Cayucas: the perfect soundtrack for the summer

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Entertainment - Music
Saturday, 18 May 2013 03:01

What is the true sound of summer? Many times we find ourselves saying that some songs are cool and sunny. But what do we really mean? Luckily, one of the most interesting debuts in 2012 so far allow us to appreciate what is meant by this. Bigfoot, the debut album Cayucas , is one of the funniest efforts, bulging and relaxed so far this year . Edited by Secretly Canadian, is one of the jobs that you can not miss and certainly should be part of the top 10 albums that have been released in recent months.


In this sense we will oppose the popes lords of Pitchfork, who was awarded the album a 4.9 pauper defining it as little transcendental . Let's agree on this last point, this album will not change the history of music, presents nothing new, and probably will not find in heavy rotation soon. Does that makes the disk is bad? Not at all! Bigfoot is a short drive, cash, full of little hits that we will be doing to move the leg in a short time, with distant voices, interesting and tropical percussion that takes both the Beach Boys as the first album Vampire Weekend .

The draft Cayucas begins when, in 2011, its founder Zach Yudin published the first song under the moniker of Oregon Bike Trails. At this time, the band was working with the seal Father / Daughter Records. By adding more musicians, you will end up contributing a significant amount to the songs, Oregon Bike Trails becomes Cayucas, signing with Secretly Canadian (home of Jens Lekman, jj, Yeasayer, Suuns, Damien Jurado, and more) and edits his first single called "Swimsuit". This first single is absent from Bigfoot but not wasted.

The band is completed by Ben Yudin (Zach's twin) on bass, keyboards Banah Winn, Casey Wojtalewicz on drums and Christian Koons on guitar. Cayucas The name is taken from a coastal city in California and the coastal air and beach can be seen in all the songs. Above the sound of the group influences, we can not avoid making this comparison with the debut of Vampire Weekend. With the exception of processed vocal echo Cayucas songs, the album has an important air those great songs like Vampire Weekend "Cape Cod Kwassa Kwassa", where world music percussion adds a tropical touch to phrasing fun guitar.


This can be seen in each of the band's songs, but particularly in "A Summer Thing" where Yudin talks about a summer romance, accompanied by the melody of a piano and a guitar with a flamingo distorted. On the other hand, in the first tracks on the album, as "Cayucos" cash first subject, as in "High School Lover", we note that children influence of indie rock hipsters. This is not to say that Bigfoot is an LP anachronistic: in fact, thanks to contain only eight songs, is a pleasant listen. In "East Coast Girls", the soundtrack to a party on the beach accompanied by a tribal percussion and a few songs of the band. And this influence throughout the world fully plasma "Ayawa 'kya", with an unpronounceable name but highly catchy.

We can not say we expect a lot of Cayucas, and many will choose to discard as mere imitators of Vampire Weekend. But if we are looking for the soundtrack of an era, in a sense, Bigfoot is the perfect album to portray a summer day with friends. If you appreciate this, then you have to run to listen, then:

The entrance Cayucas: the perfect soundtrack for the summer appears first in Cuchara Sonica .


Thom Yorke y Robert Del Naka (Massive Attack) participan del soundtrack de un documental

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Entertainment - Music
Saturday, 18 May 2013 01:57

Any armed soundtrack by Thom Yorke and Robert Del Naja? Where do I buy? The latest news from the frontman of Radiohead and Atoms for Peace said it worked with the founder of Massive Attack for the soundtrack of The UK Gold, a documentary about tax evasion in Britain. The soundtrack of Thom Yorke and Del Naja serve as an accompaniment to the film, which will premiere June 25 as part of the East End Film Festival in London. What could we expect from a collaboration like this?

Thom Yorke

Besides Yorke and Del Naja, also Guy Garvey of Elbow will be collaborating on the soundtrack. About the film is directed by Mark Donne and narrated by Dominic West (The Wire). Its director is defined as a political documentary, but mainly an extraordinary story. And, what interests us, gives us some words about the soundtrack of Thom Yorke and friends creates a spellbinding experience, he says, while on the other hand defines the creators of the songs like "creative hearts."

According to The Telegraph, after the performance of The UK Gold will be a special musical evening with the interpretation of a "secret ceremony" which will have a lot of secret considering the names. We can imagine that Yorke, or at least Garvey, will be involved in the presentation. Thom Yorke and Del Naja putting music to understanding why Britain remains the financial capital of the world: I admit, can be interesting.

What has not been too interesting is Amok , the first Atoms for Peace album that we have been waiting for quite some and it debuted this year. While it has all the expertise of its members, among which has Nigel Godrich , Radiohead, also, was a little loose. And considering that Radiohead may take a long time to release a new album, despite being in the studio to meet soon, this soundtrack will to listen more than Yorke DJ projects for a while.

With respect to the soundtracks, this is not the first time that neither Yorke nor Del Naja Collaborate on. Under the name of Venus in Furs, with teammate Yorke Jonny Greenwood contributed songs to Velvet Goldmine. Meanwhile, Massive Attack is not a strange band to soundtracks, collaborating last year with the film Days of Grace , highly anticipated. For one of the songs, had the presence of Scarlett Johansson.

For the moment, we can not hear anything from the soundtrack, but do not doubt that some progress soon emerge. It is not entirely clear whether and Del Naja Yorke songs provided in parallel or in fact collaborated on a topic. That would be worth seeing. For now, we only have to wait.

The entrance Thom Yorke and Robert Del Naka (Massive Attack) involved the soundtrack of a documentary listed first in Cuchara Sonica .


The Graveyard psychedelia did not shine as much as expected in Madrid

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Entertainment - Music
Friday, 17 May 2013 21:30

Graveyard is a band too good to be received in the Spanish capital with a sound so deficient as to suffer at Sala Madrid Arena the night of May 16. Wear hours mulling over what I head has been a great disappointment: that of seeing one of my favorite bands indisputable in my city, in cinemas, and along a large group of faithful, with a horrible sound. The room, to the flag, but not the attendees were so faithful, and space was at the height of the music. Then try to play each of my experiences in this chronic staff Graveyard in Madrid.

chronicle of graveyard in madrid

In principle, the organization did not expect much turnout. I'm sick of recommending the group after discovering a few years ago, and very few people know. Many then fall exhausted into his music. Last year the festival swept Azkena Rock, leaving his mouth open to curious fans. They showed that their live is overwhelming, and even forced Joakim Nilsson and his voice were at the height of the wonders they do in studio. I guess then that had much to do the word of mouth to sell so fast that tickets for the concert in Madrid, causing a consequent shift to a greater capacity-room of the Chamber Sun Arena. The first sound is much better than the second, and was infinitely more appropriate environment for Graveyard. The change sat worse than I expected.

On behalf of the many people who had no knowledge of the change of location, the show was delayed, we were told at the door, from 20:30 to 21:15. For those waiting there and we had an hour to wait one more the concert started was not tasteful dish, but everything is to not leave anyone out with the entry into the hand. Understandable because the group did not start playing until after 21:30. By then, the burden on the front lines was becoming unbearable. The public impatience resulted in continuous whistles, and the site was like an oven.

IMG_9146 Graveyard greeted the audience between smoke and the sound of a siren. They appeared in photographs dressed as promotional, wearing the same mustache. The image of a group much like seventies as they helped them win the public from the start, attacking with brutal "An Industry of Murder", "Hisingen Blues" and "Seven Seven", one after another, without pausing. In that area, the closest to the stage, guitars barely listened, bass and drums seemed one voice and Joakim was the ultimate hero, well above the remainder. That did not sound good, but the group continued with their usual show of shadows, poses enigmatic and psychedelia. The audience applauded, but were perceived bad comments about the sound of the guitars.

I decided to settle with the sound table looking for a better sound, without success. The heat and overcrowding at the pit of the concert hall were very uncomfortable. "Slow Motion Countdown" was heard, given his temper more relaxed, but back to their heavier songs like "Is not Fit to Live Here" or "Buying Truth (Tack & Förlåt)", the concert became a ball of serious excessive distortion and away from pesky and analog sound of their albums. Luckily, I have the certainty that the group is able to do it perfectly thanks to my previous appointment with them, but last night, because of the room or sound makers, were a thousand miles Graveyard sound good.

All those guitar lines unfolded, with great sensitivity write and record, were lost on the excess voice, bass and drums, ruining great shows like the growing "Granny & Davis". By then, a server was located a little further back, where the public devoted his time to talk about other matters, the concert deaf. It was not difficult, since from the center of the room, we could barely hear what the band was too low volume and thunderous bass.

Even with all this, one is forced to applaud Graveyard. Your cold blood on stage, gives an image so mysterious, dark and imposing, they fall in love. Its battery minimalist, retro aesthetic instruments and inherent charisma makes them Joakim Nilsson photographers meat. Also, for better or for worse, the complicated and strident voice could give a good account due to unbalanced volume thereof.

IMG_9158 Nor was a concert too long. After an hour the band said goodbye with "Goliath", the first single from his latest Lights Out, which like all others, was chanted by these endlessly. They returned for a quick weekend party with "The Siren", "Endless Night" and "Evil Ways", taking me another disappointment with the first of these. One of the most beautiful passages of his repertoire for which the public seems to have no patience, screaming and whistling a song nonstop deafening delicate and atmospheric. On the other hand "Endless Night" and "Evil Ways" epic, very grand and acelaradas, a good farewell got anywhere near sweeten the sour taste that the poor sound caused me.

"Another time," I repeat again and again since I left last night from the Sala Arena. I have not lost the certainty of the genius of Graveyard, and is important. There will be more rooms, another public, and other sound. With good acoustics, this would have been something close to a perfect concert , but maybe next time.


  1. An Industry of Murder
  2. Hisingen Blues
  3. Seven Seven
  4. Slow Motion Countdown
  5. Is not Fit to Live Here
  6. Buying Truth (Tack & Förlåt)
  7. Uncomfortably Numb
  8. As the Years Pass by, the Hours Bend
  9. Granny & Davis
  10. Hard Times Lovin '
  11. Thin Line
  12. Goliath
  13. The Siren
  14. Endless Night
  15. Evil Ways

Graveyard in Madrid by Edgar Carrasquilla on Grooveshark

The entrance The Graveyard psychedelia did not shine as much as expected in Madrid appears first in Cuchara Sonica .


Discs: Whiff history of Gustavo Cerati

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Entertainment - Music
Friday, 17 May 2013 20:31

It was the June 28, 1999 and practically had forgotten few Soda Stereo and its glory. It had been almost two years since that legendary concert at River Plate of Argentina but, unlike his fans, the three musicians seemed to be immersed in anything but nostalgia. While Charly Alberti was dedicated to revolutionize the world of music and the internet and Zeta was installed in its role as promoter of bands, Gustavo Cerati decided to take a short family break, after which he returned to music with pure electronic projects. But the voice could not rest for ever and was so on that day in 1999, the Argentine released what would be his triumphant return to the stage. To remember this great album, and Gustavo, to three years of stroke that keeps him in a coma, today we review the history of Whiff of Gustavo Cerati.

Gustavo Cerati, Puff

Although the same Cerati perceived the pause between the end of Soda and the start of her solo career as a time of rest, the truth is that the guitarist was very busy in those two years. Not only edited Leisure plates V Plan, both groups arising from electronic aspirations and the need to give it a twist to music creation, also took time to compose the soundtrack of Just for Today. All this work somehow end up influencing a Whiff, not only by the electronics but by the desire to do something more traditional that awoke in him after the experiments.

However, Puff also sounds at times as unintentional response to inevitable comparisons with his musical past, especially because the disc is the more traditional funk to rock back and unceremoniously electronics, intelligent eclecticism showing its creator . Yes, it is an album made with pressure-the same Argentine confessed at the time that he had felt very relaxed at the time of preparation.

This board was designed the same as "an album of songs" than a disc of samples and inspiration cinephile. Much of it was recorded, as himself confessed in an interview for Rolling Stone Argentina, with "60% and composition sovereign instruments like the AMPC, which is a kind of musical production center sampling done my guitars, my vocals, and which also harmonized the issues. "

Puff is presented as an album where the guitar does not have a major role, although the romance with this instrument would continue in his next recordings. Finally, there is the fact that many of these songs were already Soda Work will from time and even, in the words of Cerati, they could be part of a new album by Soda Stereo if the group had split.

This 1999 recording was made in the Study Undersea owned home installation musician himself with the support of people like Flavio Etcheto, Martin Reed, Fernando Nale and Leo Garcia, all of musician friends from long ago and had offered his help. However, the board was an exercise rather intimate and relaxed, which was at that time a very elegant and diverse Cerati but well focused on his greatest talents.

The songs

Whiff opens strong and gives hardly a moment's rest until the end. We at first wave Tribal sensual and "Taboo", then continue with a theme of classical structure: "Fool". The third track, is title track is perhaps one of my favorite songs of all time and is curious to know that Cerati put "Crooner" as a temporary name recording, before finally baptized.

Curious because this melody, defined by him as a bolero / jazz, is an obvious attempt to play the seduction vowel in the best tradition of classic balladeer, but with a background composed of elements so little related to jazz as scratches and the samples . Personally I find a melody sleek and sexy, well planted and memorable:

In other songs, like "Roots", the Argentine was a nod to his past as Soda to use a sample of the Jaivas, who recalled the "When the shaking" from his former group. Meanwhile, the singer himself defined, in an interview at the time to "Walk immoral" as a kind of glam-techno-rock guitar and "Soul II" as a "jam" expansion. The work also contains issues hit closer to radio as "bridge" or "immoral Walk" plus a dream come true for the musician in the form of "Word Meat"

"(The) recording at Abbey Road was made ​​with 48 musicians from the London Session Orchestra conducted by its first violinist, already made ​​work with Massive Attack and many people before, awful as they played, it was a very exciting time for me, and is amazing what is happening to the climate of this recording. Well, after I ran with ribbons to the study where he usually worked, it was not Abbey Road, and that got the voice, in a state of total ecstasy.'s a very important time of the disk as a pinnacle. "

Its importance

Puff not only represented the first step Gustavo solo and without the protection of Soda Stereo. The album went gold in Argentina and was applauded by almost all the critics and the public. Indeed, it has been considered (or at least how I see it) as one of the best rock albums in Spanish of his decade.

The best thing is that, with almost 14 years of life, this board still retains its classic elegance, like good wine maturing with each passing year. The album's sound, electro-rock with touches of funk, is also a test of the ability of the musician to compose in various genres, although his most recent productions have decided more by the current rock. Also, Puff witnesses the start of a solo career in the best form, and the memory of a man who definitely put on high the name of the Argentine rock in the world.

The entrance Discs: Whiff history of Gustavo Cerati first appears in Cuchara Sonica .

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