my to classified them, than again some artist transcends genres. At times they sounded like a low-fi indie pop and at other times there is an epic post-rock vibe to it, they also sounded very alternative-folk and sometime there is a pinch of playful jazz in their music.

Frontman Remedy Waloni vocals, and at times mix with a haunting female vocal goes well with the rhythmic guitar rave , the music complements each other perfectly. They themselves seem energetic during their performance. Folks were practically bagging for an encore when they had finished.

Halfway during their set at Badger, I just had to get their CD, and I’ve been listening to them ever since. The album itself is a masterpiece. Their songs are unpredictable. You might think that they are slowing taking you on one direction and it changes direction almost instantly.

The first track has no title, just some ambient noise that builds up to an explosive start for the next song on the list ‘Verdure’. ‘Honeymoon On Ice’ have a folk-music-ish sounding to it. I also love the instrumental set ‘Our Roots’ there is a part on it that will stick in your head and you’ll be humming it for the rest of the day. Other notable tracks on their album ‘Rasuk’ are ‘Berlin’, ‘Irish Girl’ and ‘Fight The Future’.

It’s difficult for me to describe their music, but frontman Remedy Waloni describe calls it “Somber Tropical”. Check out this Vimeo video of one of their performance.

o en Jiboneus

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Cuando Kurt Vile desembarcó por primera vez en la escena a principios del año pasado, tienes la sensación de que podía escribir canciones por docenas. En octubre, Matador dió a conocer “Childish Prodigy”, el primer larga duración del psych-folker de Filadelfia para el sello. Sonaba como si Vile hubiese dejado atrás la música de dormitorio para adentrarse en un estilo de rock más clásico. Violators, su banda de acompañamiento marca cada curvado riff con cuánto delay y recorte freak puediese encontrar. “Childish Prodigy” no solo fué más directo que cualquier cosa que había hecho hasta ese momento, sino que también capturó su crecimiento, ofreciendo destellos de un compositor con su mejor aún por venir. Ocho meses más tarde llega este EP, “Square Shells”. Un lanzamiento que Vile y Matador utilizan para cerrar la brecha entre Childish y su siguiente LP. Sin embargo, son siete canciones bellamente secuenciadas en 27 minutos, más substanciales que lo tradicional, y con más para explorar.

Kurt tiene un don para encontrar las texturas adecuadas para sus canciones. En su mejor momento, todas las capas de sonido son suntuosas a su manera. Con su fingerpicking o simplemente vagando alrededor del cuello de la guitarra, con banda completa o solista con una caja de ritmos. En su peor, las canciones pueden perderse en una gasa de efectos, pero Vile no comete el mismo error en este timeout. En el tema que abre, “Ocean City”, su voz es clara con rasgueos juguetones como una luminosa melodía, dando como resultado una de sus más limpias canciones que haya grabado. En otras partes, va a lo largo de rutas más conocidas, mostrando su camino con ánimos de inmersión. “Invisibility: Nonexistent” es un ejemplo particularmente fuerte, una pieza de siete minutos de drone-drivens a través de un laberinto de perezosos loops de batería y distantes guitarras.

Un gratificante EP que deja abierta la incógnita de adónde podría ir la música de Kurt Vile. ¿Seguirá en el carril “folk” -léase ‘folk'(?)- y lejos de las lamidas de la radio FM? ¿Seguirá solo o con los Violators a su lado? En “I Know I Got Religion”, cantando sobre caramelizados rasgueos dice,

“Ahora he dejado de utilizar picos, no hay nada entre yo y mi guitarra / Ahora estoy tocando lejos, todos los días / Cuando estoy triste, escribo un rasgueo para tí “

. Vamos a ver cómo termina.

Read the Original Here

When Kurt Vile first landed on the scene early last year, you got the feeling that he could write songs by the dozen. In October, Matador unveiled Childish Prodigy, the Philly psych-folker’s first full-length for the label. It sounded like Vile had left behind bedroom music for classic rock brawn, his backing band the Violators dialed into every curvy riff and delay-clipped freakout he could muster. Childish Prodigy was more direct than anything he had done up until that point, but it also captured growth you could hear and offered glimpses of a songwriter with his best still in front of him. Eight months later comes the Square Shells EP, a release Vile and Matador are calling a “stepping stone” to bridge the gap between Childish Prodigy and the next LP. But with seven beautifully sequenced songs in 27 minutes, it’s more substantial than your traditional stopgap, with more to explore.

Vile has a gift for finding just the right textures for his songs. At his best, every layer of sound is sumptuous in its own way. This holds true whether he’s fingerpicking or just wandering around the neck of his guitar, and whether with a full band or alone with just a drum machine. At his worst, songs can get lost in too much gauze and too many effects, but Vile doesn’t make that mistake this time out. On opener “Ocean City”, his vocals are clear and his strumming is as playful as the melody is light, and the result is one of the cleanest songs he’s put to tape. Elsewhere, Vile goes it alone along more familiar routes and demonstrates his way with immersive mood. “Invisibility: Nonexistent” is a particularly strong example, a seven-minute drone-driven piece with a repeating maze of lazy drum machine and distant guitar work.

That track’s lonesome feeling bleeds into all of Square Shells, be it by way of instrumental hymns “Losing Momentum (For Jim Jarmusch)” and “The Finder”, or the fingerpicked echoes of “I Wanted Everything”. It’s a satisfying EP that leaves open the question of where Vile’s music might go next. Will he work more in the folk lane and away from FM radio licks? Will he go it alone or will the Violators be at his side? On “I Know I Got Religion”, he croons over caramelized strums, “Now I stopped using picks, nothing between me and my guitar/ Now I’m strumming away, every day/ When I feel blue, I write a strummer for you.” We’ll see how this one ends.

o en Pitchfork

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