The Limiñanas “Costa Blanca” Review

Reviewed by Cheryl Thornton

Since the 2010 release of their self-titled debut LP, The Limiñanas have undoubtedly been carving out their own distinct sound. They’ve spent the past few years honing their seductive blend of sultry garage pop and fuzzy French Yé-yé, and with the upcoming release of their third album, it’s clear they are an unstoppable force when it comes to not only reinvigorating classic sounds, but reinventing them. The Limiñanas have always given things their own unique twist, and their third LP is further proof of that.
“Costa Blanca” is the follow up to their 2012 album “Crystal Anis”, and is due for release in November via the Chicago-based Trouble in Mind record label (I hardly need to sing this one’s praises – The Limiñanas are right at home here). While it’s familiar territory for fans of their previous two albums, the duo still sound as fresh and exciting as ever. If cool can ooze, it sure as hell does on a Limiñanas record, and “Costa Blanca” is no exception. As soon as those Serge Gainsbourg-esque vocals are casually delivered over the sitar, bass and signature tambourine beat of the opening track, you know who you’re hearing. But that shouldn’t be viewed as a bad thing. Rather, the immediate distinction of their sound is one of The Limiñanas’ great strengths; it is testament to the place they have carved themselves sonically since their underground beginnings.
Things get going with the album’s second track ‘My Black Sabbath’, and a bass line that can only be described as characteristically groovy. Although the vocals on a Limiñanas release are primarily in French (as, of course, they should be), I do enjoy the occasional peppering of lines sung in English, here the example being ‘She was a sugar crush, my sugar cane’ and later on ‘BB’ - ‘Take me home, drink my wine, kiss me now and blow my mind’. Maybe they work as vocal hooks for me. Or maybe I just find them quite sweet. It definitely adds to the charm of the already seductive French vocals.
There are elements on this album which are recognisable from their previous releases; the whirring organ and banjo used on ‘Salvation’ continuing into tracks such as ‘Alicante’ and ‘Cold was the Ground’, the characteristic male and female tête-à-tête vocals working well on ‘Votre Coté Yéyé M’emmerde’ and ‘Rosas’, and that spiky, fuzzy guitar injecting its reverberated bursts of energy throughout. ‘Votre Coté’ in particular really showcases the duo’s take on Franco-fuzz; the repetitive, driving beat evoking The Velvet Underground’s ‘Sister Ray’ whilst making me want to dance like I’m in a Godard film. Success, I feel.
However along with all the features that can be expected, yet loved nonetheless, on a Limiñanas record, there is a sense that on “Costa Blanca” they are widening their distinctly European flavour. It’s not only the album’s title that suggests this – on ‘My Black Sabbath’ and closing track ‘Liverpool’ there is a very Spanish-sounding guitar that gives the LP some wonderfully textured and atmospheric Mediterranean inflections, while the sound of waves can be heard on the half-minute track ‘La Mediterranée’. If it does indeed reference Lio’s youth growing up in Spain, then it is these instrumental nuances that, along with a nostalgic feel to the lyrics, enhance the character and intimacy of the album.

Another development on The Limiñanas third release is its widening cinematic scope. The nods towards French New Wave soundtracks that were apparent in their previous material are still present here. The half sung/half spoken vocals on tracks like ‘La Mercedes de Couleur Gris Métallisé’ conjure the narrative voiceovers of these black and white flicks, whilst the typically suave and stylish edge to the record definitely reflects the seemingly effortless cool of the genre. However, there is something else present that began to creep in on “Crystal Anis” but is a little more pronounced here. There are occasions where the instrumentation of a track evokes the desert landscape of a Spaghetti Western, like on ‘Cold was the Ground’, with its sparsely-strummed banjo and slow percussion. ‘Barrio Chino’ continues this theme, and although only lasting half a minute, really brings the atmospheric tension of a Western, with its wind sounds, church bell chimes and some kind of animal/bird call. It’s an interesting cinematic twist that adds depth, texture and further surprise to the record.
On “Costa Blanca” The Limiñanas continue to demonstrate their talent for taking pieces from here and there to create something that is singularly theirs. Regardless of when and where their inspiration comes from, they always manage to utilise vintage sounds in a new way (there must be a word for sounding both retro and modern...) The album further illustrates their ability to seamlessly move between the upbeat twinkle of 60’s-tinged psych-pop, as on ‘BB’, the sombre, dramatic flair of ‘I Miei Occhi Sono I Tuoi Occhi’ or the irresistible, driving groove of ‘Rosas’.
Three records in and there’s no denying it- The Limiñanas are still fresh, enjoyable and cool-as-hell.

Costa Blanca will be available in November.
CD pre-order available here.
Digital pre-order available here.
Vinyl pre-order available here.

Happy Halloween - Our Writer's Picks For the Season

This year I pressured my writers into a particularly difficult task - to put together a playlist of just five of their favorite Halloween tunes each - I deliberately left this brief fairly open so that you'd see a number of different approaches and get to know our diverse little team a bit better.

Hope you enjoy what you hear.

GREY MALKIN

As chief architect of the often creepy The Hare & The Moon, the mysterious Grey Malkin is better qualified than most to approach this task.

1. The Rattles - The Witch.
Chilling and completely bonkers.
2. Christopher Komeda -Rosemary's Baby
It's impossible to think of this movie without the vocal part of Komeda's soundtrack coming to mind. An unsettling classic.
3. Steeleye Span - Long Lankin.
He lives in the moss. He's out there. Lock your windows!
4. Sunn O))) and Nurse With Wound - Ash On The Trees.
A musical partnership forged in Hell, Stapleton and O' Malley create the perfect aural nightmare. Hiding under the bed is no escape.
5. Faun Fables - Eyes Of A Bird.
Both witchy and beautiful, Faun Fables are the ideal Samhain soundtrack. Light those lanterns!


CHERYL THORNTON

"After coping with one too many student Halloween nights where the Ghostbusters theme tune gets played at least a dozen times, (it doesn’t matter how drunk I am, I know what you’re doing), I’ve come to the conclusion that nothing beats some delicious house-party Halloween debauchery. Budget decorations, homemade cocktails, but best of all - control over the music. Making playlists is fun at the best of times, but there’s something special about doing a Halloween one. At the risk of babbling on about the art of a good playlist, I’ll just say two things; one – it’s all about the atmosphere, and two – keeping this down to five tracks is one of the hardest things I’ve had to do. Probably. Here’s my pick of what I would include. Stick these on while black and white episodes of the Twilight Zone play in the background and your make up begins to melt down your face.
Happy Halloween!"

1. The Attack – Strange House 
‘It was strange...in his house...’ Some killer 60’s UK psych to open it up. That bass.
2. Night Beats - A Night with Nefertiti 
Yes please. Some dark and dirty US garage to get things grooving.
3. White Noise -Love Without Sound 
Stumble to the punch bowl (was it always that colour?) and fill up a cup as lines about labyrinth eyes and perfumed electric gardens echo mysteriously out. The sound effects are already there (and you’re never too old for the convenience/surprise of a punch bowl).
4. Death in Vegas – Dirge 
Got to have some Death in Vegas on there. This one suits the evolving concept of my playlist pretty nicely – re-animated beings allowed to love again for one night...
5. Spider and the Flies – Autochrome 
I like my Halloween nights to be doused in B-movie vibes. Some Spider and the Flies (Tom Cowan and Rhys Webb from The Horrors) will do the trick. It’s all go from here...


AMANDA VOTTA

"Halloween is a lot of things to me. It’s a day to dress up, invert the standard, be something you both are and aren’t. It’s a time when things aren’t as they seem, when streetlights look more sinister, when the wind may carry whispers, when that thing you thought you saw out the corner of your eye really was there. It’s eerie and autumnal in that way that makes it feel like it’s a time out of time, something suspended between. That’s the essence of what it is; the carnivalesque, the liminal. It’s also, like the Mexican Day of the Dead to which it bears a resemblance, a day to remember those you’ve lost. I usually favor songs that remind me of these things—the absurd, the spooky, the departed. I’ve tried to include something of each here in my list."

1. The Jim Carroll Band – People Who Died 
As the title says, this is a song in which Jim recounts people he’s known who have died—“They were all my friends, and they died”—reminding you of everyone you’ve lost but being up-tempo enough that you don’t feel completely oppressed by the though.
2. Stone Breath – Flowers on Your Grave
I know of no better song about a ghostly friend than this, and no one better to sing such a song than Timothy. It, and Stone Breath encapsulate the eeriness of the day, the inbetween-ness, like no one else could.
3. Bauhaus – Dark Entries 
It isn’t Halloween without a little Bauhaus, who perfectly evoke that slightly sinister feeling of walking home from your Halloween party at some ungodly hour, feeling like you’re alone, but not alone.
4. Neko Case – Furnace Room Lullaby
This particular song reminds me of Edgar Allen Poe’s “The Tell-Tale Heart” – of being haunted by a strange and terrible thing, being consumed by an obsession, becoming something you didn’t think you were or could be.
5. Mark Kozelek – Green Hell 
Mark’s cover of the Misfits song makes it sound both more absurd and more depressing than the original and so it unsettles and disturbs in a way—he means it, he’ll shake apart, but this hell is like any other, just kinda green.


JASON SIMPSON

As well as writing for us Jason has his own blog, "Forestpunk" which is full of this sort of stuff. Investigate.

1. Zombie Zombie - Halloween Theme - ft. Alan Howarth. 
Famed Carpentcore bring John Carpenter's eerie minimalist to rockist life, in this case performing with Carpenter's musical companion Alan Howarth. Get it started.
2. The Gate - (dialog) - The Old Gods!
In the tradition of classic horror mixtapes, here's a bit of movie dialog from 1987's "The Gate". Remember, The Old Gods are out there, in the darkness, just waiting for their chance to take back creation. Great movie.
3. Children Of The Stones Theme
I thought your party could use a bit of dark ambiance, so picked out the theme from hauntological staple "Children Of The Stones", full of atonal choirs, whispering winds. Evokes the feeling of an ancient stone circle on the moors.
4. Mater Suspiria Vision feat. Scout Klas -The Labyrinths of Venice
Can't have TOO much dark ambiance, so here's some excellent witch house from the head of Phantasma Disques. The video is taken from "Don't Look Now", a classic psychotropic British ghost story that is worth seeking out. Nice and grainy. Nice and bloody.
5. Sergei Rachmaninov - Isle of the Dead, Op. 29
Found this specially for this playlist, it's become a staple in my daily listening habits. Its a symphonic poem, based upon the painting by Arnold Böcklin, it's surreal and impressionistic, using orchestral themes to give the feeling of the spray of water, the smell of charcoal, and the whispers of dread. We all could use more classical music in our lives. It inspires us, and reminds us how it could be done.


THE ACTIVE LISTENER

It wouldn't be fair for me to dodge the bullet myself after putting the rest of my writer's to the task so here's my own contribution to finish things off.

1. Daniela Casa - Occultismo
The most ominous track from perhaps the creepiest library LP of all time, Daniela Casa's "Societa Malata"
2. Mr Fox - Mendle
At the creepiest end of the original U.K folk-rock spectrum lies this drone laden anthem from the Peggs.
3. Pram - The Owl Service
Inspired by Alan Garner's classic young adult's novel, Pram launch into a surprisingly funky early hauntological precursor which has proven hugely influential.
4. H.P Lovecraft - At The Mountains of Madness
One of two adaptations of Lovecraft short stories by this excellent U.S psychedelic folk-rock outfit - a personal favorite.
5. John Carpenter - The Fog
No Halloween is complete without Mr Carpenter's input, and while his score for "Halloween" remains the pinnacle of modern horror cinema, his slightly more understated work on "The Fog"is deserving of more attention also.

Moodoïd "E.P" Review

Reviewed by Cheryl Thornton

Beneath the make-up and wonderfully extravagant attire of Moodoïd in his recent videos lies a face you may have encountered before (or not - that all depends). This is the face of Pablo Padovani, a French multi-intrumentalist better known as the guitarist for Melody’s Echo Chamber. His self-titled debut E.P. is about to change that.
Released in September via Les Disques Entreprise, Pablo’s output under the pseudonym Moodoïd has more in common with Melody’s Echo Chamber than a band member and origins in France. Cue Kevin Parker of Tame Impala, the ever prevalent, ever talented force responsible for mixing the records of both. Although comparisons will inevitably be made between the reverb-laden psychedelic sounds of all three acts, it’s clear that Moodoïd’s unique blend of world music and psych-pop situates him firmly within, well, a world of his own.
The opening track, and first single to be taken from the E.P., establishes this from the outset. "Je Suis La Montagne" begins with a languorous drum beat and lovely, lilting guitar (so many L’s) that becomes characteristic of Moodoïd’s sound. The vocals echo out dreamily, creating a sublime arrangement where all the parts seem to melt into each other and you can’t help but sway along. It’s worth noting that the tracks on this E.P. are sung entirely in French, but in no way does this detract from the listening experience if (like me) your understanding of the language barely surpasses "Mon anniversaire est le –insert birthday here-". Rather than creating a barrier, it seems no other language but French would work on this record. It presents the best possibilities for Padovani to experiment with sounds and rhythms in order to convey the narrative images of a song. Plus, it just makes the whole thing all the more unique and enjoyable.
I highly recommend giving the video to this single a watch – the barrage of delightfully odd images, colours and characters are strangely mesmerising and strangely appropriate to the song. (What’s not to love about a mountain man, lots of glitter and a little nudity all in one place? I’ve got a strong desire to try that blue dessert...)


The slow percussion and use of synthesizer is more prevalent on the E.P.’s second track "La Chanson du Ciel de Diamants". Here the inclusion of female vocals works well, and the tempo changes add intrigue to the already languid and mysterious atmosphere. Most notable on this track however is the jazz influence that begins to creep in through the building percussion and horn section. Unsurprisingly, this may be the result of having a prominent jazz saxophone artist for a father – Jean-Marc Padovani. Exposure to this music from a young age has undoubtedly influenced Pablo’s debut E.P., but he threads this together with numerous other influences to create his own distinct sound.
Following this is the second single to be taken from the E.P., "De Folie Pure", which pops from the record like a firework. Here the inspiration Padovani takes from world music is most evident, through the guitar and sitar melodies and high-pitched female vocals that nod towards the soundtracks of Bollywood/Lollywood cinema. (For some reason I imagine a 60’s crime caper set in China or Japan…) It’s a vibrant, upbeat song that is almost impossible not to move to, and again, it’s accompanied with a similarly vibrant video that captures the slightly-bizarre-but-enjoyable-party feel of it. During one section, the entire song threatens to unravel and fall apart completely (in a good way) with the Samba-esque drumming and re-appearance of that saxophone. It’s a wonderful burst of controlled musical chaos (which you can view here).
Closing the E.P. is "Je Sais Ce Que Tu Es", a slower and beautifully sublime track that is quite possibly my favourite on the record. It opens with some surprising vocal harmonies that immediately recall Dirty Projectors, and leads into that characteristic guitar sound, jazz percussion and whirring synth. It is here that Padovani best showcases his obvious talent for creating interesting and complex song structures, the tempo shifts again adding an unexpected element. (I have to pinpoint a specific moment on this track – the 1:15 mark. That guitar that comes in. That sound. It brings a smile to my face every time.) After several minutes the song unravels into a more haunting section of cymbal splashes, dissonant piano keys and snatches of howled vocals that reminded me of the opening to Connan Mockasin’s "Forever Dolphin Love".
In fact, parallels between Moodoïd’s E.P. and Connan’s 2011 L.P. could go beyond their innovative takes on psych-pop. Both artists have an uncanny ability to produce not only their own sound but their own world; combining the aural with the visual to create one that is distinctly theirs. Moodoïd’s video for "Je Suis La Montagne" is similar to the one for Connan’s "Forever Dolphin Love" in its use of unusual characters to either convey the song’s narrative, or suitably reflect it. Even without the videos or an understanding of French, Moodoïd’s E.P. succeeds in immersing the listener immediately into his world, and by the end you don’t want to leave. By the end you'll realise you’ve fallen in love with it.
Padovani’s ambition and willingness to experiment has certainly paid off on his debut E.P., resulting in an unexpectedly complex yet hugely enjoyable record that blends influences from several genres and global locations. Go listen to it on the basis that you probably haven’t heard anything like it this year. I hope we’ll be hearing a lot more from Moodoïd.

Moodoïd’s debut E.P. can be downloaded from their Bandcamp page:

Astral Pattern "Light Poems" Review

Reviewed by Cheryl Thornton

The breakup of a band, although largely a sad occasion, can often yield exciting and intriguing results from members who begin work on their own projects. Such is the case for S.C.U.M., who announced in January this year that, following a hiatus, they would no longer be playing or writing together. This was particularly sad considering they released only one L.P. – 2011’s Again Into Eyes. However, the feeling that we hadn’t quite heard enough is eased by this debut offering from three of its ex members, Melissa Rigby, Huw Webb and Bradley Baker. Astral Pattern was formed after the trio attended a Kraftwerk gig in Dusseldorf, and such gigs should be a compulsory cure for any creative blocks if these are anything to go by. Of course, there is more to this outfit than previous band material and an influential gig; it only takes one listen of their E.P. to prove that.
Light Poems was released on July 1st via the independent London-based record label 37 Adventures. Using only synthesisers and drum machines, it’s clear Melissa, Huw and Bradley are working in a different direction now, but arguably one that suits them better. Their love of German electronic music circa the 1970’s/early 80’s can be detected on this record; the vintage synth sounds coalescing into a lush soundscape that sounds more Harmonia than Kraftwerk. But there’s something else going on here. There’s a swirl of psychedelic dream-pop, a hint of shoegaze, and slight leanings towards motorik that makes this a warm and inviting listen.
The E.P opens with a shining synth line and persistent, yet soft-edged, drum beat in ‘Properties of Colour’ before leading onto the band’s debut single, ‘Sitting in the Sun’. Here Melissa’s vocals really enhance the ethereal, dreamy atmosphere of the release; helping it ebb and flow like a gentle tide so you really do feel like you’re sitting in the sun on some faraway beach without a care in the world. Although reminiscent of the delicate female vocals of shoegaze acts such as Alison’s Halo and Slowdive, the optimism, the warmth of both the lyrics and Melissa’s tone align them with the contemporary indie dream-pop of, say, Still Corners. They evoke both a nostalgic past and a bright present, contributing to the airy, melodic feel of the E.P. rather than fading into the background. In other words, it’s all a perfect partnership of drum loops, synth melodies and honey-sweet vocals.
The names of the songs themselves seem to aptly reflect the mood of the record – ‘Sitting in the Sun’ is followed by the track given to the E.P.’s title, ‘Light Poems’. The twinkling, shimmering synths are driven forward by a simple drum line as they seem to dissolve then reappear in a bright mirage of sound that appropriately conjures light reflecting from waves or the movement of colours through a prism. (How do they do it?) Following this is probably my favourite track from the release, ‘When We’re Falling’, largely down to the comforting optimism evoked by Melissa softly cooing ‘I wanna put my arms around you.’ (This consequently makes me feel like doing exactly that. To anyone or anything, metaphorical or otherwise.)
The lyrics generally achieve the effect of evoking what the music does itself. Closing track ‘Faraway’ seems like a fitting end to the record as Melissa sings ‘I’m floating away’ above a driving analogue synth. Although light and airy, full of the breeziness of summer, the whole thing doesn’t so much wash over you as wash through you. This is an E.P. to be absorbed, and as it finishes I’m left with the feeling that I’ve been on a short holiday (never a bad thing).
Astral Pattern’s debut release has certainly heightened my anticipation for future material. The band are only in the flourishes of infancy, but Light Poems is a fresh, distinctive E.P. that will hopefully be followed up with further releases, live dates and perhaps a full length at some point. Anyone keeping these kinds of bright, vintage synth sounds alive are ones to watch in my book.

Light Poems can be downloaded or ordered on limited 12” vinyl from Astral Pattern’s Bandcamp page here.