Best of 2017. Albums 31-40

<<< 41 - 50

If you do yourself a favor and listen to all these albums mentioned below the only question to get stuck in your head would be "Who the fuck are in the Top30?'

40. Eladio y Los Seres Queridos "Historias De Caza" (p)Seres Queridos
"Cantares", the gallego-speaking set of cover versions that Eladio Santos and his team put out an year ago, was rather the step aside than the natural successor of his previous (brilliant) effort "Orden Invisible". Now we've got this natural successor, and it's brilliant as well with its beautiful songs and mellow chamber/folk arrangements.
SPTF

39. Villanueva "Zoo Para Dos" (p)Sony
Read full review

38. Futuro Terror "Precipicio" (p)BCore Disc
After the conventionally sounding "Su Nombre Real Es Otro" Futuro Terror return to the more complicated structures of their eponimous debut. I consider it the right step undoubtedly as, you know, who needs one more album of conventional punk rock when you can provide them with the punk rock with a twist instead.
BNDCMP

37. Xavier Calvet "Firebird" (p)BCore Disc
More of Joey Cape, or more of Greg Graffin? That was my only question when I learned about the Bullitt's frontman Xavier Calvet was going to release a solo effort. The truth is, none of them - it's like the third vertex of triangle. The songs are mostly acoustic and mostly upbeat, and regarding Xavier's songwriting abilities apparent via Bullitt's discs "Firebird" is absolutely no-lose choise.
BNDCMP

36. Blusa "K" (p)Nooirax/ 
"Toca Breakbeat, Perro!", the previous album of sevillanos Blusa, was a cinematic post rock masterpiece. Now a trio, Blusa absorbs programming and electronics (the entities completly absent on "TBP!") and cooks the record that is more intricate and more psychedlic than the predecessor. The tracks have no names, only numbers placed in no consecutive order. It's up to listener to capture the messages, meanings and images this music produces in his mind without the prerequisites given.
BNDCMP

35. Agoraphobia "Incoming Noise" (p)Dotbeat
'I want it to sound like a bulldozer, like Armageddon', Veruca Salt's Nina Gordon talked to producer Bob Rock during the recording sessions for "Eight Arms To Hold You" trying to square down her intentions on the guitar sound - this trivia came first to my mind when I pushed the play button. On "Incoming Noise" the guitars are realy sounding like bulldozers and/or Armageddon so the album fits perfectly for the role of the aforementioned "Eight Arms To Hold You" and L7's "Hungry For Stink" stepchild.
BNDCMP

34. Ultim Cavall "Records Del Kyoto" (p)Discos de Kirlian/ Emma's House
Read full review

33. Joe La Reina "Esas Nuevas Modas" (p)Subterfuge
It's a way more complicated record than "Bailamos Por Miedo" (quite complicated itself), and it needs more time to grow on you. As I had little time since its release date to fall for it, it climbed only to the 33nd place now. Being released, say, in August it could surely climb much higher than that.
SPTF

32. Vetusta Morla "Mismo Sitio, Distinto Lugar" (p)Pequeno Salto Mortal
I can't make my wrapped-up opinion on "MSDL". It somehow falls to pieces. Every given song is great - and some songs are really THAT great, you know. This is the step forward for the band for sure (some new tricks, some new directions) but as a whole it doesn't sound quite cohesive for my ear.
SPTF

31. Decurs "Incendio" (p)Subpost/ Krimskramz/ Dead Stallion/ Ojala Este Mi Bisi
The level of the Catalan hardcore/post hardcore scene is unbelievable. Decurs initially appeared as absolute nonames for me but it didn't surprise me at all that the album's great cos you may choose any album amongst the pool of Catalan post hardcore albums - and it would be equally great.
BNDCMP

21 - 30 >>>

Best of 2017. Albums 41-50

Every year it becomes more complicated. It takes more time to listen to much more music and then to peel much more really great albums off of the final Top50. Fifth year in a row - I present you the list of the best albums of the year. And I bet you this list is not like any other (though it never was an intention).

50. Atras Tigre "Fainos Salir" (p)Triunvirato 
The catchy synth-driven indie pop with strong melodies and twee aroma that skips back the decades and wraps you with the vintage 60's atmospheres. Atras Tigre are one of the discoveries of this year, I have never learned of them before.
BANDCAMP

49. Sierra "A Ninguna Parte" (p)Sonido Muchacho
Sierra's pure indie rock (in the 00's meaning of the term) outdoes many of more renowned competitves within the frames of the genre. For example, you can't find such the consistent album in The Maccabees back catalogue.
BANDCAMP

48. Proyecto Solaz "Propaganda" (p)
A harsh, angry, disturbing record. To listen to it is not a pleasure, rather it's a trial. So if you want some sweet music to befriend you and embace you, you'd better pass along. But if you want some solid mass to punch you in your face - you're welcome!
BANDCAMP

47. La Iaia "Tornar A Ser U" (p)Right Here Right Now
Strangely captivating folk/indie pop album from Catalunya. The singer sounds like he's tracking the vocals for the child cartoons tunes - but it hardly could be a problem (even if you've never been much into the Tullycraft back catalogue).
OFFICIAL SITE

46. Jay "Fuimos Nosotros" (p)Matapadre
Read full review

45. Maresme "Golden Coast" (p)Foehn Records
If you need some medicine to ease the pains of longing for the new Oso Leone release (my case) or sedate yourself off of living in the cold unfriendly country (my case as well) - there is much to dig out in Foehn's roster, and the Maresme debut album could be your perfect choice.
BANDCAMP

44. Karen Koltrane "Album" (p)Foehn Records
"Album" effectively creates the mood that slowly takes you away from reality like if you dive deeper and deeper into the sea. Moreover, it has probably the best cover design of the year.
BANDCAMP

43. Autumn Comets "Realejo" (p)Records del Mundo/ La Estanquera
When I listen to Autumn Comets I always think of what if Smashing Pumpkins came another way after their resurrection. Now they might produce records like this instead of that shit what they really produce now…
SPOTIFY

42. Me And The Bees  "Menos Mal" (p)La Castanya
This album (arguably the best in Me & The Bees' career) is full of short ultra-melodic 60's Merseybeat songs with jangling guitars and bright young male/female vocals. The most optimistic album of the year that resembles The New Pornographers and - especially - The Apples In Stereo.
BANDCAMP

41. Pandan-Lagl "Pandan-Lagl" (p)Gran Tigre
The lo-fi side of El Relevo Aleman's Jose Carlos and Cristina. Recorded with the drum machine, the album delivers everything I like in El Relevo Aleman in more stripped-down and intentionally underproduced way.
BANDCAMP

31 - 40 >>>
21 - 30 >>>

Avernessus "Azul Terminal"

Avernessus "Azul Terminal" (p)2017 self-released

In the run-up of my visit to La Palma island I've undertaken a brief search for the local bands and discovered a band that exists starting from 1996. Though for the most of their career Avernessus stayed out of the public eye this never prevented them from making interesting music. "Azul Terminal" is their 4th studio album and it presents the band being comfortably located somewhere in between the stripped-down folksy rock of the Canarian pals Mento ("Volar"), the piano-laden arrangements of the Catalan lostlings Cyan ("Camisa", probably the best track off the album) and... Izal??? ("Turkia DF", "Aterriza"). The stylistic fluctuations within the album don't get the listener's attention blurred, so all ten tracks of "Azul Terminal" flow along flawlessly, leaving behind some true gems for your ears.

The best tracks: Camisa, Aterriza, Volar, Aprendiste

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Escena Catalana: Ran Ran Ran, Os Bru, Karabash

For a narrow-minded person like me it’s tough to have a finger on pulse all the way. I feel like I’ve crossed that line where you look at your CD collection or into the folder with your mp3 collection – and you really know who every given band from this collection is, when you purchased/downloaded the album, and for what reason. No, that’s completely not my story. And if the collection of CDs is more or less still under my control (though I do own some CDs I don’t understand how and when they got into), the pool of mp3’s is not. I guess, two thirds of the band names look absolutely unfamiliar to me. And the situation goes deeper down the spiral cos I’m always trying to get in touch with what goes on and to find more bands to follow. This leads to the unstoppable flow of the names my mind tries to navigate through, and there are always something like 30+ albums stored in the facebook ‘Saved’ section and 20+ tabs of bandcamp pages, soundclouds and anything like that opened in Google Chrome. To streamline the aforementioned I listen to a couple of tracks of the bands that are new to me and if I find it crap (read: rap, mainstream pop or, say, Meneo) – I delete the page. If there’s an infinitesimal probability it could attract me – I save the page or purchase the album via iTunes. Then the new bands or albums come in place of those deleted. So this process is kinda cyclic. And while I’m alive I never seem to break the cycle. The worst thing about it – some names are getting forgotten. I mean, a lot of names. Quite frequently I listen to a band, then go to iTunes and see this album marked as already purchased. I always feel bad about it cos it's wrong when you forget something that really moves you. The best thing about it – I am always on the verge of finding something great. A totally unknown band, an awfully underappreciated album, a painstakingly overlooked track… There’s always a possibility of a miracle. Fact one: all three featured albums are of this kind.

Os Bru "Hvala" (p)2017 Indian Runners
The cover of “Hvala” presents the tail-rich feline animal that jumps over the tiny figure of the human being on the blue field. The music that hides itself behind this minimalistic cover incorporates precisely measured mixture of chamber pop and slowcore with the lush orchestrations sometimes climbing at the post-rock’y heights of grandeur. This music manages to create such the palpable elation you’d barely expect from a tiny band. It rushes and flows upon you making you shiver and covering your body with goosebumps all over.
BANDCAMP

Ran Ran Ran "L'Hereu" (p)2017 Bankrobber
The duo that consists of local scene mainstays Ferran Baucells and Jordi Farreras – delivers more stripped-down music that is both legs in folk and indie pop. Not being the rarest blend of genres – especially for las tierras catalanas – in case of Ran Ran Ran it spatters some new colours to the well-known painting. It is coloured and flavoured with guitar noise (occasionally) and elegant electronica (almost everywhere) without stepping into the circle of the samey folktronica bands. While not impressing me much at the first listen "L'Hereu" has shown the great results in growing on me later.
BANDCAMP

Karabash "D'Humans I Essers" (p)self-released
If Ran Ran Ran’s acoustic core is tinged with the additional noises (both analog and digital) to create some magic around, the members of Karabash deny the supplementary attachments almost completely, they succeed the impressive sonic pressure only with the standard ‘roots folk’ instrumentation through alterations of tempo and dynamics. Sometimes they are rushing forward full-throttle (“Arquitectura Funesta”), sometimes they lean to more conventional song elaboration (“El Pescador”) - every time they make the memorable song out of the habitual things.
BANDCAMP

Ultra-Local Records (BCN, Carrer de Pujades, 113) is a special place. The record shops are going through the tough times. Now to struggle, to live through, to move along as a record shop it means to be special. So every existing record shop is a special place. But Ultra-Local Records is a special place amongst the special places. Run by ever-cheerful Raul Chamorro who, along with his partner Carme Baques, does everything from drawing the ink posters that look more like the examples of the contemporary art to hosting the radio program Hip-Hip Ultra, this local store is the mandatory point of interest not only for any music lover interested in Catalan scene but for the musicians themselves. The list of activities that the venue carries out on a regular basis also includes the acoustic in-store concerts. Moreover, Raul & Carme organize the Microclima Sound festival – the event that goes on the same dates as Primavera Sound and splashes out of the store’s doors onto the quiet Pujades street to represent the local bands in contrary to the Primavera Sound’s huge international superstarz. Fact two: first I’ve learned about all three featured albums via the Ultra-Local Records’ facebook page. So this post is some kind of huge thank you to the people who do their work the best of the possible ways.
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Diola "Diola"

Diola "Diola" (p)2017 BCore Disc

Built upon the ashes of experimental rock combo Unicornibot (whose last effort "Mambotron" (p)2013 Matapadre) is commonly regarded as a masterpiece), the Pontevedra-based trio diola explores more distinct sounds and more streamlined structures. And if you listen to the album on the run, in the car, or in any other situation where you ain’t fully concentrated on what you’ve been listening to you may think it’s a punk rock record. And, you know, in a certain measure it’s true. But it’s only a part of the truth. In fact it’s a kind of ‘punk plus’ record – it’s a punk rock record the same way the Clockwork Orange’s ‘milk plus’ was the milk. Yeah, of course - but not only the milk. So calling “Diola” punk is the intentional narrowing of the spectrum that cuts most of the sense of it. They are broader than one simple label you may stick to them: they are punk plus the sense of nuance, they are primordial hardcore plus the sense of melody, they are experimental rock plus the sense of humour. Their songs - though quite convoluted with all these quirky changes in dynamics and time signatures - never seem to run out of control.
If you're not familiar with Unicornibot (though it's clearly your fault), you can find the best reference points for diola in the fellow BCore Disc residents Betunizer, Cuello and Power Burkas. So if you like any of them (most probably if you like any of them - you like them all), diola is the new entry for your 'frequently played' tracklist.

The best tracks: Nivel Experto, Charo, Match, La Gozadera

BNDCMP

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Havalina "Muerdesombra"

Havalina "Muerdesombra" (p)2016 Ernie Producciones

This is the first Havalina album where, whilst listening, you may go to the kitchen to make yourself some tea and then start brushing your panels after noticing some spots on them, and then to be like: ‘Gosh, I've been listening to Havalina! How many songs I've missed?’ “Muerdesombra” has everything you may want from the band - the great melodies, the intricate guitar work, the sound that can take you far far away, the rhythm section that could beat the shit out, the crisp production – it’s got all you need except nerve. It’s got little emotional lows – and in reverse it’s got little emotional highs. For everyone else it could be the favorite album of Havalina, but for me at the time it’s just too plain being compared to any other release in their perfect back catalogue. Maybe it will grow on me a bit later.

Ernie Producciones
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Rufus T. Firefly "Magnolia"

Rufus T. Firefly "Magnolia" (p)2017 Lago Naranja

When “Nueve” ((p)2015 Lago Naranja) was put out it became apparent it’s a great record. The production of Manuel Cabezali, the sophisticated melodies that never ever come close to the point where oversophisticated turns into clueless, the songs like “El Problematico Winston Smith” (the closest Rufus T. Firefly gets to The Hit) and “Demerol Y Piedras” (my own favorite)… It was really great, but it nearly killed the band as the five-piece combo was successfully cut short to trio right after the supporting tour was finalized. As Victor revealed later in an interview, his first thought was like “Well, it’s not Rufus anymore…” Anyway, somewhere in between “Ø” and “Nueve” Victor Cabezuelo appeared as the man of many talents being hired by other bands for studio sessions, production duties and live performances – which led to established friendships with many of the scene’s key persons. For our script the most important was one with Marti Perarnau, the frontman of Mucho, whom Victor co-worked with in [at least] Tulsa and Zahara’s live band (maybe in many others - but I name the ones I beheld with my own eyes). When back in 2015 Marti’s primary vehicle was going through the same kind of problems Victor Cabezuelo was one of those to step aboard and help his friend to keep the band afloat. When Rufus was put on the verge of calling it a day Marti Perarnau returned a favor. So the reformed band - Victor, Julia Martin-Maestro (drums) and Carlos Campos (guitars) now teamed up with Marti and Miguel de Lucas (bass, also of Mucho) along with Manuel Cabezali again at the dashboard – started to prepare the material for what should be the next longplay of Rufus T. Firefly.
Coincidentally or not, on “Magnolia” the sound of Rufus T. Firefly has undergone the same changes the sound of Mucho went through between “El Apocalipsis Segun Mucho” and “Pidiendo En Las Puertas Del Infierno”: most obviously – less guitars, more synths. As you might know from the interviews, at least 40 different versions of the tracks were recorded to choose from – at the end of the day the band and the producer have come to understanding that only this soaked-in-the-70’s-lucid-psychedelia version really clicked, really got ready to send the message they wanted to spread.
If the metamorphoses in arrangements were substantial, the structure of the songs has been changed to the lesser extent. Structurally it’s the same Rufus we fell in love with on “Nueve” with the long compositions (that rather sound long - in fact only two tracks on the disc exceed 5 minutes, but when you listen ti them they all seem to be 7+ minutes), unpredictable rhythm changes and non-cyclic progressions that pair the band with the neo prog subgenre. So if you come to terms with the new synth-laden sonic direction - without a doubt you'll be OK with "Magnolia".

A remark: after having listened to the album in the headphones with the noise reduction system you may feel like the protagonist of Pulp's "Sorted Out For E's And Wizz": '...and you want to call your mother and say Mother I can never come home again cos I seem to have left an important part of my brain somewhere, somewhere..." Please don't tell you haven't been warned.

The best tracks: Rio Wolf, Nebulosa Jade, Cisne Negro, El Halcon Milenario

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Exquirla "Para Quienes Aun Viven"

Exquirla "Para Quienes Aun Viven" (p)2017Superball Music

Niño de Elche (Francisco Contreras) is the man of a kind. If you’d observe him from the ‘classic’ flamenco point of view, chances are you'd consider him a young freak who mostly abandoned his roots and now is being allocated to the genre by mistake. But if you would look at him from the point of view of a certain person who’s not both legs into flamenco, he could be the scene’s only singer whom you may listen to. Toundra, on its turn, is by all means the #1 post rock band of Spain. The cooperation of renowned instrumental combo and the flamenco outlaw may sound strange on paper, but in fact it is absolutely enormous. 

With the Niño de Elche's chants over Toundra's groundshaking instrumentations, the strongest feature of "Para Quienes Aun Viven" is the equality of its parts involved. There’s no question what’s more important in this amalgam of two worlds so distant that you hardly might expect their junction before it really appeared – both parts matter equally. There are moments on this record when Toundra members are switching off their walls of sound leaving present only the tiny drops and easy strokes, and all the nerve grows on from the voice of Francisco. There are moments when the singer stays silent, and the emphasis shifts to the galactic-scale crescendos Toundra is known for – but there’s always the clear vision of what they are doing together. Despite the obvious differences in participators’ habitual modi operandi, the album never tends to fall to pieces being torn down by the internal contradictions.

Album page on Superball Music
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Havoc "Amado Lider"

Havoc "Amado Lider" (p)2017 Subterfuge

"The ideal pop music for the better world" - that's exactly what I wrote about "Lo Saben Los Narvales", the previous album of Pedro Gracia Perez de Viñaspre aka Havoc. It was released in 2014, and between now and then there was an event that consolidated my opinion on Havoc as one of the most promising indie musicians of the nation: his performance at Sonorama 2015. Back then in August 2015 there was the twinkle of miracle when I decided to escape from the show of Xoel Lopez (whom I really adore) to see Havoc whose show unfortunately coincided with Xoel's in the time schedule. That was one of those decisions you recall for years because Pedro and his band were undoubtedly amazing. So for me personally his new album was one the most anticipated records set to release in 2017.
Now I am happy to declare that my expectations were not in vain. “Narvales” were good but “Amado Lider” is the way better. The first thing I’d like to emphasize is that Pedro walks against the common trend and - while many of his peers are drifting from guitars to synths - he adds more guitars to the mix, thus creating one of the most intelligent noise pop albums I ever heard. Next thing to enjoy is the perfectly balanced sound production: it is clean and shiny, but it's not too polished to be considered overproduced. And, finally - this album consists of the great tunes composed with the precise pop feel. In the better world every single song on this album (with possible omission of "Oh, Master!") could be a hit.
A mandatory listen and one of the best records of the year.

P.S. "Sabotage" really knocked me off my feet.

The best tracks: Sera, Siberia, Cometas, Fluor, Sabotage

SUBTERFUGE
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Top30 albums of 2017 so far. Semi-annual poll

(in alphabetical order)

Aldrin Y Collins "Escuchas" (p)BCore Disc - bandcamp

Arista Fiera "Simetria Par" (p)self-released - bandcamp

Anchord "As A Real Return" (p)Saltamarges/BCore Disc - bandcamp

Black Mirrors "No Colours For Concern" (p)El Hombre Bala - bandcamp
Cala Vento "Fruto Panorama" (p)BCore Disc - bandcamp

Captains "Captains" (p)Jabalina Musica - bandcamp

Clara Plath "Yes, I'm Special" (p)Flor Y Nata - bandcamp

Cosmen Adelaida "Dos Caballos" (p)El Genio Equivocado - bandcamp

Diola "Diola" (p)BCore Disc - bandcamp

Disciplina Atlantico "Gran Oriente" (p)Limbo Starr - spotify

Exquirla "Para Quienes Aun Viven" (p)Superball Music - spotify

Havoc "Amado Lider" (p)Subterfuge - spotify

I Am Dive "Music For The Silent Running" (p)WeAreWolves - bandcamp

Jay "Fuimos Nosotros" (p)Matapadre - bandcamp

Karen Koltrane "Album" (p)Foehn - bandcamp

Les Sueques "Moviment" (p)El Genio Equivocado - bandcamp

Maresme "Golden Coast" (p)Foehn - bandcamp

Me And The Bees "Menos Mal" (p)La Castanya - bandcamp

Niños Mutantes "Diez" (p)Ernie Producciones - official site

Os Bru "Hvala" (p)Indian Runners - bandcamp

Oso Miel Oso "Debut" (p)Discos De Menta - bandcamp
Pau Vallve "Abisme Cavall Hivern Primavera I Tornar" (p)self-released - bandcamp

Ran Ran Ran "L'Hereu" (p)Bankrobber - bandcamp

Rufus T. Firefly "Magnolia" (p)LagoNaranja - bandcamp

Saïm "Accidents" (p)Bubota Discos - bandcamp

Shepherd "Mystic Wave" (p)self-released - bandcamp

Tuya "A War Is Coming" (p)El Rayo Verde - bandcamp

Ultim Cavall "Records De Kyoto" (p)Discos De Kirlian - bandcamp

Vol Menor "Contracorrent A L'Instint" (p)self-released - bandcamp

When Nalda Became Punk "Those Words Broke Our Heart" (p)Discos De Kirlian - bandcamp

Jay "Fuimos Nosotros"

Jay "Fuimos Nosotros" (p)2017 Matapadre

I recall listening to the previous Jay's disc (released via now defunct Discos Humeantes imprint) "Los Colegas No Te Olvidan". I recall finding that record lacking form and core and essence - the malfunction many neo-psych albums are suffering from. But, fortunately, the new album is much more concentrated effort where all components look neither like disjointed needless extras falling apart like the crumbs falling off the plate, nor like the aimless sonic porridge, a cock-a-hoop of sounds drowning in its own helplessness. Apparently "Fuimos Nosotros" was made with the clear vision what the final result should be. So the result is another strong addition to the faultless Matapadre catalogue with few weaknesses ("Potrera") and a lot of really enjoyable moments.

Best tracks: El Fondo Del Mar Esta Lleno De Valientes, Crisis de Indentidad, Si Te Desanime


MATAPADRE
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Les Sueques "Moviment"

Les Sueques "Moviment" (p)2017 El Genio Equivocado

"Educacio Fisica" was the pretty nice album, but in comparison to the new effort it sounds just like a try, like an attempt at writing. "Moviment" is denser, louder, catchier and more multilayered. It is more refined almost in every possible way (it was partially recorded in London - maybe this fact affected the final result. Maybe not). While the songs improved this didn't affect the fact the band's still got the vibe that could cause unintentional dancing while listening to the album. And I can't help but feel this is how 'the next step' should sound like.

P.S. Just to remind you: "Educacio Fisica" itself was really nice album, and the superiority of the new record doesn't make it any worse. 

The best tracks: Accio, Tu Em Caus Molt Be, Dones Antigues, Res, Tu Parles Molt

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Disciplina Atlantico "Gran Oriente"

Disciplina Atlantico "Gran Oriente" (p)2017 Limbo Starr

I've never considered myself a massive fan of post punk, but obviously some of the albums I adore the most are based upon it: Igloo's "#2. La Transición de Fase", Villanueva's "Viajes de Ida", to name a few - and now Disciplina Atlántico's "Gran Oriente". The most frequently talked fact about Disciplina Atlantico is the band's close connection to Ornamento Y Delito. It's hard to avoid the similarities in both bands' sound - call it the family ties or DNA - but Disciplina Atnantico stands out as a valid creative force and deserves to be reviewed without any comparisons or accusations of being derivative.
This is loud. This is disturbing. The guitars are buzzing and clanging and scraping the strings of your nerves. The synths are pouring some frosty suspense to the picture, and the voice of Ricardo is splattering with sarcasm - it sounds like he's not in good terms with the things he sings about. Even when he narrates neutral or positive subjects (like, for instance, revealing "A Woman Under The Influence" to be his favorite John Cassavetes' movie) it sounds like there's a false bottom to  it.
This music wasn't made to please you in the easiest of ways. Rather it's made to test you, to sort you out: are you in, or should you get the fuck out.
For me, I'm surely in.

The best tracks: Confeti Sobre Fondo De Sangre, Esto Huele Como Espiritu Adolescente, Pantano (Mierda De), Una Mujer Bajo La Influencia

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Disciplina Atlantico in Limbo Starr

Ultim Cavall "Records De Kyoto"

Ultim Cavall "Records De Kyoto" (p)2017 Discos De Kirlian

You cannot judge the book by its cover, says the canon. However, sometimes the cover says it all, and, frankly, in the past I’ve purchased a lot of records having never listened to a single song by a certain band, making my decision only by the first glance at the album’s cover. The truth is if I accidentally run into a physical copy of Ultim Cavall’s “Records De Kyoto” I’d buy it without much thinking. And it would be cool cos the album is a delight. It is unpolished record, it is the record that can’t manage to stay within the firm frames. What is it really? Indie pop? Noise pop? Psychedelic folk? The tiny folk song gets clouded by the fuzz fog and drifts into the psych-pop field under the nugaze pennant - it’s something like that. It’s not a calculated record, you can almost physically feel like it moves along only by the instincts - and that’s what makes it truly perfect.

The best tracks: Recors De Kyoto, Tempestes De Sorra, Soc El Monstre

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Villanueva "Zoo Para Dos"

Villanueva "Zoo Para Dos" (p)2017 Villanueva, under Sony Music licence

Q: What is the best album I never wrote about for these 3.5 years here?

A: Villanueva's "Viajes De Ida".

Q: Did I expect much from Villanueva's new album?

A: Exactly.

Q: Did I get what I wanted?

A: It's complicated.

The core of the complication defined with this internal monologue lays in major change of the sound. "Viajes De Ida" was post-punk'y rocky edgy album with marching rhythms and chopping shout-outs like these from "Bombas Nucleares": "Y hay bom - bas nu - clea - res en la habitacion - sera - mejor - mejor para los dos..." Apparently a musician can't always stand on the same grounds for three years - and it was senseless to expect him to pick up right where he left off - but I didn't expect that for Josete Diaz, the mainman behind the Villanueva moniker, the grounds were to change so drastically.
Teamed up now with Marti Perarnau and Ramiro Nieto (man, these guys seem to be literally everywhere!) Josete delivers the album which is miles away from his previous effort. First, gone are the chopping shout-outs like these from "Bombas Nucleares". Second, say 'Hi!' to the synths. There are lots of synths here. They're not dominating, but they're omnipresent. They're literally everywhere. Third, Josete's velvet baritone, which is the considerable part of the band's attractiveness, is still here.
Summing up the above, this album is much more lightbodied and lighthearted than the predecessor, and if you liked "Viajes De Ida" much you may find it hard falling in love with "Zoo Para Dos" from the first listen. But it's fresh and charming, and definitely you should give the album a chance. Chances are you'll just surrender to this charm.

The best tracks: Ella, El Dia Que Tu No Estabas, El Jardin De Las Delicias, Hoy Es La Ultima

Viva Suecia "Otros Principios Fundamentales"

Viva Suecia "Otros Principios Fundamentales" (p)2017 Subterfuge

Within the last 1.5 years they rose from relative nonames to one of the country’s best live acts jumping by the way from local indie imprint Clifford to the much more renowned label Subterfuge. The last year’s perfect “La Fuerza Mayor” was the demonstration of abilities. The new album should become the confirmation of the high-level stability. Is it so? Definitely yes. But could there be something more to it? 

Sure. As a listener, I can’t say I’m satisfied the same way I was satisfied by “La Fuerza Mayor”. Even trying to eliminate the impact of novelty effect which was present a year ago, I can’t deny the fact that there are some questionable moments on the album. For example, the track "El Nudo Y La Esperanza" sounds like it’s penned and recorded by Second. I mean, exactly like Second, you can almost hear the voice of Sean Frutos as your mind automatically replaces the voice of Rafa Val with Sean's. The next track “Nunca Estamos Solos” sounds like it’s a Pumuky’s “Plus Ultra” companion. The track #5, in its turn, has the roots somewhere in "Una Semana En El Motor De Un Autobus" area. And that's exactly where I see the problem.

One of the strengths of “La Fuerza Mayor” was its unity. Well, it’s obvious that you can make 6 songs within some tight stylistic frames – but you can’t put 11 tracks inside the same frames without making the listener bored. This threat the band happily avoids – there’s nothing to be bored on here. But the side A tracks being set together are somehow blurring the first impression because they differ. They really differ. And I can’t escape the feeling something could have been done better just by simple change of the song sequence as the side B is pretty close to perfection. 

Anyway, it’s not a subject of ‘sophomore slump’, or any overestimated expectations. This is the competent work of the well-trained band with the big choruses, walls (and waves) of sound and palpable emotions.

The best tracks: A Donde Ir, Nos Ponemos Con Esto?, Hemos Ganado Tiempo, Aprendemos A Nadar

Leon Benavente "En La Selva"

Leon Benavente "En La Selva EP" (p)2017 Warner

As per Abraham Boba's recent interview, "En La Selva" pairs "2" the way as "Todos Contra Todos" paired the eponimous Leon Benavente debut. Despite the apparent similarities, there are some differences here. Hardly a mere song from "Todos Contra Todos" could be named high point for the band, or a fan favourite. Taking this into account, TCT seemed like an optional addition, an attempt to tell a bit more about something that was untold (or told insufficiently) on the main album. Here we've got at least two tracks - "Maestros Antiguos" and "Se Mueve" - that stand tall amongst the band's best. Moreover, "Siempre Hacia Adelante" adds the new colours to the Leon Benavente's pallette, as the band has never created something like this before. 

Clara Plath "Yes' I'm Special" (p)2017 Flor Y Nata

I had an intention to take a break from listening to the new music cos the preparation of last year's Top50 (in fact Top105) has made me quite exhausted. But the begining of the year 2017 is filled with events, and it makes taking a break some kind of a crime.

My dearest murcianos Clara Plath have released the new album less than two years ago since "Grand Battement" LP that performed perfectly in my annual 2015 chart. Frankly, "Yes, I'm Special" sounds much more refined than their debut just the way "Celebrity Skin" sounded more refined than "Live Through This". The harsher production of the previous album has its own advantages but standing in the way of progress is rarely a good choice. So now one of the best guitar-driven acts of the Spanish 'classic indie' sub-world have perfected their methods to create the record more diverse melodically and more intricate soundwise. If you did yourself a favor and fell in love with "Grand Battement" (the thing you'd better do), you'll not gonna miss this one for sure.

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The best tracks: Inside You, This Lonely Boy, I'm Special

***BANDCAMP***