#WhatsWrongWithIt. The Best of 2019, the appendix

That's why these albums didn't make it into my 2019's Top50 list.

Viva Suecia "El Milagro"
(p)Subterfuge Records
SPTF
In terms of songwriting “El Milagro” is a perfect album. Apparently there is no filler, every song is a stunner - and that’s coincidentally the main problem with it: it’s TOO perfect. It is so good you can enclose it into a capsule and send it through the space as a proof of human intelligence and fondness for beauty. But whether it was said once by Lao Tzu or by Noel Gallagher, the true perfection has to be imperfect. There should be a twist, there should be a sharp angle, there should be an accidental curveball to make a record artistically viable. But it’s so polished instead… So many people like it. All my friends like it. I’m not that guy who’s always opposed to the majority but, you know, reviews are always subjective as the reviewers are subjective. Look, I just can see the progress: the self-titled EP and “La Fuerza Mayor” were the sparks to start a fire, “Otros Principios Fundamentales” was about broadening the vocabulary, and “El Milagro” is the full-fledged demonstration of the abilities. From my point of view, only the first one was completely successful.

Leon Benavente "Vamos A Volvernos Locos"
(p)Warner Music Spain
SPTF

Another commonplace belief: the bands should evolve – and that’s true. There’s no point in constant reproduction of what you’ve already done greatly. “Vamos A Volvernos Locos” is the result of evolution. The first two Leon Benavente’s longplays worked perfectly on the unity of such opposites as the band’s melodic side (“Estado Provisional”, “La Ribera”) and their penchant for the cold-hearted electro-punk slashers (“La Palabra”, “Gloria”). Trying to find the ways of avoiding the artistic stagnation the renowned four-piece decided to abandon their hard-hitting side completely and this [considered logical by many] step has destroyed that push-and-pull effects that moved the band ahead so greatly. As a result we’ve got a beautiful and 100% accessible album that sounds kind of mono-dimensional as compared to their previous works. I only speak of music - the lyrics are still top-tier quality.

Noise Box "Here's That Bliss You Left Behind"
(p)Son Buenos
SPTF

One more album I would like to mention here is Noise Box’s “Here’s That Bliss You Left Behind”. Definitely this is a great album whose only flaw is its attempt to cover the territory too vast to be covered by the single piece of art. “Every Picture Of You Is When You Were Younger” was that good because the band didn’t try to embrace too many shoulders at once. Cohesion was its considerable advantage. The new one sounds like the neighbours of the aforementioned Viva Suecia try to pack 3 albums load of ideas into a single album. Every given song is a masterpiece but being glued together they produce rather overwhelming effect. They’re too much. They feel cramped within ‘one LP, ten songs, 5 minutes per song’ context. The last time I felt so was when I listened to “IX” by …And You Will Know Us By The Trail Of Dead so it’s no surprise that the band mentions the Texans as one of their major influences. I suppose it could be better if Jesus Cobarro & Co added a spoonful of Failure into the mix – given they took (intentionally or not) the LA-based space/grunge rockers’ method of releasing a string of separate EPs before combining them (and their names) into the whole album.

Best of 2017. EPs and mini albums

Just a wordless presentation of my choice in EPs.

10. Amphetamine Discharge "Raise Your Addiction" (p)Clifford 

BNDCMP

09. Lua Gramer "Dia Del Centro" (p)Clifford 

BNDCMP

08. Espiritusanto "Casa Mayor" (p)Jabalina Musica 

BNDCMP

07. Echo "El Sistema" (p)self-released 

BNDCMP

06. When Nalda Became Punk "Those Words Broke Our Hearts" (p)Discos De Kirlian 

BNDCMP

05. Llacuna "Llacuna" (p)Saltamarges 

BNDCMP

04. Glitterhouse "Pre-Shrunk" (p)self-released

BNDCMP

03. Leon Benavente "En La Selva" (p)Warner Music Spain 

SPTF 

01-02. Polseguera "Sa Mata Escrita" (p)Famelic/ Bubota Discos/ Discos Walden 

BNDCMP

01-02. The Weeird "In The Garden" (p)El Hombre Bala 

BNDCMP

#Sonorama20. The Report. Part Two

When we left Pin&Pon djs’ session at 02:30 we felt almost dead. But after we came to our beloved Kinedomus (surely the best place to enjoy Sonorama) and had a good sleep in the dead silence we felt our batteries fully recharged. So at 12:00 sharp we stood on the Plaza de Sal waiting for the new grace to fall upon us.

10/08/17. The Morning. Main location: Plaza de Sal

Gimnastica were the perfect band to start the morning right. Their songs were melodic, and the band was brimming with positive energy.

Apartamentos Acapulco are widely considered the new hopes of Spanish shoegaze. They even come close to the “new Los Planetas” tag. In the middle of their performance it was slightly spoiled by the problems with the gear but these problems were not so crucial as those for Dorian last night, so the band continued without slowing down. As many other shoegaze bands, live Apartamentos Acapulco sounded louder than on albums. For me they seemed closer to Modelo de Respuesta Polar than to Los Planetas (it’s neither good nor bad as I adore them both).

Then Alberto Y Garcia stepped onto. They were good but this was not our kind of music, so after 4-5 songs we started roaming around the old town. As the most people gathered in Plaza del Trigo, the tiny streets around were empty almost completely, and when we stepped onto another callejon we saw a bunch of people with some luggage. Initially shocked, we recognized the musicians of Leon Benavente in these people. I couldn’t help but rushed to them with my classic ‘sorry men we’re your fans from Russia, we’ve got all your releases physically, could we please make a photo with you!’ They seemed having fun of this situation, and they told us they would be this day’s concierto secreto. We expressed our doubts of being able to attend this as there were so many people on Plaza, and wished them the good journey, as we knew that this day they should fly to Tenerife to take part in Phe Festival.

After this unexpected but extremely pleasant encounter we returned to Plaza de Sal to see Willis Drummond. Willis Drummond are from the French part of Basque Country but they’re not considered foreign band as they are singing in basque and are managed by Panplona-based booking agency Black Izar having many concerts all across Spain. The band played the highly energetic show which I summed up with the words: "The best post-hardcore possible". Now I can only repeat that.

Fortunately, we managed to find ourselves a place on the overcrowded Plaza del Trigo to see Leon Benavente. They proved one more time that they are probably the best live act of Spain #rightnow. They’ve got the magic.

10/08/17. The Night. Location: Recinto ferial

Another band to have the same kind of magic (though staying on the lower level of publicity) is Yo, Estratosferico. The Guadalajara-based quartet mixes guitar-driven indie rock with post-hardcore angularity and 2nd wave emo dramatic tension to the perfect results. Additionally, these four musicians are the great performers. And the fact that rare person knows about it causes me real physical pain. ‘We’re just trying to get better with every show’ – Jose told us when we met him the next day. But even if Yo, Estratosferico are not intended to gather thousands, they deserve much more spectators than they got now cos they are not another faceless band.

Ivan Ferreiro presented his most recent release “Casa” ((p)2017 Warner). As for me, his two latest albums (“Val Minor – Madrid” and the aforementioned “Casa”) contain good songs but no hits comparable to “Turnedo” or “NYC” (with possible exception of "Pajaro Azul"). So the show was somehow the reflection of it. It was 100% alive and kicking - but I'm still dreaming about Ivan's concert that would include the rocking numbers like “Cancion Humeda” or “Paraisos Perdidos”.

After having some wine in VIP zone listening to Coque Malla who was performing on Aranda stage we decided to skip the Sidonie’s show (as the considerable crowd seemingly hard to enter already gathered there before the main stage) in favor of having ourselves more wine and listening to it from afar. Then we trod our path to the Burgos stage. At the moment when we came Flamingo Tours were finalizing their set. On the first line right at the security bars we met Rodrigo Valiente from The Trunks. I warned him that I’m going to shout all the Radiohead tracks out as loud as I can, and as I got no musical voice it might cause him pain in the ears. He told me it’s OK – but in the middle of the set he disappeared without saying anything, so I still have the fear I annoyed him to the core with my crooked screams.

Paranoid Android was some kind of coverband supergroup consisting of the members of Igloo, Eladio y Los Seres Queridos and Rufus T. Firefly and playing the songs of “OK Computer” (in fact their program included numbers from “Pablo Honey” and “Kid A” as well). All these people gathered onstage could make it too chaotic to perform so the show was divided onto some sections led by different bands. It started with Igloo, then Eladio Santos and his band stepped into with their two-song sequence. After that Victor and Julia from Rufus appeared onstage to play some songs including “Idiotheque” from “Kid A”. The show was finalized with Igloo covering “Let Down” and “Creep”. All three bands did the best they could creating one of the most interesting events of the fest.

The next point of interest in our schedule was the performance of Niños Mutantes but when we escaped the Burgos stage we saw the largest crowd we had ever witnessed before the second-rank stage, so it was apparent we had no chance to see Niños Mutantes from any proper place. Disappointed we went to VIP zone to have ourselves some beer or calimocho (and we had it, yeah!) and to wait for the moment when we could go for gaining two good places before Xoel Lopez in fair competition with other festivaleros. Right after Niños Mutantes went offstage, and the whole crowd started migrating to Ribera, we came to the far left of Aranda stage and settled down there in couple of meters from the security bar. Not ideal but quite appropriate.

As we were intended to wait here more than 45 minutes, I escaped the location to see what was happening at Burgos stage where Capsula were paying their homage to the late David Bowie. Capsula is another band whose live performances you shouldn’t miss. I stayed there for 15 minutes, and these 15 minutes were fantastic.

Earlier it was declared that Xoel Lopez would play the set of songs based on his Deluxe past. In fact it was 50/50 Deluxe and Xoel. Everybody would expect him to perform "Que No" and "Historia Universal" - what he surely did. Other ones - like "Cielo de Madrid" and especially "See You in London" were the relative surprises. Xoel performed being backed by the full band that included trumpets, sax and percussion. Closer to the end of the set he stopped singing and revealed that 20th anniversary coincided with his own 40th birthday now. While he was talking Javier Ajenjo entered the stage and made his heartfelt congratulations to the old friend.

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. 

Best of 2016. Albums 11-20

I have to speed up the process to finalize it before Christmas. Hurry up, man, hurry up!

Previous entries:
Top50. Albums 21-30
Top50. Albums 31-40
Top50. Albums 41-50
Top10 - EPs and mini albums
Honorable mention #1
Honorable mention #2

20. El Petit De Cal Eril "La força" (p)Bankrobber

BANDCAMP

With the help of his colleagues from Seward and Animic, Joan Pons (one man behind El Petit De Cal Eril moniker) has created the album that is short in timing but large in senses. From Jose Gonzalez/Isasa-esque tiny acoustic renditions to more upbeat tracks with full instrumentation it's easy to fall in love with these songs. Thanks again to iCat.cat radio for getting me acquainted to this band and this album.

19. El Tercer Semestre "33 1/3" (p)Aloud Music

BANDCAMP

Born on a merge of math rock, free jazz and post rock, "33 1/3" is the vessel full of extreme beauty and fascination.

18. Kasparov vs Deep Blue "The Flare" (p)self-released

BANDCAMP

Read this.

17. Big Summer "Trigger" (p)El Genio Equivocado

BANDCAMP

Read this.

16. Monte Del Oso "Existen Moscas Que Se Relajan Durante El Vuelo" (p)Farmway

BANDCAMP

Read this.

15. Leon Benavente "II" (p)Warner

SPOTIFY

Though not being the same sensation as their first longplay, the sophomore album of Leon Benavente is the work of magnificient quality. In equal proportions it is divided onto the cold and angry El Columpio Asesino-like post-punk rockers ("California", "Gloria", etc.) and the melodic bittersweet songs ("La Ribera", "La Vida Errando") but the best results they got when they unite the both ("Aun No Ha Salido El Sol").

14. Viva Belgrado "Ulises" (p)Aloud Music

BANDCAMP

Read this.

13. Las Ruinas "100% Maximum Heavy Pop" (p)El Genio Equivocado

BANDCAMP

I'm not sure this is 100% pop, but if it's really so this pop is 100% heavy. The trio spearheaded by Edu Chirinos (Edu Ruinas) continues their 'an album in a year' run with one more brilliant effort. "100% Maximum Heavy Pop" is one of these records that you may dance to, party to, get drunk to, laugh with, drive in a car with, travel by the train with, or do anything else with (or to).

12. Power Burkas "Llarga Vida Al Taranna" (p)BCore Disc

BANDCAMP

Read this.

11. Homeless "Solidos Platonicos" (p)self-release

BANDCAMP

The last album to enter the top list (to be honest I kept one blank spot for them till the last moment), Homeless' "Solidos Platonicos" was released the 1st of December, and from the first listen it was clear for me that this album deserves much. The only question was: how much? To find the answer I needed listens number 2 and 3. And then 4. And then in a week I had more listens of "Solidos Platonicos" than most of the albums in a year.
I'm still in love with their previous album "La Ciencia Lo Sabe". The new record differs soundwise (as it incorporates now the elements of the guitar player/producer/sound engineer Juan Antonio Mateos' parallel project The Magic Mor) - but the satisfaction is the same. And it's nice to know that the band doesn't tread the same path over and over again.

Sonorama 2016. The Report: The Best Of... Part One

I'd like to change the pattern I've been following for three years telling you about Sonorama. So this time I'm not going to do my usual day-by-day reports in this boring 'been there, saw that' manner.
And now let's strat from...

...The Band That Made Me Cry:

Modelo De Respuesta Polar (Saturday 13th, 13:00, Plaza del Trigo). Their current music (as evidenced by albums "Cariño" and "Dos Amigos") may tend to quietness and emotions hidden under the surface, but live they are tight and powerful as ever. Borja Mompo and his mates created their three-guitar soundscapes to such soul-wrenching effect that in a certain moment I've found myself crying. Nobody noticed it as I was wearing my usual sunglasses.

The Most Emotionally Impressive Show:

Carmen Boza (Sunday 14th, 12:00, Plaza del Trigo). If on Modelo De Respuesta Polar I just shed a tear or two, then the next day I've cried all the show of Carmen Boza through. I'm quite sentimental in everything that concerns music. I'm pretty easily getting goosebumps when I'm listening to a great song. And when I'm listening to the songs SUCH great sung by the voice THAT strong it's... I couldn't help but started to cry no matter how foolish I might look at the moment. This girl is so talented that when she only starts to sing it's already overwhelming.

The Best Show Overall:

Leon Benavente (Friday 12th, 23:35, Castilla Y Leon). It's beyond me how they do it. No visual effects, no stage scenery. Only three [almost] motionless persons and the velvet baritone and the over-the-edge splashing energy of the frontman Abraham Boba as the glue for all parts. On the new album "2" Leon Benavente shifted their stylistics a bit closer to the ice-cold postpunk-based crossover in the vein of El Columpio Asesino but the sound of their live performances stays more or less the same, and the new songs, such as "Tipo D" or "Aun No Ha Salido El Sol", perfectly fit to old favourites "Animo Valiente" or "Ser Brigada". That makes me wonder even further how they do it. Every time they are almost the same and every time it's thrilling.

The Second Best Show Overall:

L.A (Thursday 11th, 0:00, Castilla Y Leon). Two years ago we missed their show because they were set to perform at 02.00 am, and it was too late for us. This time it was much easier to spend 45 minutes with the crepuscular charm of Luis A. Segura and his band. The set covered the new era of the band (starting from the album "Heavenly Hell" on) with all the best tracks included, such as "Clocks" from aforementioned "Heavenly Hell" or "In America" from the most recent release, the brilliant "From The City To The Ocean Side". The red-lighted fog shrouded the stage while Luis played electric guitar, palyed acoustic guitar (without support of the band), played drums, and it was spectacular by all means.

The Best Show I Didn't See:

Izal (Saturday 13th, 0:45, Ribera del Duero). This edition of Sonorama has marked the new record in terms of attendance (I don't know the exact figure but it's over 60,000 people). It seems like the new record was set for the attendance of the single show as well, cos I've never seen the crowd like that. The audience has filled all the space of recinto ferial throughout - up to the WC's zone on the far back. Even the VIP zone was overcrowded that made us observe the show through the branches and leaves of the young magnolia tree. Moreover, in the middle of the show we were approached by our friend Rafa Tuñon, the frontman of Paciente Cero. So we talked to him a couple of Mikel's songs away.

Mikel Izal and his band has grown up to his current stature right before our eyes. Four years ago we saw them on some small local fests. Three years ago we could easily get to the first line before the stage to see them performing in 1.5 meters from us. And now they are The Most Important Band Of The Moment... It's nice, but I can't tell you that I saw their performance though I stayed there for this. The picture below will tell you why:

The Best Show No One Attended:

Clara Plath (Thursday 11th, 19:00, Carson Camping). It's such a pity that nobody came to see this band. Clara Plath was scheduled to play in Carson Camping at 7 p.m - right at the moment when the main stages come to action, so it was probably the worst timeslot to perform outside the recinto ferial space. But we were there, and we saw the band doing their best and playing competently and cohesively like if they were performing before the 200+ pairs of eyes.

The 'I Don't Get It' Show:

Kitai (Friday 12th, 14:00, Plaza del Trigo). This was the most brutal show of  all four Sonoramas that I beheld, equally cruel as to spectators as to musicians. The singer Alex acted with the ferocious beast-like aggression that splashed around like the wine he spoiled on himself in the middle of the show. The drummer Deiv played his drums on the God-like level. The bass player Fab did Flea pretty successfully. And the axeman Edu was competent as well. But all the components did not work well together musically. For me it seemed like the structure of songs didn't fit well for the venue, the music sounded disjointed at times and the melodies existed on the verge of falling apart.
But anyway, as a show it was one of these 'Yeah, I was there!' shows.

The Discovery Of The Year:

Disciplina Atlantico (Friday 12th, 19:50, Burgos). I was learned about this band before cos I liked their 4-song EP that was released earlier this year. But I didn't expect them to be so great onstage. They're loud, they're fast, they're noisey, they're melodic. They were vital. And I will pray for Disciplina Atlantico to successfully transfer their live energy into the studio recordings.

The 'Bloody Hell!' Show:

Echo (Friday 12th, 20:00, MeetinArts/Musica Creativa). We came to see this young band accidentally. We just walked through recinto ferial up to VIP zone to have ourselves some wine trying to kill time between Disciplina Atlantico and Leon Benavente. Absolutely unintentionally we decided to pass through the MeetinArts tent, and... This is what I like the most. You just hear something by chance and then you got stunned literally in seconds. This was the case. They looked young, I mean, VERY young - but what they did was really astounding. The girl with acoustic guitar on the forefront - oh my god, she sounded like she needed no microphone at all.

The Band Of The Year:

Igloo (Thursday 11th, 22:30, Burgos). Our favourite band, our friends, the amazing persons. Beni, Berto, Julian, JuanMa, we appreciate every moment we spent together, and we miss you so much now!
The band garnered less attention than it could due to the fact that their timeslot coincided with the Duo Dinamico show in the main stage. There should have been much more people otherwise, I guess. But it's usual situation when the lesser bands suffer from the main stages' schedule. Anyway we enjoyed the performance much cos it was the pure pleasure to see these folks onstage. Starting from the first track ("Ausencia Parcial") to the last one ("Sin Mentiras") we were raving as hell.
Other things to menion are: the pokeballs (don't ask), and the appearance of Rodrigo Valiente (The Trunks) for supporting role (next morning Beni and JuanMa themselves would appear along with The Trunks on Plaza del Trigo to return the friendly service back).

The Last Great Impression Of The Fest:

Viva Suecia (Sunday 14th, 21:00, Carson Camping). According to the merits of their album "La Fuerza Mayor", Viva Suecia is my favourite band of the current year. All they needed is to confirm their abilities onstage - and they surely did it on the last night of the festival. There couldn't have been the best way to finalize #SonoramaRibera2016 for me.