Copiloto "Los Puentes Hundidos"

Copiloto "Los Puentes Hundidos" (p)2015 Grabaciones En El Mar

The fourth full lenght of Zaragozan singer/songwriter Javier Almazan who hides himself under Copiloto moniker is set to release 4 years since his previous effort "El Inicio, El Desencanto Y El Circulo De Confianza" was out. Such the long hiatus usually means a lot of time to think it all over, so there wouldnt't be any surprise if "Los Puentes Hundidos" sounded opposite to his past achievements. Fortunately, if Javier had an intention to start the new life in music with this new record, then apparently he had no plans to erase all his previous career out.
The rocker tracks such as "Crecer Es Matar A Un Nino?" easily resemble the Copiloto's first effort "Defensa Del Artista Que No Existe". In its calmer moments ("Fulminado","No Me Reconozco") the new album sounds comparable to more pop-oriented "El Inicio...". The ghost of Deluxe (mostly of "If Things Were To Go Wrong" era) is floating in the air somewhere behind the right shoulder. The quiet acoustic "Ella Dice" is followed by the stormy "Uno Vs. Mundo Formal" (possibly the loudest track ever recorded by Copiloto - in this moment the ghost of Deluxe takes a step behind being replaced by the vision of the Canadian indie glam superstar Hawksley Workman). The tempo changes like in this particular pair of songs could make you feel like you're on the boat trip rocking on the waves until the synth-based slowburner "El Miedo (II)" marks the end of the journey.
Generally speaking, the sound of "Los Puentes Hundidos" is seemingly less polished, more edgy and psychedelic than on the previous albums - and it's good cos it sounds sincere, and the overall quality of songwriting makes me regret about four-year long absense of any material from this talented and creatively free musician.

The best tracks: Los Puentes Hundidos, Crecer Es Matar A Un Nino?, Uno Vs. El Mundo Formal, Ella Dice

"Los Puentes Hundidos" on Bandcamp

Disco Las Palmeras! - Asfixia

Disco Las Palmeras! - Asfixia (p)2015 Sonido Muchacho

I have been living with the idea of 'rock español as the Next Big Thing' for seven years or so. I'm predicting it in livejournal or facebook posts, in conversations with the friends, right here in this blog as well. All this time I'm scanning the media surface trying to reveal the signs of my prediction come true. So here's the fact: less then a month ago Disco Las Palmeras! performed in Texas on South by Southwest festival (SXSW) - and I have no idea what does it mean. Was this invitation some kind of regular event for SXSW, or America really starts to turn the face to the Next Big Thing as I predicted? I don't know.
This Galician trio plays loud yet melodic rock music with massive guitars and hard-punching drums (and no bass at all). The new album "Asfixia" is their third. The first two efforts - "Nihil Obstrat" and "Ultra" - were released by the local Galician imprint Matapadre (whom I like alot), for the new work the band moved to Madrid-based label Sonido Muchacho.
It's some kind of offtopic, but the first thing I should point out: "Asfixia" has absolutely great cover.
Returning to music, it seems like this bassless band achived the highest limit in terms of guitar parts' density and intensity on their previous effort, so here they tried to diversify the sound to the results surely worth mentioning. While all the tracks of "Ultra" had pretty similar guitar attacks which made the album as a whole sounding denser, thicker and more 'metallic' - here the sound of guitars differs from track to track skipping from abrasive crust of "Tarde Y Mal" through the low-key bulldozer armageddon ("En El Agujero") along with the digital noise ("Elites") to the sharp-shaped explosive lightnings which could make Billy Corgan proud ("Rafagas En Mi Cerebro") and then back to the sandpaper crust ("La Calma"). The great feature of "Asfixia" is that the band managed to avoid the threat of tearing the album's canvas apart by the excessive usage of different tricks and approaches. This shows the band's ability to perform in the different keys without any negative impact on the cohesion of the whole record. So, definitely not the music for everyone, "Asfixia" is another good example of the solid and inventive alternative rock album made by bright and inventive alternative rock band.

The best tracks: Rafagas En Mi Cerebro, En El Agujero, Callate La Boca, El Final Del Circulo

BUY/LISTEN

Pumuky "Justicia Poetica"

Pumuky "Justicia Poetica" (c)2015 Jabalina Musica

1) Imagine yourself floating into space, all alone, for years, with nobody to talk to. With all the aims lost. If your flight ever had any destination you effectively forgot about it. All you can listen to through the static are the sudden excerpts of old broken broadcasts and strange signals emitted God knows how many years ago from hell knows where. These sounds are your only fellow travellers. Imagine these sounds are the visions.

2) Imagine yourself standing somewhere out where in the night, staring at the fireworks with your ears shut so you can't hear these explosions that induce the perfect trembling pictures in the sky. The pictures are appearing and falling apart without a sound. Imagine these visions are the sounds.

3) Pumuky got brand new album, the fourth one. It took 4 years since "Plus Ultra" was put out to record its successor. 4 long years, it's enough time to apply some changes - especially for such the ever-evolving entity what Pumuky surely is. You probably know that the only constant member of the band to support the helmsman Jair Ramirez is his brother Noe. The rest of the cast differs from album to album - though now it seems like it's the season of stability in the band's life, as the core duo of brothers Ramirez have found the right balance in the company of Adan Zeus (El Pilar Azul) and Daniel Benavides (Luz Futuro). So "Justicia Poetica" was recorded by the same team as was the EP "Pumuky Y El Eterno Femenino" two years ago. Also it is the same team that I catched live on 2013's Sonorama, and the same team that travelled across Mexico last year's spring.

4) The album's first track "Taniyama-Shimura" is the perfect bridge from "Plus Ultra" with its guitars that grow from pulsating arpeggios to shoegaze-infused crescendo, solid drums and echoed vocals. The album's last track "Crash" could be the perfect bridge from "Plus Ultra" as well. But in between these songs we have something that is almost completely different. Starting from the second track "El Senor de las Bestias" the distinct dreampop sound surrenders to the fragile vibrant kraut rock where nothing is stable and nothing is what it seems and where the only constant thing is the deep, the warm, the haunted, the detached voice of Jair guiding you through the labyrinths of his own. Just try to mix the visions (that actually are the sounds) from the p.1 with the sounds (which are visions in fact) from the p.2 and probably you'll get the idea of what "Justicia Poetica" is.

The best tracks: Taniyama-Shimura, El Senor de las Bestias, Teoria de Cuerdas, Suprahombre, Crash

GET THE ALBUM HERE

The interview with Jair in MUZIKALIA

Murciano Total "Quereres Y Dejenes"

Murciano Total "Quereres Y Dejenes" (p)2015 El Genio Equivocado

Murciano Total have released a string of digital singles over the last 4 years, and frequently appeared in the social networks here and there so it sounds almost unbelievable that "Quereres Y Dejenes" is the first full lenght of this duo. Jose Lozano who established the considerable career as the frontman for renowned post-'Cool Britannia' veterans Automatics - as well as for the equally cool band Universal Circus - this time teamed up with his female pal Elena Molina now paves his way through the mellow synth pop meadows. Their travel through the relatively unusual (for me Jose's name was always associated mostly with the rock sound) territories sounds as naive as, I dunno, the early Depeche Mode and as old-school as Human League's "Don't You Want Me" (or even the most pop-oriented excerpts from the legacy of techno demiurges Kraftwerk). But I dare to consider Orchestral Manoeuvres in the Dark the main influence for the pair of Murcians. Like these new wave pioneers Murciano Total aren't afraid of the live instruments (mostly guitars - and honestly speaking, the tracks that do include guitars are my favourite ones here), and like OMD they have the bent for writing the tunes which are tight and sublime in the same time and everchanging like a ball of quicksilver - but unmistakably catchy.
Another fine entrance to the El Genio Equivocado's back catalogue.

The best tracks: El Espejo, Ventas De Ocasion, La Casa Parisina, Eficacias Y Mentiras, El Castillo de Roman

"Quereres Y Dejenes" on El Genio Equivocado BC

Nocturnos "Pequeñas Esperanzas"

Nocturnos "Pequeñas Esperanzas" (p)2014 self-released

The band Nocturnos obviously represents the pop wing of the Spanish indie/alternative rock. Their first full lenght was released last March (at that moment the band's career counted almost 8 years of activity and two EP's in the background), and as it was done independently the album did not come to my hands and ears until the band contacted me via twitter a coupla weeks ago. I started from the song "Astronautas" they proposed to me, and this minor acquaintance quickly ended up in purchasing the whole album via iTunes.
So what have I to say after listening to this album pertty frequently for the week or so. While the band doesn't discover any new territories and doesn't cross many borders all the songs are distinct and catchy, and the album contains no weak tracks at all. Really, almost every track could be a hit single. The guitars are ringing and the drums are banging all in the right way, and I easily can rate "Pequeñas Esperanzas" on par with the first album of my long time favourites Mi Pequeña Radio. For me it's some kind of the best recommendation for the one who's into the loud catchy song, you know.

The best tracks: "Astronautas", "Que Esta Pasando?", "Baile De Disfraces"


Nocturnos in Bandcamp
Nocturnos in Facebook

Havalina "Islas De Cemento"

Havalina "Islas De Cemento" (p)2015 Origami

When Ignacio Celma who played bass for Havalina since 2009 decided to quit the band an year ago it made me curious about the band's future because it seemed like Ignacio was the ideal kind of supporter for the Havalina frontman Manuel Cabezali's complicated ideas trapped within the power trio format (the drummer Javier Couceiro remains the second constant of the band's lineup since 2004) with its natural limitations - in the numerous videos like the ones which Havalina made along with Bandalismo or Acordes Urbanos you may see how the guitar player and the bass player interact within the songs to support one another through the songs' unusual structures. But despite my fears the band quickly found the replacement in Jaime Olmedo - and the substitution was so trouble-free that it hardly impacted the band's ability to construct the sound of their own. So, flowing along in the vein of melodic stoner rock - the template the band is mantaining for the last five years - "Islas de Cemento" sounds like the continuation of two previous successful releases ("Las Hojas Secas" and "h"). But it goes that way only until the track #9 starts. 7 minute long "Cementerio de Coches" is by far the heaviest song ever performed by Manu Cabezali and his allies. It steps over the border and walks away from the Kyuss-penned cult classics like "Gardenia" or "Asteroid" into the sad and depressive territory of doom metal. Moreover, this earcrushing machine is followed by the rain - really, the next track is called "Lluvia en el Cementerio de Coches" - almost 9 minute long "La Pared" or "Musica Para Peces"-type of song that rises from relative quietness to the short circuit thunderstorm making these paired compositions the album's logical centerpiece.

Under the bottom line, the good news about "Islas del Cemento" is that the band still moves ahead and finds the place to evolve, as well as to apply new elements to their core sound. Another nice feature of this album is that the tracks "Islas de Cemento" and "Luces" could successfully compete with "Desierto" from "Las Hojas Secas" and "La Antartida Empieza Aqui" from "h" as the catchiest Havalina's songs since Manuel decided to abandon the Smashing Pumpkins-inspired alt-rock in favor of the thick layers of stoner/southern gloomy fog.


"Islas de Cemento" in Origami Records

Grushenka "La Insoportable Levedad Del Ser"

Grushenka "La Insoportable Levedad Del Ser" (p)2015 El Genio Equivocado

If Grushenka sounded like the noisy version of New Order on their first longplay "Tecnicas Subversivas", then on the newest effort "La Insoportable Levedad del Ser" (which means "The Unbearable Lightness of Being") the quintet sounds more like any of that famous C86 cassette inhabitants. Throughout the songs like the title track or "Viaje Lisergico" you can almost see the frontman Xavi being haunted by the spirit of Bob Wratten (The Field Mice/Trembling Blue Stars).

As a massive Trembling Blue Stars fan I can only recommend this album to anyone who's into the quiet and intelligent indie pop/jangle pop with a bit 'who cares'-attention to the drums sound.

The best tracks: Nueva Era Existencial, Nos Encanta Hacerlo Todo Mal, La Procesion Va Por Dentro

To buy/listen: Bandcamp

Les Sueques "Educació Física"

It's only the middle of February but there already are not less than six releases from the burgeoning Barcelonian label El Genio Equivocado. So let's start with Les Sueques.

Les Sueques "Educacio Fisica" (p)2015 El Genio Equivocado

The band consists of three chicks and a guy. They're together for at least 4 years (dunno how much time they spent before releasing their first eponymous EP in 2011), and "Educacio Fisica" is their sophomore LP.
The songs here rarely exceed 3 minutes, and the rhythmical patterns on the most tracks are simplified enough, what - in addition to repetetive lyrics (my hands upon the notebook's keyboard want to use the term "cryptic" - I really feel so but I hardly understand a single word here cos the singer/bass player Blanca sings in Catalan, so I'm not sure) and angular guitar riffs - makes you feel like this band got vibe. It's nothing about some druggy conditions, it's about you got your chin nodding and your feet stomping without your intention to most of the songs.

In fact, for the person who seeks for a singalong the longest two tracks are the best ones here, especially the potential indie hit "I Apologize" - amongst these dadaist minimalist and surrealistic post-punk pieces this song with the catchy chorus is by all means the true gem. But the rest o' the tracks are anyway pleasant and satisfying.

The best tracks: I Apologize, Tot S'havia Acabat, Bromes, Ara Es Aqui

To listen/buy: Bandcamp

Alborotador Gomasio "Los Excesos de los Niños"

Alborotador Gomasio "Los Excesos de los Niños" (p)2015 Limbo Starr

One of the first albums of the year, this melodic punk/noise pop effort is the sophomore [official] release of Alborotador Gomasio, now under Limbo Starr wing. You know, it's a cool record. For me as a fan of Maryland this is really cool record cos there are so much similarities in stylistics between the bands - except for the moments when the tousled jangle-pop is prevailing over the cohesive and massive guitar pop/punk attacks. Anyway, the juvenile and potential one, this album is brimming with melodies, and most of the songs most likely will stuck in your head for days and weeks.
The provocative video for the first single "Los Residuos de la Sociedad" contains the visual resemblances of such the emblematic female protesting acts as Pussy Riot (Russia, the coloured balaclavas) and FEMEN (Ukraine, the writings on naked tits).

The best tracks: 14, Si Te Matas, Los Excesos de los Ninos, Los Rastros de Nacho

Breis "14 Pla de Palau"

Breis "14 Pla de Palau" (p)2015 Sweet Song

"The way was nothing more than an illusion..."

(c) Breis "El Camino"

This is the fourth album of Manolo Breis released four last years in a row - and the eighth overall. With such the considerable artistic background, the Murcian singer/songwriter returns with his most complex work to date.

The album starts with more than six minutes long "Olfato, Tacto y Gusto", a song that showcases the whole album the best with its dark mood, the changes in tempo, the internal suspense and the thick layers of synths. The song structures are visibly more convoluted here than on the previous efforts. The arrangements as well are the lushest in Breis' history. With the heavy use of vintage sounding keyboards, the influence of 70's pop progressive acts (Procol Harum is probably the first name that comes to mind) is one of the major dominants in "14 Pla de Palau" sound. Taking into account the fragile voice of Manolo, at times the album sounds pretty similar in tone and structure with the final Elliott Smith's release "From A Basement On The Hill" - like if Elliott wanted to record it as a "soft progressive"/art rock album.

In the release notes Manolo Breis says that "14 Pla de Palau" is the closing part of the three album concept that started with "Invisibles" two years ago. So, the new album is the perfect logical successor of "Invisibles" and "Verna" not only proving the musician's ability to progress with every subsequent release but also making him one of the Spainish indie rock's best kept secrets.

The best tracks: Si Pudiera, Contigo Que Sin Ti, Olfato, Tacto Y Gusto, 5 de Mayo, El Camino

14 Pla de Palau in Bandcamp - you can download the album for free.

Alucinaria "La Ultima Rotacion Del Sol"

Alucinaria "La Ultima Rotacion del Sol" (p)2012 self-released

Love comes in mysterious ways. The great things seem to come out of nowhere. Some of them may be criminally overlooked because no one expects them to come out. Thou shalt not overlook because this is the real true gem.
Alucinaria are from Rosario, Argentina. Spearheaded by Pablo Comas, the singer/ the guitarist/ the primary songwriter, the band plays loud but intimate alternative rock with twists and turns. In terms of songs structures Pablo could be the 'divided at birth' brother of Mikel Izal, because aforementioned twists and turns (i.e. unexpected changes in rhythms and dynamics within the sole song) resemble me of the Madrid-based folk-rock reformators' modus operandi (taking in mind that Aluciarians are punching much harder). Despite the structural unlikeliness the songs of Alucinaria never lose the pop feel, and every one of them tightly keeps you safe within the realm of Her Majesty the Melody. Do the guys know some recipes of the local indigenous people's arsenal?

The best tracks: "Prende Y Apaga", "La Quimera", "La Fuente", "Bailarina Del Futuro"

Bandcamp - download the album for free

Las Resenas Casuales. Belako "AAAA!!!!", "Bele Beltzak Baino Ez"

Belako "AAAA!!!!"
Belako "Bele Beltzak Baino Ez" (p)2014 Belako Rekords

One of the breakthrough bands to emerge on the Spanish indie rock skies in the last couple of years, the Pais Vasco's Belako return this year with the pair of EPs released almost simultaneously right in the middle of the year - both being put out on the band's own imprint Belako Rekords.

"AAAA!!!!", a concert-only release, is an agressive, punching, edgy and nervous punk record in the post-Sonic Youth world.
"Bele Beltzak Baino Ez" is more inward-looking experimental post-punk covered with icy electronica and pure hysterics.
These were the two dominants in the sound of "Eurie", the successful full lenght released in 2013. Here on EPs the main components are perfected and distilled to greater effect. It's up to you what side of  Belako entity you like more, but depending on the quality of the songs the chances are you'll like them both.

Las Resenas Casuales. Baden Bah! "Futuro/a"

Baden Bah! "Futuro/a" (p)2014 self-released

This short album was recorded in Aranda, a home to Sonorama Ribera music festival, right after this year's Sonorama edition was over. The recordings were made very fast (I believe it was like one weekend or so), so it hardly took a month for the whole cycle of recording, mixing, mastering and then presenting the final result to the main digital platforms.

Such overspeeding of the process (I suppose it's not the kind of usual approach even for the truly indie band) didn't spoil the quality. So if you liked "Aleph" (the previous album of baden bah!) like as I did you will definitely like the new one as well - like as I do.

The bandmembers have changed the looks. From the white shirts with black ties and 'aleph' symbols on their sleeves they switched to 'pop art' colourful suits and bright images. Musically, without taking major steps aside the band nevertheless incorporated some additional elements to their core power pop sound.
The tubes in "Iguazu" made me curious of how that song could sound in 2-tone ska key. The Madness-like tubes return in the next track called "Invicto" making this song a potential hymn for the successfull football team. The closing "Alma" started with the simple guitar strumming but then it turned into the emotional and sublime chant orchestrated with cello and synths that fits perfectly for its role. The other tracks are more habitual to the band's template but in comparison with the previous releases from the first song to the last here baden bah! sounds more focused, more concentrated, more intense and apparently more concerned. 

The best tracks: Iguazu, Universo, Futuro

baden bah! en la red

Las Resenas Casuales. Sin Rumbo "LUZ"

Sin Rumbo "LUZ" (p)2014 Sin Rumbo

The band on the verge of 'making it', Madrid-based Sin Rumbo have changed the direction before releasing their most ambitious project yet.

Honestly speaking, I was pretty sure that they would embrase considerable success with their previous album "Forma Parte de Espectaculo". Though [probably] not so successful in terms of box office, this disc helped much to consolidate the band's fan base, and before making the further steps ahead the band decided to take some time to re-group forces, to start and successfully finalize the crowdfunding campaign, and then to finally present to us "LUZ" (as usual this album was released independently). By the way, this year marks the band's 10th anniversary, and it seems like the last two years have changed the Sin Rumbo's face more than the previous eight years. Now the band wears on the sleeves the 'electronica-cross-guitars contemporary indie' template whose reflections we may see/listen in the bands like Polock, or, for instance, Sin Rumbo's close friends The Noises (not to mention the best-known bands in this sub-genre). For not to get caught within the cliche's boundaries the guys have used one [not so] simple but effective method: the diversity.

The opening track "Frecuencias" welcomes you with Delorean-like sounds and catchy chorus, while the stomping "Horizonte" has stylistically almost nothing in common with its predecessor. The next song "1789" is a perfect piece of fast noise-pop - at this point I felt myself like I was discovering the world inside the moone along with the [arguably] best album Apples (In Stereo) ever produced. And with "Volveremos A Casa" and "Cambiar El Final" (the latter could remind you of Hurts) this feeling even increased. The things calm down a bit in the second half of the album that consists of the songs which are more in line with the bands previous works. But as a whole "LUZ" could star as a perfect guide to how to change the ways and methods without losing your face.

The best tracks: Cambiar El Final, Volveremos A Casa, Inercia, 1789

Sin Rumbo Facebook

Sin Rumbo Sitio Oficial

Las Resenas Casuales. Las Ruinas "Toni Bravo"

Las Ruinas "Toni Bravo" (p)2014 El Genio Equivocado

It came as a surprise for me as I had never heard of Las Ruinas previously.
I have no idea whether Las Ruinas are eager to be the Spanish Guided By Voices. But something (maybe their 5 or 6 releases in the last 3 years) makes me feel that way. It's clear that the band's modus operandi is not so far from Dayton, Ohio finest: the short noisy tracks with both legs in post-punk and/or college rock, relatively simple textures and quirky but undeniably catchy hooks - but fortunately, this amazing band is not a bunch of copycats at all, and the music they produce has not so much in common with Robert Pollard's main vehicle. The songs of Las Ruinas are colder, more 'robotic', more calculated and simultaneously are tighter in terms of instrumentation and wider in terms of space used. These tracks may seem simple enough but the truth is they are so perfectly constructed that could work even without vocals ("Ultimo Tren" as a proof).
The album of the week for me.

The best tracks: Automatas, Paseo Maritimo, La Epica De La Pobreza

The buy the digital copy of "Toni Bravo" please click here.

Las Resenas Casuales. Joe La Reina "Bailamos Por Miedo"

Joe La Reina "Bailamos Por Miedo" (p)2014 Subterfuge

'Rusia es nuestra peste/Rusia es el fin'
This is a folk rock album, a certain kind of a folk rock album. In the world of folk rock albums this would be a bastard. The fractured, the sick, the hysterical, the ironic, the morbid, the balladesque. The Donostian quintet have created an album that is as unique as powerful and as strange as true.
Many things may look strange here, but everything is under control. Lucas Malcorra, the singer of the band wails, groans and bemoans like a Middle Age haunted minstrel (or like Robert Pollard under the influence) but never falls into pure 'stream of consciousness'. The somber athmosphere of "Bailamos Por Miedo" befriends it with the works of McEnroe, while the free-minded handling with the song structures puts it in the same category as Izal's more convoluted creatures (with Joe La Reina being much more somber and enigmatic). But what is the most definitive thing about this album - and here I must repeat the line that I wrote right after their performance in Sonorama - Lucas does not sing a song to you, he tells you a tale instead.

From the 'plague Russia' point of view I must admit that it's one of the best releases of the year, and definitely one of the most memorable.

The best tracks: Rusia, Huracan 2000, En Una Casa Junto Al Mar, Oh La Mía Pena


Joe La Reina in Subterfuge

Las Resenas Casuales. Bel Bee Bee "Still Unstirred"

Bel Bee Bee "Still Unstirred" (p)2014 The Note Company

As you cam clearly see, I have a bent to Canarian indie rock. Bel Bee Bee is another Canarian-born act with one young girl named Belen Alvarez Doreste behind this moniker.

"Haven't you ever had a burning shower, and when you try to see yourself in the mirror, you need to reach out your finger and draw until you discover yourself again? That's it." - it's written on the band's Facebook profile to describe the modus operandi. A gifted singer, Belen has chosen the path of trip-hop to share her vision with the listeners. So, musically "Still Unstirred" derives from such the sources as her Canarian semi-compatriotas Fuel Fandango or British female-fronted trip-hop combo Kosheen, with the rhythmical patterns more convoluted then ones ever created by both of the aforementioned. Belen plays with her voice masterfully, adding the tracks of backing vocals in their right places. Additionally, the track "Balai Lama" resembles the avant garde pop experiments of Anni B Sweet.

Generally speaking, Bel Bee Bee sounds on this album like a full-fledged international act that seems to be more mature than the girl who in fact has created it.

FYI: The last track - and probably the best - on the album is named after the Sakha-Yakutia (Russia) based village which is known as the Northern Hemisphere Pole of Cold.

The best tracks: Astrays Sculpture, Trust (Serendipity), Oymyakon, I'll Stop This Role Playing

Las Resenas Casuales. Oso Leone "Mokragora"

Oso Leone "Mokragora" (p)2013 Foehn Records

Now I regret purchasing the vinyl turntable a bit too late. I did it this year's May, but it was March when we (my couple Tanya & me) were visiting Barcelona. During this visit I purchased the CD version of this album right from the hands of Marc Campillo, the head of Foehn Records. I'd better think twice before as  this album is clearly of that 'sit and listen' kind that perfectly fits for the vinyl.

The Mallorcan band plays the structurally complicated cinematic sadcore that incorporates other genres like avant-pop, folk, acid jazz or psychedelia. The album's name corresponds (I don't know why) with the Serbian village of Mokra Gora while the songs are named after various species of plants - from well-known ficuses or cactuses to more obscure clivias and monsteras.

It may sound pretty strange, but from the first listen I had a feeling of "Mokragora" as of being fully instrumental. The songs have their lyrics but the vocals are here not for words and meanings - they're here for sounds and feelings. Just imagine yourself stepping into the forest at the dawn carefully moving the cold branches apart to pave your way, and occasionally touching the spider's web with the drops of water condensed at the corners of the web, and they fall over you... Oso Leone create such the ethereal constructions with their music, and the words are falling from above like the raindrops, so these hypnotic landascapes are rather rainy ones.
"Mokragora" washes over you leaving you covered by the thick morning fog. Inventive and truly original, this album is definitely one of the best albums of 2010's.

The best tracks: Ficus, Alcaria, Monstera

Las Resenas Casuales. Cabeza Borradora "The Jack Nance EP"

Cabeza Borradora "The Jack Nance EP" (p)2014 no label defined at the moment

The former alternative dance Canarian outfit Cabeza Borradora returned to activity with the series of concerts that took place the last year, and now their return is marked by the new release: "The Jack Nance EP" named after the late actor starred in the David Lynch first feature-lenght movie that gave name to the band (Spanish 'cabeza borradora' means 'eraserhead' in English). So gone is the mix of danceable Jesus Jones-like post-Cool Britrannia as well as the trippy left-field electronica the band was known for previously in their active years before almost 15 years long hiatus. Here we have the music as quiet as nervous, creepy, noisy and scary. These four tracks of total 30 minutes long could be the perfect soundtrack to any of the convoluted and frightening Lynch's masterpiece. 

"The Jack Nance EP" on bandcamp

Las Resenas Casuales. Dulce Pájara de Juventud "Dulce Pájara de Juventud", "Faithful Songs EP"

Dulce Pajara De Juventud "Dulce Pajara De Juventud" (p)2012 BCore Disc
Dulce Pajara De Juventud "Faithful Songs" (p)2014 BCore Disc

Another band from the brilliant #BCore roster. 

On their 1st full lenght [initially it seems like] these young Barcelonians play driving indie rock in the vein of Superchunk or Sebadoh. From the first glance it might seem to be not so original now in the second decade of 21st century, but their juvenile passion and honest attitude could make you fall for them. The first three songs are (or rather could be) the potential smash hits but then the canvas of the album is somehow torn in pieces by the tracks like segue-like "Nacer 3" or almost speechless "The Fear" or 'Blur-meets-any californian punk' "Junior VS Death". What follows this rather unexpected consequense is another Superchunk-inspired song "Dulce Pajara", and you may think that it rails the album back on the track that was drawn by the initial songs. But this disc is not about obvious decisions, so you'll surely get some surprises until the end.

The new 3-song EP is a bit more experimental in terms of song structures and dynamics (with the latter sometimes travelling somewhere in the fruitful meadows of the post-hardcore rhythmical textures). The lead track "Evelyn Fuck Machine" (I suppose the name of the song should somehow relate to the EP's sardonic cover) is a killer track. The  next "Faithful Songs" consists of the sequence of at least six non-cyclic melodic progressions that combine such the different styles of indie rock as noise or chamber pop. The last song "Benjamin" is a relaxed one but it also contains some twists and turns in itself. Under the bottom line, this EP is a great appetizer. I hope that the sophomore full lenght release of Dulce Pajara De Juventud is underway.

The best tracks:

from "Dulce Pajara De Juventud" - Feel, Gigalove, We'll Fight Them On The Peaches

from "Faithfyl Songs" - Evelyn Fuck Machine

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