Показаны сообщения с ярлыком Modelo De Respuesta Polar. Показать все сообщения
Показаны сообщения с ярлыком Modelo De Respuesta Polar. Показать все сообщения

суббота, 18 августа 2018 г.

Sonorama 2018. Days 1-2

This particular Sonorama differed much from all the previous editions we’ve been involved into. This time we made an initial decision to abandon seeing as many bands as possible. When there’s a lot of events around it’s hard to keep up fully with what’s going on so most of the time you’re running from stage to stage with the sweat on your teeth trying to catch a couple of songs here and then a couple of songs there. Now we were more about soaking our bodies and minds into the atmosphere of the festival instead. We’ve got along with more people, we spent more time simply enjoying just being the part of it. 

Wednesday, 08th
The festival started at 9:00 pm sharp with the performance of Disco Las Palmeras! It looked like shame the audience was rather sparse during their show as Diego Castro and his pals deserved much more attention. But it was only Wednesday, and the most of the young festival people didn’t arrive to Aranda at the moment, I suppose. Anyway, their new album “Calida” is one of the year’s best, so I enjoyed the new songs a lot – and poor are the ones who didn’t came.
Triangulo Inverso is one of those bands that are deemed to be popular while lacking originality. You may easily recognize the influences of Izal, Vetusta Morla, Miss Caffeina in their songs. For the festival stages such bands are the great deal cos their songs are always good enough to make the people rave and dance and fully enjoy it but at the end of the day it’s a dead end. For me it’s pretty clear you need something more to be truly original.
The next ones to step upon the stage were Correos. The Sonorama’s darlings (I’ve lost count of how many times they performed at different locations of the fest for the last 5 years) were loud and cheerful and highly energetic as always. The fact they had lost a member prior to recording of their new disc “Terapia, Terapia” didn’t impact their sound and stage behavior at all. They presented the pack of older hits along with a couple of new tracks from “Terapia, Terapia”. I should declare the new ones fitted great so the next time the crowds gonna be shouting out the lines from “El Ultimo Verso” or “Sobreviviendo” like they shouted out ”Calles llenas de gente vacia/ Y nadie sabe donde esta la salida“ or “Todo el mundo necesita un corazon salvaje” now.

Thursday, 09th
We started the first full day of Sonorama from the Floridablanca performance at Plaza la Sal (Heineken stage). Floridablanca had only a handful of songs released publicly as singles earlier this year, and their debut album is set to release for the autumn that comes. But for me they are kind of old friends as my Sonorama history was ignited by these guys. I mean, all my love and adoration of this fest started to blossom from the performance of the band named Sin Rumbo in the year 2013. Floridablanca are exactly the same guys who performed as Sin Rumbo up to the year 2017. Now they have changed direction starting to play synth-driven music with sunshine pop/balearic influences. It was quite different to what they did before but anyway entertaining. As I predicted previously, if you're a fan of Sin Rumbo it's easy to convert yourself into the fan of Floridablanca.
The next band to perform on the same stage was the young quartet Patio Rosemary. Up to their concert I was put into situation that cut short my abilities in squaring down the correct and weighted opinion on this band as we were approached by a group of our friends (hi there Glo, Eva, MariAn and company!), and during Patio Rosemary’s set we spent more time talking and embracing each other than listening to the band.
Right after Patio Rosemary came offstage we left Plaza la Sal and came to a restaurant to enjoy some lechazo. While sitting there at the table with the piece of meat in one hand and the cup of wine in another we were thrilled by the news that today’s concierto secreto (now it’s called #EspirituRibera due to DO Ribera Del Duero sponsorship) on Plaza del Trigo would be Cycle. The same Cycle our friend David Tabuena plays with! We finalized our meal quite quickly and rushed to Plaza del Trigo but this place was overcrowded as usual. Fortunately, we managed to win ourselves some free space aside of the stage so for the last 4 songs we stayed in a couple of meters from David and China Patino (David Kano, Juanjo Roig and the frontman Luke Donovan were a bit farther from us). Cycle performed mostly the tracks from their new album “Electrik” – at least in the final part of their set. Right now I look at the results of the poll “What #EspirituRibera event you consider the best” in twitter, and the Cycle’s gig is on the last place with no chance to step up. I totally disagree with that, by all means Cycle were great.
After we met David backstage we took a 2 hour break before the nighttime set of concerts in recinto ferial (main festival area).
***
The first evening show was the one of Joana Serrat. Well, I can’t call it disappointment of any kind though I can’t hide my dissatisfaction. The songs were still that great but the sound was samey song to song. It sounded like ‘ok, as we’ve got this guy on pedal steel let he play it all the way’. I don’t know... Her albums are gorgeous, there’s nothing about sameness in “Dripping Springs” or “Cross The Verge” – but live the impression was somehow spoiled for me. Anyway the show pleasant enough to feel some kind of regret when moving away halfshow from Burgos stage to Ribera stage for catching the second half of Tulsa’s gig. 
This was the 3rd time we observed Miren Iza’s band live and surely this was the most danceable show out of these three as it was based upon the material of the last year’s perfect “Centauros” - in contrary to the previous two that were post-“La Calma Chicha” gloomy yet vulnerable psych-pop ones.
The next stop was the Burgos stage again. El Increible Paso was the new name for us and we wanted just to check the band out. So we did right what we wanted to do: we checked this band out placing Hombre Esponja and his pals into the ‘to listen to their albums later’ category. As evidenced by the show they stood both legs in folk rock and probably paid some debt to Izal but they’ve got something of their own as well.
We never managed to appear at Neuman’s performances before so this time we arrived to Aranda stage beforehand to get ourselves the good places. Everyone who ever listened to his albums knows well that Paco Neuman is a guitar junkie. Who else could start his set with 12 minute long “Deleted Files” from the most recent release “Crashpad” ((p)2017 Subterfuge)! Then Paco continued to pour the waterfall of the guitar swirl onto the audience. He changed guitars after every song and used two full pedalboards of guitar effects. I think ‘astonishing’ is the proper word to describe his art.
Then we walked to the Burgos stage for the Modelo de Respuesta Polar performance that appeared to be the logical continuation of Neuman’s as the five-piece from Valencia used three guitars onstage to produce the sonic squall simultaneously vigorous and intimate. With every new album the songs of Modelo de Respuesta Polar are getting slower and mellower but live the band is still powerful and loud.
Despite the fact the shows of Neuman and Modelo were really great, the best show of the night definitely was performed by Pasajero. The Madrid-based band collected the best tracks out from their three albums for that special night. 100% hits, 100% energy, 100% pleasure.

понедельник, 12 декабря 2016 г.

Best of 2016. Albums 31-40

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

40. Keep Out "Spicy Mud Cake" (p)Polar
Electrified and contaminating, this album is like the bottle of Molotov cocktail ready to explode thrown into the trash container full of the construction debris and chemical production paraphernalia.

39. Shinova "Volver" (p)Warner
Switching from punching alt-rock to more folk-tinged song constructions doesn't change the main thing about this Basque band: they specialize on hymns, not songs. All these tracks are born to set flames to stadiums. Sometimes this approach leads to the great results.

38. Escuelas Pias "Nuevas Degenarciones" (p)El Genio Equivocado
The synth-driven branch of indie pop that's called 'indietronica' is something of a common place in Spanish music since the first successes of Elefant Records. But some true pearls are still appearing seemingly out of nowhere. This duo is one of these pearls.

37. Modelo De Respuesta Polar "Dos Amigos" (p)self-released
As introverted as gorgeous and as subdued as sublime, the new album of Modelo de Respuesta Polar (initially released via the crowdfunding campaign) presents Borja Mompo's band on a peak of the creating form.

36. Hola A Todo El Mundo "Away" (p)Mushroom Pillow
These are the pop songs. These are the tight guitar-driven pop songs. I'm unaware about the intention but for me this 'away' is somewhere where the R.E.M's "Shiny Happy People" were born.

35. Sidonie "El Peor Grupo Del Mundo" (p)Warner
Call it irony, call it self-indulgence but for Marc Ros and his pals it's a kind of a cheap trick to name their best album "The Worst Band In The World". The bleak Beatlesque melodies themselves can't make me love it as I'm not the fan of The Beatles, but the irresistible lighthearted elegance this album was created with - surely can.

34. Biscuit "Biscuit" (p)La Castanya
"Biscuit" reminds me of Nerf Herder, Against Me! (before gender reclassification of their front[wo]man) and The Hold Steady. But mostly it reminds me of Bullitt's "Sparks". And it's really nice cos I like "Sparks" alot.

33. El Lado Oscuro De La Broca "Poderosa" (p)El Genio Equivocado
The most inflammable band in El Genio Equivocado roster fires on all cylinders in the sophomore release. Just like on the previous album, "Poderosa"'s sound is the sound of a crashing aircraft backed with the most brutal form of post-punk.

32. Les Cruet "Pomes Agres" (p)Bankrobber
I ain't learned about the themes Les Cruet are exploring in their songs cos the lyrics are 100% Catalan. Anyway, this harsh angry shrieky primordial punk album with sratching gnashy vocals is a good soundtrack to the modern society demise despite the things they are singing about really.

31. Doble Pletina "Asi Es Como Escapo" (p)Jabalina Musica
The best ever pop music for those who don't like pop music.


суббота, 27 августа 2016 г.

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.

пятница, 5 декабря 2014 г.

The Best Of 2014. Albums 21 - 30

30. Yes I M "Vietnam"
(p)Foehn
The extremely catchy lo-fi 'bedroom indietronica' from Chinese Christmas Cards' singer Mario Gutierrez Brun.

29. Cosmen Adelaida "La Foto Fantasma"
(p)El Genio Equivocado
The young quintet from El Genio Equivocado's roster plays nugaze-oriented twee-tinged indie rock - a Spanish 'hi-five' to The Pains Of Being Pure At Heart.

28. Breis "Verna"
(p)Sweet Song
The new album of Manolo Breis is a bit calmer than his two previous works "Asuntos Pendientes" and "Invisibles", but "Verna" definitely is a grower - and now I hardly can imagine my year 2014 without it.

27. Mourn "Mourn"
(p)Sones
The teen four-piece genetically related to Ramon "The New Raemon" Rodriguez (two chicks in Mourn are his daughters) plays homage to Sleater-Kinney and PJ Harvey with love and sincerety.


26. Bel Bee Bee "Still Unstirred"
(p)The Note Company
This debut disc of Belen Alvarez Doreste is detailed, deep and dreamy example of the intelligent mix of trip-hop and folk. A good pack of features to fit in this Top30.

25. Grises "Animal"
(p)Octubre/Sony
Grises go loud adding the elements of djent and rave to the standard electrorock plate.
24. Supersubmarina "Viento De Cara"
(p)Octubre/Sony
Far more catchy than "Santacruz", "Viento de Cara" puts indie-goes-major superstars Supersubmarina back on the "Electroviral" track.
23. Cuello "Modo Eterno"
(p)BCore Disc
The post-hardcore quartet's second effort in two years is a raw, fast and sarcastic fireball you can't stand against.

22. Modelo De Respuesta Polar "El Cariño"
(p)Limbo Starr
Less shoegaze and more folky than "Asi Pasen Cinco Anos", the sophomore release shows the wider spectre of this Valencian band's talents.
21. Havoc "Lo Saben Los Narvales"
(p)Subterfuge
The ideal pop music for the ideal world.

вторник, 25 марта 2014 г.

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