After a long period of reflection, a key figure was missing to understand the history of pop in Spain as this is the case Alex Díez in Art Cooper. Seven years have passed since Leonese published what was his last release, "Mi Universo" (Elefant, 11), and while the wait was revived with the release of a single and the generous compilation "Popcorner. 30 Años Viviendo En La Era Pop "(Warner, 16), the truth is that the author seems to be focused on the publication of (interesting) musical books through his Chelsea publishing house. The fact is that the former Flechazos finally presents a new work of study, specified in a decalogue the old way and as required by the traditional canons. Because the content of the album is also classic, with that pop a bit nostalgic but always bright and colorful - as well as detailed and solid - that the musician manages to manage so well. A retro sound that never goes out of fashion, with the lack and aftertaste of the 60s to the power-pop, even if this time the guitars are a less marked element, thus oxygenating (even more) the melodies. A preference that could be understood as a flash of creative maturity, were it not for the juvenile delusion that overflows that colonizes the entire LP. The optimism comes out with the usual reasons that inspire our composer: traveling, the city, the dance, the sun and the summer, or simply the escape, accompanied by a new band that presents Mario Álvarez on guitar and Daniel Montero on bass. "Tiempo, temperatura, agitaciòn" (Elefant, 18) includes several pieces that, due to their verticality and immediate empathy, could very well become part of the group's exceptional repertoire, in the case of: "El ultimo tren" - the most beautiful piece opens the delivery: "Salto", "Graciela" or the infallible single: "Infinito". The work is completed with other salient points such as the infallible and simple: "Luz", or: "Ya llegò el verano", a powerful: "Dos Grados Bajo Cero" debtor of The Boo Radleys or "Telerañas", in what it is a sound close and beautiful as to the harsh melancholy. Albums of Spanish Mod sounds par excellence always emit a classic romanticism that dazzles, as well as perpetrating an apparent hedonism conscientiously worked in search of quality. Even without being his best collection of songs (the work had been much higher on previous occasions), we can say that he really missed that clean and accurate style of Cooper. Tracks of three minutes that after only a couple of plays force to share refrains to scream, arranged with the usual elegance and tied together with the rhythm. The singer has the gift of impregnating his music with that imprint, in an active ability from the first days of his first band: Los Flechazos and on which the musician seems not to have lost his talent.
Raúl Julián 13/06/2018
Third work since their return in 2012, with their new ideas, far from being exhausted, they multiply: this new work could be seen as a Quadrophenica rock opera of the 21st century, about twenty songs from a booklet by Carlos Zanón on Rai, former leader of a fictitious rock group, who decides to squander his family project, gather the members of his old band and resume his artistic career. Many of the themes developed episodes or characters from the "Zanon story" are transformed into songs like: "Elwood y Jake", "Cadena de trasmission", while others may seem farther from the plot like: "My mierda naranja" or "Quién matò al gato? "and finally:" Despiertar de un sueno ", but the album as a whole looks like the diary of a fifties musician where:" Ensayos de cobardes "transports us to the rancid, sweaty and unhealthy atmosphere of the rehearsal room from where it all started: "Cadena de trasmision" is like a love letter from a veteran group to a debut band, "El Tren de la Bruja" or "El poster de Samantha Fox" is like talking about ancient myths, now transformed into fallen angels ... many of the words are written with a comic vein sharks: '' No keep me to buy to discos / ni llevar the bike to the taller / No me gusta lavar los platos / pero alguien keeps it hacer ''. Musically, the composer's weight falls this time at Alb ert, whose guitar, sharper and stronger than ever, plays a little more in the style of bands such as Green Day or Redd Kross than in The Jam. Overall, this is also a great job by a band that loves and does not argue !!!
Once upon a time there was acid jazz, do you remember? It was the beginning of the '90s and the sound of successful groups like Incognito, Brand New Heavies and Jamiroquai wore that curious label (in both directions, being also the name of a record company whose productions are a flagship of the gender). Son of the age of contamination and nephew of watershed records for the history of jazz all (Headhunters of Herbie Hancock, with its ingenious fusion), acid jazz is a fizzy fusion idea as sour as a rocker would mean , which winks at funk, soul, club electronics, disco, and flirts with easy listening and pop. This is the scene that was part of the Corduroy, today back on track on the same label (the Acid Jazz, in fact) that had them baptized and for which they had recorded the first three albums. In the suggestive case of these four Londoners, the twins Addison, the former Doctor and the Medics Richard Searle and Simon Nelson-Smith, the nu jazz was going and still overlap with the resurgence of exotica, lounge, soundtracks of the genre films and other strange and more incredible musics, channeled in the curious navigations halfway between revival, stracult and postmodernity of which the musical chronicles of the period were also infatuated. The new album "Return of the Fabric Four" is conceptually a soundtrack made and finished, a film of which we would also have the title and the cover - stylish replica of certain posters of the 60s and 70s. His instruments would be perfect for a blaxplotation, a poliziottesco or for a theme party revival: stylish funk aperitif with bubbles (the title-track), so much fusion saucy, the exotic-tropicalist touch (the bossa nova of Sambarella), also a bit of twang and distorted guitar - more than wah wah on which we willingly kept the presser foot in the first hour as Out of Here - to duet with Hammond on a soft lounge (Blackmail), and a bit of r & b flying the Union Jack flag (the beat of Saturday Club, rare vocal track with echoes of Who). All played with a catchy elegance that makes his collection of appetizing cliches fresh and lively. Always cliché it is, to be fussy; revolutionary, the Corduroy's music has never been deep, but always elegant, well played and groovy. This is also confirmed by this return.
A Modernist, it is a documentary film about "The Unknown Hero of British Menswear" and "Influencer Influencer" and, of course, the man who gave the Harrington jacket its name. Let's say that some pedigree this designer has, not to say many. The film is the work of Jason Jules, Lee Cogswell and Mark Baxter and presents exclusive interviews with musicians Kevin Rowland, Suggs and Paul Weller, the issuer Robert Elms, the art expert Ronnie Archer Morgan, the advertising guru Sir John Hegarty and Sir Paul Smith. The story told is described as the best kept secret of British men. The name of John Simons is one of the few people who have heard almost all the mods, but to whom every man with a decent shirt or a pair of well-made moccasins is in debt. Recounted by his friends, family, fans, as he himself tells it, this is the definitive story of John Simons. In terms of selling men's clothing, which began in the 1950s, he later inspired and instigated a series of street styles and subcultures including Mod, Skinhead and Suede Head. Whether you realize it or not, John Simons has been responsible for shaping the way many of us dress. But the documentary aims to prove that it is more than just clothes retailing. The concept of John Simons concerns Modernism and a "avant-garde mentality". An authentic way that knows how to see and foresee everything: from art to architecture, to music and beyond, which makes its story so compelling and unique. As I said, it's really a documentary to keep an eye on and not to be missed. FUNDAMENTAL ... and thanks again Mr Simons !!
Acid Jazz Records is celebrating its 30th anniversary and on March 23rd it published a very special compilation. The illustrious London independent label, founded in 1987 thanks to the two disc jockeys Gilles Peterson and Eddie Piller, was the promoter, during the late '80s and throughout the decade of the' 90s, a new style of jazz: the acid jazz. Funk, fusion, soul and even electronics, were the contaminations that influenced this new musical current. Jazz On The Corner was curated by Eddie Piller himself and by an exceptional guest, Martin Freeman (The Hobbit, Sherlock), linked by a long collaboration in some radio programs. The actor does not hide his love for this genre and states that "jazz has been the basis of my musical diet since my adolescence, so listening and loving jazz did not sound strange to me, even though I think it took little research ". The album captures the essence and experience of the two loyal supporters of the British soul and jazz scene, who have collected in one work the artists who have influenced their musical life. From the hard bop of Lee Morgan and Art Blakey, to the more soulful notes of Mose Allison, from the funk jazz of Leon Thomas to the modern spiritual jazz post of Kamasi Washington, are just some of the composers you will find in the compilation. Jazz On The Corner is an interesting tool for anyone who wants to start embarking on a journey into the syncopated world of jazz.
This duo of Uppsala, a city famous not only for being the largest in the north of Sweden but also for having the most complete university faculty in Scandinavia, delights us with its seventh album which, starting from the first dated 2006 and consequential to the others, it proposes a liquid and cold sound, a rarefied sonority worthy of the coolest of the lounge or easy listening situations in perfect harmony with what could be a Scandinavian metropolitan or country landscape. Trummor Och Orgel means drum and organ, so the sound you will hear will be only of these two instruments, but amalgamated so well that they will give you the sensation of listening to complete music in all its parts. The two Ljunggren brothers started this project mindful of another 2 most famous Swedish who performed in the 60's and that was called Hansson & Carlsson, who have two albums and two 45 laps and who in their time acted as shoulder to bands like the Rolling Stones or Jimmy Hendrix when they played in Sweden. Returning to the latest work of the Uppsala duo, you have an album with nine totally instrumental songs that you listen to pleasantly: both during a trip by car, that comfortably seated in the dining room drinking a good wine and chatting with friends. The space age ambiance of the hammers played by Anders will transport you to an imaginary made of white landscapes alternated with houses or trees, in short, an excellent record that I recommend to everyone and for those who love these sounds, I also recommend the complete discography.
Associating the Northern Soul to the city of Tel Aviv is certainly not an immediate mechanism but all there is remedy, must have thought Yashiv Cohen mind and propulsive engine of the MONC: "It is true that ours is not exactly what comes to mind when you think about Israeli music, but I had the privilege of growing up in Kibbutz Kfar Blum, whose founders came mainly from the United States and thanks to them I listened to American and English music from an early age.My mother's family emigrated from Brooklyn and growing up in my house was a bit like being in Woody Allen's Radio Days.You soon became the soul of my favorite music, deeper and deeper then I fell in love with the Northern Soul, the movement that emerged from the Mod scene in North of England in the late 1960s, from that moment I practically fell in love with the whole Mod genre. " It is with this background that the good Yashiv in 2008 begins to get noticed in the nightclubs of the Israeli capital (the reports refer to clandestine karaoke!) Where he will soon meet the other members of the future ensemble. Dagli Elettra, rock band very popular in city circuits, recruits guitarist Nitzan Horesh, drummer Boaz Wolf and bassist Doron Farhi. Complete the line-up with the trombonist Ido Kretchmer and the brothers Sizzling, Sefi to the trumpet and Ongy to the sax. It's Dylan Girl's piece from the North Country that inspired him for the band's name; Wilson Pickett, Gloria Jones and Booker T. are among the references for the musical address. Another cheerful Brigade of the Soul was born and if The Commitments have been the blackest band in Dublin in the film imagination, the MONC want to become the toughest Northern Soul band in the Middle East! The apprenticeship for them is the same: hours spent in the cellars to review the classic R'n'B and Soul of the '60s and' 70s that then re-propose in dozens of concerts, refining the instrumental practice and putting together a handful of original compositions with which they manage to attract the attention of Acid Jazz Records and debut in 2010 with the 7 '' Man Of North Country / Debut. Two years later, again with the London label (which over the years has become synonymous with musical elegance with Brand New Heavies and James Taylor Quartet artists in the catalog), the first long-term work, The North, will arrive. In the album in addition to the black, which we have already mentioned, the atmospheres of bands like Style Council and Dexy's Midnight Runners, exuberant songs with immediate grip, excellent arrangements and an ultra-vigorous approach. Now, after four years on tour for half of Europe, This City arrives and the MONC hit again. The album in fact starts very well, the warm voice of Cohen (very similar to that of Paul Weller) and the pasty sound, illuminated by the wind, make Running an exemplary piece to introduce us to the musical delicacies of the Israeli association. We are in the same emporium frequented by Weller, Talbot and Rowland in the early '80s: memorabilia Soul and R'n'B, proletarian elegance and unstoppable desire to dance. Wendy Rene, tribute to the color singer under the Stax in the early 60s is, without hesitation, the most beautiful piece of the lot, a real wonder from the catchy refrain and the linear melody that never tires, a small instant classic. They are still the brass and the sax that excel in the solar and foaming All In, Country Lost / Tobacco Road and Let's Get Away and if, Country Boy is the perfect soundtrack for cocktail parties and spy stories at the Bond, 77 is the slow that wait to dance tight close. Bella is also the version of I'm Comun Home (In The Morn'un), a Northern Soul masterpiece by Lou Pride. The seductive Kinksiniana ballad Permanent Vacation closes the record. This City is therefore an excellent record that conveys a feeling of freedom and joy that is at the very origin of this inebriating and unmistakable music. What then, on this tour, comes from Tel Aviv and not from the suburbs of Liverpool, it's just a detail.