Tuya “Proxy” (p)2023 El Rayo Verde

I've got so much respect bordered on adoration to David T. Ginzo’s “A War Is Coming” which is placed high in my shortlist of go-to albums, so it’s obvious that I expected much from his new effort “Proxy”. And… What I got is not what I expected. While “A War Is Coming” sounded handmade, “Proxy” sounds too professional. In fact, the difference between these two albums is like the difference between an arthouse movie and a high-budget blockbuster. There’s no problem, globally. Creative growth mixed with outstanding technical skills – who the heck would call it a problem? Besides, there are still some great songs here (“Ball Under The Car”, “Anthony”, “Friendly Fire”). But the rest of the album (especially “The Coup In My Eyes” and “Bretton Woods”) would perfectly fit for the playlist between the festival sets of Grimes and Arca – and it’s only bad news for me as at any festival I wouldn’t attend a show of either.

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Viva Belgrado "Ulises"

Viva Belgrado "Ulises" (p)2016 Aloud Music

Being the perfect mixture of high voltage screamo/metalcore and ethereal post rock, the sophomore LP of the Cordoba-born combo wears no signs of so called 'second album syndrome' at all. The sound of "Ulises" is gorgeous, I believe it sounds ten times richer its recording costs. Definitely one of the best releases of the year, it's stronger than "Flores, Carne" in every aspect. So if you like the first Viva Belgrado album - as well as records of This Will Destroy You and Bring Me The Horizon - you will surely embrace this one too.

Moreover, the next February Viva Belgrado will come to Russia to present this album in Moscow and Saint Petersburg. Nice news for me.

The best tracks: Pleiades/Pasaportes, Aeropuertos, Cassiopeia/Contraluces

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The Lazy Lies "The Lazy Lies"

The Lazy Lies "The Lazy Lies" (p)2016 Right Here Right Now

First of all I should praise Facebook for its positive impact on my life. The huge  part of the best moments in my life that occurred within the last 5 years period are strictly connected to the services Facebook provides to the people. But sometimes it really sucks. For example, the filtration of incoming messages really sucks. The reason why some messages appear in your messenger and some not, being stored in some non-apparent submenu is not clear. In the middle of this year I accidentally discovered some messages dated back prior to year 2015! From that moment on I made a habit of checking the storage of the filtered-off messages at least weekly. And this Thursday I found out that Roger Gascon from the band The Lazy Lies has contacted me in the beginning of this week. The 4 days lag was not so crucial as 1.5 years ‘filtered/found’ lag for the message of Guillermo from Wilhelm (formerly Wilhelm and the Dancing Animals) whom I never replied because felt the momentum lost, so I quickly contacted him back and promised to listen to his band’s eponymous album that was released in January’2016.
Later that evening I came to the band’s bandcamp page and pressed the 'play' button. In seconds it became apparent that The Lazy Lies are harvesting the meadows of the indie pop – more precisely the branch of indie pop that pays homage to the 60’s legacy. Though I’m hardly the massive fan of the 60’s music but I truly like a lot of bands from the 90’s that had been treading the same path - such as mid-era Lilys or The Ladybug Transistor or the multiple bands from the spinART label’s roster. So I just let it flow over and in the middle of the second track ("Who's That Sally?") I started to feel embraced by the sound and by the warm atmosphere of the album. While listening to the very pleasant 'boy/girl' paired vocals of Roger and Montse Bernad this feeling progressed further, and when the last song came to the end I pressed the 'play' button again to listen to the album the second time in a row.

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Monte Del Oso "Existen Moscas Que Se Relajan Durante El Vuelo"

Monte Del Oso "Existen Moscas Que Se Relajan Durante El Vuelo" (p)2016 Farmway

With the influences on their sleeves - early Superchunk, Sugar (for the advanced-level listeners I've got some more names: Edsel, Tsunami, Lotion) - Navarra's finest Monte Del Oso released the second album via the Farmway Records imprint. The first album was the pure delight, and the successor follows its way. I don't have much words in fact, as it's the kind of music where my heart really is, and when I listen to this music now I'm recalling alot of things like hanging out with my old music-oriented pals in university campus with tons of booze and completely no chicks, or collecting the compact cassettes with the handwritten credits and lyrics, or sticking the Henry Rollins and Dinosaur Jr. posters to the wall in my rented room (and you can't even imagine what it took to get Dinosaur Jr. poster in the deep suburbs of the 90's Russia)... We all know this emotion called nostalgia, and for me it turns into the bittersweet feeling when my youth is long lost and gone, but right now I've got something that relates Today's Me to these [not always] good old times.
Yet another brilliant album by Monte Del Oso. It's all you've got to know.

The best tracks: Las Personas Son Maravillosas Pero Yo No, Lo Nuestro Es Otra Cosa, Viva El Espiritu Deportivo

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Sr. Chinarro "El Progreso"

Sr. Chinarro "El Progreso" (p)2016 El Segell De Primavera

In the middle twenties of his fruitful career Antonio Luque found his new voice in melancholy. On the previous album "Perspectiva Caballera" he changed the direction from the vigorously paced and upbeat stride of the albums "¡Menos Samba!" and "Enhorabuena A Los Cuatro" to more subdued and sad semi-acoustic singer/songwriter rock. The new album should answer the question was it just the one-off excercise or a new trend for the renowned musician. 

Fortunately, the new album is 100% perfect again. "Perspectiva Caballera" was [arguably] the best Sr. Chinarro's album in years, and "El Progreso" is at least on par with the predesessor. Produced by the longtime friend J (Los Planetas) it delivers mostly the same emotions but in the slightly different way. The arrangements here are definitely deeper, broader, lusher and sometimes edgier but melodically it can be considered the logical progression of the "Perspectiva..." ideas (which, in its turn, can be considered the logical progression of such songs as. for example, "Quiromantico" from "El Por Que De Mis Peinados" and "La Cruz Verde" from "El Fuego Amigo"). The quality of the songwriting and the melodic intuition of Antonio is flawless, and we can only pray for this perfection to be prolonged on the subsequent Sr. Chinarro releases.

The best tracks: La Fiebre Del Oro, El Castigo, Fase Lunatica, El Progreso, Efectos Especiales

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Nocturnos "Hemos Visto Lobos"

Nocturnos "Homes Visto Lobos" (p)2016 INUIT Prod.

If the previous album of Nocturnos ("Pequenas Esperanzas") was more or less straightforward indie pop/rock, then the new effort is sin duda more diversified both rhythmically and sonically. The digitally-generated effects and dance beats have won over the familiar guitar sound on the most of the tracks. While "Fantasia Liberal" (track #2) and "Exclusiva Universal" (tracks #11) sound like they're recorded during the "Pequenas Esperanzas" sessions, eight tracks in between them are decorated in the different sub-genres of modern electronica-based indie pop with the wide range of influences: from such compatriot colleagues as Miss Caffeina, Love Of Lesbian (in their latest incarnation), Nino Burbuja, El Ultimo Vecino to the international charttoppers Balthasar. As on previous Nocturnos' efforts all the songs here are undeniably melodic and beautiful. But something in me starts crying when one more cool guitar-oriented band abandons guitars in favor of synthesizers.

The best tracks: Fantasia Liberal, Lo Sabes Bien, Navaja Y Filo, Exclusiva Universal

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Power Burkas "Llarga Vida Al Taranna"

Power Burkas "Llarga Vida Al Taranna" (p)2016 BCore Disc

A couple of weeks ago we were sitting on a couch in the hotel room in Barcelona. We were drinking wine and listening to the local radio station iCat.cat via the plasma TV set giving ourselves the rest after daylong walk through the streets of the beautiful city. There was a program called Songhunt on the radio, and there was some band presented in this program. This band caught my attention but I couldn't realize the name so I shazamed a track and discovered that the band's name was Power Burkas. Then I searched for the name in facebook and it was revealed to me that Power Burkas had just released their new album through the BCore Disc label. I was like 'Holy fuck, we've just visited BCore store, we've just visited Ultra-Local record store - I remember this sleeve, I saw this album in both stores! If I only knew, if I only learned of them before!'

The band delivers highly energetic and overtly melodic amalgamation of punk, power pop, hardcore and 1st wave emo. The full-throttle shout-outs ("Potser", "Atzucac" and "20") befriend slower tracks ("Senat", "Gerard Quintana") here along with growndbreaking numbers ("Miracles del Passat", "Pares Fills I Nets"). At their funnier side they remind me of the 90's independent combos such as Camber and Knapsack while at the most hard-punching moments you may recall Melvins or even Fudge Tunnel.

Overall, Power Burkas have managed to absorb the best features of the labelmates Cuello and Nueva Vulcano in adition to fellow countrymen Las Ruinas and Juventud Juche. The first contender to the Banda Revelacion prize of this year.

The best tracks: Sangoneres, Ferralla, La Missio De L'home Es Ser Patro, Miracles Del Passat

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El Lado Oscuro De La Broca "Beta"

El Lado Oscuro De La Broca "Beta" (p)2015 El Genio Equivocado

Take the icy cold post punk textures as a base. Then add unstoppable drum intensity of 'fast-to-very fast' range. Mix. Shake. Shake well. Add some slices of the detached 'long distance call' vocals. Then open the reservoir with the mixture and pour it over with the earbleeding abrazive guitar swirl. More. More. When you think that it's enough - pour it even more.

Do you remember Glasvegas, this Scottie band that tried to breath life into the body of guitar-driven indie rock also using that endless (but more polished) guitar swirl but was lost in the repetitiveness? Born in Zamora, 'the town of Romanesque art', the quintet El Lado Oscuro De La Broca (this means something like 'The Dark Side Of The Drill') makes Glasvegas sound like a pop band. The noisy hymns like 'Los Lideres Africanos' or [the occasional homage to the notorious Italian midfielder of the 90's] 'Dino Baggio' rush into your room breaking the doors out and then escape through the window leaving you there high and dry.

The best tracks: Los Lideres Africanos, Verdad Lebrel, Dino Baggio, Tropical

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

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
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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

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. 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

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Sin Rumbo Sitio Oficial

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

Los Treinta Principales. #18. Nudozurdo "Tara Motor Hembra"

#18. Nudozurdo "Tara Motor Hembra" (p)2011 Everlasting Records

This album stands in the crossroads of post-rock, hardcore/post-hardcore and Los Planestas. The Madrid-based band successfully mixed fractured rhythmical structures with the energetic but smooth guitar work and plaintive vocals. While the first three songs are the best ones on the album in terms of memorability and accessibility (especially "Prometo Hacerte Dano" which was arguably the creative peak of Nudozurdo at that moment) the rest of the 10-song album is the most interesting part because of the band's experimentation with tempos, dynamics and the methods of expression. There are no two similar songs on the disc, and its emotional flowchart is fluctuating like a rollercoaster between bulldozer-fighting almost seven minutes long "Conoci El Amor" and even longer yet much more melodic violin-flavoured "Dosis Modernas".

The band was sparkling with ideas on "Tara Motor Hembra" and it should not be overlooked.

The best tracks: Prometo Hacerte Dano, Golden Gotele, No Me Toqueis, Dosis Modernas

Los Treinta Principales. #19. Sidonie "El Fluido Garcia"

#19. Sidonie "El Fluido Garcia" (p)2011 Octubre/ Sony Music

The Catalan rock chameleons took another turn of their career on "El Fluido Garcia", a space psychedelic retro rock album. The thick fuzzy sound wraps around the best songs the band ever wrote. For the first time the Hospitalet de Llobregat trio consiting of Marc, Jesus & Axel made a pack of melodies you would not want to fine-tune a bit. So, with all of its twists and turns, noisy guitar solos, Ringo Starr-ian drums and smoke-drenched athmosphere "El Fluido Garcia" transfers you 40 years back, like the 2010's are the new 70's, without ever sounding dated.

The best tracks: La Huida, Perros, A Mil Anos Luz

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