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Electrónica - Publicado el 3 de agosto de 2011 | Mute

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When accomplished electronic music producers speak of making proper songs instead of tracks -- most ominously, there’s the one-two punch of “Dance music bores me now” and “I’m getting a band together” -- it’s usually a good time to tune out. While Sascha Ring is guilty of all three and has backed it up with The Devil’s Walk, an album completely divorced from the dancefloor and glitch/IDM, the shift has been gradual, not abrupt, and he happens to be composing some of the most evocative, finely detailed music of his decade-long career. No need to think back to the most organic song on 2007’s Walls, the sapless and malformed “Over and Over,” and prepare for more of the same; these songs, sometimes built on little more than strings, soft keyboard tones, and supple textures, are sturdy and fully developed. All the vocalists fall into place with solemn yet expressive performances, enhancing productions that straddle heartache and ecstasy. It’s the type of album that can be enjoyed on the surface, as pleasant background listening, or as a deeply immersive experience. Anyone who enjoys it should seek the output of Ring collaborator Joshua Eustis' Telefon Tel Aviv, especially 2009’s Immolate Yourself. © Andy Kellman /TiVo
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Rock - Publicado el 13 de septiembre de 2010 | Mute

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Grabado de nuevo en la compañía del productor Nick Launay, Grinderman 2 es un trabajo más pulido y estudiado que su predecesor, pero es un disco de rock & roll al rojo vivo con un sonido más aventurero. Destaca el rock disonante canallesco y sórdido de "Mickey Mouse and the Goodbye Man", el blues pantanoso y procaz de "Kitchenette" y el atronador "Worm Tamer". Con su amplia gama de texturas y atmósferas, y una grandilocuencia dinámica deliberadamente estudiada, el álbum contiene una sobredosis de adrenalina de rock & roll y esta placado de sordidez cómica, pero también suena como una dirección nueva y más experimental para la banda en lugar de una continuación del debut. © Thom Jurek /TiVo
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Alternativa & Indie - Publicado el 1 de octubre de 2013 | Mute

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Mezclando los sonidos multiculturales del álbum debut de Yeasayer con un nuevo énfasis en la electrónica, el trip-hop mundial y la producción digital, Odd Blood es el álbum de un hombre inteligente, uno que exige a los oyentes que pongan la cabeza mientras bailan con los pies. “Love Me Girl”, con su mezcla de teclados de ritmo balear y voces femeninas grabadas, podría haber sido sacado de cualquier club nocturno de Ibiza, mientras “Madder Red” ofrece el improbable equilibrio entre pop sintético, música tradicional de Oriente Medio y música dance de los 80. Publicado en 2010 este segundo álbum amplía el sonido de Yeasayer sin reducir su atractivo. © Andrew Leahey /TiVo
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Rock - Publicado el 5 de marzo de 2012 | Mute

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When White Rabbits wanted to move away from the everything-but-the-kitchen-sink sound of their debut Fortnightly, they recruited Spoon's Britt Daniel to streamline their music, and the results, It's Frightening, sometimes followed a little too closely in Daniel's footsteps. This time, the band ventures out a bit farther, working with frequent Spoon producer Mike McCarthy on Milk Famous, which does a more convincing job of putting the band's own stamp on these songs. Unsurprisingly, some of Spoon and McCarthy's favorite touches -- driving pianos, double-tracked vocals, and rockabilly-tinged reverb -- are present and accounted for here, but the overall sound is slicker and somehow subtler than before, with a new wave sheen to songs like the sleek "Temporary" that leans more toward the likes of the French Kicks, Phoenix, or Two Door Cinema Club than the unexpected curves and raw edges that Daniel and company throw at their listeners. Thanks to McCarthy's collaboration, Milk Famous' songs boast interesting flourishes everywhere, especially on the deceptively named opening track "Heavy Metal," which guides the ear from a swirling keyboard loop to manicured feedback to the busy bassline and back again. At times, the sonic details threaten to overwhelm the actual songs; it takes a few listens for the band's clever songwriting to stake an equal place in listeners' memories, but once it's in there, White Rabbits' moody, paranoid pop is hard to shake. "I'm Not Me," "Everyone Can't Be Confused," and "I Had It Coming" are particularly pithy highlights, while "It's Frightening," an abstract ballad adrift on oceans of rippling pianos, is moving because of what it doesn't say. Though It's Frightening might have had a few more immediately accessible moments than Milk Famous, the sonic growth and confidence White Rabbits display here prove they're moving in the right direction. © Heather Phares /TiVo
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Rock - Publicado el 23 de mayo de 2011 | Loose Music

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Alternativa & Indie - Publicado el 8 de mayo de 2012 | Secretly Canadian

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Alternativa & Indie - Publicado el 7 de mayo de 2012 | Full Time Hobby

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4 stars out of 5 -- "[The album] finds the trio gently corralling hushed acoustic, choral and symphonic laments, served with lashes of strings, into songs as gloriously haunted as the land that spawned them." © TiVo
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Alternativa & Indie - Publicado el 1 de mayo de 2012 | Ribbon Music

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Lower Dens' 2010 debut LP Twin-Hand Movement was a largely overlooked moment of understated brilliance. Native Texan turned Baltimore transplant Jana Hunter had been quietly toiling in the throes of experimental indie rock for years before forming an official band around his uneasily atmospheric solo songs, and though there was no dramatic shift in style or tone, something crystallized under the Lower Dens namesake that hadn't been there before. Finding a foggy middle ground between Motorik-Krautrock rhythms and the most dimly lit corners of shoegaze, Twin-Hand Movement built an atmosphere that was instantly transfixing though deceptively simple. Following a series of singles and a few other scattered appearances, the band returns with sophomore effort Nootropics, expanding their sound only slightly with more electronic elements. While less guitar-centric, the same narcotic feel of the first album carries through here, a patient continuation of the languid summer night soundscape that Twin-Hand Movement set up so well. In some ways, Nootropics is a series of continuations. The two-part "Lion in Winter" begins with a bed of ominous synth tones before abruptly emerging into a new wave-leaning, subdued pop track driven by tinny electronic drums and bumbling synth bass. The minimal churn of "Brains" continues without a pause into the scratchy Neu-inspired addendum "Stem." Moments like these make the album feel like an ongoing extension of itself, circular themes of anxiety and displacement reappearing through the clouds of moody melodies. Hunter's ghostly vocals are sometimes reminiscent of Baltimore peer Victoria Legrand of Beach House, calling out softly from under layers of wistfully beautiful noise. The similarities are striking on "Propagation," a dirge filled with longing that duets Eno-esque fuzz guitars with a humid vocal line. The moment that brings everything into focus on the album is the last 45 seconds of "Lamb." This darkly brilliant composition goes from tersely building verses into a soaring arc and unexpectedly fading into disintegrating noise as it ends. Much like Belong's blurry melodies tangled in webs of noise or even the holy sonics of My Bloody Valentine's Loveless, it's in this brief moment of transcendence that Lower Dens achieve something so otherworldly it's impossible to ignore. Like its predecessor and the earliest Beach House records, Nootropics is so mired in restraint it will fail to grab many ears on the first go-round. However, once listeners get their heads around the sound, it's a definite on-repeat player. Free of flash, Nootropics is the sound of smoldering. It's the sound of what's left behind after the fireworks display, and the gentle dread of smoky ashes floating softly down from the sky onto an empty beach. © Fred Thomas /TiVo
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Yo

Jazz - Publicado el 17 de abril de 2012 | Jazz Village

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Roberto Fonseca is one heck of a pianist, firmly grounded in his native Cuba, but also a child of his time, strongly influenced by the 1980s, especially Rockit-era Herbie Hancock. That's quite apparent on the first cut here, "'80s," which builds on Hancock's work from that time, heavily rhythmic -- except the rhythms are Cuban -- and moving between some outstanding piano work and some low-key Hammond for a very joyful noise. From there he switches tack completely, bringing up an Afro-Cuban soft groove for "Bibisa," working with singer Fatoumata Diawara as well as kora and ngoni. It's beautifully successful, a fusion that works elsewhere on the disc, with "Chabani" connecting the dots between Cuba and Algeria, while "Gnawa" delves into the Moroccan gnawa tradition. There's plenty of Cuba throughout, but it's at its strongest on "7 Rayos," which is an homage to Santeria. Fonseca is a towering presence all over the disc, whether he's touching blues on "Asi Es la Vida" or trading lines with electric kora on "JMF." There's a glorious fluidity to his playing, but he's also an excellent listener, working well with the other musicians. This disc will greatly enhance his reputation, and definitely raises him up several notches. © Chris Nickson /TiVo
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Alternativa & Indie - Publicado el 16 de abril de 2012 | Domino Recording Co

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Alternativa & Indie - Publicado el 16 de abril de 2012 | Double Six Records

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Rock - Publicado el 13 de abril de 2012 | Parlophone UK

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World music - Publicado el 2 de abril de 2012 | Because Music

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Alternativa & Indie - Publicado el 2 de abril de 2012 | geographic

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Alternativa & Indie - Publicado el 2 de abril de 2012 | XL Recordings

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Rock - Publicado el 30 de marzo de 2012 | Nonesuch

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Chanson francesa - Publicado el 26 de marzo de 2012 | naïve

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Pop/Rock - Publicado el 26 de marzo de 2012 | Patchrock

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Alternativa & Indie - Publicado el 3 de abril de 2012 | Full Time Hobby

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Pinkunoizu is a Danish quartet that plays an unclassifiable kind of music that's ambient in feel with touches of prog rock, radio-friendly pop, minimal new music, and world influences floating through a mix that's alternately murky and clear as a bell. Short, almost-pop tunes rub up against long, meandering excursions that unfold with their own peculiar logic, tossing out the hint of a singalong chorus only to subvert it with what sounds like processed didgeridoo or an avalanche of haphazard sounds. Psychedelic is the most apt description of the music, but the eight swirling kaleidoscopic pieces that make up the album don't really fit easily into a single category, or, perhaps, they fit into every category at once. Chiming guitars and washes of foggy noise meet unintelligible lyrics on the opener "Time Is Like a Melody" before slipping into "Myriad Pyramid," a faux-Latin/Arab groove with a ghostly choir adding to the puzzling electronic aura. "Everything Is Broken or Stolen" rides a bubbly percussive track, while a bleary vocal and odd keyboard effects dance in the background, broken by random glitchy effects. Suitably dark sound effects float in and out of the flamenco-flavored groove of "Death Is Not a Lover." There are vocals here, but they're mixed into an unintelligible soup until the end of the tune, when the title is repeated with a melody that recalls Doc Boggs's "Oh Death" before shifting into a bright dance-rock track that competes with another tidal wave of dissonant, rhythmic vocal clatter. Listing to Pinkunoizu will leave you slightly dazed, not unlike the aftermath of an unexpected but pleasant acid trip. The music is enjoyable, and the lyrics, when you can hear them, are wicked and witty, but the lack of dynamics often crosses over from hypnotic to somnambulant © j. poet /TiVo
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Jazz - Publicado el 20 de marzo de 2012 | Jazz Village

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