Parmesano's new digital EP and a new physical album (including both the new EP, 'Vida extra', plus the classic 'Parmesano! EP' from 2011) is out now! You can stream it and buy it here, at this very site!
Film maker Vicenç Ferreres (Antifolk, Petit indie) will premiere a documentary on Pentina't Lula, entitled El passat és un error. Premiere will take place next Monday 29th of October at Barcelona's music documentary festival, In-Edit. A must!
Severine Beata's second album is out now on both gatefold vinyl and digital. You can stream and purchase 'El ojo brillante' at this very site!
We first heard about Severine Beata in 2015 when she published ‘Zumbido’, a record/book and exhibition by Amparo Moreno based on Erich Maria Remarque's ‘All quiet on the western front’ and which was a joint effort with Antonio Monsalve (Perro mojado). The Malaga-born artist, a musician for over 20 years who holds a degree in musicology, presents her second effort after 2016's ‘De rerum natura’, a gorgeous LP that drew on a Waldorf Blofeld and a drum machine as the only instrumentation. Severina's new album is entitled ‘El ojo brillante’ (the bright eye), a suggestive and fascinating work where some of the songs even come to face their own reflection, to extremely reduced versions of themselves.
Played, recorded, mixed, and produced with Javi Alvarez (Fluzo, Duo Cobra), whose personal touch is visible in all compositions, through subtle instrumentation or in the more conspicuously upbeat moments. No one has put to words the challenge and enjoyment that is to approach the music of severine more accurately than her good friend Sergio Cáliz López: -‘El ojo brillante’ is a red carpet carefully placed under your feet, for you leap into the void, into the innate risk that is intrinsic to Severine Beata's world. That world involves constant discovery and, on top of that, there is room for you (...).
Pentina't Lula's new EP is out now on both 10'' vinyl and digital formats!
'Una gran reforma moral' is any totalitarism's wet dream, but it is also a necessary stage of any utopian construct: be it a feminist republic or a much needed reform of Spain's 1978 constitution. If back then the question was whether to reform Franco's regime or break apart from it, it's today's events that present themselves with the only possible response.
Now, in the face of this new EP and with Samuel Alinsky's words that -A reform is the previous stage to a revolution (...) in the back of our minds, Pentina't Lula's second release in less than a year -an 11 minute LP to be played at 45 rpm- builds on that to state that making one feel uncomfortable is the previous stage to getting their arse in gear -Either to dance or to become actively involved in something (...).
If the first effort was an excellent single shared with Panotxa i Els Caps Parlants, this time it's a fistful of songs that come across as a different story altogether. If the first listen of the songs as individual items conjures images of hilarity, speediness, and provocation, the album as a whole speaks for a political stance that is ripe with clear-sightedness, wit, and depth, an invitation to reflect and discuss on the following:
Chastity, a myth or an opportunity? We're all familiar with midlife crisis, but what about cross-generational infatuation? And, is there such a thing as the baldy legs complex? Have you considered the possibility of undergoing reeducation?
Yes, my friends, all of them are truly important questions when it is Laietan-rrriot band Pentina't Lula who asks them. Here they are to command a great moral reform.
Les conches velasques' new singe is out now, you can stream it and buy in our very site!
With a music career spanning over a decade and 5 LPs as the drummer in Picore, Zaragoza-born Pablo Jiménez presents his new band Les Conches Velasques, a project that has been in the making for the last three years. For starters, the first two songs of 'Pregón' come out, and they are literally that, an opening address. Starting from Pablo's personal view of dance music, with his galloping moves, free and open to possibilities -the foundation upon which his musical language is built-, the first single, composed and played all by himself, is something new, like the unveiling of a nice surprise.
Thought out as an exercise in conceptualization, the musician has drawn on Pedro Salinas' lyrical work. Rather than using his poems, Jiménez has juggled the lines around, giving up on the poet's original rhymes and intended meanings and intuitively working to create a new artifact. Strangely engaging, there is no real underlying discourse nor theme; no ideas to hang on to nor points of reference. 'Pregón' discovers a distinctive, golden voice that becmes only visible after repeated listens.
As Jiménez himself says, the songs are created unconsciously, all the pieces coming together over the months as I hum them in my head (...). Indeed, the ideas are duly formalized as songs, but that previous stage seems to come to life quite irrationally, as if out of empathy.
Pentina't, Lula's first split 7-inch, along with a legend of the Catalan underground scene, Panotxa i Els Caps Parlants is out now!
In this case, both acts take things a step further and participate on each other's songs. On the A side, Pantoxa (Ultratruita, Chicks on Speed) plays bass in the tracks by Pentina't, Lula! and, conversely, on the B side, the Pantinat sisters play on all of Panotxa’s songs.
This is a true example of camaraderie and we get a good glimpse of what their explosive live shows are like at present (and what is coming in their future releases as well). This work shows a true dialogue between these two genuinely Barcelona bands.
A staunch advocate of DIY, Panotxa i els Caps parlants’ songs were recorded at Panotxa’s own studio, where he came up with two hugely ironic and dark pieces that evoke the sound of The Residents and the poetry of Jordi Pope. These songs reflect on how we perceive specific moments of reality. If 'Enlluernat' harbors the immense joy of a ray of light as it crosses a drop of water, 'Un minut de préssecs' reveals (contemporary) self-inflicted anguish through time.
Lula Pentina't, on the other hand, are a group with an extraordinary talent for reconciling whatever hieratic influences we might be talking about (punk, no wave, rrrriot) with an innate gift for melody. Everything in this delicate balance makes the Barcelona trio somewhat difficult to pin down. It’s as if a kindred spirit of the B-52’s were invited in to rethink everything, from the worship of rock to queer theory. Both Lula Thomas and sisters Anna and Laia Pantinat are very clear about this. What is the point of stubbornly clinging to some presumably brash and trendy style when most of the time we are looking at our own bellybuttons without the smallest shred of modesty? What hides behind the mask of those who lead dissidence? (...).
Pentina't, Lula! collaborate with various groups (the Women Author’s Comic Association, Ladyfest, Hits with tits) and are involved in pieces that combine text and musical performance in different contemporary formats (Festival Embarrat, Konvent Paraula, and Poesia i +). Anna Pantinat is also a remarkable poet, having been awarded the Joan Duch Juneda Ventura Gassol prize for her books Construcció de la nit (Fonoll, 2013) and De sobte, un estiu (LaBreu edicions, 2014).
Having published his brand new album 'Voltereta' just a few days ago, Daniel Ardura announnces now a 14 shows' tour around the iberian peninsule, which will kick off next April.
During the first half of the tour he'll share stage with Isasa (ex A room with a view), during the second half he'll share stage with IbonRG (Eten, Gargara, Xabier Montoia, etc) and, as you can see in the picture, it's all about an acrobatic movement, either forward or backward, in which the body rolls end over end, making a complete revolution.
See you there!
Roldán's new album is out now! You can listen to it and purchase 'Espero que dure' on vinyl and digital here at this very site!
With Juan Carlos Roldán we have learned to enjoy the prodigious drawbacks that dispersion carries with it. Now, with his third album, this artist from Merida reaffirms, and elaborates further, his deliberate gamble on disparity (which throughout his career has become increasingly nonnegotiable), while at the same time becoming something of an expert in forcing the limits of conventional genre. Titled Espero que dure, this new musical outing is another exciting excursion through Roldán’s own universe, which is as labyrinthine and changing as it is fabulous.
If something defines Espero que dure, it is the successive exhibition of intimate confessions, all with suggestive surrealistic episodes, all threaded by his deep, deep voice, zigzagging through the tangle. In fact, his lyrics—far removed from sentimental obscurity—reveal a sort of tenderness, nonchalance, and even a certain sense of uneasiness in the best sense of the word. Everything, at the same time while counterbalancing his musical ambience with morphosyntactic simplicity and strict literality. It is precisely these latter tools that, on the one hand, Roldan manages to emphasize certain haikus—for lack of a better term— and make them hummable, almost as if they were advertising jingles: To wit: “Cascanueces” Los atentados suicidas es un problema real ‘Suicide bombings are a real problem’ / la auto-corrección de texto es un problema real ‘Autocorrect is a real problem’ / la vanidad de la izquierda es un problema real ‘The vanity of the left is a real problem’ / el crujir de mis zapatos es un problema real ‘The squeaking of my shoes is a real problem’ (…). And on the other hand: At the price of reducing and dissecting discourse into the atomic unity of meaning, Roldan in turn manages to condense all semantic intention right there, from a simple statement, from his self, to dictate his vision about reality.
It is important to clarify that apparently predominate in the eclecticism of the disc—interludes that recall frontier rock in “El caos, reina” or in “Patio,” the rhythmic underpinnings that alternate traditional patterns of percussion (Juan Carlos is the rhythm section of Lorena Álvarez y su Banda Municipal)—is accidental, puerile, and has more to do with the fact that he is a visual artist as well as a musician. In reality it is neither here nor there so long as the song provides satisfactorily in strict musical terms, because there is much more going on. Unlike most pop composers, for Roldán it is all about plotting, doubling, ripping, and manipulating things in order to turn the song into an IDEA, and never the other way around.
María Sánchez Díez, periodista.
Oriol Solé's second album 'II' is out now, on both double vinyl and digital formats. You can purchase it here at this very site!
Despite the austerity of its title, it contains nine daring compositions spread across four movements of rare musical awareness. Solé’s leap of faith serves to further explore the musical discourse of ‘Cadells’, his 2014 album.
This time, Sole’s discourse is centered around the probing of sound (a nonmusical element) and its poetical use. The sound source is nature: anything that is organic and liable to decay. Field recordings permeate the album; nonetheless the artist spends long periods of time in rural Ireland, a time well spent trekking and roaming the fields. The pulsing and crackling sound of footsteps against the moist soil is a key rythmical element around which everything harmonic and musical rotates. Footsteps creep up in most compositions to serve the purpose of order: all that’s musical in the album was recorded following the initial sounds of nature.
If the organic sounds in this new recording awake Solé’s compositional intuition, it is from this relationship that the melodic discourse emerges, however subtle or abstract it may seem. The artist submits to the primal story line, one told by sound, which is fortuitous and which ultimately determines the album’s personality. The artist’s work is to select and constrain the sound material recorded, emphasizing the sharp edges, angles, and shapes of each recorded moment in time. The work that results from that is haunting—or even disturbing—, and it is onthing more than his particular take on the sluggish growth of beauty. The album is an unsettling, accurate zooming in on the dissection of a gesture or movement.
Experimental and yet highly melodic, the structure of ‘II’ distances itself from the popish songs in ‘Cadells’, giving rise to a harmonic paradox: the initial, referential sounds that accommodate melody dissolve and mix with static, while repeated motifs keep us on tenterhooks. Uncertainty leads the way and guides us through this album, a feeling that is somewhat enhanced by the lyrics. The artist wants to inform us that the surrounding environment may look stable to us, but it is nothing but a frail and temporary state mistaken by order. Indeed, if the things we are able to identify and acknowledge are never permanent — always tending towards decay, uncertainty, redefinition, renewed certainty, and back to the start —, this LP is a celebration of it: an ode to everything that is ephemeral.
Matoll's debut album is out now on LP and digital, you can stream it and buy it in this very site!
After releasing an idiosyncratic album such as Les hores in 2010 (under the moniker Inot Eratsis), and after twisting and taking Catalan pop to another level, with Ghandi Rules OK (his good friend Oriol Solé), now Toni Sistaré has attracted attention with a new band, with Marc Vila and Jordi Palau.
Here the slightly retro sound of 90’s guitars (shared by the three members of the group from their youth) can turn that first play in a refreshing dip into the waters of familiar pop songs. And while it is true that this record has a warm feel to it, and one can perceive the rumbling of rehearsal studio, it is also true that it is much more. Each successive play of the disc brings new surprises.
Sistaré has a special knack for melody, freshness, and talent for a brash riff… each of these qualities has been aligned and ordered, so as to make what is (in appearance) the most innocent of songs, along with the most effective and immediate, gradually shed their veneer with each new listen, until we discover—and therein lies its greatest assets—its poetic content.
Kiev Cuando Nieva's new album is out now, and you can stream it and buy it here!
After ‘De tarima’ (2013), the group from Huesca faces its fifth LP without lowering their guard or making any concessions whatsoever, while maintaining their personal touch and their peculiar idiosyncrasies.
Kiev Cuando Nieva is one of the few groups on the Spanish indie scene that have their own original discourse and are clearly a universe apart. Patently arty by conviction (as all the members are also visual artists), each of their albums have been conceived as a whole work of art, from their album covers to every detail in their arrangements and production. The intentional lo-fi stance of their early work has given way to a beautifully crafted sound in ‘Los bienes’.
Javier Aquilué and Antxon Corcuera share vocal duties and weave the magical sounds of disco with Carlos Aquilué (who in this release playa the role of producer) and Jaime Sevilla. Mastered by Rafa Martínez del Pozo and the rather inspired album cover by Antxon complete the charm of a alluring disk. It contains only eight songs, little more than twenty-seven minutes. Kiev Cuando Nieva: Restrained in quantity, lush in quality.
Palisandro's debut album is out now!
You can stream it and purchase it on beautiful vynil or digital here, at this very site!
Sem Garcia (Pómez , Ambar Pool, Mature/Older, Princess Plan, Playmates) has spent a decade working in the shadows, crumpling up into a ball with each new idea. Rough sketches of songs that his your friends have continued to demand an explanation for during all this time. Phantom songs, all of them, until today. When, under the moniker of Palisandro, Sem is now releasing a whole statement of intent in the form of album entitled ‘Acerca de las cosas’.
Recorded with Oriol Farràn, this first studio effort reads like a logbook by which one might decode the anxiety that surrounds us. A POV detour guided by the light of surprise, fear, and the acceptance of growing up. Wandering through a world governed by the logic of intuition, each track has been organized in a chronological fashion according to the life cycle, embodied by the simplicity of someone who unapologetically captures and documents the very act of discovery. Because what is essential is invisible to the naked eye.
Palisandro are well-versed students of rock and therein lies the other great asset of this album: Songs in capital letters, with unmistakable language and 100% resolve that are evident in each and every riff, chord progression, and underlying texture that make up the edifice of 'Acerca de las cosas'. And so: between segments and undalating vertices, firmly contained by the walls of suspense, peered over by someone who cannot stop looking, searching... So these songs were unshelled . With their unconditional quality of someone who has made a home (Cuando convenga), with the suspicious presumption of bliss (Porque todo es posible), and yet never content until no stone has been left unturned.
Césped de Verdad’s self-titled first album is out now, you can stream it and buy it here!
Philosophy professors and friends for years, the intuition, chemistry and fun Blanca and Albert had during since early sessions will at the beginning of this year will call Césped de Verdad to participate in the remake of that legendary album by de Felpudo Tos ( Felpudo Tos Remade 1998 - 2015). Immediately afterwards the duo set out to finish shaping up an exceptional set of songs in this, their self-titled debut.
Although hummable, Césped de Verdad’s songs are not sung, rather shouted, but careful. More than a incursion into punk, there is humor and political abstraction that give meaning to the material, from riff to riff, grinding out words to get the perfect slogan.
Here signifier and signified are centrifuged between piercing guitars and suspenseful rhythms, folded neatly against a fine thread that has us dancing and celebrating that Haneke is the Walt Disney of the Underground movement right when we least expect it! Or better yet, explaining to our children what the Holy Grail is and why it is in Valencia.
Ghandi Rules OK’s new and self-titled album is out now!
Two years after the amazing ‘Borda, va borda’ LP, and two and a half after the classic EP ‘EP1’, Ghandi Rules OK look back to move forward, contradictorily reinventing their two earlier efforts. A simple, edifying process that leads to a radical experiment. That is, put a standard rock formation together and rewrite some of your catchier (and weirder) tunes. Their idea is fairly simple: make a point yet again that those were songs worth exploring. Songs only a few of us were lucky enough to see them played live.
If their first two records were based on an almost improvised, on-the-go work ethic, drawing on drum machines, guitars and awkward programming alike, Oriol Solé and Toni Sistaré decided to form an ad hoc live band that could convert all that studio work into classic rock language. They lent David Comas and David Berenguer from the brother band Alado Sincera and started working on songs that were soon taken on stage (and in doing so, raising the eyebrows of those who were familiar with the recorded albums). And now, as evidence of that, those songs are the main bulk of the brand new LP.
Despite its resigned, renegade status, this effort is an oasis in the middle of the Catalan scene. The fact that this is a far more original and cooler venture than most current artists (hailed by critics) is much more than an anecdote. Do not be misled by such a chamaleon-like, elusive and irreverent project. Using evangelical terms, "render unto Caesar that which is Caesar's". Ghandi Rules OK is a healing force; music seeded in the margins of rock with an open mind and foresight.
As for the lyrics, well, they were already celebrated in reviews of their prior albums. So, in short, about this LP: It begins with 6 songs from ‘Borda, va, borda’, is followed by a new instrumental song, ‘Blitz’, and then by 5 songs from ‘EP1’. Another wonderful new song, ‘2000 anys’, brings the album to a fine closure.
Fajardo's new single is out now, you can download it for free at our Bandcamp!
'S/T' includes songs 'La nieve' and 'Mil muros', and it anticipates his soon to be published new album.
This Canary Island musician needs a section of his own, since, as a performer, he is quite a unique figure on the Spanish independent scene. There, in front of you with a guitar his hand, you can hear his voice filling the room (close our eyes to the effect), which is an invitation to catharsis we are not accustomed to. Fajardo’s voice is visceral yet delicate and holds its own compositional picture bearing a beautiful and necessary stamp, and − like a channel for the stream − like a harmony that lives by the other complementary half.
Fajardo has left everything aside; he is able to garnish his own body, to have the word in the service of songs that seek truth everywhere. To date, his career has only just mature into the transferable, projected along an eponymous album in 2009, the excellent EP 'Dolls' in 2011 and two splits (with Malcortado in 2010 and the Monte Costa Ricans in 2012 ). References to this single now adds untitled, ahead of an upcoming album which will be released this year.
This autumn we celebrate our 5th Anniversary Repetidor and we'll do several shows about it. We'll be pleased if you'd assist to them, they're free. Here they come:
Saturday 25th of October at Apolo 2 in Barcelona ther's a festival with the following line-up: Alado Sincera, Baladista, Carles Viarnès, Casadelava, Cataplàusia, Duot, Fajardo, Ghandi Rules OK, Matoll, Palisandro and Sonio.
In Madrid, the weekend of the 7th and 8th of November at La Faena II, there'll 2 shows: Fluzo + Roldán on Friday 7th, and Kiev Cuando Nieva + Álvaro Barriuso on Saturday 8th.
Finaly, on Sunday 9th of NoviembreDúo Cobra will perform an exclusive gig at La Follable II in Madrid. We'll let you know how to get tickets very soon.
Baladista's first album is out now, and you can fully stream it here at this very site!
By now, anyone who has followed his projects in recent years will clearly identify the imprint of Juan Carlos Fernández, whose musical and thematic spectrum is quite distinctive. However, the more Juan Carlos strives to tell us that Todo sigue igual 'Everything stays the same', the more we realize just how much he's evolved artistically. We see new shades, new differences, with every step along the way.
There's still the mechanical fingerstyle that Juan Carlos's has used as his trademark in other projects such as the bluesy Dos Gajos or folk-imbued style of Matrimonio. There are also echoes of Kurt Weil, interwar cabaret, and Latin-American music. This sometimes gives the impression that Juan Carlos writes again and again on the backside of "Gracias a la Vida" by Violeta Parra, exchanging grieving vitalism for veiled existentialism.
Nonetheless, Baladista is a widening of horizons, incorporating Frank Rudow (drums), Pau Juliá (double bass), and Daniel Pitarch (accordion). With their understated contributions, Juan Carlos's new band allows him to move from Howe Gelb to Jeannette, Serge Gainsbourg or Kevin Ayers. Juan Carlos maintains his characteristic airy vocals and arpeggio-guitar arrangements, but certain chord progressions take the disc to unexpected, less predictable landscapes; they are their own land, uprooted and miry.
So while the balladeer takes stock of his indecision, disappointments, and ruses, we embrace his eyebrow-raising melancholy as if it were our own. Internal monologues transformed into songs, we find ourselves stubbornly repeating them over and over again, against the backdrop of pointless static that we struggle with in our day-to-day lives.
Javier Aquilué (Kiev Cuando Nieva)
Oriol Solé’s first album is out now, and you can also full stream it here at this site!
After many self-released discs (under the pseudonym Iga Memento) and his work with Ghandi Rules OK and Alado Sincera, Solé's new work is a collection of songs exploring the dichotomous relationship between pop and noise music. In ‘Cadells’, Solé successfully manages to bypass what is predictable and trite in both styles.
Minimalism, psychedelia, field music… Solé's compositions draw from a broad sound palette. Each song is built on a fragile, fractured structure. This allows for the music to veer off track and venture down untrodden paths. The places the songs go to are not commonly explored. An abstract presence moves through these solitary places or songs. At times it does so erratically and at other times with composure and serenity. And yet, the rugged skeleton is the perfect support for the emotional motifs of the songs. These motifs are stripped of all artifice and have been carefully and patiently scattered across the songs.
Oriol's language seeks beauty around the sharp edges and it does so in a fashion that is reminiscent of Tori Kudo's in-your-face amateurism, Eluvium's hermetic finesse, Phil Elverum's narrative discourse, Richard Youngs' cosmic mystique, the poignant mystery of Slint, Pumice's allergic, warm-hearted low-fi, or Alasdair Galbraith's melodic drones.
Just like the puppies that name the LP, full of life but helpless in the face of the world looming over them, Solé strives to reconcile a lyrical discourse with a sound landscape. All in all, the songs on the LP can be interpreted according to the story that the listener chooses to tell. That said, ‘Cadells’ is also a very coherent record. One might even think of it as a single song that evolves and takes on thirteen different shapes in an evenly manner. One listen is all it takes to resolve the paradox.
‘El Llibre Vermell de Montserrat’ by Carles Viarnès and Pep Massana is out now and you can already stream it all and buy it here at this site!
The tiny songbook included in Montserrat’s popular Llibre Vermell is an endless source of music literature. As was documented in one of the sheets of the manuscript, the aim of these devotional songs was to entertain the pilgrims who, by the end of the fourteenth century, would walk to the monastery to venerate and safeguard Saint Mary of Montserrat. Over the last 25 years, its exceptional nature has fascinated quite a few musicians who have approached it from different perspectives.
This version is not a historicist piece of work but a completely new creation based on both the songbook’s original melodies and the cultural context which inspired them (and from which it was adapted into a dance, probably in Montserrat itself). The two musicians involved in this project, Carles and Pep, have long been familiar with and cherished the Llibre Vermell’s repertoire. Nonetheless, this set of songs is understood as a whole, as a concert programme. In short, this is the way the songbook should be interpreted: both directional in intention and with a heterogenous repertoire.
The interpretative tradition of versions –or I should better call it ‘perversions’– of the Llibre Vermell were lacking the shades of colour and light this particular version brings to it, ut solis radium.
Kiev Cuando Nieva’s new album is out now, and you can fully stream it at Rockdelux!
Just a few short months after the release of their live album ‘Parece Doble’, a collection of songs in which Kiev Cuando Nieva pay homage to their favorite outsiders, the band from Huesca reappears with ‘De Tarima’, an album made of flashing scenes and seemingly capricious and trivial memories but which are tremendously charming. The meanings we thought that we were sure we knew are derailed; the order of things is disrupted as a new one is imposed. The words and images unfold and spread out, getting lost in the wandering sound. Yet it sticks with us, subtly at first, and then hauntingly thereafter. Nothing that Kiev Cuando Nieva hasn’t done before. Just not like this. Well, not exactly.
As if drawn together by two contradistinctive vanishing points, the music and lyrics in ‘De Tarima’ pull in opposite directions: the sound in this album reaches new levels of definition, clarity, and brightness for the band; the lyrics, by contrast, flow into a field of dreams, seemingly incongruent and fragmented, a clear break with the linear narrative structure of their old songs. But don’t confuse this with convoluted, pretentious, and indecipherable lyrics: they are just the opposite.
Kiev Cuando Nieva have always found inspiration in the movies to describe how they approach stories: Just as a camera narrates by describing movements and shooting frames, these songs choose to show a portion of the script and not another, dismembering memories, enlarging details and fading into colors and contours of an irresistible magnetism. While ‘De Tarima’ might be a little more literary than in the band’s previous outings, the lyrics of these songs succumb completely to the visual imagery. And if there is something contrary to a metaphor, it is on this record.
Recorded by Rafael Martínez del Pozo (AA Tigre, LA JR) in his home studio in a village in Leon with the intention of returning to the arms of the producer who recorded their first album an unforgettable seven years ago, ‘De Tarima’ is just another notch in the belt of one of those groups that float above everything else, like a lost balloon, rising into the atmosphere regardless of how much you can withstand before bursting. Sometimes we have no choice but to speak your own language in order to talk and Kiev Cuando Nieva are now releasing their third volume of their own particular dictionary of pop and (dare one say) art. A volume that this time includes geographic features, surfaces, machines, ring roads, streets and, above all, situations, a world of situations that make life unfold like the pages of a huge storyboard.
Juan Monge (music journalist, Rockdelux)
Dos Gajos' new album is out now!
In ‘Dos’, Juan Carlos’s muted fingerpicking, which at times borders on mathematical precision, and Esperanza’s oblique percussion patterns that act charmingly like the clacking of projector reels at an old movie theater remain the same... But now this formula has become more flexible. The characters in the stories no longer feel like deadpan voice-overs; they now engage the listener much more actively. New sound resources are sprinkled here and there in careful doses so as to supply a huge degree of suggestion.
A nylon-string guitar and the melodies sung in unison are sufficient to dilute all the tension we thought so characteristic of their attitude in their previous outing. They now convey a sense of bliss; within several nail scratching of the snare drum and we are immediately drawn to a sound that is reminiscent of Smog’s The Doctor Came at Dawn; a few seconds of bending notes on the guitar and we are reminded of Canned Heat or R.L. Burnside.
Although dazed and unbelieving as always, Dos Gajos deploy a broader spectrum of moods in their lyrics: Fevers of Iberian seduction, chronic scathing disappointment and emotional anesthesia, the occasional Brechtian taunt of bias... In ‘Dos’, Juan Carlos and Esperanza even take a stab at their first canonical duets, along the lines of Nancy & Lee or Gainsburg and Birkin.
This ulterior motive is barely concealed in their voices where we can sense the degree of control in their proposal - thus allowing them to tinker with self-parody. In this second LP, Dos Gajos have done anything but repeat themselves.
Duot have been awarded as Band of The Year 2012 by the AMJM (Barcelona's Jazz and Modern Music Association).
Also, them second album 'Cactus' was nominated for Best Album 2012.
Well, what to say! Amazing! Anyone there who hasn't been at any thursday's Robadors 23 sessions yet?
Carles Viarnès’ first album is out now and you can already listen to it here at this site!
The language of contemporary music blends here with minimalism, the modern piano scene and experimentalism. Viarnès' piano compositions evoke images of slow landscapes to the point of stillness, with subtle developments which create fragile ambiences, ones in which the songs and its structures dilute in while some pianos are being played simultaneously in the background.
‘Urban Tactus’ engages the listener in an enticing game, one in which the player interacts with the beauty of what's being ommited rather than what's being shown… Looping repetitions spiral forming hermeticisms; cycles of endless, sharp textures, of suggestive harmonies carrying the hum of melodies that shake like staggering domes. In short, this work is an intricate mesh of pieces which speak for the composer's open-mindedness and his natural ability to imbue them with the affect of film music composers like E.S.T., The Montgofier Brothers, Hauschka or even Nils Frahm.
This first release is, for sure, a unique voice within the contemporary music scene.
Dos Gajos’ new EP ‘Y Seis Canciones’ is out now! and you can listen to it all here at this site!
Dos Gajos apply to music the theory that less is more. A healthy theory if ever there was one, as long as those who embrace it are capable of saying a lot with very little. And Dos Gajos do that. The band turn traditional heritage into primitive rock, and rock into a sluggish pop form; and without really meaning to, they succeed in giving birth to a new musical form in Spanish pop music.
(...) ‘Dos Gajos Y Seis Canciones’ is, in truth, the band's younger brother, their 2011 homonymous album. These six new songs pick up from where the previous twelve left off. They are the extended version of a private world that rings very familiar. The songs serve to confirm the existence of certain foreign musical leanings that can fit perfectly with our traditions and background. With our reality, one we mightn't see but which is always there. (...)
(...) They make what's costumary sound like an odd ritual. To that end, they employ means to obtain sounds which, while some would dismiss for being flawed, are based on virtues. The simplicity of the melodies, the sweet drone like, steady pace of the rhythms used, the austerity of the songs' arrangements, the lack of charm in the sound. And the lyrics. The lyrics, akin to the accompanying sound, are about situations and stories which end up becoming litanies. Sweets that turn bitter. A steep slope. A slow dance. A doubt. A question mark. Claustrophobia. (...)
(Excerpts from text by Rafa Cervera)
Ghandi Rules OK’s first LP is out now! You can watch two brand new videos and listen to a couple of new songs here at this site!
Only six months after their first EP, Ghandi are back with a mesmerizing record, and quite a challenge:
25 songs carefully carved on the grooves on both sides of a 12 inch mirror. 25 songs arranged in an exciting continuum that wishes to define the experience of a life. 25 ephemeral visitations at the service of a whole: that one song which, ambivalent as it may seem, reveals itself as menacing and complete: ‘Borda, Va, Borda’, the album itself.
Have a nice summer!
Roldan’s new 10’’ vinyl, ‘Te Tenemos Muy Cerca’ is out on stores. You can already listen to it here on our website!
An EP produced and recorded by Rafael Martínez del Pozo (La JR, AA Tigre) and subsequently arranged by Javier Álvarez (Dúo Cobra, Fluzo, Néboa, Zumo Natural...). What emerges from this cocktail of styles is something like a set of dials that range from avant-garde noise to musique concrète.
Tori Kudo, Gastr del Sol, Red Krayola, Scott Walker are there, OK, but the instrumentation is articulated in a completely nonhierarchical and decentralized fashion. In this sense, the arrangements are like a set of vectors or packets of information that spread out freely on their own, thus causing the sensation of a heterogeneous, yet harmonious, sound whose complexity is akin to that of a symphonic music or baroque aesthetics...
Rather, the songs are catchy in their own way. And they are challenging, as they lack predictability, repetition and redundancy. The listener must play an active role in the process of deciphering the creative mismatches that slyly bestow an occasional knowing wink at DIY sensibilities with a sense of humor...
'Pacifico' is on sale! an album about Spain and beyond. A parvenu record. A half-truth stumped untill saciety.
You can watch 'Usted Está Aquí's video and listen to the full album here at this very same site!
With this fourth album, the band from Igualada have achieved to capture an obscene snapshot, poetical if you prefer, of the act in which remiss pure violence is silenced and democratized. Here come the keys of someone else’s house and full moral immunity... Delusions on an intangible maths’ edge, in just about half an hour, over twelve songs in which delirious excesses take place although NOTHING REALLY HAPPENS.
Both for the them particular appropiationism as for the personal aesthetics submission of the IDEA, ‘Pacífico’ is an overwhelming step forward. Recorded with Santi García in four days, live and analog, it’s execution could be baffling. The transition that ‘Palimpsesto’ (Repetidor 2009) initiated, keeps revealing illuminating signs...
‘Pacífico’ is released on 180gr’s LP, CD and MP3.
Today Sunday 11th of December at 21h on Canal 33, Sputnik Presents:
BARCELONA EN FLOR
A documentary about Primavera Sound 2011 directed by Elisabeth Produccions for TVC.
With guest appearances like DÚO COBRA, ZA!, VISTALEGRE, Etc...
Can't miss it!
Largo del Fotomatón!
2 Repetidor bands premiering them both recent debut albums: Dos Gajos and Sonio. Unique, beautiful chance to live the momentum...
Tickets already available!
Fotomatón Bar: Plaza Conde de Toreno 2, Metro Plaza España / Noviciado.
The vehicle which dos gajos drive is an unlikely blend between the freight train which used to go through Bakersfield and Nashville, and the Opel which Syd Barrett used to drive. From the former they take the formula, that is, the stubbornness of that constant rhythm, the guitar pizzicato…from the latter they take the residual drone of a loose screw. Marc Ribot, Elizabeth Cotten, Beat Hapenning… and also some mambo, calypso and even Los Tres Sudamericanos. Maracas play along with the vehicle’s engine and induce the crew members into drone thinking.
Just as if they were voices-off, Juan Carlos Fernández (Penélope Trip) and Esperanza Collado (David Loss, Tumulto Dorado, Somadrone, Las Hermanas Diego) sing engrossed lyrics in a circular fashion. They never describe any images or any landscape and they never narrate a story as such; this is rather a transcription of the murmur from a persistent intimate monologue which is full of lucubrations and uncertainties. As in an opening speech from a Cuban Son theme or the chorus in a song for children, words repeat themselves and phrases reappear in a slightly different manner. Doubts come alive but they are never solved, as if they were left stranded inside insurmountable mental cavities. Special mention to the way dos gajos use JC´s harsh voice and Esperanza´s bright and precise vocals. They establish a game which, against any convention, doesn´t actually suggest a conversation between two people. This is rather like only one thinking entity which goes adrift and tries to find its way again and again, trying to manage itself within the existing surrounding nonsense which seems to fit its purpose. The singers in dos gajos are just points of view.
Using just basic sound tools and a spontaneous natural recording technique which is quite intriguing (this is producer Rafael Martínez del Pozo´s trademark), their first release goes through the neurosis and weariness of adulthood using humour and a jumpy and naive rattling. Dos Gajos is just a formula which resembles only itself; it is a vehicle which has been built to last.
Javier Aquilué (Kiev Cuando Nieva, Tresestrellas)
Once turned down the volume, the songs still remain in your head like endless loops. Juan Carlos creates an unconscious limbo where Esperanza joins him out of femininity – associated – interpretations. There is a distance that she pulls on the message she’s sending out…
Kantia Diego (Las Hermanas Diego)
Why Do They Never Play Les Savy Fav On The Radio?
Mí no entender...
What's for sure it's that just the very day before The Lemon Day, Parmesano will be introducing for the NY gang, at Apolo, coming to present their last album 'Root For Ruin'.
There you go, double date:
Frid. 8th: Les Savy Fav + Parmesano
Sat. 9th: Parmesano at The Lemon
And double gain:
Sat. 9th: Dúo Cobra at The Lemon
Sun. 10th: Dúo Cobra at Helio
¡Dúo Cobra will perform at Primavera Sound Festival!
A year now from ‘Déjate Morder’ release, Álvaro and Álvarez succeed to get into Primaver Sound Festival and so will perform at 18:00h on Tursday 26th of May at Jägermeister Vice Stage.
Also, Repetidor will have our records stand at the festival where you will be able to get our albums or just greet us!
¡Parmesano touring Spain for the very first time!
Three dates with some friend bands at Zaragoza, Madrid and Donosti.
La Ley Seca + The Coorigans
El Perro de la Parte de Atrás del Coche + Granjaescuela
Mogambo + Curasan
¿Will you miss this?
Parmesano is one the most fresh things that have happened in Barcelona on the last few months: Complex songs but dancing and played with such fury and amazizng skill.
A must and, yes indeed, a first album coming on it’s way...
March 1st we’ll release our next reference, the hand-made limited edition of Duot’s self titled first album wich you can already listen to in this very site!
Albert Cirera and Ramón Prats succeed by getting the sharpest, spontanious and more interesting moments of nowadays, let’s say, post-free jazz panorama... Touched with bastard’s son’s insight, they share the clasical aproach and way of expresion of Mats Gustafsson or Fred Fritz but more precisely to, of course, destroy it.
Forms with no layers, suspending on by an intuition game through which Cirera and Prats get to peep at such intimate backup. Using a textures’ deconstruction that may remind of Jim Black’s ‘Alasnoaxis’ or Chicago Underground’s incidental minimalism, them work means closing the eyes looking for a vanishing point, just because salvation stands by silence.
Inot Eratsis has been nominated to the Enderrock Awards for his amazing album 'Les Hores'!!!
You can vote here www.enderrock.cat/premis
If it’s true that ‘activity’ mediates between ‘subject’ and real world… Our artists seem to know it well:
Next referente: ‘Lives’, by The NEUROTIC KITES, is being masterized right now by Frank Rudow and it will go out in stores about October this year… We can already tell you that it is a POP album, in fact a beautiful one…
DÚO COBRA are ready to release a B Sides disc from them debut album ‘Déjate Morder’, to be out on streets this Autumn as well, hopefully November. Besides, Álvaro and Álvarez continue working on a future Single/Ep for 2011…
SONIO have them own record already mixed and they’re just waiting to be masterised by Frank next September. Produced by Adam Diamantides, it will be called ‘De no estar’ and will be published next year as well…
IGA MEMENTO will be finishing his first recordings before the end of this year… An intimate work sung in Catalan… The best we’ve heart in this languaje since ‘Les cançons tel•lúriques’ by Roger Mas…
CASADELAVA will get into Lazy Studios to record with Toni Sistaré, starting next September, live sessions that will become them debut album for next year…
URBAN TACTUS is currently working on what will be his first album. No dates for the recording sessions yet, what’s for sure is that Frank Rudow will produce it.
At the same time, SUMA (Frank Rudow & Laura Clark) are setting up material for them second LP in 2011…
And finally ALADO SINCERA, who after having toured for almost a year with ‘Palimpsesto’, will start rehearsing in September for them next album. We’ll see them on stage again early 2011, just about when they’ll start a small tour to present a 7’’ single entitled ‘2 Dolores’ with two new songs and the release of a documentary called ‘Primeros dientes’ about the making of ‘Palimpsesto’s produced by Dostopos…
Non stop boys.
Repetidor will programe a full week into the II Independent Labels Festival at Sala Costello, Madrid.
Here it comes from July 12th to July 18th; A must!
MURSEGO + URBAN TACTUS
Monday 12th of July / 20:30h / 6€
AA TIGRE + CASADELAVA
Tuesday 13th of July / 20:30h / 6€
REMATE + KOKOSCHA
Wednesday 14th of July / 20:30h / 8€
JOAQUÍN PASCUAL + PALISANDRO
Thursday 15th of July / 21:00h / 10€
LÜGER + FURGUSON
Friday 16th of July / 21:00h / 10€
ALADO SINCERA + CHALLENGER
Saturday 17th of July / 21:00h / 08€
KIEV CUANDO NIEVA + DÚO COBRA
Sunday 18th of July / 20:30h / 06€
Costello Café & Nite Club
C/ Caballero de Gracia 10 / Metro Gran Vía - Madrid
Hi there! We’re going to be at Primavera Sound 2010 in both ways. On one hand the record stand with all our releases available and on the other hand Alado Sincera’s show on Thursday 27th at Adidas Originals Stage, 18:00h.
See you there!
Pianist and composer mostly influenced by improvisation and experimental music, he is currently working in his debut album but we can listen to his latest demo already.
¡Download it free from www.urbantactus.com!
His music reflects a wide range of influences. Urban Tactus subtly explores minimalism or jazz but looking for the construction of simple pieces for piano that can suggest a sort of ambiental landscape, as if they were part of a soundtrack. Beneath the sound we could see signs of E.S.T, Flim or Yann Tiersen for instance.
Knowing about their existence has been a well kept secret for the outside world.
The union from the two oposite personalities such as Alvaro and Javi, but with the common gift of talking about what makes them different from the rest.
Two cobras in your rest room.
Alado Sincera are contenders to 'Apuesta MTV 2009'
If you wish to contribute with your vote and, at the same time, give your support to other indie artists such as Alondra Bentley, Extraperlo, Le Pianc, Linda Mirada, Pal, etc. click here.
Our first release is ‘Palimpsesto’, from Alado Sincera.
It's out on stores already in LP (+ bonus), CD and MP3.
The record has been produced by Frank Rudow, recorded by Paco Loco and with artwork by the Basque artist Javier Mújica.
This is Alado Sincera's third and best album. Fiery, political, razor sharp, abstract…
Césped de verdad's new album is out now! You can fully stream as well as to purchase 'Chusma ocre' on both vinyl and digital formats at this very site.
The great Borja Boscà (España, Portero regateador, Punk Floyd, etc) wisely informs us that -Césped de Verdad accurately represent the birth of the real renal colic of the universe where we live, here and now. And that with ‘Chusma ocre’ the colic gets even bigger and grows and keeps growing and keeps being sore for those used to peeing with ease, for those used to peeing yellow (...).
Indeed, if the sense of humor and political abstraction of their first release three years ago was like a singular punk petrol bomb, Césped de verdad ‘s second effort is a strong, daring step foreward in every possible way.
In 'Chusma ocre', the Valencia-based outfit have finally rid themselves of the oppressing boundaries of classic song structures and ventured into new, meandering and sophisticated structures that now include progressive developments or even short-lived soundscapes lasting only a few seconds.
Likewise, Césped de Verdad further their foray into the paths of inharmonic mode, with brushstrokes that paint a sharp sound very much like unacademic noise rock. This aesthetic move serves the band, like hand in glove, to accurately and acutely transmit their message. Indeed, dynamics and form vary constantly throughout the album, depending on the concept around which each piece is articulated, and that is the real value of this record.
Cigüeña's new album is out now on both vinyl and digital formats! You can both stream it and buy it in this very site.
In recent years, especially among lovers of the punk rock scene in the Iberian Peninsula, Cigüeña (stork in Spanish) have become a benchmark of passion, commitment, and truth. Having published two albums (Cigüeña in 2012 and Neptuno in 2014) followed by extensive touring, the band hailing from Valencia are back with their brand new work. The album’s title is pretty indicative of the fun and joy we listeners are up against: Look up, it's the flight of the stork...
Recorded with Pablo Peiró (Betunizer) in just three days, the duo has come to consolidate the anti-formula in which they had been engaged for some time. It is as if the wrist band that Martín Arlés and Unai Lilly used to wear had come loose after playing live relentlessly. Telepathy between them has paid its dividends and given birth to a restless and persistent bicephalous organism, which is by its own right is in a different ecosystem, a world apart, their own world.
What’s all the fuss about? Well, the songs are direct, without ornaments or stylistic affectations of any kind. Prejudices are thrown overboard. Fully autobiographical, listeners are faced with the band’s most empowering album. Quoting Lilly -A friend showed me a picture showing a roof coming off a house. That night I dreamed of that image and I got up with an idea in my mind my teeth: I have to fly (...).
‘El vuelo’ transcends everyday reality by denying any of the pre-existing solutions to create a new one. Al contrario crushes rocks from the very first chorus, because it is hora de romper (time to break, an excerpt from ‘202’) or make it clear that “no daré a torcer el intento, sin haber agotado el aliento” as long as I can breathe, I will not tire from trying, as emphatically expressed in ‘Ventilación cruzada’. All of this leads the band to “saltar a un gran vacío” leap into a great void in ‘Tú total’, a no-place where to “aprender juntos a remar” learn how to row together (‘648 horas’).
Salva Alambre's new album is out now. You can listen to 'Matemática ingenua' at this very site, as well as buying on both vinyl and digital formats!
You can already stream his new single 'El beso y la muerte' and watch his new video 'La vida salvaje' at this very site!
After some years being an active part of different DIY collectives, creating fanzines, organizing parties and deejaying, we know Salva Alambre mainly for being an essential part of two mythical bands in the Murcia’s scene (located in Spain’s South-East region). These two bands are Electrowendy (in the 90’s) and Los Alambres. From Los Alambres we still remember their singles, the split shared with Kana Kapila and their marvelous album, ‘Señales de humo’.
Salva has now decided to go one step forward and publish his first solo record. Having a lyrical world of his own, Salva Alambre’s language gets into a new and a more personal dimension, between irony and humor. The tableau includes personal experiences, like the sighting of a UFO at 12 or his relation with some urchins in the streets. There are some hilarious fantasies like the curious description of a traffic jam or the answer given to a merchant who takes marketing technics so seriously.
Here we have Salva Alambre’s first great piece as a whole musician, as an artistic vector who has unfold indeed a work that carries a strong musical personality. In ‘Matemática ingenua’ the musician can be discovered from never explored angles, stepping into lands typical of the psychedelia or even adhere to a certain experimental electronic music, to African dances or to jazz. Everything is made by combining acoustic and electronic sounds, overlapping loops, effects and layers but always starting from pop, a genre where Salva can easily show his expertise.
Avecrem's new album is out now! You can listen to it at Rockdelux's site and watch the video at Mondosonoro's!
After its amazing debut on 2015, 'Una chicha loca', the duo formed by Juanjo Gómez and David Soprano dares to walk a big step forward on what Marcos Gendre gently briefed as:
Es una anomalía punk de traca. Desde los mismo títulos, el oyente desprevenido queda avisado sobre la marejada de locura a la que va a estar sometido: tanto les da por inventar el punk-muiñeira, como se arrancan con una versión Tamagotchi de Led Zeppelin. Avecrem han vertido su pócima en un imaginario de rúbrica inconfundible (...).
The new album will be released on both blue vinyl and digital formats and its title matches with the first video premiered by Mondosonoro: Ya somos ricos!
Best Niagara's new EP is out now! You can listen and purchase 'Las malas artes' in this very site.
With a 15 year-old musical career and 4 albums released with his former band The Mistake, Daniel Álvarez relleases his first EP as Best Niagara. Compared to the 2012 singles ‘Ciudades inglesas’ and ‘Cabezas disecadas’, ‘Las malas artes’ is a bold step forward. Álvarez has gone solo alright, but he's not alone: A. López on drums (Conjunto Podenco, Daylight in Red, Holy Disgrace) and José Fajardo on bass (Fajardo, Conjunto Podenco) team up with the musician from Tenerife.
‘Las malas artes’ is a solid step forward in Álvarez’s career. All the songs in this EP focus on a subject many songwiters have had to deal with at some point in their lives: breaking up. The narrative use of first person singular and the musician's reliance on acoustic instruments are two basic characteristics of the Best Niagara experience, as if the band wishes to create an environment where very little can distract the listener from the message conveyed in the lyrics. And yet, the listener is allowed to witness the harmonious interplay of melodies that pepper the message, and subtle metric irregularities that unfold and twist every verse in highly idiosyncratic ways.
‘Las malas artes’ is a familiar artifact. It’s a peephole through which we’re invited to glimpse someone’s own intimacy.
Duot's new album with Andy Moor -no less than The Ex's guitar player- 'Food' is out now on both formats vinyl and digital! And so it has been brilliantly described by the journalist Yahvé M. de la Cavada:
You are a duo, until one day you suddenly become an augmented duo. Not with some other thing, but with someone else. And you’re not any ordinary duo: you are Duot. You've been a stalwart of the Spanish jazz scene for over a decade, nonstop. No safety net. Just your instruments and yourselves. It was a possibility and you did it. And you still continue: you’ve kept your own voice and demonstrated that in Spain you can leave music school and concentrate on your career in free improvisation in general, as well as constructing a discourse of your own in particular.
That’s where personality gets constructed, yes, the only place where intuition develops that allows you to interact in a context of freedom, both unprotected and exposed: the raw, inclement, ruthless stage. There are evenings when the clubs are packed; likewise there are nights when only a couple of spectators are there before you. You play and you play, and you keep on searching, without knowing precisely where you’re going, nor where your final destination is. Only one thing is for sure: the exact path is paved when the duo, Albert Cirera and Ramon Prats, rise above the convergence of their ideas and their sounds.
Then, one day, Duot joins Andy Moor, and they are no longer a duo. They are something else. Bigger, stronger, richer. It’s as if your music had always been a crossroads that someday had to converge to provide some different meaning. Moor is a universe unto himself, both with The Ex and with his dozens of projects and musical adventures, and his encounter with Duot is a controlled explosion of influences, lineups, and disparate ages; yet you resonate together in the same frequency, nonetheless.
This is a disc to be listened to with your eyes closed, insulating your consciousness so that nothing else can enter, and also so that nothing goes unnoticed: not a single note, nor sound, nor the faint echo of the last whisper at the end of each track.
The music contained in Food is stunningly sincere. Cirera, Prats, and Moor speak the same language, their own, which is not that of Duot with a guest, but that of a trio. Though newly born, they express themselves as a singular force that, between them, brings decades of experience. Something seductive and magnificent has been captured here, and Duot now feels the overwhelming need to share it on those same terms.
Daniel Ardura's new album 'Voltereta' is out now on vinil and digital, you can stream it and purchase it here at this very site!
After six studio albums with Alado Sincera and Sonio, ‘Voltereta’ is Daniel Ardura’s first solo release. This work bears little relation to the artist’s previous outings, even though vocals and guitar are practically the only elements that intervene throughout the LP.
To be sure, ‘Voltereta’ is an unconventional work. Although the songs might be thought of as poetry set to music, they do so from a somewhat experimental perspective. First off, the album begins three times or, rather, it begins with the same piece repeated three times. Thus, each of these tracks stand on there own –the first two being atonal– although the lyrics, melody, sounds, and structure are different in each case. These are not variations on the same idea, but of three separate songs. This exploratory minimalism will help us to better understand the metrics of the rest of the album since, almost always, they are determined by the verse.
Ardura's restlessness to reconceptualize song structure and contemporary production values is also evident in other aspects: the recording process for example exaggerates room sounds and natural imperfections, and highlights them in the final mix. This technique gives a sense of a hyperrealistic performancescape. The remarkable part is that the musician's diction remains serene and his voice strictly adheres to the message, without artifice. This in turn softens any formal subversions until they become familiar and even go unnoticed. It is the contraposition of these two principles –aesthetic risk, on the one hand, and solid interpretation, on the other– brings a sense of equilibrium to ‘Voltereta’. Each composition is subject to these two forces with similar intensity. They act in different directions, yet, somehow, they are counter each other so as to stop, freeze, and capture specific moments of the album, as if some sort of latent immobility was involved. The result is quite striking.
Ardura knows how to measure the use of semantic revocation in a way that makes us entertain certain doubts about their reference, supposed confessions, and even the motivation behind certain topics... all of which gives rise to an quasi-hermeneutic seduction. From verse to verse, the work grows on the listener. It is as if all we have to do is connect the dots: as if ‘Voltereta’ was made up of small detonators that activate our sense of discovery. Even after many plays, the disc always offers something new to explore.
Carles Viarnès' new album 'Schematismus' is out now! You can stream it and buy it here at this very site!
Music is, first and foremost, the structuring of sounds, just as painting is a combination of shapes and colors. But to exist, music needs the existence of silence, like poetry (which is itself another form of music) needs a blank sheet of paper. Often when talking about music we often forget that silence should be there: that sacred vacuum in which nothing sounds but which must emanate sound unexpectedly, primitively, as if every musical note, which is a form of energy, will seem like a sort of Big Bang in a vacuum. There is music that attempts to fill silence; such forms of musical composition feel dense, complex, endless. But there is another kind of music that aspires to be silent, to return to the origin, to exist only for a short time, almost ashamed to heard with its resonance – no matter how impressionistic, no matter how much it attempts to be a glimpse of Debussy ̶ the purity of absolute stillness. ‘Schematismus’, the second album by Carles Viarnés, is this kind of music.
Now we say second, and not third album because ‘Schematismus’ evolves from where Viarnés’s previous effort left off. ‘Urban Tactus’ (2012) is a surprising debut LP of contemporary piano music underscored by breezy electronic sounds. ‘El Llibre Vermell de Montserrat’ (2013) bypasses polyphonic instrumentation altogether: Viarnés along with his cohort, Pep Massana, provide an audacious, yet respectful, reworking of a genuine treasure trove of the Catalan medieval music. ‘Schematismus’, as its title indicates, is an album of pop and pure forms that evolve just enough to come into being and which, immediately afterwards, disappear. It is not an abstract work but it is austere: only the sound of a piano breaks the silence. The fourteen tracks contained in this album are an attempt to find something pure and perfect, the search for even the slightest improvement of soundscape. In the end, sound contracts in its return to its original state. After a minute and a half, or three, but never more than that unit temporary measure, we sense a distant vibration of air, perfumed with minimalism, a certain lyricism and religiosity.
With ‘Urban Tactus’, Viarnés became linked with the contemporary European scene, pop and tonal piano music, led by the likes of composers such as Max Richter, Ólafur Arnalds and Nils Frahm. But ‘Schematismus’ aspires to greater perfection, a sacrosanct poetry of sorts; where teachers want to be there as Arvo Pärt found unforgettable moments with ‘Für Alina’: the near absence of music, the maximum reduction of the notes in the most tenuous boundary between sound and silence.
Javier Blánquez, music journalist.
Casadelava's new EP is out now, you can fully stream and buy 'Últimas canciones' here!
Occasionally we come across talent that shines as much as it resists revelation. It seems to go against its very nature and challenges our expectations. Casadelava is one such case.
Ramon Ayala has walked through the music scene for years but always on his tiptoes (first as Färo-Dokument, and later under the moniker of Casadelava). A few gigs and a few demos here and there, though not really going any further than the search for personal catharsis and to set free stories that had stuck in his imagination over time. Now, to our delight and despite his recognized contempt for the imperishableness of sound recordings, Ayala’s songs are being released. Finally. ‘Últimas canciones’ is the product of Ayala’s fascination with the mystical poetry of the Golden Age in Spain, with its blending of spirituality and eroticism. The songs run the gamut from sleazy whispers to a explosion of laughter, from a nostalgic glow to the sexiness of a brown-eyed provincial gaze... Because the facts and the confessional backdrop of these pieces are anecdotal, the important thing is the verb. This is Ayala's commitment to truth.
ln ‘Últimas canciones’ this filmmaker and musician from Barcelona pokes his finger in the wounds of a diverse array of inspiration: Saint Teresa of Ávila’s transverberation, Saint John of the Cross’s ‘The Obscure Might of the Soul’, Spanish magazines such as El Caso and Cambio 16, but above all Frederick Wiseman’s observational mode (Paul Eluard’s poetry, Georges Bataille’s eroticism). All with both disparagement and longing. All the while stringing together the diary covers his own adolescence. But Ayala is able to do so without falling into obscenities or pretentiousness. Unhindered by the need for rhyming schemes, the sobriety of the lyrics reflect his own contemporary condition. Hence, the structure of the songs, their meter, cadence, and harmony are constrained only by the needs of the story that Ayala wants to convey. Casadelava is Ayala’s vehicle for someone to tell something to a camera. It is a murmur .
No band, no next album or presentation, or concert. All there is are these six songs. The last of his career, the first for the general public. Six kaleidoscopic portraits that fall somewhere between fiction and documentary, full of life and exhilaration, with which to capture deflected light before one’s beloved (La conquista de las Galias), and to live, scene by scene, the both prosaic and transcendental memory of a trip (Roma) or to float directly between confetti (La fe).
Álvaro Barriuso's new album, entitled 'Siempre volviendo a casa', is out now! You can fully stream it and purchase it on LP or digital in this very site.
Álvaro Barriuso is half Duo Cobra (with Javi Alvarez), half Archipiel (with Ainara LeGardon). He has years of experience in the world of free improvisation as part of the Colectivo maDam, Orquesta FOCO and La Risoto. Now Barriuso is releasing his first solo studio album. This work sets to music the collective memory of the Kesh, a people from a future world, described by Ursula K. Le Guin in her book ‘Always coming home’.
Among the many documents that make up this novel, which straddles science fiction and anthropology, the writer collects found texts, legends, short stories, folk songs, recipes, transcriptions of plays... It’s poetry that is made to be recited or sung aloud. Just as she heard it.
The inspiration could not be more direct. The album represents Barriuso’s desire to rescue these songs from an imaginary future and return to the present this tradition that has yet to come.
‘Always coming home’ is the inevitable - beautiful - consequence of a personal journey. It is a remarkable tribute to the songs that have come full circle, that were created by just a voice and a guitar, using rhythms from the Americas.
Now that it is time to spread the repertoire, Barriuso intends to work with local musicians wherever he goes. The album is a mere starting point, a sort of palimpsest that is amenable to the contributions of other artists. Barriuso is searching for immediacy as the common currency for this feedback-loop fantasy: It is a tradition y that will spontaneously mutate and evolve.
In short, this musical experiment is meant to spread the imagination and knowledge that Ursula K. Le Guin so sensitively reflected upon in ‘Always coming home’.
Picore's new album is out now! You can fully stream it here and buy it on spectacular 180gr vinyl here!
Stirred by hope, disenchantment, contempt. Combing through the habitual exalted acclaim, competition and ambition of postmodernism. Picore has plunged into a constellation of assumptions and possibilities in the band’s fifth studio album.
Assumptions and possibilities, all of which are political, poetic, conceptual and, above all, musical. 'Si no olvido bien' is articulated by exquisite rhythm patterns, whose roots stem from beyond the world of rock, in a bold spectrum of harmonic voltages.
The five-piece band from Zaragoza – Thomas House lives in Brighton - is one of most crushing combos on the Spanish music scene. With their last two albums, Picore’s aversion to ‘the comfort zone’ has pushed them into a rarely frequented basement, far away from more familiar ‘alternative’ sounds. With their no-concessions approach, they have paved their own way, composing wonderfully complex and cagey songs that are intentionally riddled with bullet holes so as to be able to breathe.
'Si no olvido bien' presents a surprising but - and this is the difficult part - unforced inflections on form. In the sound puzzles that Picore has pieced together since their previous efforts, the part-for-whole message (which acts like an off-screen voice over) is our guide, our Sherpa, the waist of a tightrope walker that we cling to when we look down from great heights in askance.
As with their other albums, the seven tracks included in 'Si no olvido bien' don’t take the listener to be an idiot: A difficult undertaking when questioning the angles, bends and folds that make up our system of beliefs. What to do with so much cardboard packaging?
Fajardo's new album is out now, you can stream it and buy it here!
It’s hard to believe that Fajardo is only just now publishing his second studio album. It seems so implausible given his countless tours in Spain, and the multitude of followers who his name emblazoned in their minds, as well as the word of mouth circulating about this true artist, one can only think that this singer-song writer’s discography is also extensive. But just the opposite is true:
Just one eponymous album in 2009, the EP ‘Muñecos‘ in 2011, two splits (one with Malcortado in 2010 and another with Monte in 2012) and the single ‘S/T’ in 2014. Now, finally, Fajardo is releasing his second LP six years after his debut.
We could see it coming during his most recent tour dates and we could sense it in his last single. José Antonio Fajardo has developed a certain diction while (not) controlling his own voice beyond recognition. This time, in addition, the quality of his performance applies equally to his song-writing craft.
With a metric discourse that is as accurate as natural, and structures that reveal and conceal depending on the nature of the lyric, in his new release called ‘Arrullo Magnético,’ Fajardo leaves his signature on a body of outstanding songs. Tension and sweetness, suspense and repose: these are songs that are as complex in their harmony as they are simple to the listener to take in (a difficult task, indeed).
Although, while quantity and austerity can function as a formal anteroom, getting at the content of the album is something else ... It is here where Fajardo’s pallet of emotions reveals itself. A rainbow of redeeming solemnity, which spreads from the sincerity and, gradually , takes shape in essential aesthetic forms. Memorable, poetic confessions, definitely.
‘Arrullo Magnético’ is impeccable−just what we expected from Fajardo. Maturity. An immortal phonogram.
Avecrem's first album is out now, you can stream it and buy it here!
Important: It's free to download it but the LP includes the bonus track 'La petas en el microondas!
Children of the joystick generation, Avecrem never rehearses before their concerts and recording an album is just a pretext to immortalize their work. Improvisation being their only means of composing, the idea that gives life to their friendship and music is just one thing: laugh your ass off. But careful, we are talking about a method that is both difficult and full of intuition, comparable to any other aesthetic affinity that usually defines a band.
Each and every one of the tracks included in this debut are open-ended. On any other given day, 'Una chicha loca' would have sounded completely different, and of course when performed live it will be reshaped depending on the day. Even some of the lyrics were written the day before entering the studio and the rest were done while tracking the vocals...
Country-western threats ('Mira que te meto'), slogans for T-shirts ('Bosnia y Herzegovina'), the new Galician-Catalan Larousse dictionary ('Se nota que es fitness') or why to octavate your own girlfriend ('Sí, soy la primera') are some of the reasons why one has to face the facts:
You got the pocket money that you asked your mother's boyfriend for... Avecrem is for your own good.
Thanks to a joint venture with the Barcelona based net label Discordian (Agustí Fernández, Johannes Nästesjö, Ken Vandermark, Mats Gustafsson, etc) and Repetidor, Duot's concert at Jamboree is out now!
Alado Sincera's new album is out now!
Entitled La misma figuración ‘The Same Figuration,’ the LP lasts a mere 22 minutes. Enough for time for the Igualada-based group to martial up what is surely their boldest effort to date.
As can be seen in Palimpsesto (2009 ) and Pacífico (2012) , Alado Sincera has been growing ever more noncomormist. Remaining true to the ethos embodied in their discourse, they have built a solid musical identity. Nothing short of a Herculean task, to be sure, but the results are more than encouraging. With a song format of less than two minutes per track, La misma figuración constitutes an effort to consciously constrict its expression, motifs, and resources. It is the perfect context for triggering heuristics, trial and error, and flights of extraordinary imagination. Despite the economic use of metric structures, the album engages playfully in countless evocative harmonic and rhythmic arrangements.
The lyrical content is strongly transversal, conveyed through forceful images. While it is easy to spot contemporary issues, one must guard against searching for referents and anecdotal interpretations: this is not an exercise in attention seeking. Dogmatic stances, control through fear and terror, and the presumption of a moral high ground are not taken up in this record (much less answered). Rather, the songs reflect upon the intention of creating new assumptions, brainstorming “impossibilities,” and gambling on song/mind experiments; certain tracks use elements of misdirection so that we unexpectedly find ourselves suddenly thinking ‘outside of the box’.
By entitling the album La misma figuración ‘The Same Figuration,’ Alado Sincera seems to be daring to question the notion of song format that they themselves have traditionally used. Even the album cover foreshadows the zoom-out on the contents of the disc itself, a sort of subjective snapshot of the process that includes even the outtakes, as well as the tools of their craft. How should we communicate a message through a rock song today? And, of course, how should that message be in Spain? Is it necessary? To what extent is it useful?
Barely a year after the release of their eponymous debut, Cataplàusia returns with narcotic powers. This second album entitled ‘Metacrit!’ is out now on CD and digital formats, and you can fully stream it here at this very site!
‘Metacrit!’ aims to settle scores with everyday inferences of political correctness, exploring some of the untouched areas of our private selves and, ultimately, our memory. It’ may sound like the awakening of some renegade ghosts. In fact, it may seem like an exorcism performed on the bodies of Lizzy Mercier, Mercyful Fate, Tangerine Dream, Rush, John Carpetenter, and all Ze Records. Postmodernity? Not on your life. The album reflects upon ingenuity as something bygone and embraces the blessed awkwardness assumed by any sort of aesthetic appreciation and innocence as a sort of Utopia…
In their debut, Cataplàusia twisted iconoclastic conceptualizations once and again so as to submerge the messages they wanted to convey, this album has pulls the rope even tight: Heavy Metal and No Wave are at the service of songs that have been composed over a few weeks in a creative outburst, and then rehearsed and recorded the following month.
The album's instrumental moments are absolutely brilliant and, of course, the vocabulary, delusions, and imagery that Pasto Martí puts into his stories show off his genius on every track. And a small detail: The album begins and ends with the same song. 'La Creu' and 'Els Ressentits' are the same. However, the two tracks are completely different pieces, not only in terms of their lyrics, interpretation, and intentions. And it is precisely in the latter of these two tracks, after on the tails of a colorful rant, Pasto sings: (…) You’re bitter (…).
After a few months working on new material, Alado Sincera will tour over Spain and beyond, meaning France. There'll be five dates (Urretxu with Tzesne and Eten, Oviedo with Arkanine, Madrid with Buena Esperanza, Béziers with Fabulous Sheep, and Sant Feliu de Guíxols with Challenger and Rollercoaster Kills), plus two more in May with Picore and Familea Miranda.
This shows will be used to test some of the new songs that will be included in them new album (the fifth one) which will be recorded at Brazil Studios with Javier Ortiz and, if all goes well, it will be released at some point after this summer.
Years go by.
Roldan’s new album is out now! You can stream ‘Tetrata’ in this very same site!
Each new release of Roland's work is like the reopening of a vast botanical garden or a large cabinet of wonders. We're getting familiar with the space, though without feeling disoriented given the plethora of stimuli. Still, nothing is exactly in the same place. The collection has grown and has been rearranged; we soon forget all our previous experiences and walk with the wonderment and fascination of the first time.
In ‘Tetrata’ there are no opening guitars and fluttering drums such as those used by David Grubbs and Jim O’Rourke. We hear echoes of Ali Farka Touré in these syncopated and hypnotic songs. They remind us of a noisy puppet party, with Harry Partch and the Residents as a sort of soundtrack. Flights unpredictable twists are carried in the voice of Juan Carlos. More versatile than ever, he is able to jump from a whisper to roaring hooligan in a single bound.
Roldán can talk about almost anything: he can convey the sense of physical touch, warn us not be so hard on ourselves, describe any non-place of the outskirts of town, or even tell us of the hilarious intellectual property of an idea. Whether he’s dealing with fake curiosities from National Geographic, pictures of children in rural Spain, cartoons, amusing emblematic stream of consciousness, or self-help, it all gives us a clear screening of Roldán’s storytelling ability and omnivorous curiosity.
This is possibly the most significant ingredient of ‘Tetrata’: The way the many pieces of the record make up a coherent set of undeniable musicality – more danceable and hummable than ever by the way. The disc oozes with enthusiasm, a sense of adventure, and humor. Juan Carlos Roldan is the Raymond Roussel of Spanish pop, and each reopening of his Locus Solus is an even more exhilarating than it was upon the last listening.
Javier Aquilué (Kiev Cuando Nieva)
Kiev Cuando Nieva jump on the road for a several spanish cities’ tour, starting this next Friday 24th of May at 18:35h on Primavera Sound festival’s Vice stage.
After that Zaragoza, Donosti, Huesca and Pamplona will follow, untill June 29th, that’s when the tour ends at the one and only venue La Faena II, in Madrid.
Can’t miss this one...
Fluzo's new single is out now, you can already download it here ! And don't miss the tour dates!
Fluzo are moving somewhere across from where the wind is blowing. The timbre, the programming, the structures, they all tell us that Fluzo is looking for something else in the genre. No virtuoso climaxes; just a lot of heart. Experimental techniques are just a means to an end. Proof can be found in the unusual combination of instruments in the songs. This release captures the flavor of 90’s electronic nondance music, the attitude of the soundtracks of old cassette video games, the soul of the delta blues recorded with a single microphone or the free will of classic rap. By this we do not mean it’s a haphazard copy of someone’s record collection. Not in the least. Here there is no recycling or tributes. The idea is to find out what was going through Antonio Machín’s head when he intoned the words se vive solamente una vez.
Fluzo allows us to share moments of solitude, easy sex, obsessive love, and wild parties; the lyrics ekes out a furrow in a small universe. It’s the world as seen through the eyes of a comic-book author. Selective vocabulary coupled acrobatic phonetics, from the part of the world that existed before the land split into continents and whose scattered debris can be found anywhere on the planet.
Fluzo are populated by chiptunes, bastardized circuitbending gadgetry, and the most powerful collection of customized Casios known to noncivilized Europe. Yet they get us to dance to hypnotic rhythms and programming that challenge the laws of mathematics. Damn cool, especially when we realize that it’s just one of those spur-of-the-moment stories that happen when things come naturally. And for Fluzo, what comes natural is to question the nature of things and the status quo.
Cataplàusia’s first album is out now! You can stream it all here at this site!
This debut work is much like an unexpected eruption, a continuation of the legacy of the Catalan free-jazz and jazz-rock groups of the 70s: artists such as Sisa and Pau Riba, who were outsiders on the Catalan rock scene. It is an unconscious outburst that leads us, blindfolded, to the less well-known beats of Fela Kuti, the sinuous electricity of Zzebra... In the end, the wide-ranging mixture of psychedelic sounds, jazz, hard rock and Nigerian folk boils down to the hilarious musical sagacity of the band’s leader, Josep Martí (Sonio). No holds barred, Cataplàusia is willing to imbue every one of their songs with humor and contempt in order to bring them to life, and they do so at will and without stopping to consider what the outcome might be. Their music is what it is.
The album begins like a soundtrack for an imaginary film, but soon we begin to get a glimpse of certain cognitive automatisms, a transfiguration, playboys, that come in the guise of impossible stories and musical poems. The listener quickly realizes that one listen is worth far more than a thousand words. It is a well-toiled self-homage that goes beyond mere irreverence. A first album like this is only possible from the unpremeditated intuition of genius.
Everything here is reflected in their hairstyle: Cataplàusia cares little for cosmetic accessories. They look at the past from an obvious anti-revivalism perspective. They are a child of their time. Cataplàusia wear their influences on their sleaves, but they energetically spurn any yearning for a past zeitgeist that has long since reached the age of majority.
Just letting you know that we’re changing to a new digital distribution company and so our catalogue will be out of stores (Spotify, iTunes, etc) for a few days.
Don't panic, about January 22nd it’ll be out again.
Will Spector y Los Fatus’ first album is out now, and you can already listen to the full album here at this site!
'Bicáberut!' is psychbilly derived from the swampy sounds by Los Muertos and crossbred with electronic music from Huesca. It is also The Cramps meet Freud, as well as a hangovery Alex Chilton. The tremors creep up from the deepest catacombs; nihilism in the form of a three-minute song. A junk delight for all black grape lovers and fans of irresistible melodies alike.
There's room in the band's imaginary universe for all these: casual sex, the miseries of our century, stimulants cut short, dimmed toilet lights, the pleasures of mayhem (I come in, you come out, the two of us locked in): Los Fatus glorify vital denials and the loser's pride. Their tendency to self-parody uncovers an exquisite, immediate lyrical prowess. That's where their discourse is directed to under the baton of a Casitone keyboard: proto-punk, synth-rock, new wave reminiscences, Madchester sound, Galician cannibalism. This is ball music for people who've failed in life, for students living in exile, for clumsy drunkards knocking drinks over, and for people keen on masturbatory fantasies: they will all be in their element.
Produced in northern Aragón by Mestizos' emblematic top dog Juanjo Javierre (the old master of Latin booglaoo and supporter of the "caño roto" sound), 'Bicáberut!' revolves around three universal tenets: perverse love, narcotics, and climate change.
Wil Spector y Los Fatus are the wildest, truly original band to have hailed from Spain in the last two decades, and to prove this I am going to set myself on fire in front of all of you: we all have feelings and emotions, despite our dull, cold dance ways.
Octavio Gómez Milián, writer and music journalist
Kiev Cuando Nieva’s new album is out now! And you can both listen to and watch its videos here at this site!
The audiovisual recording is entitled ‘Parece Doble’ and is both a live LP and a DVD release (including a documentary by Orencio Boix). A live concert recorded at the Palacio de Congresos in Huesca on October 29th 2011 where, commissioned by the Periferias Music Festival, Kiev Cuando Nieva were asked to cover whichever songs they liked by their favourite maverick songwriters; Daniel Johnston, The Red Krayola, The Residents, Ivor Cutler, Syd Barret, etc.
Antxon Corcuera and the Aquilué brothers; Javier (Tres Estrellas) and Carlos (Tres Estrellas, En) have cemented a career in music far from the all too predictable Spanish alt-pop music scene. Kiev Cuando Nieva is currently hailed, despite their indie status, as one of the best bands in Spain. The songs the trio from Huesca writes are elusive in nature but over time end up becoming reconcilable, mandatory and even fraternal.
The point with this concert was not only to preserve the legacy and history of the songs but also to try and endow them with Kiev’s own personal expressive code. The band resorts to subtle but colorful signals to shape the very particular work of other songwriters, and they pull it out successfully; it all comes together nicely despite the difficulty of such an undertaking.
After adapting the songs for this repertoire, the trio found out that maybe every genuine gesture of commitment is also, although involuntarily, an irreverent gesture, one which is doomed to oblivion. They also found out about the true extent of what’s unusual in their record collections. But far from feeling related to these songwriters through their songwriting or their lyrics, what’s made the band revisit the work of these artists–usually referred to as strange or mentally instable–is their irreducible folly and senselessness. And this is the band’s work ethics: to show us how a song can stand out despite conspicuous abnormalities –or simply because of them– and how these songs are nothing more than unusual perspectives from which to look into the mysteries of life.
From the sand on a beach, the graceful spotting of a plane in the blue sky sporting an aerial advertisment, the uninhibited and relaxed gazing of a brand up in the sky, like an ad shown on the horizon in slow motion and which reads 'Bastards'.
Les Sueques' first effort is out now, you can stream it and get it on this website!
The EP, which contains four great, shiny songs, was recorded in demo-like attitude in only one day by Sergio Pérez (Pegasvs, Thelematicos) and Hans Laguna.
Les Sueques are a dadaistic, punkish, almost all-girls band that likes to explore the shades of gray in pop music. The tunes are sweet and colourful, while the lyrics gut wrenching. In short, the pop sensation of the post-Bankia times.
Duot’s second album entitled ‘Cactus’ is out on streets! You can listen to and buy it here at this site!
Risk vacuum packaged. Only four pieces to immortalize what mutates every time they step into a stage...
Few artists have generated such expectation both inside and out the impro scene during the last years. News comes with a tour that will stop on several cities.
Stay tuned: Music.
Ghandi Rules OK’s ‘EP 1’ is out!
You can have a full listen of it here!
Oriol Solé (Iga Memento, Alado Sincera) and Toni Sistaré (Inot Eratsis) both solemnly sweared with them own blood the quest of basics, by calling upon febrile horses whose sleep has been desecrated. Now running with no direction in the dark, through fuzz rock labyrinthine galleries, aproaching big nowhere, while an absurd, sharp yet intelligible and infectious divertimento with 8 songs in just 15 minutes starts showing up.
A unique and brilliant voice, without question appart from the independent catalan scene.
Dúo Cobra have been selected by Touch Sensitive to belong to the artists directory that the scottish agency has created for its future collaboration and events projects between both foreign and local artists from the United Kingdom.
The spanih selection is just stunning: Betunizer, Chiquita y Chatarra, Dúo Cobra, Elle Belga, Pauline en la Playa, Za!, etc…
Check it out.
Dos Gajos’s first album is out now!
New project, after years of silence, from Juan Carlos Fernández (Penélope Trip ex guitar player) with experimental filmmaker Esperanza Collado (Las Hermanas Diego, Somadrone, Tumulto Dorado).
You can listen to the full album already here! This beautiful yet strange act that has been produced by Rafa M. del Pozo (La JR, AA Tigre).
Paraphrasing Javier Aquilué (Kiev Cuando Nieva), it’d be an unlikely blend between the stubbornness of the constant rhythm from the train which used to go through Bakersfield and Nashville and the residual drone of a loose screw from the Opel which Syd Barrett used to drive.
Mesmerizing pendulums maracas and guitar’s pizzicato rhythms off. Mambo, calipso, Marc Ribot, Elizabeth Cotten, Beat Hapenning, Jad fair. Voices-off singing engrossed lyrics in a circular fashion, going through the neurosis and weariness of adulthood using humour and a jumpy and naive rattling.
If Kantia Diego herself mentioned an unconscious limbo where Esperanza joins Juan Carlos out of femininity – associated – interpretations... Here comes a stem on a moorland.
I always considered JC the most talented musician among the generation that formed bands around Gijón in the early 90s. Former guitarist of Penélope Trip, since the band dissolved, JC had been playing music, mostly privately. On the night of his arrival, JC played some of his songs in the kitchen. To my surprise, they had lyrics.
The collaboration of Esperanza Collado in the album was, at first, very casual. Even though she had been more focused on experimental film, Esperanza had also played music sporadically in the past with different formations (David Loss, Tumulto Dorado, Somadrone, Las Hermanas Diego), she ended up being so involved that a band was naturally formed. During the recording, we specially listened to Alan Vega's first album, Cecil Barfield's ‘South Georgia Blues’, and Elisabeth Cotten's ‘When I'm Gone’.
Rafael M. del Pozo (AA Tigre, La JR)
Debut album by Sonioi s out on stores! Alado Sincera’s singer Daniel Ardura’s side project with Carles Viarnès (Urban Tactus) and Josep Martí (Cataplàusia).
You can listen to the full album here at the site!
‘De no estar’ is an unsusual album. In such a serene act builed up to undress the time. Involving a return to the most intimate lyrics of Ardura but to be developed this time among diferent fields instead: Closer to David Grub’s experimental pop or Dominique A’s contemporary songs rather than, at a glance, anything else...
Terse memories, flashes getting amplified, journey notebooks on song form, each one of them as a piece for a single moment and every moment as free scrap, battle of unfocused witnesses.
Please note the LP edition will contain an extra track…
Duot have been playing every thursday for the last half year at Robadors 23’ bar in Barcelona.
Next September they’ll continue performing at the place where every night becomes a post? free jazz session with prime line guests as Marc Egea, Agustí Fernández, Alessandra Patrucco, Dani Pérez or Pablo Rega among others...
Next Thursday 16th of June there will be the last session before the summer break and so it’ll be a special one..
Can’i miss it... Free entrance and more, free way out! Party.
You can already watch Dostopos’s documentary about the making of Alado Sincera’s latest album’ ‘Palimpsesto’ (Repetidor 09), right here at Repetidordisc.com!
It was filmed during the 3 recording days with both Frank Rudow and Paco Loco on the recording desk at El Puerto De Santa María, Cádiz.
This item is called ‘Primeros Dientes’ and it’s a beauty…
Alado Sincera will release a 7’’ called ‘2 Dolores’. It will contain two unreleased songs: 'La Herida Preferida' and 'Dolores'.
Alado will be touring next April and this celebration will also come by with the release of a beautiful documentary produced by Dostopos about the album making off.
We’ll upload the film here at Repetidordisc.com next March 28th.
Meanwhile; You can't miss a copy of this new 7'' artefact; get it here!
Dúo Cobra have been selected to the Notodo Awards for them incredible album 'Déjate Morder'!!!
You can vote them here www.notodo.com/premiosnotodo
¡Largo del Fotomatón!
Unique oportunity to watch Scott McCloud (NY, Girls Against Boys and Paramount Styles) performing in such a special place as Fotomatón. Tickets already available!
Fotomatón Bar: Plaza Conde de Toreno 2, Metro Plaza España / Noviciado.
Our new release it's out on stores!
The debut album by The Neurotic Kites (Joseph Hilferty, San Franciso, USA) which will be entitled ‘Lives’.
Hilferty is able to summarize contemporary partners’ work like The Jayhawks, Montgolfier Brothers or John Vanderslice trough his very own sensitive prisms, achieving beauty by providing each song with such golden frailty.
Check out the mysterious video that Dostopos have done for the first single 'Over!
We start a brand new concert series at Fotomatón Bar in Madrid. The first gig will be Dando Amor and Dúo Cobra.
Fotomatón Bar: Plaza Conde de Toreno 2, Metro Plaza España / Noviciado.
Dúo Cobra's first album entitled 'Déjate Morder' is out on stores.
¡Listen to the full album and watch the videos that the guys themselves have done for all 11 tracks of the album at this very same website!
'Déjate morder’ is a marvelous album to just stop the time and to amplify all ignored power, everything that sinks into oblivion day after day...
¡Alado Sincera live on TV!
Today Thursday 14th of January at 23:30h on RNE 3 and at 00:30h on TVE 2.
Our first musical reference, 'Palimpsesto', is a turning point for both the band, their followers and the media. All this thanks to the unanimous praise that their daring effort has received. Below is a compilation of the best reviews of 'Palimpsesto':
De espaldas a los cánones del rock. No parece tan difícil, pero lo es, y eso redobla la valía de este grupo Barcelonés. Líneas inusuales de voz, instrumentación expresiva y muchas escuchas por delante
| Pablo Gil, El Mundo Metrópolis | NOVIEMBRE 2009
Discurso denso, con crispados juegos instrumentales, donde prima el riesgo sobre la melodía y la lluvia (ácida) contra el contexto en el que (de) crecemos
| Beatríz G. Aranda, El País EP3 | NOVIEMBRE 2009
Enormes ideas. Dispersión sonora que hace luminosas unas canciones que rezuman ironía, aromas naïf y una inocencia ciertamente muy distorsionada y gratificante
| Esteban Linés, La Vanguardia | NOVIEMBRE 2009
El rastro en llamas. ‘Palimpsesto’ es un formidable trampolín a la abstracción, el segundo nacimiento desde el fuego de una banda que, sin dejar de ser quien era, ahora es otra
| Alberto Fernández, Go Mag | OCTUBRE 2009
Puede que con ‘palimpsesto’, y sin quererlo, Alado Sincera hayan echado a andar la nueva canción protesta
| Estela Cebrián, H Mag | OCTUBRE 2009
No es un disco al que uno caiga rendido a la primera escucha, sino que plantea un romance más a largo plazo. La victoria es suya
| Marc López, Rockzone | OCTUBRE 2009
Dicen que el tercer disco es fundamental en la carrera de cualquier artista. Los Barceloneses Alado Sincera dicen sí a esta teoría
| Dimas Rodríguez, Butxaca | OCTUBRE 2009
El cuarteto catalán renace con un disco más intenso y directo. El nuevo repertorio de los catalanes palpita, chirría y condensa mensajes a modo de letanía
| Jordi Nopca, Mondosonoro | OCTUBRE 2009
Grupo estridente y disonante que, electrificando sus instrumentos a tope, interpretó una canción de titulo sugerente y filosófico: ‘La televisión va por dentro’. Ensombrecer deliberadamente el mensaje a base de estridencias, puede que en eso consista, a veces, la televisión
| Sergi Pàmies, La Vanguardia | OCTUBRE 2009
Más psicodélia, menos melodías cantables. Tercer álbum de estos barceloneses que apuestan por cambiar de rumbo pero no olvidan la esencia guitarrera que les vio nacer. Completo
| Natalia Brovedani, Lamono | SEPTIEMBRE 2009
Our second release is out now in stores, it's the first album by Inot Eratsis entitled 'Les hores'.
A very special record that lies somewhere between Hood and Matt Elliot... Sung in Catalan, Spanish and English...
You can watch 'Ara ja està''s video made by Dostopos, listen to the full album at our website or buy it at any shop!