I've never considered myself a massive fan of post punk, but obviously some of the albums I adore the most are based upon it: Igloo's "#2. La Transición de Fase", Villanueva's "Viajes de Ida", to name a few - and now Disciplina Atlántico's "Gran Oriente". The most frequently talked fact about Disciplina Atlantico is the band's close connection to Ornamento Y Delito. It's hard to avoid the similarities in both bands' sound - call it the family ties or DNA - but Disciplina Atnantico stands out as a valid creative force and deserves to be reviewed without any comparisons or accusations of being derivative.
This is loud. This is disturbing. The guitars are buzzing and clanging and scraping the strings of your nerves. The synths are pouring some frosty suspense to the picture, and the voice of Ricardo is splattering with sarcasm - it sounds like he's not in good terms with the things he sings about. Even when he narrates neutral or positive subjects (like, for instance, revealing "A Woman Under The Influence" to be his favorite John Cassavetes' movie) it sounds like there's a false bottom to it.
This music wasn't made to please you in the easiest of ways. Rather it's made to test you, to sort you out: are you in, or should you get the fuck out.
For me, I'm surely in.
The best tracks: Confeti Sobre Fondo De Sangre, Esto Huele Como Espiritu Adolescente, Pantano (Mierda De), Una Mujer Bajo La Influencia
Ultim Cavall "Records De Kyoto" (p)2017 Discos De Kirlian
You cannot judge the book by its cover, says the canon. However, sometimes the cover says it all, and, frankly, in the past I’ve purchased a lot of records having never listened to a single song by a certain band, making my decision only by the first glance at the album’s cover. The truth is if I accidentally run into a physical copy of Ultim Cavall’s “Records De Kyoto” I’d buy it without much thinking. And it would be cool cos the album is a delight. It is unpolished record, it is the record that can’t manage to stay within the firm frames. What is it really? Indie pop? Noise pop? Psychedelic folk? The tiny folk song gets clouded by the fuzz fog and drifts into the psych-pop field under the nugaze pennant - it’s something like that. It’s not a calculated record, you can almost physically feel like it moves along only by the instincts - and that’s what makes it truly perfect.
The best tracks: Recors De Kyoto, Tempestes De Sorra, Soc El Monstre
I like Cadiz. I've never been there, but for some reason I like it very much. Just look over it on the map - how could one not fall in love with it?!
One more reason to love Cadiz is it's burgeoning indie scene with remarkable past (El Hombre Burbuja, Los Hermanos Dalton) and encouraging present (Homeless, Detergente Liquido). Mision Pelutti is the new entry to Cadiz indie - though, I believe, every one in this trio has the music-related past. Initially I thought "Cuentamelo Despues" is an EP, but the band continues to uplodad the new tracks to the album's bandcamp page, so probably in the next couple of months it will grow to the full-blown longplay. Musically it is indie pop at its best: funny. breezy, touched by the light psychedelia - and it's recorded with the wilful negligence in lo-fi aestetics. The lyrics are typical for the genre concentrating on different 'you & me' things - both good or bad - with multiple la-la-la's in choruses. Spain itself has the excellent traditions in indie pop (the back catalogues of Elefant Records and/or Jabalina Musica say it all) so there's no surprise a debut album by a young band could be so fresh and promising.
Planning the new trip to Barcelona we had no intention to visit any particular shows cos in November'2016 nothing was announced for March'2017. It was only the question of chance - would our visit coincide with any event or not. This time we were happy enough, and the mere first day of our stay coincided with the new edition of Emergencia Festival. The announced lineup included the bands such diverse as Guiro Meets Russia, Grande Days and Bala along with the new residents of Foehn Records - Maresme. Apparently it should be a 'must see' show.
When we arrived at the venue (MACBA/ CCCB group of buildings) the audience was quite limited (literally it counted in 15-20 persons) but the new spectators continued to arrive all through the shows climbing to the climax at the headliners' act.
First we met Marc Campillo (the head of Foehn) and his beautiful partner Susana. We talked a bit before Space Surimi started playing, and then the conversation became quite complicated due to the high levels of noise generated by the band.
Space Surimi appeared to be an abstract hip-hop duo. They looked cheerful and funny but for us it was almost impossible to understand a mere word.
What's truly great about Foehn Records - this label has its own face you're not gonna mix up with someone else's. There are some bands, when you listen to them you are like: "Wow, apparently this band should be signed by Foehn!" Maresme definitely is one of these bands, and Maresme in fact is signed by Foehn. Their slowly evolving and dreamy music may call to mind the works of I Am Dive, Combray, Oso Leone and other Foehn-nested peers. The four-piece looked and sounded absolutely well-coordinated and consonant, so I was pretty shocked in a good way when Marc told me it was the first time they performed together on public.
Then the Valencian duo Guiro Meets Russia were set to perform in the hall of the CCCB building. When I listened to their debut album "Dystopia" ((p)2016 Verlag System) it didn't impress me much (maybe it's because I quit lisening on the 3rd track). Seems like I was in the wrong mood. But seeing them alive I fell in love with their music, and listening to "Dystopia" now I like it alot.
Meanwhile, the things got much more complicated. The matter was one more event should take place that night in Barcelona - the unexpected performance of Marcos Cao (formerly of La Sonrisa de Julia) in the Bar Mediterraneo. The plan was as follows: 1) in the middle of Guiro Meets Russia's act I accompany Tatiana (who was afraid of walking alone) to Bar Mediterraneo, leave her there and then 2) run back to CCCB to see Grande Days, and after that 3) return to the bar to take Tatiana back to Emergencia fest. Honestly, in a more appropriate situation I would like to see Marcos Cao performing, but this time we should divide ourselves onto two locations, and I should provide Tanya with her happy hour with Marcos.
First I learned about Grande Days when Pedro Gracia Perez de Vinaspre, the frontman of other Donostarrian band Havoc, recommended them via his Facebook post. I've downloaded their recent EP "Spark" and found it quite interesting - but without any ohhhs and wows. Just liked it and that's all. But how amazing they were live! Absorbing the 90s American post-hardcore and math influences (Jawbox, Polvo, etc) they constructed the compositions that were gliding from tiny trembling harmonies to the walls of harsh noise with all pieces glued together by overcompetent rhythm section. This was the seating party (as the audience was seated in the cinema hall), and I was pretty sure I'd break my neck headbanging if it was an usual rock event.
The Galician band Bala consists of two chicks: Violeta (drums, vocals) y Anxela (guitar, vocals). What kind of music would you expect from two girls? Barely it's the groundbreaking sludge metal, but that's what they really do. They smash, they crash, and they burn. They roar. It's absolutely mindblowing - and simultaneously refreshing. From my point of view they deserve the international recognition not less [read: even more] than Hinds and Mourn.
Villanueva "Zoo Para Dos" (p)2017 Villanueva, under Sony Music licence
Q: What is the best album I never wrote about for these 3.5 years here?
A: Villanueva's "Viajes De Ida".
Q: Did I expect much from Villanueva's new album?
A: Exactly.
Q: Did I get what I wanted?
A: It's complicated.
The core of the complication defined with this internal monologue lays in major change of the sound. "Viajes De Ida" was post-punk'y rocky edgy album with marching rhythms and chopping shout-outs like these from "Bombas Nucleares": "Y hay bom - bas nu - clea - res en la habitacion - sera - mejor - mejor para los dos..." Apparently a musician can't always stand on the same grounds for three years - and it was senseless to expect him to pick up right where he left off - but I didn't expect that for Josete Diaz, the mainman behind the Villanueva moniker, the grounds were to change so drastically.
Teamed up now with Marti Perarnau and Ramiro Nieto (man, these guys seem to be literally everywhere!) Josete delivers the album which is miles away from his previous effort. First, gone are the chopping shout-outs like these from "Bombas Nucleares". Second, say 'Hi!' to the synths. There are lots of synths here. They're not dominating, but they're omnipresent. They're literally everywhere. Third, Josete's velvet baritone, which is the considerable part of the band's attractiveness, is still here.
Summing up the above, this album is much more lightbodied and lighthearted than the predecessor, and if you liked "Viajes De Ida" much you may find it hard falling in love with "Zoo Para Dos" from the first listen. But it's fresh and charming, and definitely you should give the album a chance. Chances are you'll just surrender to this charm.
The best tracks: Ella, El Dia Que Tu No Estabas, El Jardin De Las Delicias, Hoy Es La Ultima
Within the last 1.5 years they rose from relative nonames to one of the country’s best live acts jumping by the way from local indie imprint Clifford to the much more renowned label Subterfuge. The last year’s perfect “La Fuerza Mayor” was the demonstration of abilities. The new album should become the confirmation of the high-level stability. Is it so? Definitely yes. But could there be something more to it?
Sure. As a listener, I can’t say I’m satisfied the same way I was satisfied by “La Fuerza Mayor”. Even trying to eliminate the impact of novelty effect which was present a year ago, I can’t deny the fact that there are some questionable moments on the album. For example, the track "El Nudo Y La Esperanza" sounds like it’s penned and recorded by Second. I mean, exactly like Second, you can almost hear the voice of Sean Frutos as your mind automatically replaces the voice of Rafa Val with Sean's. The next track “Nunca Estamos Solos” sounds like it’s a Pumuky’s “Plus Ultra” companion. The track #5, in its turn, has the roots somewhere in "Una Semana En El Motor De Un Autobus" area. And that's exactly where I see the problem.
One of the strengths of “La Fuerza Mayor” was its unity. Well, it’s obvious that you can make 6 songs within some tight stylistic frames – but you can’t put 11 tracks inside the same frames without making the listener bored. This threat the band happily avoids – there’s nothing to be bored on here. But the side A tracks being set together are somehow blurring the first impression because they differ. They really differ. And I can’t escape the feeling something could have been done better just by simple change of the song sequence as the side B is pretty close to perfection.
Anyway, it’s not a subject of ‘sophomore slump’, or any overestimated expectations. This is the competent work of the well-trained band with the big choruses, walls (and waves) of sound and palpable emotions.
The best tracks: A Donde Ir, Nos Ponemos Con Esto?, Hemos Ganado Tiempo, Aprendemos A Nadar
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.
