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THE SECRET SOCIETY is a band from Madrid that has released three EP’s, has several songs in different compilations and has played with Songs:Ohia, Magnolia Electric Co., Xiu Xiu, Stacey Earle, Last Days of April or Mark Eitzel. The album of Pepo Marquez’s project, a not-so-typical singersongwriter influenced by the hardcore scene and the early nineties emo, it’s a collection of lo-fi confessions with a big load of emotions, that could be place near of Will Oldham, Joy Division or Elliott Smith.

Pepo Márquez has always thought that promo sheets don’t work. At the end, there are only words. The only thing you need to know from THE SECRET SOCIETY is: a guy with a guitar, singing in English and sometimes in Spanish that has played a lot in Spain, Begium, Holland and the U.S. east coast, opening shows for many bands such as Songs:Ohia (and Magnolia Electric Co.), Jay Farrar from Uncle Tupelo and Son Volt, Stacey Earle, Xiu Xiu, Mark Eitzel, Destroyer, Brandtson or Last Days of April, just to name a few. Someone who’s sure that politics do mix with intimity; someone that covers with no shame The Cure or Bruce Springsteen, Misfits or Ramones; someone that released January EP on his own label, Winter Forever Coalition, that later released another EP, Bomb the Past, on Yoyó Industrias. Someone that believes in Copyleft (the opposite of copyright) and that always finds a reason to play wherever and with no matter who.

After the release of the amazing limited edition 12” vinyl of remixes of the song “Sad Boys Dance!!” on the label Dearstereofan (remixes by Antena, Destreza (a.k.a. E. Lebleu), Loud and Two Pias DJ’s Vs Spam), something like a danceable pill between New Order and Berg Sans Nipple, Acuarela finally presents THE SECRET SOCIETY’s debut album, the long awaited Sad Boys Dance When No One’s Watching. Analogically recorded with an arsenal of old machinery, this album is a true collection of powerful songs that strip you down, sometimes from its simplicity, sometimes because of the heavy load of emotions. Like every debut album, this one is also a kind of “personal diary”, a compilation of songs, feelings  and ideas that have been flying around for years. Drawing largely from the past, the present and for the future, although recorded entirely by himself, rendering these ideas live on stage, accompanied by a drummer alone.
 
Pepo has spent most of his adolescence listening to hardcore music and the early emo-core (Rites of Spring, Texas is the Reason and bands from Ebullition Records), and has chosen the same path that took Bob Mould beyond Husker Du, like Xavi Cervantes (Rockdelux Magazine) said of him in THE SECRET SOCIETY’s review of his concert at Primavera Sound Festival in Barcelona. From melodies that bring Will Oldham to mind and songs that could have been written by the best Low Balow (circa “Soul & Fire”); from confessions in lo-fi close to Elliott Smith to pop-folk nervous breakdowns; from covering a classic such as Lorca’s poem “La Leyenda del Tiempo” to the influences –and not everybody deserves them- of Fugazi, Joy Division, Nirvana or Nick Drake, Sad Boys Dance When No One’s Watching hooks from the very first listening thanks to its lyrical aptitudes –politic and sentimentally-, melodic sentitiveness and the elegance of someone that knows that fear, love (and the lack of it) desire and emptyness still are the tools to write the best songs of the world. Of our world.

El Hijo (“The Son”) is the name to which Abel Hernández (singer of Migala and member of Emak Bakia), entrusts himself in his renewed musical steps. This first EP, La piel del oso (“The Skin of the Bear”), is a small offering of singer/songwriter pop in the vein of the more minimalistics Lou Reed or Nico, where the Spanish lyrics and the acoustic guitar are wrapped or shaken vigorously by the piano of Raül ‘Refree’ Fernandez (who in addition is producer and composed of the arrangements) and the drums of Xavi Molero.

At times quite and intimate, yet often heated, El Hijo offers 5 songs in which the singer of such classic Migala albums like Así duele un verano, Arde, or La increíble aventura, alters registry to adopt a much more eclectic tone: aggressive, warm, angry, sweet, penetrating... and with the clear intention to taking centre stage. Abel has always been the "voice" of Migala, of which the coordinates lie somewhere within the environs of Dylan and Waits, Cave and Cohen, Cash and Orbison. Perhaps, for the first time in his native voice, he finds himself nearer a different tradition, one hailing from the likes of Georges Moustaki to Le Mans, Franco Battiato to the Chico Buarque of Construção, in addition to a special connection with the more minimalistic Lou Reed or Nico, as much in the words as in the music.

The rich instrumentation of La piel del oso — its chords, brass sections, consist of arrangements, that are novel and whimsical, of which should also be noted in their own right. Retracing his steps in order to explore a new territory has for Abel (AKA El Hijo) presented a real challenge. The sceptical wackiness of some of his material — the ambiguity between the self-biographical and the general (many subjects can be interpreted in many ways, even from a social or political point of view) are influenced by the writer Roberto Bolaño.
And so, the acoustic poetry of ‘Ayer’ —perhaps the closest to a ‘songwriter’ on the record— the epic ‘Esa música sombría’ or the musical and emotional carousels of ‘El señor de las bestias’ are but examples of an overwhelming collection of songs. From a whisper to a shout, from silence to a fade-in, La piel del oso is a debut that will remain with you — beyond that of a memory of the first kiss, the first trip to foreign lines or the first stone.

The forthcoming Strugglers album You Win is a new, broader depiction of a landscape characterised by rich vocals, mournful, reaching string and piano arrangements, guitars, banjos and drums. Likened to The Carter Family, Neil Young and Will Oldham —countrified, but in a country of their own— here, with nine new songs, they have set the geography of which they guide you through territory, that although distant and foreboding, offers solace.

The best news is often unexpected news... that without warning, without even the slightest hint of its approach on the horizon, is with you... as if from nowhere. As was the case with their five track EP The Fair Store, released a few months ago, which indeed turned out to be one of the most pleasant pieces of new music to hit this year. Considering that The Strugglers two previous albums Done By (2001) and The New Room (2003) had little resonance in Europe, this, the music of an unknown band from the small North Carolina’s town Carrboro, quietly managed to sneak into our lives.

Most stereo’s and TV’s come with new fangled sound architecture... bits of technology that supposedly enhance and broaden the sound or visual experience. Well imagine if you will, heaps of broken ‘George Lucas 5.1, surround-sound kits’, the ‘widescreen’ button on your scuffed and worn stereo remote, untouched... the only one still working —a world that, with this music, you have no use for such devices. The Strugglers new album You Win, committed to tape by veteran engineer Jerry Kee (Superchunk, Polvo, The Mendoza Line), weaves themes of success, failure and anti-climax in its examination of the psychology of desire. With titles such as “Rejection Letter”, “The Disappeared” and “Distant Demands”, is the completion of nine songs. Richly soaked vocals, mournful, reaching string and piano arrangements, guitars, banjos and drums, it sets the geography of which they guide you through a distant and foreboding landscape.

The Strugglers consist of songwriter Brice Randall Bickford II and a rotating cast of musicians. They have shared the stage with such bands as Smog, Magnolia Electric Co., The Mountain Goats, Burd Early and The Circulatory System in the US, and in February of 2005 Bickford toured Spain and Portugal with Acuarela label-mates Destroyer. The Strugglers will be touring the US in fall 2005 and Europe during 2006.

OFFICIAL WEBSITE: http://www.thestrugglers.org/

A stark departure from previous releases, Incredible Love is the most powerful, fully-realised work of his illustrious career. Chris Brokaw ex-conspirator of CODEINE and COME, member of THE NEW YEAR, and collaborator of Karate, Evan Dando or Steve Wynn to name a few, brings to the table his latest songs. Vigorous and wrought – awash with intrigue... as in all his recordings to date. Together with guests, David Curry (Empty House Collective), Kevin Coultas (Rodan), Jeff Goddard (Karate), and Matt Kadane (The New Year, Silkworm, Consonant) he delivers a full electric-with-vocals affair, comprising of nine new Brokaw originals and one cover of Suicide.

In October 2001 Chris Brokaw released his solo debut, a split E.P. on Kimchee/Acuarela record’s with Gijon’s Viva Las Vegas. June 2002 saw the release of his full-length solo debut, ‘Red Cities’, on Atavistic in the US and 12XU in Europe and the UK. Following the release of ‘Red Cities’, Chris toured solo throughout the US, Canada, Europe and the UK with the likes of Mogwai, Joan of Arc, Rebecca Gates, J. Mascis, Low, Bob Mould, Bettie Serveert, Califone, Evan Dando and Brokeback. Shortly thereafter he recorded and released the solo acoustic CD ‘Wandering as Water’, as well as the second Consonant LP ‘Love & Affliction’. 2003 saw more solo touring as well as accompanying Evan Dando. In 2004, 12XU released Chris’ ‘My Confidante + 3’, a rock EP of one original, three covers and Chris’ score to Roddy Bogawas’ film ‘I was born, but...’ (Nov. 23, Atavistic/12XU). The aforementioned film premiered at the New York Underground Film Festival and is currently making the festival rounds.

On December 14th Acuarela will be releasing the new full-length CD from Chris Brokaw, ‘Incredible Love’ (with an extra track on this Euro version). In stark contrast to Chris’ prior album’s, ‘Incredible Love’ is a full electric-with-vocals affair, comprising 9 new Brokaw original’s, the co-authored (with Tom Morgan) ‘My Idea’ and a cover of Suicide’s ‘I Remember’. Guest’s include David Curry (Empty House Collective), Kevin Coultas (Rodan), Jeff Goddard (Karate), and Matt Kadane (The New Year, Silkworm, Consonant).

Our hyperbole engine is sometimes in need of fine tuning, but in all seriousness, this is the most powerful, fully-realised work in Brokaw’s illustrious career. His deft touch as a guitarist in a wide variety of settings is well documented, but on ‘Incredible Love’, Brokaw stakes his claim as one of the countries premier singer-song writers. Which isn’t to suggest that this album is an entirely  somber, or quiet affair. Large portions are as rocking, taut and packed with intrigue as anything he’s recorded up to this point.

OFFICIAL WEBSITE: http://www.chrisbrokaw.com/

New York ensemble and experimental countrypolitan death-pop band LD & the New Criticism is the new project by LD Beghtol —better known for his collaborations on the acclaimed 69 Love Songs by The Magnetic Fields and other projects like Flare or The Three Terrors (with Stephin Merritt). Beghtol bends his baroque goth-pop westward in Tragic Realism, a gory, uke-joint country (think Haggard ca. ‘68 via Lovecraft and horror flix), backwoods folk-gospel raveup sure to bring a smile to your face, and often.

Tragic Realism, the hi-fi debut by New York ensemble LD & the New Criticism, features 16 original rollicking pop songs (no, really!) about cheating, lying, fucking, stealing, murder, suicide, revenge and other natural disasters both public and private. Tragic Realism’s baroque-hoedown swirl will set your toes a-tappin’ even as you’re wondering why it is you’re laughing out loud at someone else’s dire misfortune. Colored with Beghtol’s glossy Brill Building pop sensibilities, Tragic Realism is sure to please those whose taste includes everything from The Carter Family and George Jones to REM and Unwound, with some Happy Goodman Family and Cheap Trick thrown in just to trip you up. It’s like a liquored-up zydeco wedding band lost inside your iPod... Beghtol is the leader of orchpop collective Flare, one half of the willfully obscure bicoastal experimental duo, Moth Wranglers, and approximately one third of The Three Terrors (with Stephin Merritt and Dudley Klute). Like Flannery O’Connor, Beghtol is not as innocent as he looks.

The youngest of seven children, Beghtol (whose initials stand for "Lawrence David" —not “Lethal Dose” as some have speculated), spent his youth at various libraries reading everything from Baudelaire and Flannery O’Connor to Nancy Mitford, Wilde and De Sade, and immersing himself in art history and music theory. Beghtol has worked professionally as a bartender, art director, tailor, nightclub doorman, custom framer, exhibition designer, art curator and guerilla theatre producer, and has taught visual art to children and graphic design to college students. In 1995 Beghtol left the South for New York, eventually settling in the now-gentrifying Bushwick sector of Brooklyn. He is currently employed by the Village Voice as an art director, and writes about arts and entertainment for that publication as well Time Out New York, The Advocate, Chickfactor and others. Beghtol’s musical career began in 1997 with the formation of his orchestral pop collective, Flare, which attracted the attention of indiepop luminary Stephin Merritt, with whom Beghtol collaborated on the acclaimed triple-CD 69 Love Songs by The Magnetic Fields. Beghtol’s other projects include: Moth Wranglers, a cross-country musical duo with ex-King Missile bassist, Chris Xefos; the live-only ensemble The Three Terrors (with Merritt and Dudley Klute); and his newest incarnation, the experimental countrypolitan deathpop band LD & the New Criticism. Beghtol —a life-long insomniac— plays the ukulele, collects obscure  musical instruments, and reads almost compulsively. Special guest stars in Tragic Realism include Jonathan Segel (Camper Van Beethoven, Sparklehorse), Shirley Simms (The Magnetic Fields) and Kendall Meade (Mascott).

-Before the end of 2005, Acuarela will release exclusive EPs by Darren Hayman, Windsor for the Derby, June Panic, This Song is A mess and so am I and Tara Jane O’Neil, as well as surprises that are yet to be confirmed.

-12twelve’s new album will be recorded during the summer in Chicago, and will be produced by Steve Albino like the last. On the other hand, the Secret Society are giving the final touches to their debut with Acuarela, which will be released around the end of September.

Every 100 years there is a perfect and impossible utopia of a pop album. Acuarela's European version of P:ANO's "Brigadoon" features two amazing exclusive bonus tracks and special packaging.  24 pop gems which feel like having a pic nic with The Decemberists and The Beach Boys in Burt Bacharah's backyard.

As Michael Moore and “South Park” characters already pointed out: Canada is different. This is reflected in NBA star Steve Nash’s personality and also in the country’s music scene. From Constellation to Alien8, passing through Intr_version or Arts & Crafts, there’s something in the air of Canada’s workshops that makes them special, innovative, and strange, which we could describe as ‘being in the vanguard’, but is really much more than just that (well, OK, Avril Lavigne is an exception). P:ano is the perfect example. The Vancouver-based band, whose music flows from the talented source of composers and multi-instrumentalists Nick Krgovich and Larissa Loyva, and is completed with the presence of Justin Kellam and Julia Chirka, is clearly focused on pop music. However, their new album is far from being just a compilation of classic and aesthetically perfect tracks, as was already the case in their first album. Despite its paused, lo-fi sound,  “When It’s Dark and It’s Summer” (Zum/Hive Fidelity, 2002) was brimming with amazing ideas. Two years later, “The Den” came closer to their stylistic ideal, showcasing an improved quality regarding production and recording techniques. From this standpoint, P:ano announce that their third LP is a unique and fascinating piece of work, with a common thread linking all songs without actually being conceptual, and each song being a small universe in itself. Because the title’s choice, “Brigadoon”, a song by duo Lerner & Lowe, who composed songs like “My Fair Lady” and “Gigi”, is no mere coincidence. That utopian “brigadoon”, an impossible and pluperfect place that would only be seen every 100 years and appears always attracted by the intensity of true love, reflects in the album’s lyrics, in occasions through sincere romanticism and others through disbelief. The album is full of declarations in first person, lamenting the solitude that comes with celebrating passed intimacies. Surrounded by redeeming lights, walking through dark hills and letting insidious snow wet them through, the characters in the songs expose their passions, their fears and their miseries in a way that is twisted, funny and poetical at the same time. P:ano prove that they are able of embracing any music style to in order to achieve the absolute pop song in the end. If they sometimes remind you of The Beach Boys and other times of The Magnetic Fields, if in occasions you’d put them alongside Deerhof or The Decemberists and then notice similarities with Yo La Tengo, you’re on the right track: few records include so much, different, good music. During 60 minutes and 24 songs (Acuarela’s edition includes two bonus tracks), P:ano weave a complex, addictive and above all personal record that could be seen as a compilation of pop gems but can also be interpreted in a thousand other ways. Don’t be scared, you’ll have fun on the way.