Lo mejor de 2023. Top 50 Albums, 11-20

BC = Bandcamp, SP = Spotify

20. Burro "Burro"

BC

A side project of vocalist Beatriz Montiel of Trice and acoustic guitarist Conrado Isasa (a room with a view, Isasa) makes slow-burning songs whose mood goes either to Cocteau Twins or to post-rock. Actually, there are only two instruments here: an acoustic guitar and a voice. More precisely, 'the voices' - Isasa is silent but Beatriz uses different singing techniques to sound like multiple singers. 

19. Rayo "Turbocapitalismo 3000"

SP

Madrid-based female trio started in the post-Hinds world, and if they only wanted to they might have been treading the path of those trying to replace Ginebras from their fem-punk/pop leaders position. But apparently they didn't. The trio took the left turn now sounding like the arithmetic mean between Las Odio (with whom they share the guitarist Agata) and Hickeys - another Madrid all-female combo inclined to the vast spectre of genres from kraut to Midwest emo. For Rayo the Midwest emo is hardly a thing, instead of it the Talking Heads and "So"-era Peter Gabriel influences are showing through.

18. Guineu "Una Sacsejada"

SP

The feather-light indie pop of the young Catalan Aida Jimenez's second album demonstrates how shamelessly inventive pop-punk can be when you are influenced NOT by Avril Lavigne.

The author herself says that the charm of her music lies in the dissonance between positively sounding melodies and lyrical trash. I can neither confirm nor deny this since I don't speak Catalá, but in an interview Aida revealed the main idea of the lyrics as a journey through different facets of the expression “Joder, estoy jodida” (“Fuck, I’m fucked”). Joan Colomo (Unfinished Sympathy, Zeidun, La Celula Durmiente and elsewhere) reviewing this album puts it more softly: “Hey, I’m not feeling good actually because I’m getting older and stuff happens to me, of which I haven't been warned."

17. Capitán Sunrise "Playlist Para El Apocalipsis"

SP

Santí Diego and his band have released a new album full of indie pop, danceable tunes and bittersweet lyrics about little people in a big world. Regardless of what Santi sings about the music is sunny and joyful like the sun accidentally pouring upon your face. It’s impossible to resist its charm. Autumn blues? Now I know a great remedy, folks!

16. Uniforms "Trance"

BC 

I don't really get the current status of the band. Months ago they posted a message in their social media speaking, inter alia: "This is not a definite farewell, it's just a little see you later, but who knows..." I still cross my fingers hoping them to return someday, but if it's not the case, well... At least they brought us 2.5 albums of top-notch shoegaze during their run. 

15. Anacronía "Euritmia"

BC

It's the second album of the improvisational supergroup consisting of K0manec1, Blue Rondo and Audiometría members - all notable representatives of the Canary Islands' experimental sub-scene. They got themselves Rolands, Corgs and Moogs, grabbed various flutes and even didgeridoos. The result is half an hour of timeless electronic music with live (but heavily processed) guitars and the slight touches of ethno for both the brain and the body - with this music you can relax in a comfortable chair with your eyes closed, or you can stand up and unleash your motoric instincts.

 

14. Alexanderplatz "Noches Blancas, Mañanas Negras"

BC

If this disc consisted of 9 songs it would be a contender for the Album of the Year without a doubt. But it consists of 11. I personally don't like "Ascética Básica" and "Cada Vez Me Echas Menos De Menos". Anyway, you can imagine how great is the rest of the album based on album's position in the list.

The former leader of the iconic "sad indie pop" duo Klaus & Kinski Alejandro Martinez Moya can create beautifully soft and endlessly sad songs - and he does so effortlessly. Except for those two tracks mentioned above.

13. Pan "Salva Mil Inviernos"

BC

It's so easy to identify who was at the helm during the recording sessions for this album, but it could be a great mistake to put all the merit solely on the producers. The impact of Manuel Cabezalí and Victor Cabezuelo is obvious to everyone who's familiar with Havalina and/or Rufus T. Firefly back catalogues - however, this impact is not formative. The only thing systemically important is the songwriting of Teresa Martinez. 

12. Los Jaguares De La Bahía "Do It Yourself"

SP

The Paco Loco-led band gravitationally pulls people from Furia Trinidad, Turmalina, Tiburona and Subterráneos to mutually create music that is strangely attractive and completely sick at the same time.

Do you remember the band Thinking Fellers Union Local #282? Los Jaguares De La Bahía use the same approach as the aforementioned Californians: noise, no wave, let's steal a piece from Kraftwerk, avant-garde, some great melody, extraneous noise, someone knocking a boiling kettle with a chair leg, another great melody, wait.... do someone remember why (and how) we came here?

I clearly exaggerate, but I hope you get the idea.

11. Sidonie "Marc, Axel Y Jes"

SP

Mark Ros turned 49 this year, ending up seeing a therapist to process the communication problems (could we call it unexpected for a man who has been successfully cultivating the reckless stage persona for decades). His band turned 30. This new album is his way to tell us: “We’re having kinda birthday party here... Let's have beer and pizza?" Beer and pizza. Nothing extra. Sometimes it can impress much more than the gloss, shine and swaggy show-off. Having returned to the settings of "Fascinado" and "Costa Azul" albums, the band recorded ten simple songs that fit perfectly being placed side by side to “fa-fa-fa-fa-fascinado” rather than to any of the newer records.

An Introduction

41 - 50

31 - 40

21 - 30

01 - 10

The Best Of 2020. Top50. 01 - 10

In one of his recent posts in Facebook Guille Mostaza has raised the following issue: when we post something we like in social networks - we post it to show what? To show what we really like or to be liked for what we show we like? And then, what we show we listen to and what we really listen to - is it the same thing? Guille didn't clarify what audiences he was appealing to - regular users or his colleagues from music business, or his colleagues from music business as regular users of social networks. For me, I believe I have stepped over this period in my life when I had to stage my tastes up to be liked for it over 20 years ago. But what I'm really interested in is the flip side of Guille's question as applied to professional music reviewers' community. When they show they like something, do they really like it or just try to stay in line with the common opinion of the colleagues? I just feel like the universal praise of some artists looks like staged. I can't contradict the universal praise of Arca or FKA Twigs because it's not my kind of music, and I don't understand how it functions and how it impacts its fans. But look at Phoebe Bridgers, for instance. All the year through I'm reading how great her "Punisher" is, then I listen to it - and hear nothing exceptional. Ok, these are the songs. There are some good songs in there. But comparisons to Elliott Smith? Seriously? I hear nothing in "Punisher" that could relate to Smith's level of songwriting. This is surely my kind of music and I know how this music works, so I'm kind of forced to think: is this hype staged? Do all these reviewers really think it's that great, or they forced to show something they don't really think as the common opinion prevails? Or is something wrong with me? And then I look into the [Spanish national] annual polls and get concerned of what I don't see in there. Do you know what I don't see? I don't see my Best Album Of The Year in there. It is completely absent. It looks like my poll is the only poll where this album sits. And I'm forced to think again: is something wrong with me and my music tastes? But then I think: I don't care. For me, with thick sound, great melodies and perfect drive/emotion balance this album sparks brightly amongst tons of music released this year. And the next 9 albums spark brightly as well. 

10. Tierra Vertical "El Bosque Se Hizo Cancion" (p)self-released 

Slowly processed within 3 year span this album is worth every minute of waiting. It's such a pity this strongest pack of songs rooted within post-Vetusta indie rock context seems to be overlooked as the band is not from this pool of bands (some call it mafia, haha) whose names come to mind first you hear the words 'Spanish indie".

BNDCMP

9. Palo Alto "Self Defence" (p)self-released 

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8. Jordi Farreras "L'home Sense Dits" (p)La Cova Del Congres 

The man formerly known as Ran Ran Ran drummer made an album where he did literally everything. It took some years for Ran Ran Ran to grow from obscure underground act to the local scene staple. "L'Home Sense Dits" is crafted so perfectly that his auteur jumps into the same category of 'local scene staples' with his only release. 

BNDCMP

7. Poomse "Les Gravacions de la Pandèmia Vol. 1" (p)Espora 

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6. Campeon "Dios/ Naturaleza" (p)self-released 

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5. Melenas "Los Dias Raros" (p)Snap! Clap! Club/ Trouble In Mind/ Elsa 

They've got groove, they've got vibe, they've got their own face in the post-garage jangle pop scene. Their second album is almost huge, and this 'almost' leaves them enough space for growing even bigger. And this is that moment when I can proudly declare: I loved them before they got famous. 

BNDCMP

4. Homeless "Youthful Ashes" (p)self-released 

Read this 

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3. Beladrone "Andevalo" (p)El Genio Equivocado 

Read this 

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2. Uniforms "Fantasia Moral" (p)Oso Polita 

Read this 

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1. Havoc "Espiritu" (p)Subterfuge 

Read this 

SPTF

Uniforms "Fantasía Moral"

Uniforms "Fantasía Moral" (p)2020 Oso Polita

I expected them to grow gradually with every new release but the Andalusian indie darlings decided to go the hard way covering the whole distance in one take with their sophomore effort. While their maiden release was cute enough but quite understated in terms of the songs' memorability, the recent one sounds like the band on the creative peak. "Fantasía Moral" proudly wears its influences on its sleeves: "One Hit Wonder (Cheni's Song)" sounds like an El Columpio Asesino "Diamantes"-era lost anthem while "Sunflower Sea Star" might fit into any release of paisanos Blacanova. It may sound disparate as the former is the vigorous post-punk'y slasher, and the latter is the warm and subdued dreampop elegy but instead of causing any stylistic mess it demonstrates the album’s greater strength: the diversity. Uniforms take on literally every shoegaze-related subgenre (with the only exclusion of blackgaze) without ever losing the controls over the process. The final result is a piece of art that positions them as leaders not followers amongst the burgeoning contemporary dreampop scene in Spain: Linda Guilala, Apartamentos Acapulco, Arista Fiera, Berlina, Martes Niebla, Los Marcianos and dozens of other hi-class bands you should start to follow right now - if you haven't started it yet.

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Monkey Week 2018 - 10th Anniversary. 24.11.2018

The summary >>>

23.11.2018 >>>

The next morning I woke up at 9 am having three hours of sleep only. Surprisingly, I felt myself alive enough to come out immediately as I had an urge to visit the record shops of Sevilla. As I travelled without any luggage except for a backpack it could be a major problem for me if I had purchased some vinyls but it appeared that the record shops I visited were specializing on second hand records having little of the most recent releases. The only records I'd like to purchase were La Estrella De David's "Consagracion" and Basanta's "Colorama" but finally I decided to avoid the possible transportation issues.

Despite my nondirectional territorial fluctuations I was just in time at Ron Contrabando stage (Alameda de Hercules square) to catch the very beginning of the Radio3 La Batalla de las Bandas hosted by one of the most famous Radio3 anchors Angel Carmona. The time limits were the same as for yesterday's mini showcases (also MC'ed by Angel): 6 minutes for the whole round of 'come out - plug in - play a single song - walk away'. The event started with the performance of the new local heroes Derby Motoreta's Burrito Cachimba that obviously represented the [arguably] the main contemporary trend of rock music: the 70's revival. The band that exploited the completely different direction - my new friends San Jeronimo - replaced the Sevillian six-piece onstage. Then I managed to see two more bands: the Foehn Records' residents Alien Tango, and the cock-rock combo Los Jaguares De La Bahia. Then I escaped the event to come to the opposite side of the Alameda de Hercules for Yawners. This was one of my best decisions because this metropolitan girl/boy quasi-punk duo was enormously great. I can't explain what was that decisive element of their show that made me surrender and convert myself into a devoted fan. But this was such the pleasure to see this band in action.

According to the schedule, the OffMonkey session was the next event I should attend right after Yawners. This one was organized by my friends from WeAreWolves Records to showcase the bands of the roster: the dj sessions by Pumuky and I Am Dive and two full-fledged performances by Kindata and San Jeronimo. This event should be started at 2 pm inside the Hops & Dreams gastro bar but when I came to the place only three persons were there. I was quite embarassed as I tried to consult a barman but he didn't understand me. So a guy who revealed to be Berni from Kindata came to me trying to resolve the problem. We quickly got in contact, and then I introduced myself to Tero, the second half of Kindata. This band was my biggest discovery of the year so I was completely happy to see them live and to talk to them within a month from the moment I had learned of their mere existence.

Little by little the venue got full of people. I got in touch with a man named Fran who revealed to be a photographer and a friend of Jose A. Perez. We sat together and discussed our further plans and past experiences of Monkey Week 2018. Moreover, Berni introduced me to the guys of Palo Alto who were nice and welcoming as well. In the meantime the bands started playing. San Jeronimo were the first to play, and then Kindata stepped in. These bands were the pure delight - both musically and personally.

The actuation of Da Souza at the nearby Mangaroca stage drove me away from Hops & Dreams. This Mallorcan band released the new album "Futbol D'Avantguarda" (p)Famelic that appeared to be kind of indie sensation, and I liked it as many others did so it was no way to avoid visiting their performance. It was a bit spoiled by the rain. The band played inside the tent but I beheld it getting soaked with the raindrops. Anyway it was quite low price for making it possible. Good music always defeats the rain.
By the way, at the entrance of Santa Clara I met Joan and Natalia of Saim. I approached them and expressed my respect, we talked a bit and they gave me a t-shirt as a gift. Moltes gracies!  

Then I made a short run to Jagermeister. Puma Pumku already started playing there. Like Yawners before the Galician neo-psych combo demonstrated the ability to win over the unprepared observer from the very first glance. I wasn’t totally unprepared as I used to listen to their first album for quite a while – but I never caught them before and had no idea how could they sound live. They quickly made me realize that coming up there I did just fine. This band is great, don’t miss the opportunity to see them.

Uniforms are only going to be great. The nugaze starlets just released their debut ("Polara" (p)Oso Polita) and managed to gather a considerable crowd inside Fun Club. Thus I was forced to stand behind the pillar and could see a little. Anyway, their performance wasn't perfect but their potential was obvious.

The populous and stylistically omnivore rock collective Los Jaguares De La Bahia spearheaded by the one of the most renowned indie rock producers of Spain performed at Ron Contrabando. I saw Paco Loco onstage once when he performed with Australian Blonde, but as a frontman he was even more... ummm, impressive. Shamelessly unleashed, he was like an uncontrolled beast there upon the stage. Despite his anti-star appearance, I think, he made every photographer there loaded with the whole lot of ‘rock star pose and gestures’ photos.

The Donostarrian indie rockers Pet Fennec sounded good performing in the open air (I witnessed it at Sonorama) but now within the limited space of Fun Club they sounded really massive. I placed myself in front of the bass monitor and every beat and every low note made my insides tremble. As I spent most of their time limit at Los Jaguares I caught only three songs. It was not enough - but what could I do.

Regarding the all-female garage band Melenas from Pamplona I'd like to say the following: I can’t call myself a fan of garage rock, but the girls do their thing with palpable honesty. It shouldn’t be omitted despite the fact is the listener a fan of the genre or not.

I liked the second album of the Galician art punks Travesti Afgano so they were in my own schedule from that very first moment I saw the #mokeyweek10 line up. They performed at gay bar Itaca - the southernmost location of the festival. Live the band positioned themselves as stylistically and behaviorally unpredictable act that could easily interact with public whilst changing the genres three times within a song. One of the irrefutable wins of the festival that, unfortunately, was sparsely attended.

Then I headed to La Calle rock club for the Canarias Crea/ Keroxen showcase. When I passed along Teatro Alameda I witnessed a queue that splashed out from the entrance and flew around the corner.
I walked along the queue guessing who the hell might gather such the crowd. In the middle of the queue I met Fran who explained me that all these people were there for Pony Bravo. This band had created a considerable cult following during the years of activity so the audience welcomed their first performance in years with huge enthusiasm.
Nevertheless, I came further to the club. It could be nice to see Pony Bravo but the prospect of losing some amount of time in passing through this queue was up to kill the possible perks of seeing one of the scene-defining bands in action.
Saletile, the experimental rock duo from Tenerife, opened the Canary Islands night at La Calle. The schedule was cruel for them as their slot coincided with Pony Bravo’s. On the other hand, Saletile’s music is not for everybody and the focus groups of the bands were hardly coincident. For me, I enjoyed their set of long instrumental passages and digital noise drones a lot.

I’m not going to spread much words about those two bands that followed Saletile onstage. What could I say… Pumuky and GAF Y La Estrella De La Muerte, my favorite band and the best live act of the scene respectively, that’s exactly how I'd like to label them. I feel some kind of personal connections to both of the bands. I can’t judge them with due objectivity so I should pull them off the scale. For me it’s like, you know, there are Messi and Ronaldo – and there are the real people.
Unfortunately, the actuation of GAF was my final concert of the festival. The bell rang for me. I wasn’t happy to say goodbyes to all the people that accompanied me through the Monkey Week 2018 but the Ryanair’s flight schedule forced me to do so.
Then I walked outside and then lost the next 23 hours of my life in taxi cabs, aircrafts, stopovers and trains.