Las Resenas Casuales. Cuello "Modo Eterno"

Cuello "Modo Eterno" (p)2014 BCore Disc

Cuello have produced the second LP in last two years, the 10 songs of the fast melodic punk rock. Unusually for punk rock, these songs are not of 1.5 - 2 minutes long. The band has the close ties with the avant garde hardcore reformators and labelmates Betunizer, and through some moments you could see this fact clearly: the members of Cuello are experimenting with the rhythms and dynamics sometimes stepping into the convoluted sonic fields of post-hardcore but never falling off the major course. The best track on the album is probably "San Balon" which can remind you of the best moments in the life of Portland, OR band Pond - one of the most harshly underrated bands of the grunge era. But the furious "Tu Fuego De Luces" or simple but catchy "Campeon" could equally challenge this. Finally, I'd like to prevent you from messing the 'melodic punk rock' and 'pop punk rock' terms: "Modo Eterno" is by all means melodic, but it's definitely not pop.

The best tracks: San Balon, Campeon, Tren De Poder, Tu Fuego De Luces

Las Resenas Casuales. Grises "Animal"

Grises "Animal" (p)2014 Sony Music

When any tiny indie band travels from tiny indie label to the international money-making machine one day, usually you can expect them to go more 'pop' on their nex release. Grises simultaneously follow this template and follow it not. Jumping from Origami Records to Spanish division of Sony Music this band of Pais Vasco origin (yes, another band of Pais Vasco origin that mixes synthetizers with 2000's danceable indie rock) have created the album which is considerably more distinct in comparison to two previous releases - it is louder, richer, and overall juicier than its predecessors. But despite of being [only] the polished and well-produced pop record, it also shows the band's intention to develop and to continue experimenting. Now Grises flirt with alternative metal sounds:  really, "Animal" even got a couple of guitar solos, and when this fuzzed-to-the-max bassline steps in the second half of "Impares" it sounds like some of the 'djent' band's trade. For the band that is treading the same path as a bunch of like-minded contemporaries who were there before Grises (Delorean and Dorian, in the first place) it's not a bad choice to set themselves apart from the common thread. 

The best tracks: Lopan, Impares, Aprieta Los Dientes, Alienigenas

Contempopranea Nos Espera! Burgim "The Way That You Smile"

Burgim "The Way That You Smile" (p)2014

Burgim was the only name from the Contempopranea cartel that I wasn't known of. So I just followed the links and listened to their new album "The Way That You Smile" on their Bandcamp page just to be prepared.

The album starts from some Nashville-like (mostly like any member of Ten Out Of Tenn formation) roots-rock song "White Whale" beautiful enough to attract you. The second track "Shame" is a pure classic. It showcases not only the acoustic guitar strummings but also more solid-sounding drums and perfect backing vocals. "Shame" is followed by the pack of mostly acoustic folk-pop songs with intimate vocals and vibraphone-sounding Hammond on the background.

The things changed on the track #7: "Illusion". This track is a Britpop-based midtempo song which abandons tiny folk rock in favor of the electric guitar solos and - do I really heard it? - 'chug-chug'. Though it sounds like some kind of 'play on the set up subject' it is really intereting twist. But band goes further on the next track. "Mister User" really rocks on full throttle with no strings attached. And you know what? The next "Mile In A Tear" is even more hard-rockin' piece! The song starts from the guitar part that repeats the introduction to the hit of the football-obsessed alternative deutsche-punks Sportfreunde Stiller  "Ans Ende Denken Wir Zuletzt"- but in a lo-fi way. The rest of the song is 'quiet verse - loud chorus'-structured theme with very catchy chorus.

So within this album the band makes a trip from contemporary Nashville folk pop to British/European alternative rock. Both faces of this Janus are far from 'one of a kind' position but overall pleasant, and I really expect them to be great onstage.

The best tracks: Shame, Mr. User, So Happy, No One Must Never (Take Us Apart)

Las Resenas Casuales. Grushenka "Tecnicas Subversivas"

Grushenka "Tecnicas Subversivas" (p)2012 El Genio Equivocado

Named after the female character from Fyodor Dostoevsky's novel "The Karamazov Brothers" (yes, yes, the Russian roots are detected!) Barcelona's Grushenka play noise pop. And dreampop. And twee. All in a pretty naive way. I discovered them through the Ondas Del Espacio's Los Planetas' homage CD where they reinterpreted "Mi Hermana Pequena" and were the best band I wasn't familiar with. Honestly, I should say that the Los Planetas' song being played by Grushenka sounds better than any of Grushenka's own songs. But that's not the sentence - it's just the fact ascertaining that the band makes their own songs another way, and judging them by a cover (what a word-play here!) is not the best way to consider them at all.

Stylistically, "Tecnicas Subversivas" lies somewhere halfway from Times New Viking's "Dancer Equired"(which is undoubtedly the calmest album of the usually fast and furious trio) to The Pains Of Being Pure At Heart successfully delivering the carelessness-based creative vision of the first and fragile sincerety of the second.  

The best tracks: El Mecanismo De Defensa, Punset Ya Me Lo Dija, Ese Gran Lunar De Tu Epalda

Las Resenas Casuales. Fira Fem "Fira Fem"

Fira Fem "Fira Fem" (p)2013 Aloud Music

The members of the metropolitan quartet Fira Fem explore the lands of modern 'electronica-meets-indie rock' cliche with their sophomore nameless release. I suppose that  there's a lot of international influences in there but I can't name one. So, there's the one that is not international: Delorean.

The band's music is the danceable mix of echoed vocals, trembling multitracked guitar lines and the neverending flow of evocative electronica. The songs mostly sound like they're remixes. Imagine how the Delorean's remixes on, dunno, The Shins could sound like. I don't think that Fira Fem discover some new horizons with this album but it's interesting enough for not to discard the band. Would try to catch their show on this year's edition of Sonorama.

The best tracks: I Fucked Fira Fem Before They Were Famous, Wrong Movements, Los Novios Son Los Nuevos Zombies

Las Resenas Casuales. Eric Fuentes "Barcelona"

Eric Fuentes "Barcelona" 3CD, (p)2014, BCore Disc

Ex-leader of the renowned alternative band The Unfinished Sympathy Eric Fuentes has done a lot of work. Triple album - can you imagine that? Who's gonna issue triple albums these days? 

To prevent the album from being boring on the same templates repeated for 30+ times over and over again, Eric has chosen the way not to be concentrated on himself. He has invited some friends from the local music community to sing some songs. It was a good idea because these songs that were sung by different singers got the new dimensions and the new characters. The standout track of that kind is by no means the one that is sung by local superhero Ramon Rodriguez who usually goes under the alias The New Raemon, "Disfruta Perdiendo".

Most of the songs are sung in English - much as the back catalogue of The Unfinished Sympathy was. But the best track on the whole album is in Catalan ("Amb L'Algua Al Coll", and I have posted it here in the blog two weeks earlier). The second best track - El Hombre Burbuja-like "Incansable" is not English-languaged as well.

Probably, you can't call "Barcelona" unified cos the songs on the album are pretty much diversified in style. But it's strong feature is that you can feel how Eric simply does what he wants without any convoluted production tricks and martyr-like attemts to give the songs the additional glance. The whole album is not so long overall (~100 min) and it will hardly make you fall into boredom. But you will hardly like every song on it.

The best tracks: Amb L'Algua Al Coll, Incansable, Future Lovesong, Disfruta Perdiendo

Las Resenas Casuales. Baden Bah! "Aleph"

Baden Bah! "Aleph" (p)2012 self-released

The members of this Salamancan four-piece are not that young chicos, but you could say they're 20-something guys because their music is young, upbeat, and vital. The entity called Baden Bah! sporadically exists for almost 30 years (at least the band members confirm so in their press kit bio) but the first album was produced only in 2009. Then it took three more years to record the sophomore release called "א". The cover art may disturb the moralfags (in fact, it's a variation on a painting "L'origine du monde" by Gustave Courbet).

The band is indie to the core wearing DYI aesthetics on their sleeves, but despite the fact their music is not crust or noise or anything like that. It's very clearly played and smartly produced power pop. The voice the band's primary vocalist Juan Carlos Lopez Encinas "Jimmy" reminds me of the 22-Pistepirrko's P.K Keranen. The songs are intelligent and catchy, and they are mostly free from the excessive mood changes and nervous breakdowns. In such cases they usually say something like 'every song from this album could be a hit'. But the Baden Bah!'s lack of careerism and the vow for independence would not make it possible.

The best tracks: Dichosos, Hace Falta Poco, 75 Pesetas, A 3am Del Suelo

Las Resenas Casuales. Neuman "If"

Neuman "If" (p)2014 Subterfuge

The Murcian band speraheaded by Paco Roman came to recognition in the beginning of the current decade, after two respective albums "Plastic Heaven" & "The Family Plot" were issued in 2010 and 2011. It was not a quick rise to fame due to the fact that Paco was writing the songs all the 2000's through without bringing them to the light of day.

"If" is the Neuman's fourth album in last 5 years. In fact, every album of Neuman makes me curious of what kind of music the band really makes. All the songs are in the 'good-to-great' range, the Paco's English is great - but what they really play, eh?  There are too much directions, too much stylistical approaches, too much courses taken. And "If" is not an exclusion. Just take a look what we have here: quasi-neo-psychedelia? Yep - "Battle Starship". Mid-western folksy roots-rock? You're welcome - "A Branch In The Forest Full Of Stars". Old-school Tom Petty-like choruses? Of course - "Oh No". Pro-britannic jangle-pop with retro touches? The opening "Turn It". Quiet acoustic guitar/voice pairing? The album's namesake "If" is for you... And we are far from approaching the terminal station of this train!

Neuman are well-known for their penchant for writing the long slowly evolving songs like "Plastic Heaven" or "Wandoword" from the previous albums - and the new album also has one. It is called "Kids" and it is just in one step from being a gospel. And it is preceded on the album by - what? - a lullaby!

You see the scheme, do you? Almost every - oh no, really 'every' without any 'almost' - song has its own mood and its own breath, and despite the overall quality of writing and production the album doesn't seem to be cohesive. I think it is just too eclectic. As this story repeats for the fourth time, it makes me think of maybe this is the band's aim - to be as eclectic as possible.

But there's something what you can't take away from the band: the great songs of Neuman are really great.

The best tracks: Tell You, Too Pretty, Kids

Neuman on Subterfuge

Las Resenas Casuales. Rufus T. Firefly "Grunge"

Rufus T. Firefly "Grunge" (p)2014 Origami

Rufus T. Firefly has the long ongoing liaisons with Manuel Cabezali, the captain of much more renowned band Havalina, and last year Rufus has found himself in the nest of Origami Records - the same place where Havalina's albums are coming from. So, there's something about the facts. Rufus is really not the one person. It is Madrid-born quintet (formerly quartet). And despite English name of the album it is not in English. And, eventually, there's nothing here about the grunge.

"Grunge" is neither longplay nor EP, it is something in between. Being almost 30 minutes long, it contains 6 songs and 2 interludes. The music is perfectly orchestrated and has a melancholic mood. Even if the songs have the standard timing of 3-5 minutes, they seem to be more lenghty - and it's really good because you have enough time to be embraced by them. Sometimes it's almost post-rock - but to name the album "Post-Rock" instead of "Grunge" would be considered silly.

The standout track is "Tengo Una Pistola". This is the only song on the album which makes kinda 'pop relief' in this un-pop album with its simple and distinct melody along with the fuzzed-out bass lines and electornica sounds in the background.

For the rest of the album, this music is definitely not for clubs, it is for theatres and/or halls.

The best tracks: Tengo Una Pistola, Subir A Por Aire, Error Lento

Las Resenas Casuales. El Mato A Un Policia Motorizado "La Dinastia Scorpio"

El Mato A Un Policia Motorizado "La Dinastia Scorpio" (p)2013 Limbo Starr (in Spain)

With the nonsense name and unorthodox appearance the band from La Plata, Argentina delivers strangely attractive music in the vein of Pixies mixing Black Francies' angular melodic structures with lightbodied psychedelia and noise rock.

'Lazy' or 'relaxed' are the best words that can describe the music of Santiago Motorizado and his allies. The lazy guitar parts, the elastic rhythms, the tight basslines and the relaxed vocals are mixed here to the perfect results. Despite the terms 'noise' and 'psychedelic' used in one phrase may remind you of some bands whose music hardly being rhymed with 'pop', the music here is nevertheless easily accessible and got absolutely nothing to alienate the occasional listener. And a translucent cloud of a hazy druggy flavor sweetly wraps up the landscapes of El Mato's songs which are unbearably catchy. Even the few tracks you may consider sleepy at first - like "Nuevos Discos" or "Noche Negra" - may at last attract you cos in fact they have the stones in their pockets.

"La Dinastia Scorpio" is the fourth effort af the band and it seems like it's dedicated to feelings and issues of the youth (chicks, booze, music, you know). But even if you're in a weak position at Spanish with the Argentinean pronunciation (maybe just like me or even worse) the music here speaks for itself regardless of the lyrical content.

Excellent.

The best tracks: Chica De Oro, Mujeres Bellas Y Fuertes, Noche Negra, El Fuego Que Hemos Construido

Las Resenas Casuales. Niños Mutantes "El Futuro"

Ninos Mutantes "El Futuro" (p)2014 Ernie Producciones

The fresh product from the perfect Ernie Producciones' roster.

In the second half of 2000s one of the 'Granada's Big 3' bands (Los Planetas, Lagartija Nick & Ninos Mutantes) has abandoned loud guitars in favor of a bit calmer stylistical approach and finally appeared to be some kind of Spanish Travis - as it was visible on the last couple of albums. And now here it comes: "El Futuro". With such the name chosen for the album hardly you must expect something that would be just the repetition of the past.

Press 'play' and what you've got? You've got "Robot", and this is the purest Travis' melody which was written not by Travis themselves! Just listen to the words: 'Es el futuro?/ No es para mi', which means: "Is it the future?/ For me it isn't". The things could not be clearer than that. But don't hurry making conclusions. The next song "Sto. Domingo" starts to thread the other path that leads you to the gorgeous "Hermana Mia" which is definitely one of the best songs the band made throughout their lenghty career.

On the song #5 "Todo Va A Cambiar" the tonality of the statements has changed: 'El futuro ha llegado a esta ciudad' (The future has come to this city) - but the next track "Boomerang" somehow sounds like the band isn't that happy. This beautiful midtempo song  brings you some kind of melancholic mood and the following "Huesos" only strenghtens the feeling. Fortunately, the band makes a decision not to drown you into the lake of grief and makes another turn to the light with "El Lo Que Hay".

When the music finally stops "El Futuro" leaves bittersweet aftertaste like the future is here but no one is really happy with the fact. But this is definitely great album with the unlimited smash hit potential.

The best tracks: Hermana Mia, Todo Va A Cambiar, El Lo Que Hay, El Circo

And yes - this is #50 post. A jubilee!

Las Resenas Casuales. Guerrera "Mauna Loa"

Guerrera "Mauna Loa" (p)2014 Matapadre Discografica

Krautrock and "Farfisa" from the Galician supergroup.

This album delivers the audio collages where the vintage ritual psichedelia meets black voodoo happening soundtracks. Hitting Birth, TchKung! - these names came into my mind first of all, and while Guerrera definitely did not aim to distinguish the drug-infused primal angst of the first mentioned as well as the shattered semi-unconcious state of mind of the second (I suppose los componentes de la banda have never heard about TchKung! at all) the music is convoluted and adventurous enough to be pretty uneasy listening even for the ones prepared. 

The album is divided into two parts of 18 and a half minutes long compositions consisting of the deep instrumental layers of endless guitar passages, sound effects, spasmatic octopus drumming and rare reverbed vocals all shaken but not stirred.

It is absolutely impossible to mark out the best tracks in here due to the fact that there are only two tracks and both are amazing.

You may grab the album on the 'name your price' basis FROM HERE (Matapadres's bandcamp page) if you'd want to.

Las Resenas Casuales. Blusa "¡Toca breakbeat, perro!"

Blusa "¡Toca breakbeat, perro!" (p)2014 Sello Salvaje

In my high school years I always wanted to start a post-rock band. If I did, my band would be 15 years old to this moment. The guys from Blusa really did. And their post-rock band is almost 15 years old now. Despite such the considerable (for any band) age "¡Toca breakbeat, perro!" is only the sophomore full lenght release this instrumental quartet from Sevilla has brought to life. Accidentally this is the second post-rock album that came into my hands for the last couple of weeks - this is really large numbers for me taking in mind that I was 'cold turkey' with post-rock for... I don't know... 5 years or so. The first ring has rung for me last autumn when I received my order from B-Core Disc and they added a labelmates compilation named "Sound Of Barcelona" as a present for me, and there were a couple of post-rock bands on the list. Listening to it sitting on a passenger seat in the car that my wife Tanya drove I was thinking something like 'What the fuck! I completely don't get it why I so abruptly quit with post-rock! I have to return to it!' And now the Universe tells me the same.

So, returning to the subject... I'm not so familiar with internal sub-trends of the genre and due to this fact I'm not able to classify Blusa to one category or another like any stratification junkie would do. But the only category I'd want to put this band is 'cool things'. The music of Blusa is winding and rhythmically diversified (did I use 'rhythmically diversified' word sequence almost in every review? I should stop doing so) within a song. Also it is far from boring... 

Let's stop for a second - I just recalled why I quit with post-rock: the answer is because it became so common place that I started to find it boring. Sorry for this escapade. Ok, I'm ready to resume to "¡Toca breakbeat, perro!" 

It also has some sharpness that made me feel like this album would sound best in the empty uninhabited houses with rough walls and total absense of soft or fluffy things - it seems like the three-dimensional system of coordinates constructed by the band's rhythm section will fit the non-residential spaces the best. Within this system the guitars are swirling and flowing back and forth and coiling inward in the pre-orgasmic thrill that never rises up to scullcrushing crescendos that made A Place To Bury Strangers or God Is An Astronaut famous but never falls down to disconnected mumbling as well. Despite the sound isn't that thick and rich it doesn't seem like an issue cos Blusa's music is uplifting and driving enough to satisfy the listener without additional grease and glance, and it also has some positive vibe. Summarizing my impression I should admit that I've listened to the album two times in a row - and it was not because the player was cycled and I just missed the moment when the second cycle has started. No, my player was not cycled. I've finished the album and then started it again because this was my intention.

The best tracks: Facenda, Montebello, Acroflecha, Aruba

To listen and/or buy click HERE (Bandcamp)

Las Resenas Casuales. Lula "Viaje A Marte"

Lula "Viaje A Marte" (p)2013 Lucinda Records

Lula is the power-pop trio from town of Castellon led by Spanish indie rock longstay Patricia Escoin who made her name in the end of 80's fronting the band called Los Romeos. The previous albums of Lula (this one is the fourth) were partly spoiled by the songs which might be described as' filler'. But "Viaje A Marte" is absolutely free from this type of trouble - all the songs here are catchy as the fisherman's hooks. Additional fine feature: Pat Escoin has very clear and beautiful voice and she uses it masterfully.

This may not be the most original genre in the world of rock music but it's really well-structured and made with passsion so there's no reason to wrinkle your nose in disgust: "Viaje A Marte" is the kind of album very easy to fall in love with, and if you don't - the chances are you're a snob.

The best tracks: L, Universos Paralelos, Desde Lo Negro and any other song on the album

Las Resenas Casuales. Vetusta Morla "La Deriva"

Vetusta Morla "La Deriva" (p)2014 Pequeno Salto Mortal

I suppose that after the computer game "Los Rios De Alice" minimalistic instrumental soundtrack that Vetusta Morla released the last year no one really knew exactly what to expect from the band on their third studio album. The continuation on its predecessor "Mapas" ideas? Something new? If so - what new? Now it is clear that one of the possible correct answers is 'the new details'. Really, in terms of general direction while being much more diversified rhythmically "La Deriva" stands not so far from band's astonishing debut. But though it starts like a twin brother of "Un Dia En El Mundo", the first album of Madrid-based sextet led by charismatic singer Pucho, what follows next may surprise the listener. Not only because at least one song - "Fiesta Mayor" - is definitely something Vetusta Morla have never done before. Not only because "Golpe Maestro" is the fast rocker-type of song which is rare in the band's back catalogue. And definitely not because they have changed their trademark font on the cover. But the first and the third albums of the band are divided by 5-something years, and these were very busy years - which means new experience, new knowledge, new tricks and methods. And the band have learned the lessons. You almost feel the difference in the tips of your fingers but it's hard to explain where this difference really lies in. Maybe in new drum sequences. Maybe in new sounds. Maybe in new instruments used. Maybe in none of the aforementioned.

In comparison to "Mapas" which deserved more thinkful listening and which had its own fire inside but this fire was rarely visible, "La Deriva" (which means 'leeway') uses more accessible and easily understandable approach. The fire of "La Deriva" is not hidden, it's here right in your face.

The best tracks: La Grieta, Fuego, Golpe Maestro, Cuarteles Del Invierno

Las Resenas Casuales. Velcro "Hojalata"

Velcro "Hojalata" (p)2014 El Hombre Bala Records

I'm more than excited on this one.

As far as I know "Hojalata" is not album in the whole meaning of the word - it's more like collection of songs from early demos and self-edited works which were revised, renewed and re-recorded to the undeniably wonderful results. From the very first track you find yourself trapped into the velvet walls of post-'Cool Britannia' dance rock (does anyone remember Jesus Jones?) mixed with quasi-industrial electro-wave and leftfield electronica. Some may call them 'the Spanish Primal Scream' and it would be not so far from truth but I suppose that the musical pallette of Velcro in comparison with Bobby Gillespie's drug-soaked angst-ridden cynicism-based vehicle (if not counting PS's stylistical fluctuations back and forth from psychedelia to arena rock to electronica over and over again) is even wider.

You may write off a considerable part of admiration which is more than noticeable here on my general adoration of Canarian rock but even if you divide the emotional component of this review by 3 you will nevertheless get the great tunes and catchy choruses and happiness for everyone in the bottom line.

The best tracks: Me Rompe El Alma, Final, Que Va A Hacer?

Las Resenas Casuales. Polock "Rising Up"

Polock "Rising Up" (p)2014 Mushroom Pillow

Another Spanish band that sings in English. I'm not familiar with their previous releases but this one definitely steps into Two Door Cinema Club's (or any other young band ever labeled 'indie rock' in 2010's) territory.

I don't have much words about this album really. It seems to be pretty good at entertaining but I cannot feel myself deep into this kind of music. I even don't want to spend the time trying to find some additional words to make this piece of spelling practice a full-fledged review. It's not bad, it's not wrong - it's just not my piece of cake.

The best tracks: Rising Up, Hockney

Las Resenas Casuales. Poomse "Vs. The Kingdom Of Death"

Poomse "Vs. The Kingdom Of Death" (p)2014 Foehn Records

All the Mallorcan bands that I'm known of... Well they're not so numerous though - I know only three Mallorcan bands: Sexy Sadie, L.A. and Poomse (I don't know exactly what the word 'poomse' means - maybe it's something out of taekwondo vocabulary). They all sing in English, and English of all of them is perfect. From the beginning of this review I should admit that the mere use of English is Poomse's weakest feature (well again - it's all about my own cockroaches in the attic, as I prefer Spanish or Catalan to English). Their best feature anyway is... everything the rest.

"Vs. The Kingdom Of Death" is the second full lenght work of Poomse. While the first one - "Tomorrow Will Come & It Will Be Fine" - was mostly 'one man stand' of Llorenc Rossello who played almost all instruments himself, the new album was recorded as a band.

Poomse play sadcore. Or slow indie rock mixed with americana. Or... Ok, I'm enough with these stylistical measurements now. Let's put it in the way of facts and/or comparisons.

The third number on the disc,seven minutes long "Ronette", plays a homage to titular "Twin Peaks" theme.

"Still Sharks" is the slowest song on the album. Oh no, the next song - "Song For Roberta Sparrow" where Llorenc Rossello sounds like Lou Barlow in the most quiet numbers of his Folk Implosion project - is the slower one. On "August, 2011" Llorenc starts to sound like Robert Pollard (despite the fact that Robert Pollard has never penned such a slow song neither in Guided By Voices nor within zillion of his solo projects). One of the numbers is titled "Tomorrow Will Come" making a bridge to the previous effort. And the closing "The Kingdom Of Death" begins as [seemingly un]controlled destroy but when the first minute is over it turns into the beautiful song which evokes again the reminiscences of Sebadoh/Folk Implosion... at least until the moment when the trumpets are on.

Overall, it's the beautiful album sometimes gloomy sometimes meditative but never boring or sleepy. And "Daily Bread" is the best song that I've listened to in the year of 2014 so far.

The best tracks: Daily Bread, Empty Sea, August 2011, Ronette

Las Resenas Casuales. Sidonie "Sierra Y Canada"

Sidonie "Sierra Y Canada" (p)2014 Sony Music

Let's start to move the Sidonie albums from 'Rock' to 'Electronica' category, cos this catalan trio (known for the "fuck the barbershop" attitude) has abandoned guitars and started playing the synth-driven future pop. Also you may take Parade or even La Casa Azul as the new reference points to the Sidonie's creative heritage. Quite embarassing? Don't bother. Their trademark touches of psychedelia ain't gone anywhere and still are clearly present. But the main reason why should we not to worry about the changes in the band's modus operandi are the songs. The songs here are the best in the band's career. Even their breakthrough 2007's album "Costa Azul" was not so perfectly crafted melodically. 

Though desperately missing the guitars in the mix and still considering "El Fluido Garcia" as their strongest effort to-date, I can't deny the melodic grandeur of the new album. These songs will surely make you sing and dance along and get stuck in your head for (at least) months.

The best tracks: Rompe Tu Voz, Un Dia De Mierda, Sierra Y Canada (Historia de Amor Asincronica), Las Dos Correas

Las Resenas Casuales. Modelo De Respuesta Polar "El Cariño"

Modelo de Respuesta Polar "El Carino" (p)2014 Limbo Starr

While the previous effort of Modelo de Respuesta Polar "Asi Pasen Cinco Anos" was mostly shoegaze album, "El Carino" is rather free-form post-everything rock with folk roots. It contains quiet slow-to-mid-tempo songs that incorporate winds, synths and digital effects galore and slowly evolve (or not evolve - which is more than usual here) towards the epic final. Only two songs - almost 7 minutes long "Tan Blanco" and closing "Los Mejores Anos"- remind me of the previous incarnation of the band. So if you liked "Asi Pasen Cinco Anos" much (as I did) this is not for sure that you would like "El Carino" the same way - these albums are not different to the point where they might be considered as made by two different bands, but the crevice is quite wide. And this crevice goes mostly from the absence of the muscular guitar parts on the new disc. So, "El Carino" is by no means beautifully arranged and perfectly produced album that may be a bit too calm and sleepy and a bit not what I expected from the band.

The best tracks: Tan Blanco, Los Mejores Anos, Miedo