El hilo del indie pop/rock/folk

Desde que Fuel abrió el hilo del Goth Rock/Post Punk/Dark Wave estoy por abrir otro sobre asuntos más indies y folkies para separarlo del Hilo Pop, en el que sobre todo se postean cosas más mainstream que, salvo excepciones, no son mi rollo en absoluto. Así que por puro egoísmo presento esto para ver si alguien conecta con algo que ponga o puede aportar su granito de arena.

Así pues, abro fuego con lo que más me va gustando del año:

Nilufer Yanya

Nilüfer Yanya runs head first into the depths of emotional vulnerability on her anticipated sophomore record PAINLESS. Recorded between a basement studio in Stoke Newington and Riverfish Music in Penzance, the record is a more sonically direct effort, narrowing her previously broad palette to a handful of robust ideas. Yanya's debut album Miss Universe (2019) earned a Best New Music tag from Pitchfork and saw support tours with Sharon Van Etten, Mitski and The XX.

Yumi Zouma: Indie pop neozelandés con sobredosis de azúcar al estilo de Club 8, mezcla de elementos sintéticos e instrumentos de cuerda. No es su mejor disco pero siguen teniendo buenos temas.



Aldous Harding:

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. The artist has announced details of Warm Chris new studio album, the follow-up to 2019’s acclaimed Designer.

For Warm Chris, the Aotearoa New Zealand musician reunited with producer John Parish, continuing a professional partnership that began in 2017 and has forged pivotal bodies of work (2017’s Party and the aforementioned Designer). All ten tracks were recorded at Rockfield Studios in Wales, the album includes contributions from H. Hawkline, Seb Rochford, Gavin Fitzjohn, John and Hopey Parish and Jason Williamson (Sleaford Mods).

The Delines:

Portland, Oregon’s The Delines begin their soulful CD with laid-back beauties by vocalist Amy Boone who spreads her vocalizing out like honey on storytelling lyrics. “Little Earl” pours out sublime, with a warm texture punctuated by horns.

Everything’s disciplined — no showboating or over-accentuated words. I could easily allude to some classic 60s soul songs, but The Delines have designed their showcase in a smart cinematic manner. The arrangements by 2-arrangers are sharp & engaging.

Sally Shapiro:

"Sad Cities is the best kind of comeback album; one that has just the right amount of nostalgia baked into the grooves, but also adds in new sounds and approaches. Shapiro and Agebjörn certainly do that and the album is a reminder of just how good heartbreak disco can sound when delivered by people who understand it so well." AllMusic (4/5)

"Electronic production that reaches towards a crystalline form of euphoria, the final mix for the project was handled by Johan Agebjörn and Johnny Jewel. A gorgeous listen, packed with poise and melodrama, Sally Shapiro seem able to construct entire worlds for the listener to immerse themselves in." Clash Magazine

Si me acuerdo de más cosas voy poniéndolas.

Pues estaba pensando estos días en abrir algo de este rollo, así que me parece genial

A escuchar lo que has puesto.

El de Nilufer Yanya lo tengo escuchado y es buenísimo, pero creo que el disco del año indie será el doble álbum de Big Thief. Una jodida preciosidad.



https://bigthief.bandcamp.com/album/dra ... eve-in-you

Sí, este de Big Thief está muy guapo. Mira que es largo y no se me hace para nada pesado. El que sí tengo que escuchar más es el de Beach House, que ese sí se me hace cuesta arriba. Me gustaban más sus discos de tres cuartos de hora, aunque diría que este está pensado para escucharlo en pequeñas dosis. Ya lo pusiste tú en el hilo de lo mejor del año, como el de Big Thief, pero lo voy a poner otra vez por aquí.



Y hace un rato recordé otro disco que me gustó mucho, el de Modern Nature.

Island Of Noise represents an absolute career highlight, combining Cooper’s celebrated songwriting and compositional skills with a free flowing expansiveness coloured by British free music luminaries such as saxophonist Evan Parker, pianist Alexander Hawkins, bassist John Edwards and violinist Alison Cotton, as well as long term collaborators Jeff Tobias and Jim Wallis.

Island Of Noise fits beautifully between genres sitting alongside (modern) classics like Mark Hollis’ Mark Hollis, David Sylvian’s Blemish and Bert Jansch’s Birthday Blues.”

De lo resaltado en negrita doy fe completamente.

Nilufer Yanya

Nilüfer Yanya runs head first into the depths of emotional vulnerability on her anticipated sophomore record PAINLESS. Recorded between a basement studio in Stoke Newington and Riverfish Music in Penzance, the record is a more sonically direct effort, narrowing her previously broad palette to a handful of robust ideas. Yanya's debut album Miss Universe (2019) earned a Best New Music tag from Pitchfork and saw support tours with Sharon Van Etten, Mitski and The XX.

Oye, buenísimo este disco. Buenas canciones pop con un sonido noventero muy molón.

Y a mi que el de Big Thief no me ha dicho una mierda? El de Beach House aún menos. No entiendo cómo le pueden flipar tanto a la gente. Y no será porque no lo intento, porque hay tanta referencia por ahí que doy por hecho que me estoy perdiendo algo y cada cierto tiempo le vuelvo a dar una oportunidad y nada.

Modern Nature tienen su aquel, pero, entre que el cantante me pone nervioso y que me da la sensación de que las canciones no terminan de rematarlas, nunca me llegan con sus discos.

Yo por mi parte creo que de momento lo mejor del año en este rollito es esto:

Nilufer Yanya

Nilüfer Yanya runs head first into the depths of emotional vulnerability on her anticipated sophomore record PAINLESS. Recorded between a basement studio in Stoke Newington and Riverfish Music in Penzance, the record is a more sonically direct effort, narrowing her previously broad palette to a handful of robust ideas. Yanya's debut album Miss Universe (2019) earned a Best New Music tag from Pitchfork and saw support tours with Sharon Van Etten, Mitski and The XX.

Aldous Harding:

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. The artist has announced details of Warm Chris new studio album, the follow-up to 2019’s acclaimed Designer.

For Warm Chris, the Aotearoa New Zealand musician reunited with producer John Parish, continuing a professional partnership that began in 2017 and has forged pivotal bodies of work (2017’s Party and the aforementioned Designer). All ten tracks were recorded at Rockfield Studios in Wales, the album includes contributions from H. Hawkline, Seb Rochford, Gavin Fitzjohn, John and Hopey Parish and Jason Williamson (Sleaford Mods).

Y añado esto:

Sweet Trip
"Seen/Unseen"
dream pop/ shoegaze/ indietrónica/ indie pop

A mí el de Big Thief me gusta, tiene canciones verdaderamente bonitas y les sienta muy bien el sonido a folk americano de los 70, y aunque no todo sea brillante logran mantener el interés durante todo el disco, que bastante es. Aún así es una banda que, resultándome agradable lo que hacen, no termino de entrar del todo en el hype que traen.

Uff mucha cosa rica que catar. No sabía que había nuevo album de Yumi Zouma, el de 2020 estaba majete, así que pa la saca.

Por mi parte:

Nuevo album de Rex Orange County, este hombre que hace indie / bedroom pop o como leches se llame esto, pero a mi siempre me da un buen rollito tremebundo.


Y nuevo de Kevin Devine, cantautor indie/rock/folk que ha tenido proyectos también como Bad Books (Con peña de Manchester Orchestra)

Nuevo disco de Sharon Van Etten para el 6 de mayo, titulado We’ve Been Going About This All Wrong:



1. Darkness Fades
2. Home to Me
3. I’ll Try
4. Anything
5. Born
6. Headspace
7. Come Back
8. Darkish
9. Mistakes
10. Far Away



Fuente: https://www.binaural.es/noticias/sharon ... lbum-2022/

Y nuevo tema de Father John Misty. Su siguiente disco, Chloë and The Next 20th Century, sale este viernes. Este tío siempre tiene cosas preciosas en sus LPs:



Fuente: https://www.binaural.es/cancion-noticia ... h-century/

Más cosas de principios de año. El pop esquinado (y sin embargo fácil de escuchar) de Cate Le Bon. El disco está muy bien, como es habitual, y aunque va bastante en la misma línea, prefiero su anterior disco, "Reward".

Spoiler: Mostrar

Pompeii, Cate Le Bon’s sixth full-length studio album and the follow up to 2019’s Mercury-nominated Reward, bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Not to downplay her nod to disorientation induced by double catastrophe — global pandemic plus climate emergency’s colliding eco-traumas resonate all too eerily. “What would be your last gesture?” she asks. But just as Vesuvius remains active, Pompeii reaches past the current crises to tap into what Le Bon calls “an economy of time warp” where life roils, bubbles, wrinkles, melts, hardens, and reconfigures unpredictably, like lava—or sound, rather. Like she says in the opener, “Dirt on the Bed,” Sound doesn’t go away / In habitual silence / It reinvents the surface / Of everything you touch.

Pompeii is sonically minimal in parts, and its lyrics jog between self-reflection and direct address. Vulnerability, although “obscured,” challenges Le Bon’s tendencies towards irony. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales. Enforced time and space pushed boundaries, leading to an even more extreme version of Le Bon's studio process – as exits were sealed, she granted herself “permission to annihilate identity.” “Assumptions were destroyed, and nothing was rejected” as her punk assessments of existence emerged.

Enter Le Bon’s signature aesthetic paradox: songs built for Now miraculously germinate from her interests in antiquity, philosophy, architecture, and divinity’s modalities. Unhinged opulence rests in sonic deconstruction that finds coherence in pop structures, and her narrativity favors slippage away from meaning. In “Remembering Me,” she sings: In the classical rewrite / I wore the heat like / A hundred birthday cakes / Under one sun. Reconstituted meltdowns, eloquently expressed. This mirrors what she says about the creative process: “as a changeable element, it’s sometimes the only point of control… a circuit breaker.” She’s for sure enlightened, or at least more highly evolved than the rest of us. Hear the last stanza on the album closer, “Wheel”: I do not think that you love yourself / I’d take you back to school / And teach you right / How to want a life / But, it takes more time than you’d tender. Reprimanding herself or a loved one, no matter: it’s an end note about learning how to love, which takes a lifetime and is more urgent than ever.

To leverage visionary control, Le Bon invented twisted types of discipline into her absurdist decision making. Primary goals in this project were to mimic the “religious” sensibility in one of Tim Presley’s paintings, which hung on the studio wall as a meditative image and was reproduced as a portrait of Le Bon for Pompeii’s cover. Fist across the heart, stalwart and saintly: how to make “music that sounds like a painting?” Cate asked herself. Enter piles of Pompeii’s signature synths made on favourites such as the Yamaha DX7, amongst others; basslines inspired by 1980s Japanese city pop, designed to bring joyfulness and abandonment; vocal arrangements that add memorable depth to the melodic fabric of each song; long-term collaborator Stella Mozgawa’s “jazz-thinking” percussion patched in from quarantined Australia; and Khouja’s encouraging presence.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

Dan Bejar, más conocido como Destroyer, sacó hace poco "Labyrinthitis", otro disco enorme con su sello personal y alguna que otra sorpresa. Este hombre es garantía de calidad y rara vez defrauda.



El noruego (afincado en EE.UU., hasta donde yo sé) Sondre Lerche lleva dos décadas tras los pasos de Paddy McAloon (o lo que es lo mismo, Prefab Sprout) y saca su disco más ambicioso y variado. 85 minutos de pop dulzón y entrañable, de unas canciones estiradas a antojo de Lerche, que se siente comodísimo en un formato más extenso. Es un mamotreto, claro que sí, pero para todos los amantes de ese brill building deliciosamente pasado de moda merece muchísimo la pena escucharlo, aunque sea en dosis más pequeñas. Y a falta de ese largamente prometido disco de los Sprouts, esto sabe a gloria bendita.

Nuevo single de Oliver Sim (The XX) en solitario. Tiene más rollo electrónico pero creo que podría encajar en este hilo:



Por cierto, el anterior single me encantó:



Fuente: https://www.binaural.es/cancion-noticia ... -jamie-xx/

Sí que encaja, sí. Y está bien, porque salvo la voz (obviamente) no me recuerda a The XX.

Sí que encaja, sí. Y está bien, porque salvo la voz (obviamente) no me recuerda a The XX.

La verdad que los proyectos en solitario de los miembros de The XX se están distanciando bastante de la banda, y me parece bien porque el sonido ya me parecía bastante agotado.

El nuevo disco de Father John Misty:

Ésto me hace especialmente feliz: nuevo disco de Built to Spill para el 9 de septiembre, y tenemos adelanto: