Betheflowevents

I commented 6 years ago, in the review of 'Sweet Heart Sweet Light', that gives the sensation that each album of Spiritualized, the musical extension of Jason Pierce, is linked to a moment of catharsis in vital of his alma mater. If then it was the overcoming of a double pneumonia that put him on the verge of death, in the case of demorated 'And Nothing Hurt' the problem has been something more prosaic: money. Pierce didn't have the budget to make the record he wanted, a recording with the sound of historical studios like Columbia or Capitol but that appeared to be broadcast from a satellite orbiting from space. Such an enormous ambition was solved in the smallest and, at the same time, difficult way for him because of everything he didn't know about digital recordings: he bought a laptop and tried to reproduce in his bedroom practically every sound except those of instruments that didn't fit there, like timbales or a double bass. An adventurer trying to ad

I swear that it has been circumstantial, but the truth is that it makes more sense than anything at this moment, in full summer, to sit down and write about 'Sub Lumine', the first length of Summer Spree after his EP 'Parque Figueroa' -imprescindible complement for this album-. Behind this "summer party" is hidden Álvaro Muñoz (of certain - or uncertain? - popularity for his rock project Tarik and the Fábrica de Colores, something less for his rogue alter ego Rufus T), which we could already call the Spanish Lawrence. Not only because, like Felt's elusive leader, he goes from project to project, fleeing from personalism (which also), but because, like him, his music is made in the way of another era and he is an artist like from another time, accidentally deposited in a moment in which art is measured in likes and streaming figures. , In the case of Muñoz, instead of the obsession for the leader of Go-Kart Mozart for post-glam rock, his thing is the mem

When I saw Ezra Furman in the last Primavera Sound, transvestite, wearing an ostentatious pearl necklace, I thought it had to be too big to wear such a cheesy and out-of-date accessory as that and that would fit him well. Then he versioned 'Hounds of Love' and I reflected on the amount of talent needed to make one of Kate Bush's most famous songs yours. Something similar happens to me with his recordings; that feeling that Furman appropriates a lot of artists he likes, takes them to his field, swallows them and gives a result in which his personality remains above all, despite making his loans so evident. If on his previous album, 'Perpetual Motion People', Ezra played to be a star of the lavish pop of the 60s, this time taking the focus to the 80s and 90s, raises a little histrionism, unleashes the imagery and catapults to Paradise. Transangelic Exodus' is better, but infinitely better, than its predecessor. As if it were a road movie (doesn't the cover

What do you say if they ask you what is the nexus between Madonna and 'Ghost In The Shell'? After listening to 'Oil of Every Pearl's Un-insides', you can come up with an answer: SOPHIE. The last track is impregnated with a futuristic, paranoid and post-apocalyptic atmosphere in the purest style 'Ghost In The Shell' or 'Deus Ex' and, although 'Whole New World/Pretend World' is undoubtedly the most inaccessible piece on the album (you might like 'It's Okay to Cry'), or even the brute 'Ponyboy', and that on the other hand frightens you this trip -we'll delve into this concept later- of almost ten minutes), is also the most representative of SOPHIE and of what it proposes. It is not surprising that he chose it to close his debut album: nine minutes and a half where the distorted parts are mixed to the unintelligible intoned by SOPHIE, the noventiary lament of "I looked into your eyes, I thought that I could see a who

Of all the 7-track discs each produced by Kanye West this year, Pusha T's 'DAYTONA' is the best of them all. The album arrived on the street accompanied by controversy due to its cover, an image of Whitney Houston's drug-filled bathroom that was published in the media in 2006, and with whose West license it took over, at the last minute, paying a whopping 85,000 dollars. Although 'DAYTONA' speaks, above all, and as is usual in Pusha T's work, about drugs, at least its content is of better taste. In this sense, Kanye West's presence in 'DAYTONA' plays for and against Drake's enemy (there is a song dedicated to the Canadian on the album, 'Infrared'). Because if nobody can doubt that it was the experimental productions of 'My Name is My Name' and 'Darkest Before Dawn' that gave personality to Pusha's work, 'DAYTONA' can hardly be considered a logical continuation of 'Darkest Before Dawn'. In fact,

Lindsey Jordan is still a teenager (19 years old) who already at that age flirts with a certain popularity -her photogeny and taste for fashion has taken her to the pages of trend magazines such as V- and who lives her sexuality as naturally as possible, supported 100% by her family environment. But none of this affects his music under the name of Snail Mail (his homosexuality is confirmed in the use of genres of some lyrics, little more) of his own volition, which already shows his surprising maturity. A maturity that can also be seen in her compositions, extraordinarily solid and characteristic of an experienced artist, which stand out above the label "indie 90s" which, today, applies very well to its sound. , Because if there is one thing this debut album by the Baltimore artist states, it is that its potential is above the nostalgic tic that refers to Sebadoh, Liz Phair or the Belgians Bettie Serveert -and that, on the other hand, to younger ears it will sound like pur