Los Treinta Principales. #20. Niños Mutantes "El Sol De Invierno"

#20. Ninos Mutantes "El Sol De Invierno" (p)2002 Astro Discos

What we can hear now on the current albums of Ninos Mutantes ("Las Noches De Insomnio" and "Naufragos" and possibly the next "El Futuro") is not what the band did 12 years ago. In the beginning of 2000's the music of the Granada-born mutant children was more upbeat, more loud and more driving. And "El Sol De Invierno" was a quintessence of these past years containing plenty of great songs which considerably differ one from another but never fall off the plate.
"La Ultima Vez" meets the listener with the 'quiet-loud' scheme worn out by grunge but here it sounds pretty fresh due to the catchy melody, the curling guitar passages and total absence of drug-infused gloom. In "En La Tierra" you could almost hear the echoes of Placebo's definitive album "Black Market Music" - but without this band's trademark depression and self-loathing. "El Corazon Es Un Cazador Solitario" easily flows two thirds of its timing like quasi-americana ballad and then dentro de nada explodes with guitar bursts. Even the electronic "Sigue La Luz" is strong enough to be not just a throwaway intermediate segue. The only misstep is "Algun Sitio, Algun Lugar" which is a bit too repetitive to work well.
I can't tell you that this album is inventive or something like that. But here the band had upgraded 'good' to 'perfect' adding to the scheme their melodic gift and attention to details and all this prevented "El Sol De Invierno" from being "Super 8" 10 years late derivative.

I don't know exactly what kind of splash this album caused - maybe none. Maybe it just promoted the band from the second league into the top indie bands of the state. But I suppose that the impact should be in setting the new standards of the powerful and catchy guitar-driven pop rock in Spain.

The album was produced in two formarts - standard and extended with 3 bonus tracks. Two of them - "Ser Feliz" and "Manual De Autoayuda" - are amongst the best tracks of the album.

The best tracks: La Ultima Vez, Gente Normal, Sigue La Luz, Ayer (cancion alemana)

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

Los Treinta Principales. #21. Sexy Sadie "Onion Soup Triturated by Big Toxic"

#21. Sexy Sadie "Onion Soup Triturated by Big Toxic" (p)1997 Subterfuge

It's time to return to the list of 30 albums that I like the most and I don't give a fuck about someone elses's opinion I consider the best in Spanish indie rock history.

Sexy Sadie were the loud rock band from the Isle of Mallorca (in fact, they ARE the band from Mallorca as long as they returned to musical practice the last year) led by Jaime Garcia Soriano. Grunge, post-grunge, even the elements of post-hardcore were mixed with clearly visible pop sensibility in their music. "Onion Soup" originally produced in 1996 was the second full lenght in their back сatalogue, and despite really strong moments in there it was not absolutely free from the issues. One of such issues was that some songs sounded a bit disjointed like they were written and recorded at different times and in different places. So it was kinda happy decision to team up with electronica producer Big Toxic who helped the band to rethink the songs and reconcile all the shortcomings of the former album. Here all the songs were led to one denominator by the pulsing beats and decorated by the iridescent 'indietronic' modulations produced by Big Toxic. Successfuly, these manipulations didn't cut short the energy and melodic potential of the original songs.

Two tracks from "Onion Soup" were totally discarded, and one new song "Needle Chill" was added to the plate (later this one also made it onto the next Sexy Sadie album "It's Beautiful It's Love" which is commonly considered as the band's best effort). Also, the quasi-smash hit 'Mr. Nobody' was presented in two renditions the last of them sung in castellano. 

It seems like the album was considerably underappreciated at the moment it was out but now - or should I better say 'even now'? - it still sounds pretty fresh and interesting.

The best tracks: Sr. Nadie, Rock'n'roll Fear, Needle Chill

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