Vecka 4-5

The Delines

Ny omgång med väldigt blandad musik. Två låtar får väl räknas som tunga, nr

4 och nr 10. Två starka kvinnliga sångerskor har vi genom Amy Boone på låt 1

och Sharon van Etten på låt 6.

Tre av låtvalen kommer från jurymedlem Claes Karlsson. Det är nr 3, 8 och 10.

Jag vill också tipsa om Claes fina blogg Gammal och Ung Musik http://goumusik.blogspot.com/  Gå in där. Här får ni många tips och även konserter,

som Claes spelat in live.

Sedan vill jag välkomna Lasse Nordgren från Uppsala, som återkommit som

jurymedlem efter en tids frånvaro.

1 The Delines (US) The Delines have an irresistible, compelling sound, due to the weary, soulful vocals of Amy Boone and guitarist/songwriter Willy Vlautin’s , ex Richmond Fontaine, desperate noir arrangements centered on his vivid, mostly down and out characters. It may sound like Dusty Springfield in Memphis at 3 AM or an exhausted Rickie Lee Jones finishing a set on fumes. Yet, the Delines with The Imperial bring subtle power in these spare arrangements that draw the listener in immediately and have a riveting effect. Glide Magazine

2 Deerhunter (US) are back, and they immediately offer a much-needed reprieve from the current bad times. “Come down from that cloud, and cast your fears aside,” Bradford Cox coos innocently to open “Death in Midsummer.” It’s the first single (and opening track) from the shape-shifting noise-rock explorers’ upcoming album Why Hasn’t Everything Already Disappeared?, As Cox taps at a harpsichord and his ever-cryptic lyrics move once again into religious imagery (“May God’s will be done… and let the devil be cast out”). Pitchfork

3 The Growlers (US) are an American band formed in Dana Point, California in 2006, Casual Aquaintances Is their latest album. The standout track on the record that’s worth talking about is definitely “Orgasm of Death,” tackling a fear of death and an understanding of the end, which is a recurring theme of the album. collegemedianetwork.com

4 Altitude & Attitude (US) ,the project featuring ANTHRAX bassist Frank Bello and MEGADETH bassist David Ellefson, will release its debut album next year. The band spent time last year in a California studio recording material for the follow-up to its 2014 self-titled EP.  The new song, “Late.” The track comes off their debut album, Get It Out, A kind of rock 'n' roll primal-scream therapy, "Get It Out" is the result of nearly four years of writing and recording sessions — and decades of touring, searching, striving and living. "I've learned that writing songs is very cathartic," says Bello, who has long made songwriting a daily practice. I've always had an anger inside that music really helps me deal with." Guitarworld, Blabbermouth

5 Marbled Eye (US) The Oakland postpunk band Marbled Eye have a hard, minimal take on their genre. They play sticky, needling riffs with a tough efficiency, and their music just knocks you around in a supremely fun way. There’s a classic postpunk thing where you match bored, sardonic seen-it-all vocals with fast, exciting music, and Marbled Eye are one of the best bands doing that right now. The band has just come out with their full-length debut Leisure.  Stereogum

6 Sharon van Etten (US) Van Etten har ju rönt ganska goda framgångar på Poplistan tidigare. Hon kom tvåa i finalen 2012 med finfina Serpents. Remind me Tomorrow är hennes senaste album. The standout “Seventeen” exudes the reckless freedom of standing in the sunroof of a moving car and spreading your arms wide. It mixes despair for her poor decisions, nostalgia for that headstrong girl, and anxiety over what she would make of her now. “I know what you’re gonna be,” Van Etten taunts at full vocal power: “You’ll crumple it up just to see/Afraid that you’ll be just like me!” She gives no indication of who is right: the teenager disgusted at the thought of growing up and joining the straight world, or herself now, wanting to protect that girl who had no idea what difficulties were to come. What do you attempt to hold onto and let go of?  Pitchfork

7 Jim Jones and the Righteous Mind (UK) Stand by for a total rock’n’roll overload have . The band has announced details of their second album, CollectiV, giving a taste of what to expect with arse-kicking new track, ‘Shazam’.  Here you can listen to a spiritual contribution from The Rolling Stones’ Keith Richards, after his 1964 Gibson Hummingbird – the guitar on which ‘Street Fighting Man’ and other Stones classics were written and recorded – made its way into Jim Jones’ hands and onto the album. you can hear Keith Richards’ guitar from on the band’s ace new track ‘Shazam’, that you can listen to here. Fuelled by Jones’ trademark feral vocal delivery, ‘Shazam’ finds the band moving into new sonic territories with the addition of a saxophone and monster groove that’s utterly infectious. It’s Jim Jones & The Righteous Mind only more so. And it bodes well for the album. Gigwise.com

8 Goatman (SWE) is one member of Sweden’s mysterious collective, Goat – who draw on the traditional and contemporary worlds to create experimental music without the structure that denotes much western music. Without hearing any Goat before, I’m sold on the sound – smouldering 1970s African rock fusion to get you in a groove. This album oozes authenticity with each song it tackles, laying down a mixture of Afrobeat, Jazz, Gospel and rock/reggae with aplomb. Goatman plays all the instruments and enlists a few other Swedes to help him on his merry way.  Soundlab.com

9 Ouzo Bazooka (ISR), the undisputed champions of the middle eastern psych rock scene return with Transporter, their third album Stylistically the album can be weighed for the sum of its parts; it is indebted to the Anatolian psych rock legends of the 70’s, crossbreeding with surf rock’s wildest moments and the sounds of the middle eastern ecosystem it sprang up from.  “Relax’ is probably the most complex track on the album, with so much going on that it takes a few listens to digest everything that’s going on every listen making this track more special. Backseatmafia

10 Deafheaven (US) The most extreme thing about Deafheaven’s remarkable fourth album is how subdued it sounds. The music is not made for the everyday. They make a kaleidoscope out of heavy music’s most introspective corners: The tortured shrieks and blast beats of black metal ripple through shoegaze’s immersive guitar tones, all building with the skyward patience of starry-eyed post-rock. You don’t put these records on casually. They’ve become as expressive in their slowcore balladry (“Near”) as their more bracing epics (the duel-guitar-laden second half of “Worthless Animal”). Pitchfork

Ni har som vanligt två veckor på er att lyssna och ska lämna era poäng senast söndagen den 
3 februari.  Här är länken.

Sharon van Etten