#Argentine shoegaze

[gothmusiclatinamerica]

"Rompiente" by Mar Del Plata, Argentina-based dark shoegaze and alternative rock act Tomates en Verano off of 2020 album Todos los Dias son Felices

[bbael]

Naamah my dearest how have you beeeeeeeeen

I have recently been seriously trying to learn conversational Spanish since a lot of my patients are Spanish speaking and while looking for music, argentine rock music from the 80/90s absolutely slaaaaaaaps

HIII Gabe my love ♡ omg that's so cool!!! I need to know what you've been learning, I'm so happy ajsjdjf I love it when a friend takes up Spanish and I can be silly with them about it! (Would teach you slang/swear words but tbh all of them are extremely regional through Latam >_>)

Anyhow, perhaps it does..... it's a shame but I really don't like argie rock at all lmao 😭 we have something like shoegaze (soda stereo? Kind of?) And Sumo is cool too but I'm just not into it in general. What have you been listening to ? :O

[thesinglesjukebox]

JAVIERA MENA - "VOLVER A LLORAR"

Don’t cry! There’s new Javiera Mena to listen to…

[6.86]

Alfred Soto: One of TSJ's Olympians returns with an acoustic lament about a lover who needs to turn off their brain and look at the stars. The bridge is Javiera Mena at her best: a poignant, sinister supplicant. [7]

Kayla Beardslee: Softer yet more haunting than her usual icy electropop singles, but as with any good Javiera track, I’m left thinking about how the music interlaces with her wistful vocals well after the song has ended. The sentimental and the spooky will inherit the earth. (Or at least the Jukebox -- we’ve written Javiera into the site’s will by now, right?) [7]

Mark Sinker: There’s something funny and sweet about outing yrself as a rigorous goth girlie — loves Siouxsie! loves shoegaze! — this far in, and while the song itself is a gauzily slight vapour, no more, it is entirely plausible that the ageless undead (who don’t have working hearts) would affect to sway a little to some pleasantly beatless bossa nova. Memory is really no longer a matter for precision for a vampire.  [5]

Ian Mathers: The goth romanticism of vampires really hasn't been getting a fair shake in pop culture recently, so kudos to Mena for putting it right back in there: "dare to feel that bitter suffering" and all that. And of course it's that rare example of a sweeping ballad that actually has a pulse. Eternal life just so you can keep crying forever — what a concept! [9]

Jonathan Bradley: A gentle guitar arpeggio suggests “Volver a Llorar” will be a polite folk exercise, but Javiera Mena remains too interesting an artist for that kind of dignified but dull work. As the track builds, strings bloom like blood seeping into water, while a bed of subtle but thrumming vocal loops hiccup an accompaniment. Still polite, perhaps, but also rather beautiful. [7]

Katherine St. Asaph: So steep a plunge from her previous heights that it's almost offensive. Javiera Mena is not supposed to sound like the Lumineers! The strings toward the end almost salvage it; the Porter Robinson vocal pongs do not. [3]

Nortey Dowuona: Sandra Mihanovich and Celeste Carballo came from very different upbringings but were connected by their brief romance, and their brave duology of albums Somos Mucho Mas Que Dos (We Are Much More Than Two) in 1988 and Mujer Contra Mujer (Woman Against Woman) in 1990. Milhanovich came from a well-to-do family, her uncle a successful composer (she even covered one of his favorite songs as a favor to him), her father a polo pro, her mother a TV anchor for Telenoche, which was broadcast into millions of homes in Argentina and to Celeste Carballo. Her own fascinating story was never drawn up in any English-language sites, except to say she apparently played with Bob Dylan. She also composed for Argentine TV series Dale, Loly! in 1993, then Inn Trouble in 1997, a Christine Rey Joint meant to address the lesbian lifestyle in the United States, neither of which in this time of streaming and piracy can be found, even with subtitles. These two excellent, long-forgotten icons of Argentinian punk/pop as influences influnced this Chilean maestro. This three-minute jotting of feelings was co-produced by Isidro Acevedo, producer for Jukebox visitor, C. Tangana, Sticky M.A. and Ghouljaboy, nestling Mena in neatly arranged violins while girding it with heavy kick programming, flashes of timpani rolls, and long hi-hat hits. A chirping vocal fragment bubbles forth as Mena's warm soprano leans out of the center of the song. As for what co-writer Pablo Stipicic>> and Mena herself are saying, I do not know. All I can say is this: Love is complicated, but death is simple. [10]

[Read, comment and vote on The Singles Jukebox]

[the-keeper-of-the-gaze]

Nax are back with new album Dejando todo atras

merch community The south American shoegaze scene bursts forth… Anyone familiar with the south American shoegaze scene will know of the Argentine band Nax, of whom Nicolas Castello is the main protagonist. He writes, mixes, produces maters and plays all instruments, such are his unbridled talents. Here he presents his second album under the name Nax, entitled ‘Dejandro todo atras‘, and what a…

[rookieforlife]

Hey so I recently learned about "rock national" from Argentina. My uncle and cousins are big Soda Stereo fan, which is pretty big from my understanding in Argentina. The guys in my family are such big fans, to the point that my nephew has the middle name of Gustavo, because of them. I was wondering if you have heard of them, if so do you listen to them? Or if you know of any other bands that sound like them?

Hi! that's really cool! Yeah I know them, I actually attended their last concert together with Gustavo back in 2007. I love love love their album Dynamo, and Gustavo's Amor Amarillo is one of my favorite records. I think the Argentine band that is close to their sound could be -Virus- then I could name typical influences like: The Cure, The Police, Depeche Mode... in the final years they had a lot of sounds from the Madchester movement, and also a bit of shoegaze.

I think they are probably the most popular rock/pop band of Argentina, they have a lot of hits, and they are really loved in places like Chile and Mexico. Gustavo was a special man. Have you watched the documentary "Rompan Todo"? I think it is/was on Netflix, there's a lot of content, history and context of Soda Stereo there. And a bit of other Latin American bands.

[dendre]

Hanglemez 2019/04

Holly Herndon: Proto  9.0  (kísérleti elektronika) PJ Harvey: All About Eve  9.0  (színpadi zene, de úúdeszép) Callum Easter: Here Or Nowhere  8.5  (szellemjárta, másvilági lofipop) Kornél Kovács: Stockholm Marathon  8.5  (housepopdeepoutside) Rev Magnetic: Verses Universe  8.5  (electro shoegaze) The Caretaker: Everywhere At The End Of Time - Stage 6  8.5  (dark ambient) These New Puritans: Inside The Rose  8.5  (posztpop)  96 Back: Excitable, Girl  8.5  (nu-electro) Georgia: Time 8.5  (absztrakt elektronika) Billie Eilish: When We Fall Asleep, Where...  8.5  (pop) Minor Poet: The Good News  8.5  (00′s indierock) Henning: Natter Utan Dagar  8.5  (softrock, “markknopflerwave”) Fennesz: Agora  8.5  (ambient) Ohtis: Curve Of Earth  8.5  (folkamericana) Tree: We Grown Now  8.5  (hiphop) Lafawndah: Ancestor Boy  8.5  (keleties altr&b, deconstruct tribal glitch bass)

Avey Tare: Cows On Hourglass Pond  8.0  (neopsychfolktronica) The Fat White Family: Serfs Up!  8.0  (neopsych) Sote: Parallel Persia  8.0  (elektroakusztikus perzsa klasszikuszene) Anderson .Paak: Ventura  8.0  (neosoulfunk) Intellexual: Intellexual  8.0  (neosoul-jazz) Visible Cloaks+Yoshio Ojima+Satsuki S: serenitatem  8.0  (ambient) Smallpeople: Afterglow  8.0  (deep house) Central: Om Dans  8.0  (tech house) Kristín Anna: I Must Be The Devil  8.0  (avantfolk) Nilüfer Yanya: Miss Universe  8.0  (gitárpop-pop) Aldous Harding: Designer  8.0  (indiefolkpop) Weyes Blood: Titanic Rising  8.0  (carpenters-pop) Kronos Quartet & Marja & Mahsa Vahdat: Placeless  8.0  (perzsa kamarafolk) Rico Nasty & Kenny Beats: Anger Management  8.0  (hiphop) Romeo Santos: Utopía  8.0  (bachata) DJ Spider: Democide  8.0  (dark techno) Duke: Uingizaji Hewa  8.0  (singeli) Beth Gibbons & TPNRSO: Górecki Symphony No. 3.  8.0  (modern klasszikus) Lucinda Chua: Antidotes 1 EP  8.0  (csellós kamara-r&b-szofiszti-ambient pop) Prins Thomas: Ambitions  7.5  (baltibeat) Jayda G: Significant Changes  7.5  (akadémikus disco) The Chemical Brothers: No Geography  7.5  (dancepop) Fontaines D.C.: Dogrel  7.5  (posztpunk) Caroline Shaw+Attacca Quartet: Orange  7.5  (kamarazene) Kelsey Lu: Blood  7.5  (hibrid artpop, csellóval) C Duncan: Health  7.5  (szofiszti-kamarapop) Nihiltoxica: Biiri EP  7.5  (bugandian techno) Jeff Tweedy: Warmer  7.5  (folkrock) Jenny Lewis: On The Line  7.5  (soft americana pop) Otoboke Beaver: Itekoma Hits  7.5  (punk, popnoise) Ifriqiyya Électrique: Laylet el Booree  7.5  (sufi rock) Umut Adan: Bahar  7.5  (anatolian psychrock) Altin Gün: Gece  7.5  (anatolian rock) Flume: Hi This Is Flume  7.5  (wonky mixtape) Stealing Sheeps: Big Wows  7.5  (electropop) Marina: Love + Fear  7.5  (pop) Beyoncé: Homecoming  7.5  (koncertlemez) The Flaming Lips: King’s Mouth  7.5  (pszichpop-ambientpop) Mini Dresses: Heaven Sent  7.5  (lofi dreampop) PUP: Morbid Stuff  7.5  (punkrock) Spiral Stairs: We Wanna Be Hyp-No-Tize  7.5  (heartland rock) Craig Finn: I Need A New War  7.5  (heartland altcountry) Bruce Hornsby: Absolute Zero  7.5  (heartland softrock) Quelle Chris: Guns  7.5  (abstract hiphop) Kevin Morby: Oh My God  7.5  (indie folkrock) Matthew Herbert Brexit Big Band: The State Between Us  7.5  (bigband-dance) Christian Scott aTunde Adjuah: Ancestral Recall  7.5  (trombitás-spokenes jazz)

Ex Hex: It’s Real  7.0  (powerpop, garagesoftrock) Rozi Plain: What A Boost  7.0  (indie artpop) Idlewild: Interview Music  7.0  (hymndie rock) Lambchop: This (Is What I...)  7.0  (indietronica) Bibio: Ribbons  7.0  (folktronica) Billy Woods + Kenny Segal: Hiding Places  7.0  (abstract hiphop) Pivot Gang: You Can’t Sit With Us  7.0  (jazzrap) Angelique Kidjo: Celia  7.0  (afrocuban) Joni Void: Mise en Abyme  7.0  (hangkollázs-elektronika) Refugees For Refugees: Amina  7.0  (worldmusic) Mdou Moctar: Ilana  7.0  (tuareg desert blues) Martha: Love Keeps Kicking  7.0  (power indiepop) Control Top: Covert Contracts  7.0  (queercore) Big Thief: UFO-F  7.0  (indierock, indiefolk) Priests: The Seduction Of Kansas  7.0  (punkpopindie) Bogdan Raczynski: Rave ‘Till You Cry  7.0  (idm) DJ Nate: Take Off Mode  7.0  (footwork) Lizzo: Coz I Love You  7.0  (popsoulrap) Bill Mackay: Fountain Fire  7.0  (americana, instru gitárzene) Foxygen: Seeing Other People  7.0  (retropoprock) The Ninth Wave: Infancy Part 1  7.0  (pomp new wave) Jab: Erg Herbe  7.0  (new age-space ambient) Shana Cleveland: Night Of The Worm Moon  7.0  (psychfolk-dalszerző-előadó) Patio: Essentials  6.5  (posztpunk) American Football: American Football (LP3)  6.5  (midwest emo, dreampostrock) Cinematic Orchestra: To Believe  6.5  (background pop) Tiger And Woods: AOD  6.5  (summery discopop) Kel Assouf: Black Tenere  6.5  (desert blueselectrorock) Citizen Bravo: Build A Thing Of Beauty  6.5  (geek indiepoprock) Faith Eliott: Impossible Bodies  6.5  (indiefolk) Girl Unit: Song Feel  6.5  (pop bass) Insignificant Other: I’m So Glad...  6.5  (twee-indiepoppunk) Kap Bambino: Dust, Fierce, Forever  6.5  (electroclash) HVL: Rhythmic Sonatas  6.5  (acid techno) Deafkids: Metaprogramacao  6.5  (tribal noiserock)

Logos: Imperial Flood  6.0  (weightless, ambient grime) Paws: Your Church On My Bonefire  6.0  (indierock) Wand: Laughing Matter  6.0  (neopsych artrock) Dis Fig: Purge  6.0  (posztindustrial power noise) Alberich: Quantized Angel  6.0  (posztindustrial power noise) Kinbrae: Landforms  6.0  (electronic ambient posztrock) Brutus: Nest  6.0  (dallamos poszthc) Real Life Buildings: Ohio And West  6.0  (tweepop) Emily Reo: Only You Can See It  6.0  (artsypop) Laura Stevenson: The Big Freeze  6.5  (indiefolk) Frankie Cosmos: Haunted Items 6.0  (piano indiefolk) The Gotobeds: Debt Begins At 30  6.0  (posztpunk-indierock)      Angel Du$t: Pretty Buff  6.0  (poppunk) Tommy Four Seven: Veer  6.0  (indusztri techno) Gesaffelstein: Hyperion  6.0  (electropop-synthwave) Minimal Violence: InDreams  6.0  (’91 style ravetechno) Lamb: The Secret Of Letting Go  6.0  (trippop) Las Hermanas Caronni: Santa Plastica  6.0  (argentin-francia kamarafolkjazz) Adam Stafford: The Acid Bothy  5.5  (psychedelic synth jams) Tamaryn: Dreaming The Dark  5.5  (dreamy synthpop) Apparat: LP5  5.5  (artsypop) Khalid: Free Spirit  5.5  (pop) Gary Clark Jr.: This Land  5.5  (retrosoulrock)

+++ Floating Points: LateNightTales  8.5  (válogatás obskúrus souljazzambientből) Laurel Halo: DJ-Kicks  8.5  (mixlemez, nagyon jó tech-outsider-electrohouse) Marvin Gaye: You’re The Man  8.0  (posztumusz lemez 1972-es felvételekből és azok remixeiből, néha nagyon jó, néha kislemez b-oldal-minőség) Vatican Shadow: Berghain 09  8.0  (dj-mix industri dark techno) Válogatás: Eminent Domain  7.0  (noise-techno)

(Ezeken kívül még sok lemezbe belehallgattam, és maximum 10 percet töltöttem velük, mert annyira nem nekem szóltak vagy szimplán borzasztóak voltak, ezeket nem sorolom. És igen, ez amolyan laza sorrend.) 

Január     Február    Március  

Április első fele elszállt anélkül, hogy esélyem lett volna zenét hallgatni, úgyhogy márciushoz hasonlóan ez is egy félhónap volt ilyen szempontból. Nem is hallgattam meg mindent, amit szerettem volna (de még hiszek benne, hogy májusban utol tudom érni magam). Inkább leginkább azokat, amik érdekeltek, amiktől jót reméltem, és pont ezért talán némileg aránytalanul sok a jobb lemez (7.5-8-as), mint a közepes-átlagos-rossz - mert persze inkább többen, mint kevesebben szállították is a reményeknek megfelelőt. (Amúgy meg kicsit azt érzem, végignézve most a lemezeken, hogy megengedőbb voltam a pontszámokkal, de sebaj.)

Legjobban Holly Herndon albuma tetszett áprilisban. Lehet, az is segítette az első helyre, hogy úgy egy hete hallgatom, szóval az élmény is a legfrissebbek közé tartozik. Herndon folytatja a Platformon megkezdett utat, a mesterséges intelligencia humanizálásának vizsgálatát, ezúttal nagyon sok emberi hanggal, énekkel, kórussal, továbbra is elvarázsoltan, behatárolhatatlanul. Tudom, kiszámítható is vagyok, ha PJ Harvey csinál valamit, azt ájultan rajongom. Persze eskü, nem akarok én így tenni, de hát mennyire gyönyörű színpadi zene ez is. Mennyire nem írtak róla szinte sehol. Amilyenek a dalai, olyat tud kamarahangszerelésben is. Éjszaka a tökéletes hallgatni. 

Callum Easter egy edinburgh-i underdog, nem lesz belőle sztár, de harmonikás, szabálytalan kamara-indiepopja tök élvezetes anyag. Kornél Kovács mifiúnk második lemeze is telitalálat, sőt, jobb mint az első, annyira nincs párja manapság játékos, humoros, sablonoktól eltérő house-ban. Még egy ilyen szintlépés, plusz egy szégyentelen gigasláger és világsztár lehetne, ha akarna. Azt hiszem, nem akar. Rev Magnetic: nem tudok róluk szinte semmit, ők is skótok, és eszetlen jó shoegaze-lemezt csináltak, jövő héten jelenik meg, de pár dal már hallgatható róla. (Sokat hallgattam áprilisban, úgyhogy ide tettem, még pár hasonló promo-esettel együtt.) The Caretaker: nem mondom, hogy hallottam az összeset ebből a sorozatból, mert nem - és hogy nem kellett hozzá egy megfelelő pillanat, mert de. Simán elfogadom, ha ezt valaki fasságnak tartja, de ha annak a valakinek van egy olyan pillanata és végighallgatja, akkor garantáltan agyeldobás, még a híres lemezénél is jobban. Igazából annyira nagy és szokatlan élmény, hogy több pontot is érdemelne, de még csak egyszer hallottam. Állítólag ez a sorozatzáró egyúttal a Caretaker alteregó befejezése is. A These New Puritansek kezdettől drukkere vagyok, mindegyik lemezt szerettem, de egyik se olyan jó, amilyent elképzelek, hogy tudnának. Ez se. Az első üdítő volt 2008-ban, a Hidden majdnem megcsinálta 2010-ben, a Field Of Reeds tök jól kanyarodott 2013-ban, de egyik sem ért oda, ahova hallani szeretném. Most meg fenét csináltak poplemezt, de Mark Hollis-tisztelgést se rendesen. Igazából kicsit mérges vagyok rájuk. 

Kétségtelen, hogy az electro most nagyon megy, 96 Back is egy gyönyör annak, aki bírja az ilyesmit. Meg persze megy a ‘91 rave és az acid is, de nekem azokban nincs annyi, hogy érdemes legyen újra olyan lemezeket csinálni. Vagy csak nem hallottam még olyat, ami megfogott volna. Az electróval meg még mindig lehet mit kezdeni. New York kínai negyedében élő producerpáros a Georgia és ez ordít debütlemezükről, ami nagyon fülbizsergető, izgága absztrakt elektronika. Billie Eilish-ről itt írtam, fenntartom, nagyon jó ívű poplemez. A Minor Poet fura zárvány, olyan, mintha 2004-es indierockot akarna játszani, de a Champs eszközkészletével. Annyira fülbemászó, hogy a rövid minialbum már több, többórás autóúton nem akart kijönni a cd-játszóból. Henninget úgy ajánlotta Klág Dávid, hogy ő a csúcs a svéd markknopflerwave-ben és tényleg. Mármint aki kicsit is el tud felejtkezni a Dire Straitsben, annak ez egy örömóda. Fennesz előző két lemeze nem annyira kapott el, ez meg igen. Az Ohtis első rendes albuma 17 évig készült, csak közben a trió egyik tagja heroinfüggő lett, meg ezek az illinois-i fiúk amolyan klasszik slackernek tűnnek, akik itt ragadtak a kilencvenes évekből, szóval nem csoda, hogy nem kapkodtak. Viszont cserében van néhány nagyon szép daluk. Hiphopból Tree tetszett a legjobban, ennek az LP-nek tényleg pazar a flow-ja. És még Lafawndah-t hallottam izgalmasabbnak a sokan másoknál.

De amúgy még valóban sok jót hallottam, eddig ez volt az év hónapja. Az új Avey Tare a legjobb az Animaltől, vagy bármelyik Animaltől a Merriweather óta, a Fat White Family sokat javított az előzőhöz képest, ez egy koherens, jó LP. Nem folytatom, ott vannak, a 8.0-asok mind tetszettek. Mégha Harding kicsit kevésbé is, mint az előző, mert az nagyon. És Weyes Blood is picit kevésbé, mint igazából bármelyik eddigi. Végighallgattam az új után mindet, és egyértelműen az előzővel volt a csúcson, ez pedig kicsit olyan, mint Julia Holter 2015-ös lemeze, hogy akkor megmutatja, hogy az addigiakat tudja széles körben is könnyebben befogadhatóan, csak Holternek tökéletesen sikerült a mutatvány, a friss Weyes-LP meg egy kicsit túlpolírozott lett és ez lehet a foxygenes mifúnk, Rado hibája, plusz persze a Carpenters-tribute is kissé túlcsordul, de ez persze csak szőrözés, jó lemez az. Na jó, még Beyoncéról. Hát nyilván agyeldobás, rocktörténeti mérföldkőkoncert lehetett ott helyben, meg képpel biztosan jobb élmény (nem néztem még meg), de ez a 110 perces monstrum élő album ne legyen már az év lemeze. Egyrészt sokkal több az üresjárat, mint a többi korszakos, örök klasszik koncertlemezeken, mert azokon ki merték azokat vágni, itt meg muszáj megkapnunk az egészet, néha végtelenül egyszerű összekötő szövegekkel, amik másodszorra már semmiképp nem érdekesek. Sőt, a tényleg jó zenei részek úgy 50 percet tesznek ki, ha annyi a lemez, sokkal-sokkal hatásosabb. Khalid albuma viszont minden szempontból tök csalódás, az elsőt nagyon bírtam. Na mindegy van itt helyette bőven más.

És akkor most meghallgatom az új Vampire Weekendet.

Ezek tetszettek a legjobban áprilisban. A második kupacban (és harmadik elején) még olyanok vannak, amiket szerintem abszolút érdemes meghallgatni annak, aki bírja az adott stílust, a harmadik-negyedik adagban viszont már azok szerepelnek, amikhez rajongónak kell lenni és úgy sem kizárt a csalódás.

[dfhvn]

First Listen: Deafheaven, 'Ordinary Corrupt Human Love' // Streaming on NPR

Deafheaven's Ordinary Corrupt Human Love comes out July 13. Corinne Shiavone/Courtesy of the artist First Listen via NPR

People do not have passive reactions to or moderate opinions about Deafheaven. For the better part of the last decade, the California quintet has overlaid the bleak screech of black metal with layers of neon, giving the infamous form's harsh vibes a sudden sense of romantic longing. For some listeners, the band's first three albums — particularly 2013's Sunbather, a vivid breakthrough and an exhalation of pure feeling — still cause hearts to race, senses to tingle; for others, those same albums epitomize the perceived post-millennial trend of young, hip, urban intellectuals aiming to salvage the spirited rush of black metal from the strictures of its scene and the barbarism of its past. Punchlines or saviors, champions or charlatans, leather-gloved posers or earnest bleeding hearts: Deafheaven has become one of its generation's most divisive bands.

On Ordinary Corrupt Human Love, the band's first album in three years, Deafheaven leans more fully than ever before into those elements that inspire alternate outrage and obsession. For their last record, 2015's pugnacious New Bermuda, Deafheaven seemed to have toughened up, to have tightened the screws on its metallic bulwark. But they begin here with "You Without End," a soft piece framed by major piano chords, a twinkling slide guitar, and field recordings of the breeze on the beach. Actress Nadia Kury stoically reads from a short story about Oakland. Deafheaven's screamer, George Clarke, is left to weave his usual throat exfoliations around piano, drums, and an electric guitar that arc skyward. Unapologetically theatric and gestural, the opener climaxes in a solo so big and bright you'll think you've stumbled into "We Are the Champions."

Elsewhere, there is a featherbed shoegaze ballad ("Near"), a gently gothic anthem led by the singer Chelsea Wolfe ("Night People"), and a 12-minute tirade that occasionally conjures the guitar whiplash of Built to Spill and ends with a full-band chant about a lover's blood ("Canary Yellow"). If you've mocked Deafheaven in the past, Ordinary Corrupt Human Love does not care to meet you in the middle.

Make no mistake, though: Black metal remains Deafheaven's musical core, forming the backbones of the four songs that break the 10-minute mark here. Deafheaven simply spends less time fitting outside influences inside that frame, instead allowing them to stand proudly on their own; it is a definitive "Sure, whatever" response to any charges of posturing. To wit, the album's most ferocious bit of black metal, "Honeycomb," periodically swivels into bridges and solos that sound suitable for an early Foo Fighters hit. The song dissolves into an extended dusk of chiming guitars and marching drums, its twilit smear of sound made for an Explosions in the Sky renaissance. Ordinary Corrupt Human Love is often willfully cheesy, with the same sort of open-hearted accessibility that made something like Friday Night Lights a television hit. The record's delirious, even messy mix of genres emphasizes that central point: This is Deafheaven's most honest record to date, guided by the delightful sense that its makers are through being cool or trying to fit in anywhere at all.

There's another advance here that may require more effort than a passive listen to discern, especially if the serrated vocals of black metal are not your lingua franca: Clarke has coiled his songwriting into loaded little verses, trimming his once-sprawling sentimentality or obvious conclusions into an economic series of poignant images and provocative koans. "When a fawn stumbles into the raids / honeydew high and deep in afterglow / Mind swarming on purple sand verbena / I forgive its delusion," he writes during "Worthless Animal," a finale that finds a second life in a sudden death. And in the wondrous "Glint," a love letter for someone he has long since lost to time, he offers, "The midnight blue of your calmness, like evening chamomile, peppermint, eyes as morning rosewater." The best of Ordinary Corrupt Human Love suggests Elizabeth Bishop, the American poet who used foggy valleys and storm-battered coasts to ask questions about how our soft bodies make it so long in this hard world. For a band with the gall to call Argentine novelist Julio Cortázar by name or lift a phrase from a Graham Greene landmark for its album title, it's a major achievement — even if you require liner notes to appreciate it.

Ordinary Corrupt Human Love begins in the city, first on the streets of Oakland, where a passing flock of geese fit into the teeming cityscape, and then rushing through a tunnel in search of a "sphere of ever-growing light." The album ends an hour later in the woods, surrounded by the stillness of nature, where a passing fawn makes for a moment that changes at least two lives. That tension—between immersion and escape, between past and present, between life and death—is the thread connecting these seven songs, tightened by a band that always seems to be searching for a more resonant way to underscore Clarke's lyrics, no matter the musical shape they take. This, then, is Deafheaven's most confounding record and necessarily its most emotionally impressionistic, free to be interpreted in whatever way the listener needs. Ordinary Corrupt Human Love is an album for falling in love or for coping with its loss, for moving ahead or falling behind, for feeling inspired and energized or for coping via commiseration. It is, true to Deafheaven form, not a record for passive reactions.

[soriyama]

INDIE LATINO BEST MUSIC 2016 #04_Best 10 Tracks by Isaac Diaz (Video artist/Photographer) from Argentina

イサーク・ディアス（フォトグラファー／ビデオ・アーティスト）［アルゼンチン］

続いてのガイドもブエノスアイレスから。カメラマン／ビデオ・アーティストのIsaac Diazは��アナログ的手法でインターネット時代の若者や男性像、ストリート、スケーター、グラフィティ、ヒップホップなどのカルチャーを写す。時々the fictional mapに音楽情報をたれ込んでくれる音楽愛好家でもある。ヒップホップ、シンセポップ、レゲトンなど10本のミュージック・ビデオから、彼の作品のテーマでもあるストリートの若者達の群像が見えるてくる。

The next guide is also from Buenos Aires. Isaac Diaz is a photographer/and video artist who approaches the documentary of youth, masculinity, street, skate, graffiti and hiphop in the era of the internet. And also he is a music lover and sometimes posts his favorite music to the fictional map. These 10 videos of hip-hop, synth-pop , reggeton etc. exhibit the figure of youth on street as well as the theme of his works.

El siguiente guía también es de Buenos Aires. Isaac Diaz es un artista de fotografías/video que aborda el documentar la juventud, masculinidad, las calles, el skate, graffitis y hiphop en la era del internet. También es un amante de la música y, a veces, postea su música favorita en “the fictional map”. Estos 10 videos de hip-hop, synth-pop. Reggeaton, etc, representan la figura de la juventud en las calles al igual que sus previos trabajos.

https://www.youtube.com/user/Aisak

1. LIZZ - CHACAL [Chile] LIZZ - ジャッカル［チリ］ https://youtu.be/vbgPN3sv1Eg

LizZは超スタイリッシュなDJ女子。IMPERIO (VOL I)は彼女の個人プロジェクトで、チリで今いちばんクールなシーンだ。「Chacal」という曲は日本語で始まり、彼女がチリのサンチアゴの通りを闊歩する。緻密なラップが洗練されたホップホップにリミックスされる。“どんどん滴っている/ 私の瞳のゴールド”

LizZ is a very stylish dj girl. This is his personal project IMPERIO (VOL I) is the coolest of the current Chilean scene. The song “jackal” begins with introduction in Japanese and she moving stylishly through the streets of Santiago de Chile. Precise rap mixes a very refined electro hiphop. “Dripping so fast / gold in my eyes”

LizZ es una chica dj con mucho estilo. este es su proyecto personal IMPERIO (VOL I) es lo más fresco de la escena actual chilena. la canción “chacal” comienza con introducción en japonés y ella moviéndose con estilo por las calles de Santiago de Chile. el rap preciso mezcla un hiphop electro muy refinado. “Dripping so fast / gold in my eyes”

2. LARA 91K - 1YEAR (BEGGIN U x DUELE) // WTM [Argentina] ララ91K - 1年 (BEGGIN U x DUELE) // WTM ［アルゼンチン］ https://youtu.be/eaCs4ea0WXE

Lara 91kとして知られるLara Artesi はCoral Casinoのボーカリスト。今年アルゼンチンで話題になったバンドだ 。「1 Year」はスロウ・トラップの自伝的な美しい失恋の曲。“Beggin for your loveあなたの愛を求めている”ラテンのレゲトン・バラードを伴うこのビデオ。“Duele/痛み”それが彼女のスタイルを定義する。

Lara artesi a.k.a lara 91k is the vocalist of Coral Casino. Argentine band that this year gave much to speak. 1 year is a beautiful autobiographical song of desamor with beats of slow trap “beggin for your love” the video is accompanied by a Latin reggaeton ballad. “Hurts” that define the style of this girl.

Lara artesi a.k.a lara 91k es la vocalista de coral casino. Banda argentina que este año dio mucho que hablar. 1 año es una hermosa canción autobiografica de desamor con beats de slow trap “beggin for your love” el video está acompañado de una balada reggaeton latina. “duele” que definen el estilo de esta chica.

Coral Casino - Summer Romance https://youtu.be/f7wue14i1vg

3. MKRNI - En Tu Lugar [Chile] マカロニ - あなたのもとで（チリ） https://youtu.be/o04p3DXRizU

「En Tu Lugar」は、チリの３人組MKRNI(Makaroni)の2017年リリースのアルバム「Hiperrealidad」からの新しいシングル。チリのクラシックなシンセポップ・サウンドの前作「Canciones」(2014) “あなたのもとで／肌が変わりそして理解する”

The new single by mararoni trio chileno “in your place” is a preview of the new album of 2017 “hiperrealidad”. A magic and traveler hit that adds to the sounds of  classic Chilean style of dancing synthesizers from his previous album “canciones del 2014”  "in your place / change skin and understand"

El nuevo single de mararoni  trio chileno “en tu lugar” es un adelanto de nuevo disco del 2017 “hiperrealidad”. Un hit magico y viajero que se suma a los sonidos de yá clasico estilo chileno de sintetizadores bailables de su disco anterior “canciones del 2014” “en tu lugar / cambiar de piel y entender”  

4. MARINEROS - EL LADO OSCURO DE TU CORAZÓN [Chile] マリネロス - 君のハートのダークサイド［チリ］ https://youtu.be/XNpg5VmyinI

“そしてあなたが興味無さげに私を見る時どうしたらいいの？　だってこんなふうに思ってるんでしょう”「El Lado Oscuro de Tu Corazón」 はチリ人の二人の女性シューゲイズ・ポップデュオの最初のアルバム「Marineros」のソフトでとても洗練された美しいギターの始まりの曲。ビデオは彼らの美しい抱擁のシークエンス。

“And I do not know what to do if you look at me like you do not care because you treat me like this?” “The dark side of your heart” is part of the first album “Marineros” duo revelation of 2 Chilean girls. Who play this female pop shoegaze. Soft and very well accompanied by beautiful guitars. The video is a sequence of a beautiful embrace between them.

“y ya no se que hacer si me miras asi como si no te importara porque me tratas asi?” “El lado oscuro de tu corazón” es parte del primer álbum de “Marineros” duo revelacion de 2 chicas chilenas. que tocan este shoegaze pop femenino. suave y muy bien acompañado de hermosas guitarras. el video es un plano secuencia de un hermoso abrazo entre ellas.

5. Adrianigual - Nunca Vienes A Mi Casa [Chile] アドリアニガル - 絶対僕の家に来るな［チリ］ https://youtu.be/rznLK9cbiiA

Diego AdrianのプロジェクトAdrianigualはすでに２枚のアルバムをリリースしている。この最新シングルは彼の類い稀なスタイルとボーカルが加わり、レトロなサンプリング・ビートのダンサブルなヒット・ソングだ。「女友達は僕を不機嫌にするから。僕のクリスタルのハートは壊れてしまう」すでに彼のヒット曲"Arde Santiago"や"Me Gusta La Noche"--「空気は新鮮で、僕はこの街で��子になる」で明確になっているように、Adrianはいつも反抗と愛について歌っている。

Already are two discs of the project of diego adrian adrian equal. This latest single adds to his incomparable style and voice. A very danceable hit retreowave beats samples. “Friend because you make me so bad. My crystal heart breaks ” that already make it very recognizable with hits “arde santiago” “the air is fresh I lose myself in the city”  adrian same singing from rebellion and love.

Ya son dos los discos de el proyecto de diego adrian adrian igual. Este último single se suma a su incomparable estilo y voz. un hit muy bailable retreowave beats samples. “amiga porque me haces tanto mal. mi corazon de cristal rompes” que ya lo hacen muy reconocible con hits “arde santiago” “el aire es fresco me pierdo en la ciudad” adrian igual cantando desde la rebeldía y el amor.

Adrianigual - Arde Santiago : https://youtu.be/bsdcbKNQmz4

6. Dënver - Los Vampiros [Chile] デンバー - 吸血鬼達［チリ］ https://youtu.be/1QluOPxY-Y0

“僕達は皆トラックの中でリズムの虜になっている／真っ先に到着していつも最後には去る” このチリのディスコ・ヒットは、FangoriaやJaviera Menaから影響を受けた、ラテン・エレクトロの良い部分やハンドクラップ、レーザーの音、のピアノが全部詰まっている。

“We are the ones who in the track we impose the rhythm / first to arrive always last to go” This Chilean disco hit. Has all the beat of latin electro Latin American. With influence of fangoria and javiera mena, palmas lassers and a beautiful piano.

“Somos los que en la pista imponemos el ritmo / primeros en llegar siempre ultimos en irnos” Este hit chileno discotequero. tiene todo el beat del latin electro iberoamericano. con influencia de fangoria y javiera mena, palmas lassers y un hermoso piano.

7. TOMASA DEL REAL - TU SEÑORA feat. TALISTO  [Chile] トマサ・デル・レアル - 君のレディー feat. タリスト［チリ］ https://youtu.be/FjNutfto9fk

“そしてもし私と一緒に来てくれたら、星が出るまであなたが臨むことをしましょう” チリ北部のレゲトネラ（女性レゲトン・アーティスト）Tomasa Del Real。おしりと砂漠の熱。スウェーデン���Talisto (Gonzalo Vargas)をフィーチャリングしたこの曲は今年のヒット作のひとつだ。このブルネットの女性アーティストはダーク・レゲトンのネオ・ペレオ（トゥワーク）をまったく新しいムーブメントを生み出した。「あなたが踊るのを見ていた、それが好きなの、あなたのせいじゃない！」

“And if I tell you to come with me. We will do what you want until you see the stars ” Tomasa of the royal regetonera of northern chile hips and desert heat. Makes this featuring that was one of the hits of the year. Collaboration from sweden with talisto* gonzalo vargas. This brunette generated a whole new movement of dark reggaeton neo perreo “I saw you dancing, I like how you move, is not you guilt!”

“Y si te digo que te vengas conmigo. haremos lo que tu quieras hasta ver las estrellas” Tomasa del real reguetonera del norte de chile caderas y calor del desierto. hace este featuring que fue uno de los hits del año. colaboración desde suecia con talisto* gonzalo vargas. Esta morena generó todo un nuevo movimiento de reggaeton oscuro neo perreo “te eh visto bailando, me gusta como te mueves, la culpa no la tienes!“

8. Alex Anwandter - Siempre Es Viernes En Mi Corazón [Chile] アレックス・アンワンテール - 僕の心はいつも金曜［チリ］ https://youtu.be/pTUWwUUa1WE

「Siempre Es Viernes En Mi Corazón」は、深い詩情と政治的メッセージを含んだポップな歌詞のAlex Anwandterの最新アルバム「Amiga」からのヒットソング。この曲はアルゼンチンのバンドMiranda!のボーカルAle Sergiとのコラボレーションだ。Kelley Polarを連想させるダンサブルなストリングとシンセサイザーと手拍子が多用されている。 “僕はいつだって自分が知るこの世界をすべてを壊したいんだ”

“Always is Friday in my heart” is the new hit of the album “Amiga” by Alex Anwandter the album contains pop lyrics with deep poetry and political message, while still being danceable. This song is a collaboration of alex with ale sergi singer of the band argentina “Miranda”. The danceable violins anwandter have a reminiscent of kelley polar*  accompanied by synthesizers and claps that explode in this song “I always want the total destruction of this world that i known”

“Siempre es viernes en mi corazón” es el nuevo hit del disco “Amiga” de alex Anwandter el disco contiene letras pop con profunda poesía y mensaje político, sin dejar de ser bailable. esta canción es una colaboración de alex con ale sergi cantante de la banda argentina miranda. Los violines discotequeros de anwandter que recuerdan a kelley polar acompañado de sintetizadores y claps que estallan en esta canción “siempre quiero la total destrucción de este mundo que eh conocido”

9. C. Tangana - Antes de morirme feat. Rosalía [Chile] C.タンガナ - 死ぬ前に feat. Rosalía［チリ］ https://youtu.be/RxKVWs_qYBk

C. Tanganaは僕が大好きなスペインのミュージシャンの一人だ。彼はポップとヒップホップとフラメンコをミックスしている。「つまらないことのために正しいことなどしたくない、僕には時間がないんだ」Rosalíaをフィーチャリングしたこの曲はかわいいジプシーのラブストリーになっている。「死ぬ前に、僕達の境界をなくすために君とやりたい」

C tangana is one of my favorite Spanish musicians.He mix pop hiphop and flamenco. “I dont wanna to do the right thing. For that fucking shit, I dont  have time. ” With Rosalía This duo of Spaniards make a cute couple featuring a gypsy love story. “Before I die. I want to fuck you to erase the limit between me and you ”

C tangana es uno de mis músicos españoles favoritos el mezcla pop hiphop y flamenco. “yo no quiero hacer lo correcto. pa esa puta mierda ya no tengo tiempo”” Acompañado de rosalía este dúo de españoles hacen una linda pareja un featuring con historia de amor gitano.“antes de que muera yo. quiero cogerte hasta borrar el límite entre los dos”

10. Las Bistecs - CAMINANTE [Spain] ラス・ビステクス - 歩く人 ［スペイン］ https://youtu.be/LEo4LQNUj2o

「エレクトロ・ディスガスティング（不愉快なエレクトロ）」というスペインの社会に反抗する歌詞のエレクトロポップの新しいジャンルを装ったLas Bistecsは、2016年の新発見だった。スパニッシュ・ウェイブに続いて、彼女達のヒット曲「HDA (history of art／芸術の歴史)では、スペイン語圏の国境を越えてメキシコから南米大陸まで到達した。詩人のAntonio Machadoも取り込んでいる。「歩く人に道はない。歩むことで道は出来る」

Las Bistecs is the steaks this year revelation. Without pretending to be. Generate a whole new movement “electro disgusting” electropop and letters protesting towards the Spanish society. Following the Spanishwave essence. With his hit “HDA history of art” crossed the limits of Iberoamerica arriving from Mexico to all Latin America. that in fact takes part of a poem of Antonio Machado*. “Walker there is no way. It is made way to walk ”

Las Bistecs este año fueron revelación. sin pretender serlo. generan toda una nueva movida “electro disgusting” electropop y letras contestatarias hacia la sociedad española. siguiendo la esencia spanishwave. con su hit “HDA historia del arte” cruzó los límites de iberoamerica llegando desde mexico a latinoamerica. la cancion que en realidad toma parte de un poema de Antonio Machado. “Caminante no hay camino. Se hace camino al andar”

Text by Isaac Diaz, Introduction and translation ENG/JPN by Yuko Shoji

[the fictional map presents INDIE LATINO BEST MUSIC 2016 CONTENTS］

01_Camilo Castaño (Graphic designer, El Amarillo) [CO] 02_Vic Paz (Music researcher/El Club del Ritmo) [MX] 03_Rodrigo Piedra (Editorial director of IndieHoy) [AR] 04_Isaac Diaz (Photographer/video artist) [AR)] 05_Jon Jacobsen (Artist, photographer) [CL] 06_Yuko Shoji (the fictional map, graphic designer of Karera) [JP]

[soundsandcoloursmagazine-blog]

Great interview (in Spanish) with Santiago Córdoba in Cassette Blog - also free track download. "On the album there are rhythmic elements from Argentine and Brazilian folk music, psychedelic guitars hanging in the air to connect with post rock, kraut rock and space rock; moments of ambience that may well share heritage with both Spacemen 3 and Eno; Peter Gabriel's profound rituality and the emotionality of shoegaze."

[bnlx]

"Resist! Resist!" Summer Mix with even more guest vocalists!

“Resist! Resist!” Summer Mix with even more guest vocalists!

//bandcamp.com/EmbeddedPlayer/v=2/track=3316102511/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/ We’ve done a new mix (and edit) of the epic and ever-growing “Resist! Resist!”, adding even more guest vocalists including our old pal David Poe and our Argentine shoegaze friends Fer and Lu from APZOO. Other vocalists in “Resist! Resist!” section include Mark Mallman, John…

[gothmusiclatinamerica]

"Anestesiada" by Mar Del Plata, Argentina-based dark shoegaze and alternative rock act Tomates en Verano off of 2020 album Todos los Dias son Felices

[gothmusiclatinamerica]

2015 single "Con las piernas en el erco" by Buenos Aires, Argentina-based dark gazey post-punk act Perlas Tus Ojos

[gothmusiclatinamerica]

"Su forma de mirar," a 2023 single by Mar Del Plata, Argentina-based dark shoegaze and alternative rock act Tomates en Verano

[gothmusiclatinamerica]

"Las Herraminentas" by Mar Del Plata, Argentina-based dark shoegaze and alternative rock act Tomates en Verano off of 2020 album Todos los Dias son Felices

[gothmusiclatinamerica]

"Flores Rotas" by Buenos Aires, Argentina-based dark gazey post-punk act Perlas Tus Ojos off of 2014 release Así de Grises

[gothmusiclatinamerica]

“Momentos” by Argentine alternative and shoegaze band Buenos Vampiros off of their 2019 release Paranormal, presented here by Argentine alternative label Casa de Puente Discos