Jesse Kanda (18 imagens)


My Bloody Valentine – M B V (2013)


01) She Found Now
02) Only Tomorrow
03) Who Sees You
04) Is This And Yes
05) If I Am
06) New You
07) In Another Way
08) Nothing Is
09) Wonder 2

“Even though My Bloody Valentine promised late in 2012 that they would release new music in the near future, when m b v arrived in the middle of a February weekend in 2013, it was hard to believe it actually existed — and not just because demand for the album kept crashing the band’s website. For years, a follow-up to their 1991 masterpiece Loveless seemed impossible, and perhaps even unnecessary. What could live up to Kevin Shields’ notorious perfectionism, never mind the expectations of rabid fans (some of whom weren’t even alive when Loveless was released)? With a title that evoked years of scrawling initials on mixtapes and playlists, m b v answered those worries with a set of songs that felt immediately familiar. And, appropriately enough given the 22-year wait, many of these tracks are decidedly unhurried, and maybe even hazier than what came before. “who sees you” and “if i am” churn and hover, full of cloudy vocals and lingering guitars, while “she found now” recalls Loveless’ “Sometimes” in its whispery bliss. Yet there are differences, too: m b v’s production is surprisingly direct and intimate, at times almost insular compared to Loveless’ panoramas. “is this and yes,” which jettisons guitars in favor of organ and brass that evoke Stereolab’s regal serenity, is one of the most strikingly different songs in their catalog. Shields and company spend much of the album avoiding the rhythmic heft that made their previous music equally lush and propulsive. Instead, they save m b v’s loudest and most daring moments for last. “in another way” pairs a stair-stepping vocal melody with tones that approach free jazz in their dense clusters, while “nothing is” rides a pummeling riff and drums that are almost perversely loud, as if to make up for muffling them elsewhere. The most exciting moment is “wonder 2,” which makes the jet engine comparisons to their music more literal than ever before, with rapid-fire beats and streaking sonics that suggest the song is being shot into space. Occasionally, m b v’s songwriting doesn’t always feel as immediate as before: “only tomorrow” and “new you” are among the tracks that make the most of their poppy structures and Bilinda Butcher’s sugared murmurs, but as fans know, most of the band’s hooks take their time to emerge. More comforting than revelatory, m b v reaffirms that My Bloody Valentine are one of a kind; the subtlety to their melodies, instrumentation, and the way they blur together belongs to them alone. They’re not trying to re-create Loveless, nor should they, and m b v doesn’t have to reinvent music (again) to be worth the wait.”

fonte: Allmusic –


Swirlies – Blonder Tongue Audio Baton (1992)

[Lo-Fi, Shoegaze, Indie Rock]

1 [untitled] 0:12
2 Bell 4:29
3 Vigilant Always 5:10
4 His Love Just Washed Away 5:24
5 His Life of Academic Freedom 2:07
6 Pancake 3:15
7 Jeremy Parker 4:14
8 Park the Car by the Side of the Road 5:04
9 Tree Chopped Down 3:12
10 Wrong Tube 5:06
11 Wait Forever 4:18

“The Swirlies’ first full-length album melds noisy guitars, samples, and sweet girl-boy vocals into a disheveled take on dream pop. Where so many dreamy bands polish their sound into pristine oblivion, the Swirlies create a hazy atmosphere that is evocative and unpretentious. Blonder Tongue Audio Baton — named after a vintage tube equalizer — combines the elements of the band’s early work with more complexity. Songs like “Bell” and “Vigilant Always” juxtapose gentle and brash moments for a spontaneous feel, while “His Life of Artistic Freedom” expands on the Swirlies’ noisy, experimental side. The group also shows off their accessible fuzz-pop on the album’s centerpiece, “Pancake.” The combination of Seana Carmody’s demure vocals, big guitars, and burbling Mellotrons makes for one of Boston’s most memorable pop moments since the Pixies’ “Gigantic.” The crunchy rhythms of “Tree Chopped Down” and “Wrong Tube” complement Damon Tuntunjian and Carmody’s limpid vocals beautifully, and the sweetly noisy “Wait Forever” sums up the Swirlies’ homemade noise pop aesthetic. A mainstay of early-’90s indie music, Blonder Tongue Audio Baton still sounds fresh today.”

fonte: allmusic –

Windy & Carl – Drawing of Sound (1996)

Experimental, Drone, Ambient, Psychedelic Rock, Space Rock

You 4:38
Lighthouse 9:03
Venice 8:22
Awhile 10:10
Whisper 10:43

“The second full-length release by Windy & Carl finds the Detroit-based duo building on the concepts first explored on 1994’s Portal. Not quite formless enough to be ambient music, but more delicate than the driving rhythms of space rock, and with an almost folky indie pop edge, Windy & Carl’s lengthy songs (only the opening “You” falls under five minutes; the other four tracks are in the eight- to 11-minute range) are their own little breed of psychedelia. Where bands like Charalambides make a virtue of their indistinctness, these songs can be maddening to a listener used to more song-based music, as they almost but never quite cohere into proper pop songs. Bassist Windy Weber’s vocals are agreeably breathy and kittenish, but they’re mixed so softly that understanding more than a stray phrase or two is impossible. Add the gossamer haze of Carl Hultgren’s overdubbed guitars and the overall effect of Drawing of Sound is not unlike listening to a Cocteau Twins album, from the next room, while coming out from under anesthesia. This is not necessarily a bad thing.”

fonte: Allmusic –

Susumu Yokota – Sakura (2000)

[Downtempo, Ambient]

3.”Uchu Tanjyo”
8.”Azukiiro no Kaori”

“Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota’s melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music’s birth in the mid-’70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel Göttsching. The icy “Saku” sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal instrumentation. Beats make their first appearance on “Uchiu Tanjyo,” as smooth, semi-tribal hand drums blend organically with the repeating keyboard figures. “Genshi” adds house drum programming to the brew, and Yokota’s knack for reflective electronic melody on the track rivals the best of Kraftwerk. Both “Azukiior No Kaori” and “Kodomotachi” use vocal samples to haunting effect, bringing to mind the favored techniques of Nobukazu Takemura without direct reference to machine glitches. The flow is marred by a misplaced jazz cutup (“Naminote”), but Sakura possesses an austere beauty and should not be overlooked.”

fonte: Allmusic –


Olivia Tremor Control – Black Foliage: Animation Music Volume One (1999)

[Lo-Fi, Psychedelic Rock, Experimental, Indie Rock]

1. Opening
2. A Peculiar Noise Called “Train Director”
3. Combinations
4. Hideway
5. Black Foliage (Animation 1)
6. Combinations 2
7. The Sky Is a Harpsichord Canvas
8. A Sleepy Company
9. Grass Canons
10. A New Day
11. Combinations 3
12. Black Foliage (Animation 2)
13. I Have Been Floated
14. Paranormal Echoes
15. Black Foliage (Animation 3)
16. A Place We Have Been To
17. Black Foliage (Itself)
18. The Sylvan Screen
19. The Bark and Below It
20. Black Foliage (Animation 4)
21. California Demise (3)
22. Looking for Quiet Seeds
23. Combinations 4
24. Mystery
25. Another Set of Bees In the Museum
26. Black Foliage (Animation 5)
27. Hilltop Procession Momentum Gaining

“If the preceding Dusk at Cubist Castle was the Olivia Tremor Control’s very own White Album, then the labyrinthine Black Foliage is their SMiLE — it’s an imploding masterpiece, a work teetering on the cliff’s edge between genius and madness. Torn at the seams between pop transcendence and noise radicalism, the group attempts to have it both ways, meaning teenage symphonies to God like “A New Day” rest uneasily alongside musique concrète-styled tape pastiches such as “Combinations” (which, along with the similarly styled, multi-part title track, is one of the many sonic motifs snaking its way throughout the record). There are at least enough ideas for five albums here, which is both Black Foliage’s strength and its weakness — it’s impossible not to get lost inside of the OTC’s swirling schizophrenia, and too often snatches of brilliance flash by too quickly to savor the moment. Moreover, with songs like “California Demise 3″ continuing the oblique narrative running through previous OTC records, the artistic statement the record is making (and there undoubtedly is one) is impenetrable at best. Still, with each of the band’s successive releases seeming like just part of a much bigger picture only now beginning to come into focus, maybe that’s the point. Ultimately, Black Foliage just might be an end-of-the-millennium appeal that speaks directly and solely to the unconscious.”

fonte – Allmusic –