Friday, 7 June 2019

KALIKENYO ROCK







































"kalikenyo rock"
Year:    2019
Country:    Catalonia (Spain)
City:    Juneda
Label:    unofficial
Format:    digital
Bands:    20
Tracks:    20
Time:    45 mn.
Genre:    rock
Style:            Punk Rock


















Albert Civit with his friends, started late 90s decade to organize small live concerts in his village Juneda (Lleida). Little by little they learnt how, when and where to organize more events, bigger, better and larger, until four days of music non-stop. At the beggining they orginaze live performances with local punk bands, but last years there were the most successful bands of spanish-speaker punk, ska and rock scene. You can to read an interview with the KALIKENYO ROCK promotor: Albert Civit. Here below you can listen to this unofficial compilation with just some bands who has been in this event. Enjoy it.
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Sunday, 5 May 2019

IDLES


























"joy as an act of resistance"
Year:    2018
Country:    UK
City:    Bristol
Label:    Partisan
Format:    CD, LP
Tracks:    12
Time:    42 min.
Genre:    rock
Style:            Alternative Rock












Idles, stylised as IDLES, are a british punk and post-hardcore band formed in Bristol in 2009. Their debut album, "brutalism", was released in 2017 to critical acclaim, as was their second album "joy as an act of resistance" in 2018. . The success of the band’s debut EP "welcome" did not go unnoticed and so it happened that BBC Introducing in the Southwest honoured the group as "Band of The Year" in 2012. After a hiatus, the band returned in 2015 with "meat EP” and "meta EP”. "divide and conquer" and "well done" were released in 2016, when it was announced their debut album "brutalism" was released on March the 10th, 2017 and was supported by a 24 date UK Tour during March and April.
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"brutalism"
Year:    2017
Label:    none
Format:    CD, LP
Tracks:    13
Time:    40 min.
Genre:    rock
Style:            Alternative Rock













Brutalism feels like an instant landmark moment in modern punk history. At first I chalked my love for the record up to its sonic similarities to a myriad of other punk classics, but there’s far more to Brutalism than its influences. IDLES takes the compressed, bassy production of modern acts like No Age and Pissed Jeans and applies to a series of menacing instrumental performances under the eccentric, yet simultaneously muscular deliveries of vocalist Joe Talbot.

Right off the bat, Talbot’s strong British accent spawns comparisons to the likes of Johnny Rotten or Steve Ignorant, which are only aided by the palpable anger and sarcasm that it’s often drenched in.

Though Talbot’s performances steal the show for most of the runtime, IDLES come through with some incredible instrumental pieces. With the exception of the closer, IDLES is firing on all cylinders with the booming, distorted bass and driving drum parts generally filling in the majority of the band’s sonic palette. The guitar parts are often so noisy and doused in feedback and reverb that their intricacies are almost unintelligible. This arrangement often manifests into a seemingly uncontrolled chaos, but it’s when the band is able take these musical clusterfucks and reorganizes them into coordinated passages (such as the chorus of, or even the repeated vocal partitions during the verse of “Well Done”) that IDLES is able to hit hardest.

The juxtaposition of passages attacked with synchronized precision with passages that have nothing of the sort helps to make up for the lack of much of any other type of instrumental dynamism. Brutalism is explosive on a track by track basis, but there’s nothing for it to really explode out of. Every track is just a repeated bashing over the head, which would undoubtedly get old, if not for the fact that they’re so compositionally engaging. The band finally brings things down on the closer, “Slow Savage”, but, being the closer, there’s no way for it to play all that much into any sort of a soft loud dynamic. This doesn’t stop IDLES from trying to emulate the effects of this principle by maintaining Talbot’s animalistic deliveries over the gentle, piano driven piece, which actually works quite well at times to emphasize the emotion behind the lyrics, but is ultimately just slightly unsettling for the most part.

Brutalism is an album so loaded with standout tracks that very few tracks really stand out much against the rest. The opener, “Heel/Heal” is a catchy but callous display of fire that burns at the center of the band. “Well Done” is a simplistic banger revolving around a series of tongue and cheek call and response passages. “1049 Gotho”, is a lyrically cryptic track, but delivered none less of the conviction (Talbot seems to be running a emotional laboratory as he goes from being driven up the wall to being driven to edge of tears in a matter of words). “Stendhal Syndrome” is a radical change in pace: faster, harder, grimier… and so on. Every song has its own unique character so picking a favorite is more a matter of personal preference than observance of a drastic fluctuation in quality. But above all else, these tracks are tied together by their (here comes the cliche) brutalism. The compressed grit and larger than life feel of the production would, in theory, cancel out each other’s merits, but, somehow, IDLES makes it work. Brutalism feels sounds clear and crisp without sacrificing that raw punk aesthetic, which makes for a captivatingly crude experience. Simply put, Brutalism exceeds and appeal to its title to deliver a perfectly crafted collection that’s all killer, no filler (*Review by  Sean Crawford ).
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Saturday, 4 May 2019

PETROL GIRLS



























"cut & stitch"
Year:    2019
Country:    UK
City:    Bristol
Label:    Bomber Music
Format:    CD, LP
Tracks:    11
Time:    35 min.
Genre:    rock
Style:            Alternative Rock












post-hardcore and punk "Cut & Stitch" is a patchwork of different sounds, ideas and feelings. It’s the most experimental record we’ve made so far, both musically and lyrically. Cutting and stitching is a process that can go on indefinitely - stitches are easily unpicked, new shapes can be cut, everything can be rearranged. We cut our patches off of old clothes and sew them onto something else. Continuity is an idea that underpins the record, from ‘the sound does not arrive’ to ‘we’re not finished, we never fucking will be.’ This follows on from the sentiment of our last EP, ‘The Future is Dark.’ Political change is a slow, complicated process that’s often only partly visible with hindsight. Making change is a constant collective process that never stops. Its probably impossible for us to see our place within it or to know what consequences our actions will have. It isn’t as simple or hopeless as straightforward victories and failures.

Feminism has become more of an overall approach than an obvious topic, seeping into the way we think about everything from the environment to mental health. We’ve also started to think more about what feminism means for men, given that half of the band are men, and explore the perspective of a man struggling with expressing his emotions in ‘Talk in Tongues.’

The majority of the lyrics were written in the studio. I was having a difficult time, unsure about where to live after we finished the record, and burnt out from a tough year of personal and legal challenges. Something that I’ve reluctantly allowed feminism to teach me is that we have to tend to our own wounds, and that sometimes being vulnerable is just as radical as being angry - it certainly scares me a lot more. Rage on its own isn’t sustainable. We hope this is a more honest and human record (*Review by Ren Aldridge ).







































































"talk of violence"
Year:    2016
Label:    Bomber Music
Format:    CD, LP
Tracks:    10
Time:    30 min.
Genre:    rock
Style:            Alternative Rock












Petrol Girls is an English punk rock band formed in London in 2012 by Ren Aldridge and Liepa Kuraitė, with Joe York and Zock Astpai joining later. The band is named after the historical Pétroleuses and is outspokenly feminist. They have received media coverage from The Independent, Kerrang!, Basingstoke Gazette and Vice Media. Aldridge took the name from a group of 19th century French revolutionaries, les Pétroleuses, after hearing them mentioned by Laurie Penny. Their 14 February 2015 support slot for The Featherz at the Irish Centre in Basingstoke received praise from the Basingstoke Gazette: "Main support was provided by Petrol Girls from London, who in all honesty are good enough to be headlining in their own right. Loosely described as a feminist hard-core band, they are in truth so much more than that. Their songs are so well structured and were so well executed with such passion and power. They are one of a small number of bands who can literally make the hairs on the back of my neck stand on end when they play. What a buzz!". After two EPs, their eponymous self released 7" from 2014 and Some Thing from 2016, the band released their debut album Talk of Violence on Bomber Music in 2017. In April 2018 the band released single "Survivor" and announced they had signed to Hassle Records for their next release.
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Monday, 15 April 2019

ACTIONESSE



























"the deep, bright below"
Year:    2019
Country:    US
City:    Seattle, WA
Label:    none
Format:    CD
Tracks:    10
Time:    30 min.
Genre:    rock
Style:            Indie Rock













Actionesse is a five-piece indie rock and post-hardcore group hailing from Seattle. We would like to hear from you.
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Sunday, 14 April 2019

PAU RIBA



























"dioptria"
Year:    1969
Country:    Catalonia  (Spain)
City:    Barcelona
Label:    Munster
Format:    CD, LP
Tracks:    10
Time:    50 min.
Genre:    rock
Style:            Psychedelic Rock












catalan multitalented artist and songwriter, Pau Riba was born in August 7th 1948 in Palma de Mallorca. Descended from a bourgeois family, grandson of the poet and humanist Carles Riba and the poetess Clementina Arderiu by father side, and also grandson of the founder member of conservative party: Unió Democràtica de Catalunya Pau Romeva by mother side, he raised in a worship, puritan, christian and catalanist atmosphere; however, he has become an alternative cultural landmark: unclassifiable, iconoclastic, transgressive, heterodox. Begun in the late 60s and framed within the Contracultura (Counterculture) movement, his work has had a relative critical recognition and a limited impact on the massive public; despite his unique and untransferable artistical stamp. He was married with Mercè Pastor, with whom had their sons Pauet and Caïm. He's also father of Pròsper Riba.
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Thursday, 4 April 2019

MAQUINA


























"why'?"
Year:    1970
Country:    Catalonia  (Spain)
City:    Barcelona
Label:    Wah Wah
Format:    CD, LP
Tracks:    4
Time:    39 min.
Genre:    rock
Style:            Prog Rock













Why? is the debut LP by Barcelona based band Maquina!, a classic album in spanish rock history. Also known as "The Croissant album" it was praised by genius Salvador Dalí himself. Founded by Jordi Batiste (bass, flute), Enric Herrera (organ), Lluís "Luigi" Cabanach (guitar), and Santiago "Jackie" García Cortés (drums) as Sisa's backing band, "Máquina!" is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 1969. Their first LP in 1970 had striking artwork depicting a clock coming out from a croissant, meaning that it was time to wake-up in Spain: The album was called "Why? Máquina!" and it was clearly so rebellious under a dictatorship that fellow group "Tapiman" (founded by ex-Máquina drummer J. Mª Vilaseca, "Tapi", and Barcelona crosstown rivals/friends) answered them with a track called "Don’t Ask Why". The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years. Two years later, the band recorded with a different line-up (both guitarists having left, and including Carles Benavent on bass). It was a live album with a much different bluesier sound complete with a brass section (and almost all new material) reminiscent of Chicago Transit Authority.
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Sunday, 31 March 2019

SMOKING POPES


























"destination failure"
Year:    1997
Country:    US
City:    Chicago
Label:    Side One Dummy
Format:    CD, LP
Tracks:    17
Time:    36 min.
Genre:    rock
Style:            Indie Rock















What are some pop-punk CDs in your collection that you consider to be classics? Descendents? Green Day? NOFX? Good Charlotte? Whatever your collection of pop-punk albums, Destination Failure will fit in and stand out.

Smoking Popes frontman Josh Caterer has the best voice in punk rock. Perhaps tied with Ted Leo and Nick 13, and probably someone else I'm not mentioning, the point remains that Caterer has a spectacular voice, and puts it to the test on Destination Failure.

A friend of mine who was new to the Popes' offered a primitive and undeveloped impression that actually works well for describing the band to someone who's never heard it: "sappy, romantic lyrics with electric guitars and the most beautiful voice I've ever heard." Of course, there is much more to the Popes' lyrical content than romanticism, but there's no doubt that Caterer and the band know how to write a love (or break-up) song.

In fact, in the first two songs alone, Caterer goes from writing sweet, affectionate lyrics in "Star Struck One" with "Nothing in my dreams / Could possibly have braced me / For the feeling that faced me / Just as I looked into your eyes for the first time" to the cold-as-stone, matter-of-fact break-up song "No More Smiles": "No more smiles / It's just teardrops falling to the ground / No one's around and I don't love you anymore / And I'm sorry about it / When did my heart change its mind? / It must have been during the changing of times."

Destination Failure was also released in the midst of a spiritual awakening for Caterer after a near-death drug overdose. After looking towards Buddhism and New Age Philosophy, Caterer found Mere Christianity by Chronic(what!?)cles of Narnia author C.S. Lewis and began to gain an interest in the faith. From that interest came "I Know You Love Me," that with a booming chorus and uplifting lyrics is one of the catchiest songs on the record. Caterer has also been a long-time fan of Jawbreaker and Jets to Brazil frontman Blake Schwarzenbach, and "You Spoke to Me" is a moving account of this affection and his personal experience: "I drove all the way from Carpentersville to see you here tonight / And it was worth it / You didn't play my favorite song / But that's alright / I love the new stuff too / I'm just glad I got to see you." "Paul" is one of the heart-wrenchers on Destination Failure, with the very believable theme of enduring an ex-lover's affection for her new man: "And when the sun is over Hong Kong / I can tell you where she'll be / Floating in a soft and lonely melody directly over me / Chocolate eyes at one time melting in mine / But not tonight / She'll say 'I love you, Paul.'"

If you're a Bad Astronaut fan, you've probably heard that band's cover of the Popes' masterpiece "Megan." A luscious melody coats the song's emotive lyrics that are worth quoting, but are relatively nothing without hearing Caterer's voice singing them: "Butter on a summer's day when I hear that name / A dream that never came true / Sat down on the tracks and waited for a train / To take me back to you / Somebody came and took my hand...I finally had to go / But Megan I just want you to know / I waited as long as I could."

My two favorite songs on Destination Failure are "Let's Hear It for Love" and "Pretty Pathetic," two songs about relationships that are equally heartbreaking given the right context. "Let's Hear It for Love" can be construed as either romantic or cynical: "Let's hear it for promises, something sealed with a kiss / Let's hear it for big mistakes that you just couldn't resist / Let's hear it for bucket seats / Let's try it like this / Let's hear it for letting someone totally ruin your life / Let's hear it for love." "Pretty Pathetic" is a knife twisted in the heart of anyone who's going through a rough breakup, and the story-like lyrics are reminiscent of the movie The Break-Up, which coincidentally takes place in the Popes' hometown of Chicago: "She used to call me 'Baby,' softly, sometimes / But if I dwell on those days too long, I feel like my life is over and that's no good / So let's move on / To the part where I begin to sense her distance / I panic and hold on tighter / That just makes it worse / How am I supposed to take it when she says / ‘This is something I'm going through, it's got nothing to do with you‘?" By now in the review I'm tired of quoting my favorite lyrics, but there are plenty of other gems in Destination Failure, like "Capitol Christine," "End of Your Time," "I Was Right" and an orgasmic cover of the Willy Wonka classic "Pure Imagination." Destination Failure is a masterpiece. Caterer's songwriting dives head-first into the core of humanity, and the music is as good as the best pop-punk you've ever heard. If you don't own it, get it. You will thank yourself after your first listen. (*Review by Glass Pipe ).
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Tuesday, 19 March 2019

PARQUET COURTS


























"wide awake"
Year:    2018
Country:    US
City:    New York
Label:    Rough trade
Format:    CD, LP
Tracks:    14
Time:    36 min.
Genre:    rock
Style:            Indie Rock













Parquet Courts is a band from New York City. At the center of the group is A. Savage, who at this point is known for his collaborations with projects like Fergus & Geronimo, Teenage Cool Kids and Wiccans. Savage is joined by three other musicians (“three quarters Texans and three quarters Pisces”) and describes the bands’ debut release as THE FALL meets NEIL YOUNG. On the band’s debut release, “American Specialties”, this all makes sense. The quartet wanders through the American and British underground, picking away their favorite parts with confidence. The lyrics, when intelligible, are bizarre and dramatic. “She looked at me like a fry pan reducing,” moans Savage, from the same lustful subconscious built by the darker moments of psychedelia. Then at times, such as on the 70’s folkish “Square States”, thoughts are more sentimental and transparent. The setting for “American Specialties” ranges from a crusty Brooklyn bodega, to an endless Texas desert. If that sort of soundscape appeals to your wondering mind, then I’m sure you’ll stumble across Parquet Courts sooner or later. Parquet Courts new album 'Sunbathing Animal' is to be released in June 2014 on What's Your Rupture?/Mom and Pop (US) Rough Trade Records (rest of the world).
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