Flying Nun Records/Dunedin Sound - Indie Pop MADE IN NEW ZEALAND

Peaky Blinder escribió:

cracote escribió:Con vuestro permiso, os dejo el último programa de Hotel Arizona, dedicado a disfrutar con algunos nombres neozelandeses que durante finales de los setenta y las décadas de los ochenta (sobre todo) y noventa pusieron a Oceanía en el mapa del mejor pop de guitarras.

Plástico de la semana "This Is Glue" SALAD BOYS (Trouble In Mind-2018)

"Hatred" SALAD BOYS
"Psych Slasher" SALAD BOYS
"Exaltation" SALAD BOYS
"Under The Bed" SALAD BOYS
"Chocking Sick" SALAD BOYS
todas extraídas de "This Is Glue" (2018)
"Coming Back" THE SIFTING SANDS
extraída de "Cosmic Radio Station" (2015)
"Go Ahead" POP ART TOASTERS
extraída del EP "Pop Art Toasters" (1994)
"Steel Arrow" DAVID KILGOUR
descarte de "Left By Soft" (2011)
"Crazy" THE CLEAN
extraída de "Getaway" (2001)
"What You Should Be Now" THE GREAT UNWASHED
extraída de "Clean Out Of Our Minds" (1983)
"Windy Day" STEPHEN
extraída del EP "Dumb" (1988)
"Crimson Enemy" THE BATS
extraída de "The Guilty Office" (2009)
"Rolling Moon" THE CHILLS
extraída del single "Rolling Moon" (1982)
"Stare At The Sun" THE WILD POPPIES
cara B del single "Where Is Wellington" (1987)
"Rapist" CHRIS KNOX
extraída de "Seizure" (1989)
"OK Forever" TALL DWARFS
extraída de "The Sky Above, The Mud Below" (2003)
"Rebel" TOY LOVE
extraída del single "Rebel" (1979)
"Happy Head" ALEC BATHGATE
extraída de "Gold Lame" (1996)
"The Other's Way" THE DOUBLEHAPPYS
extraída del single "The Other's Way" (1984)
"Something New" THE STONES
extraída del split "Dunedin Double EP" (1982)
"Someone Else's Eyes" SNEAKY FEELINGS
extraída de "Waiting For Touchdown" (1983)
"All Laid On" THE VERLAINES
extraída de "Allelujah-All The Way Home" (1985)
"Wormcat Stones" BIRD NEST ROYS
extraída del EP "Whack It All Down" (1985)
"Gravel Pit" THE PTERODACTYLS
extraída del EP "We've Done It Now" (1987)
"Petrified" THE REMARKABLES
extraída del EP "Waiting For A Wave" (1985)
"Ambivalence" THE PIN GROUP
extraída del single "Ambivalence" (1981)
"Busstop" MAD SCENE
extraída de "A Trip Thru Monsterland" (1993)
"I Believe In You" THE 3Ds
extraída de "Strange News From The Angels" (1996)
"I Don't Want You Anyway" LOOK BLUE GO PURPLE
extraída del EP "This Is This" (1988)
"Barlow's House" DEAD FAMOUS PEOPLE
extraída de "Lost Persons Area" (1986)
"Lone Star Burning" THE RENDERERS
extraída de "Trail Of Tears" (1991)

Ya lo podéis escuchar/descargar aquí:

http://hotelarizonaradioenlace.blogspot.com
http://hotelarizona.podomatic.com

¡Muchas gracias!

¡Le echaré una oreja en cuanto pueda!

Muy buenos los Salad Boys!


Y cojonudas esas últimas páginas del blog, ya me he bajado toda la mandanga

http://benhowe.co.nz/latest/2018/9/5/how-the-lost-flying-nun-master-tapes-found-a-home

Tengo dos noticias; una buena y otra mala.

La buena es que después de más de un mes sin actualizar el blog he vuelto a meterle un chute del bueno de música kiwi "dunediniana" y similares.

La mala es que esta ha sido posiblemente mi última subida de material al blog. Por motivos personales no voy a poder seguir aportando material, además de que he subido prácticamente TODO lo que se puede encontrar sobre este tipo de música neozelandesa de los 80 y 90.

Nunca ha habido ni creo que haya en el futuro un blog sobre esta escena neozelandesa tan completo como el que he ido realizando durante los últimos 6 meses con casi 400 discos subidos en MEGA con sus respectivas descripciones, portadas, etc...

Sé que puedo parecer pesado, pero me da mucha pena y rabia, no ya solo que este tipo de música no sea tan conocida como otras escenas indies (tipo la movida C86 o el indie yankie), sino el hecho de no poder ni difundir ni dar el uso adecuado al blog. Me consta que existe una cultura o comunidad de "bloggers", sin embargo ese área se escapa de mis manos.

Continuaré publicando por aquí videos y algún que otro comentario para que no caiga en el olvido como ha caído este tipo de música. Por lo demás, muchas gracias a todos aquellos que de alguna u otra forma han escrito o se han interesado por saber más sobre el Dunedin Sound.

http://dunedinsoundtapes.blogspot.com/

Me despido con un videoclip de una banda a descubrir: This Sporting Life, una de las primeras bandas que firmaron por Flying Nun en 1982, cuyo disco debut es el último aporte del blog. Todo un tesoro perdido que aquí rescato. Roger Shepherd, fundador de la famosa discográfica se encuentra entre el público.

Aquí el nuevo de The Chills. Dejo una reseña que he encontrado en internet en español.

http://dunedinsoundtapes.blogspot.com/2018/09/the-chills-snow-bound-2018.html

No deberían pasar despercibidos los discos más recientes posteados en el blog..


Molan mucho This Sporting Life, me recuerdan algo a los Cure más primitivos y primerizos..

Y Dum Dum Boys..
(yo pilotaba a los dum dum boys franchutes..)

Mola también la posterior reencarnación de los DDB de NZ llamada The Henchmen..


Curiosamente (vuelvo a la duplicidad de nombres)..¿en los dosmiles no habían unos Henchmen de Detroit?

https://en.wikipedia.org/wiki/The_Hentchmen


difiere alguna letra..

Los DDB franchutes..colegas de La Secta.

Menuda barbarie los Henchmen..


Blog y topic del siglo.

Uno de los 5 mejores topics en la historia del foro, hay que manifestarlo en más ocasiones.

Los del presente topic

Menuda rarunez lo de Heazlewood..pero tiene su punto

http://dunedinsoundtapes.blogspot.com/2018/08/dribbling-darts-present-perfect-1993.html


tela algunas canciones..

deniztek escribió:Uno de los 5 mejores topics en la historia del foro, hay que manifestarlo en más ocasiones.

En lo que a pop de guitarras se refiere es el mejor, esto es asín.

luis escribió:

deniztek escribió:Uno de los 5 mejores topics en la historia del foro, hay que manifestarlo en más ocasiones.

En lo que a pop de guitarras se refiere es el mejor, esto es asín.

Éste del dunedin junto a los del hotel arizona de Cracote y el malditos seáis de Eloy para mí son lo mejor del foro..


Luego pues el 1977 no está mal

Y el de los 1001 discos me mola bastante, y da una buena visión global de los gustos foreriles.

deniztek escribió:

luis escribió:

deniztek escribió:Uno de los 5 mejores topics en la historia del foro, hay que manifestarlo en más ocasiones.

En lo que a pop de guitarras se refiere es el mejor, esto es asín.

Éste del dunedin junto a los del hotel arizona de Cracote y el malditos seáis de Eloy para mí son lo mejor del foro..


Luego pues el 1977 no está mal

Y el de los 1001 discos me mola bastante, y da una buena visión global de los gustos foreriles.

Toda la razón, amigo Deniz… Imperdonable olvido del Hortel Arizona...Uno nos proporciona esa mina impagable de bandas espectaculares de nuestras antípodas y el otro las jugosas novedades semanales.

El de los malditos es cojonudo pero va en otra dirección...Rock'n'roll barriobajero, canalla, chulesco, con olor a wisky, putas y cocaína...Vamos mi preferido...  Me refería a un tópic de pop concretamente.

El de 1977 para mi no es un post... Eso es estar cómo en mi music room con mis amigos.

El de los 1001 no me gusta nada... La mayoría de discos que salen ahí o no los conozco, o no me gustan... Y los pocos que han salido que me molaban los han molido a palos... Mejor ni leerlo.

deniztek escribió:No deberían pasar despercibidos los discos más recientes posteados en el blog..


Molan mucho This Sporting Life, me recuerdan algo a los Cure más primitivos y primerizos..

Y Dum Dum Boys..
(yo pilotaba a los dum dum boys franchutes..)

Voy a por elos.

Escuchando el homónimo.




A mi me suena a pop británico elegante... En la onda de unos Jack o algo así.

Mola mucho 

Otro de los grandes que vuelven. The Verlaines publicarán nuevo disco de estudio en febrero del año que viene. 19 nuevas canciones frescas en un doble LP que se titulará Dunedin Splean.

Peaky Blinder escribió:Otro de los grandes que vuelven. The Verlaines publicarán nuevo disco de estudio en febrero del año que viene. 19 nuevas canciones frescas en un doble LP que se titulará Dunedin Splean.

Gran noticia.

deniztek escribió:

Peaky Blinder escribió:Otro de los grandes que vuelven. The Verlaines publicarán nuevo disco de estudio en febrero del año que viene. 19 nuevas canciones frescas en un doble LP que se titulará Dunedin Splean.

 
Gran noticia.

Ojalá vengan por aquí de gira.

Dejo aquí una canción del grupo "The Knobz", originarios de Dunedin y que estuvieron activos desde 1979 hasta 1982. Esta canción llamada "Culture?" fue todo un éxito en su momento ya que tiene una gran historia detrás: resulta que cuando comenzó la década de los 80, como todos sabemos, la música pop empezó a hacerse cada vez más popular en la Isla de la Larga Nube Blanca. El Primer Ministro neozelandés en ese momento, Robert Muldoon, declaró que la música pop neozelandesa no era cultura. Como respuesta, "The Knobz" publicó este pedazo de hit, demoledor tanto en letras como musicalmente. El grupo fue descrito por la prensa kiwi como "XTC meets The Knack", te puedes hacer una idea de cómo suena. La banda duró poco tiempo, como casi todo lo bueno.

10 DISCOS ESENCIALES DE FLYING NUN RECORDS



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The Gordons – The Gordons (1981)

The Gordons is the only album The Gordons released through Flying Nun. Their 1982 follow up and final studio album under the same name—they later reformed as Bailter Space and signed to Matador—Volume 2, was self-released. The Gordons is equally significant to the legacy of Flying Nun as The Clean’s “Tally Ho” and “Platypus”; it was a crippling and irreverent collection of sharp guitar spasms and deflated grooves, ripping bits from both the post-punk playbook and the spasmodic noise-rock of Wire’s late ’70s period. It’s hard to imagine an era of bands such as Slint, Polvo, and Unwound without somebody like The Gordons paving the way.

Most songs on The Gordons run well over four minutes, each one diving deeper and deeper into undiscovered instrumental territory, its (DNA eventually heavily influencing facets of both math and noise rock. Alister Parker and John Halvorsen’s vocals are deep, brooding and menacing, their guitar work glass shattering; Brent McLaughlin’s drumming patterns occasionally tight, often polyrhythmic. Flying Nun came out with two completely different beasts, The Clean rising to prominence and influence, The Gordons drowning in their own self-induced obscurity.

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Look Blue Go Purple – Bewitched (1985)

It should come as no surprise that the bulk of Flying Nun’s discography consisted of dudes and guitars, much like majority of the indie rock canon, particularly in its formative years. But what made Look Blue Go Purple such a unique and vital act to Flying Nun’s roster wasn’t the fact that it consisted entirely of women—though, for this era of guitar-based music, that was less visible—but the blend of breezy, gentle-pop they crafted, drawing influence from the Velvet Underground, minus the droning and disturbed epics. Instead, on Bewitched, a four song EP, Look Blue Go Purple turned toward flute arrangements, lush yet imperfect backing harmonies, and an identity that resonated most with the aesthetic of kiwi-pop—like the country they hailed from, their music sounded otherworldly and spacious, as if the scenery of New Zealand was captured in four songs.

To listen to a song by Look Blue Go Purple is to ride an endless wave, their climactic percussion chugging along, sounding as if it were your own heartbeat. Bewitched isn’t just music, but a mood, capable of conveying emotions you thought might be impossible to express. “Vain Hopes” does exactly this, a seance of sort, a collective consciousness guiding you along to places you could have never imagined. Norma O’Malley’s flute contributions are hypnotic, Kath Webster and Denise Roughan’s guitars equally soporific, droning in a way that doesn’t feel forced but instead incredibly at ease. Never before had Flying Nun released something so singular.

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The Chills – Kaleidoscope World (1986)

It’s nearly an objective truth that The Chills are the quintessential Flying Nun band. I’m also cheating for this one: Kaleidoscope World is technically a compilation album. But so much of The Chills’ legacy sits in this compilation, and it would be blasphemy to exclude it. Whereas most Flying Nun bands had distinctive characteristics, The Chills sound like every single one of these bands, borrowing a thing or two from each playbook to craft something completely unique. The Clean’s jangle, Look Blue Go Purple’s patient, soft-rock approach—these are all very much apparent in Kaleidoscope World, and it’s a steadily joyful 58 minutes of eccentric guitar rock.

“Pink Frost,” one of Kaleidoscope World’s most memorable tracks, showcases frontman Martin Phillipps’ expertise and understanding of that timeless, soft-rock I’ve relentlessly been mentioning. It’s a repeatable song by so many standards. “This Is the Way” and “Doledrums” drive a unique and steady attitude into the ground, and “Hidden By” sounds uncontrollably manic and scattered. Yet, Kaleidoscope World is another one of those albums—or compilations—that heavily depends on each individual track. Any detail removed and the album falls apart. Oh yeah, and David Kilgour was a member for a while, too.

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The Bats – Daddy’s Highway (1987)

No band captured the Dunedin sound’s aesthetic better than The Bats, and their debut studio album, Daddy’s Highway, epitomized the twee, jangly rock Flying Nun has so carefully fostered since their inception. For those who have lost countless hours browsing and flipping through stacks of records in their local shop, the ventriloquist dummy on the album cover of Daddy’s Highway is instantly recognizable, and equally startling. Though the common recording methods of Flying Nun’s most prominent bands bordered lo-fi, the production of Daddy’s Highway is surprisingly clean, the vocal melodies much easier to follow than that of the Clean or the Chills.

Daddy’s Highway ripples and frolics, its playful melodies consistent and never overbearing. The Bats were at the top of their game when they released Daddy’s Highway, and they were never able to recapture that magic again. Daddy’s Highway bears heavy resemblance to the Replacements’ Let It Be and Pixies’ Doolittle—not for the literal sound, but for the magic found within. All three groups are incredible in their own right, and they all have a few masterpieces of their own, but the connection Daddy’s Highway, Let It Be, and Doolittle share is the once in a lifetime magic they were capable of capturing. Daddy’s Highway is that rare, definitive moment in time where everything aligns, escaping them the moment the studio sessions concluded.

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Able Tasmans – A Cuppa Tea and a Lie Down (1987)

Able Tasmans’ influences lie more in Look Blue Go Purple’s curiosity than any other Flying Nun band. Their hilariously titled debut studio album, A Cuppa Tea and A Lie Down, finds Able Tasmans tinkering with lively piano arrangements, lushly layered organs, and twangy acoustic guitars. Able Tasmans looked at the Talking Heads and Meat Puppets for inspiration when the rest of Flying Nun’s bands looked at Wire or the Modern Lovers. There’s a certain and obvious playfulness that lingers from song to song on A Cuppa Tea and A Lie Down, a lack of self-seriousness—this only works in their favor, testing the limits of what makes a cohesive structure that somewhat resembles a pop song.

Like the glitchy rolls of “Patrick’s Mother,” the funky, funeral-prance of “Rain in Tulsa” sounds like a monster’s funeral, something celebratory on the surface, but still rather menacing and dark in its mood. Tasmans even attempt a punk song with “Tom Song,” but instead they hopscotch back and forth between groovy, bouncing piano rolls and lockjaw D-beats. A Cuppa Tea and A Lie Down still sounds revelatory, an approach often imitated but never quite delivered in the manner Able Tasmans are capable of.

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The Dead C – Eusa Kills (1989)

Before The Dead C mutated into an utterly terrifying collective of free noise and drone rock, the Dunedin trio was discovering and experimenting with what would later become the sound they’re best known for: flat out disturbed noise-rock, traditional song structures long in the rearview mirror. But this was 1989, their salad days. The Dead C had signed with Flying Nun the year before, and their debut, DR503, was featherweight compared to their later releases with Siltbreeze. What followed DR503 was Eusa Kills, their second studio album and last for Flying Nun—possibly the most accessible in the Dead C’s discography, predicating their ominous departure into a world of noisy esoterica.

Though Eusa Kills is still easily considered “noise rock,” for most ears, it’s corybantic territory, feral yet surprisingly groovy. Its “accessibility” is still very much a long shot, but the consistent stability of its song structures make for an accessible release, especially for a band as unidentifiable and niche as the Dead C. Eusa Kills is also an incredibly vital historical document for Flying Nun. Where The Clean, The Bats and Look Blue Go Purple had all, in one way or another, built up a reputation for breezy, gentle “rock” music, the Dead C picked up where The Gordons left off in 1981—creating something entirely arcane, immersed in their own fits of noise and redefining guitar rock in the process.

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The Clean – Vehicle (1990)

The Clean are perhaps the first band to ever release a “greatest hits” compilation before a debut studio album. Though The Clean originated in 1978, their first full length, Vehicle, wasn’t released until 1990. In that 12-year period, frontman David Kilgour assembled a “fat songbook,” and The Clean released a slew of EPs, live albums, and compilations, most notably 1983’s Odditties and 1986’s Compilation. Though the wait for Vehicle was obnoxiously prolonged, it was ultimately worth it, as it proved to a be a living historical document of indie rock’s earliest roots. The hyper lo-fi methods seen on their most beloved 1981 singles “Tally Ho” and “Platypus” were long forgotten in the studio, but the stylistic blueprints were still very much prevalent when recording Vehicle.

It’s hard to imagine indie rock as a concept, technique, and an attitude without The Clean. David Kilgour was proficient in a language that Stephen Malkmus and Ira Kaplan could only hope to learn from, disguising perfect pop songs with layers of distortion, melodic guitar leads, and driving, “motorik” drumming tactics. Vehicle didn’t so much embody indie rock as it was indie rock in its perfected form—too cockeyed to be power pop, too melodic and jangly to resemble punk rock, too simplistic to edge toward experimental. The scatterbrained opener, “Draw(in)g to a W(h)ole,” the bouncy, organ-led goodbye on “Bye Bye,” and the driving force of “Some Ones” are The Clean at their finest and hungriest, and the live document that is “Point That Thing Somewhere Else” sounds like a Yo La Tengo fever dream. But it’s the sparse, acoustic closers “I Can See” and “Gem” that truly showcase Kilgour’s ability to craft euphoric love songs. Vehicle is still as emotionally pervasive now as it was in 1990.

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David Kilgour – Here Come the Cars (1991)

If The Clean’s 1990 studio debut Vehicle proved David Kilgour to be a maestro of indie rock, then Kilgour’s 1991 solo debut, Here Come the Cars, is the antithesis to this very idea. Here Come the Cars is a polished, stripped down collection of hauntingly graceful songs, a direction of tedious, gentle craftsmanship that, though unexpected, established Kilgour as a true artist. Backed by Noel Ward on bass and Tane Tokona on drums, Here Come the Cars augments Kilgour’s minimalist approach for something that sounds incredibly monstrous while still grounded and unpresuming—the ultimate paradox, equally lovable as it is heartbreaking.

Kilgour surrounds his instantly recognizable vocal delivery with flourishing piano arrangements and lush guitar work, and when these are placed together, the songs of Here Come the Cars unfold into radiant epics, equally indebted to Kilgour’s own quixotic nature as his ability to craft such vulnerable and unfiltered prose. Where the fleeting croons and piano jabs on “Because It Was You” display Kilgour as melancholic and lonesome, “Uplift” is a rapturous, third-person burner that captures the trials and tribulations of life and existence itself within five and a half minutes. Here Come the Cars is in every way a symbolic departure from the rough and loose groove of the Clean—it’s a bandleader-turned-solo artist trope as common as drunk, white dudes ripping off storied blues artists, but the contents within rise above this trope, showcasing a man at his most defenseless and broken.

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3Ds – Hellzapoppin (1992)

Listening to Hellzapoppin now, it’s difficult not to hear both Stephen Malkmus and Black Francis. By September, 1991, when Hellzapoppin was originally released within New Zealand, Doolittle had already become somewhat of a canonical staple, and though Slanted and Enchanted didn’t arrive until April of 1992, Pavement had already released a slew of singles and EPs, slowly but surely garnering the attention of a strange, anti-rock scene happening in NYC, then adopted by noise-rock overlords Sonic Youth. But it could also be argued that Hellzapoppin inspired Crooked Rain, Crooked Rain—the era (1994) in which Pavement emerged as a semi-serious collective crafting tasteful, pop-oriented songs.

Nevertheless, the impact of Hellzapoppin was nowhere near that of The Clean or The Chills—it didn’t even appear on a single radio chart within New Zealand. 3Ds came a decade too late, though their sound is timeless, still sounding innovative in 2018. The high-note plucks and tossed-off distortion of “Swallow” and the pop-friendly hook and lead of “Sunken Treasure” help identify and categorize 3Ds with the “Dunedin sound,” but that’s about it. Everything about Hellzapoppin is supremely different from any Flying Nun band, and David Mitchell and David Saunders’ guitar work sounded playful, constantly attacking each other with twin-guitar attacks and tantrums.

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The Courtneys – II (2017)

Much like the majority of fellow Flying Nun cohorts, The Courtneys craft distorted power-pop with a hyper-sensitive edge. The only difference is that The Courtneys are 30 years past Flying Nun’s golden years—and yet, they’re still capable of capturing the bottle-rocket release of The Bats and The Clean at their finest. What’s so refreshing about The Courtneys isn’t that they hail from British Columbia, or that they’re a trio, but the fact that they’re still capable of capturing the slick prowess of their Flying Nun ancestors in the 21st century. Their second studio album and first for Flying Nun, 2017’s II, displays a band with improbable songwriting chops, their songs slackish and insular yet brimming with life.

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Aquí tenéis una lista muy maja publicada por https://www.treblezine.com/10-essential-flying-nun-albums/ hace un par de meses donde podéis ver algunos de los discos más característicos del sonido Dunedin de los 80 y 90, a excepción del último, el grupo canadiense de Vancouver, "The Courtneys" con su segundo disco "II", publicado el año pasado en Flying Nun, que pertenece a esos nuevos fichajes modernos como Fazerdaze o Aldous Harding, todas ellas chicas y todas ellas con disco publicado el año pasado.

3 meses después:

- Encontrado nuevo tesoro olvidado de las profundidades submarinas rescatado para todo aquél que quiera viajar en el tiempo a una época inolvidable e irrepetible de dulce y delicioso pop melódico azucarado:

The Remarkables - Vegetarian/Skin Condition (1986)



http://dunedinsoundtapes.blogspot.com/

Legendariamente míticos, injustamente olvidados, imprescindibles... Three Leaning Men, de Palmerston North.

Seguimos con singles y bandas olvidadas de la escena ochentera: Spines y su canción "It's All Inane" de su EP debut "Fishing" (1982).

Ponedle un poquito de Bats a vuestras vidas:

Nuevo material en el blog, con el disco "Songs in the Key of E", de Three Leaning Men, banda formada por exmiembros de The Remarkables. Uno de los discos que más tiempo andaba buscando.

Y por otra parte, The Drongos, una banda de Wellington que se mudóa Nueva York. He subido los dos únicos LP's que publicaron a mediados de los 80. Legendarios y necesarios.



                 http://dunedinsoundtapes.blogspot.com/

¡No lo dije, pero este mes el blog cumple 1 año de vida! Seguiré subiendo nuevo material en los próximos días.

Peaky Blinder escribió:¡No lo dije, pero este mes el blog cumple 1 año de vida! Seguiré subiendo nuevo material en los próximos días.

Enhorabuena!

Nueva metralla de buena música kiwi subida al blog!

     

http://dunedinsoundtapes.blogspot.com/

Peaky Blinder escribió:Nueva metralla de buena música kiwi subida al blog!

     

http://dunedinsoundtapes.blogspot.com/

OE
Hace poco caté el Helzapoppin de los 3Ds, buenísimo

¡Más madera, oigan, más madera, estoy que lo regalo!





http://dunedinsoundtapes.blogspot.com/

Nuevo disco de David Kilgour el 20 de septiembre titulado Bobbie’s a Girl.



Tracklist:

1. Entrances 2:51
2. Smoke you right out of heres 2:50
3. Crawlers 2:26
4. Threadss 4:06
5. Coming in from nowhere nows 3:12
6. Spotlights 2:59
7. Swan loops 4:09
8. If you were here and I was theres 3:30
9. Looks like I’m running outs 2:56
10. Ngaparas 5:57

¡Feliz domingo!

¡Buenas noches! ¡Esta vez con algo de lo-fi del bueno!    

Otra canción más del último de David Kilgour. ¡Gran disco de regreso de uno de los mejores músicos guitarreros de todos los tiempos! El album es más pausado y menos rockero que sus anteriores trabajos, pero añade un ápice de dulzura y delicadeza que se agradecen.

Hay que levantar este topic que se hunde como el Titanic



http://dunedinsoundtapes.blogspot.com/

¡¡Nueva longaniza en el gallinero de la monja!!

http://dunedinsoundtapes.blogspot.com/2019/12/chris-knox-song-for-1990-1990.html

¡¡Hay que reivindicar más a esta girl-band como se merece!!





Y para los felipes y felipas neomodern@s rin chan chun trap chicheros de la vida, ¡más Look Blue Go Purple y menos guarrerías bazofialeras!

Ha fallecido Andrew Brough, líder de Straitjacket Fits (junto a Shayne Carter) y líder de Bike. DEP.

Después de casi 5 meses vuelve a ver novedades en el jardín mágico de la monja voladora.

Ni más ni menos que el último LP de The Verlaines, Dunedin Spleen, autopublicado por la propia banda en mayo del año pasado. Un doble álbum lleno de energía, revitalidad y nostalgia, un homenaje a todo lo que fue y significó aquella escena única e irrepetible.



http://dunedinsoundtapes.blogspot.com/2020/03/the-verlaines-dunedin-spleen-2019.html

Y otra noticia, The Chills se encuentran componiendo y grabando el que será su tercer album desde su regreso.

¡Entren, entren al mejor blog de música pop del mundo! ¡Estoy de oferta, todo gratis, sin IVA ni intereses! ¡Vengan o me cerrarán el chiringuito dentro de un mes y eso sería mi ruina!

Añado también el último de David Kilgour, Bobbie's a girl, publicado el año pasado:



http://dunedinsoundtapes.blogspot.com/2020/03/david-kilgour-bobbies-girl-2019.html

Y adjunto un par de reviews en español:

https://www.indienauta.com/david-kilgour-and-the-heavy-eights-bobbies-a-girl-merge-records-2019/
https://www.ruta66.es/2019/12/discomatico/david-kilgour-the-heavy-eights-bobbies-a-girl-merge-popstock/