Días de Septiembre | Días de Septiembre

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Rock: Post-Rock/Experimental Rock: Shoegaze Moods: Mood: Upbeat
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Días de Septiembre

by Días de Septiembre

Eleven tracks full of Post-Rock and Indie-Alternative sounds from South America
Genre: Rock: Post-Rock/Experimental
Release Date: 

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Tracks

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1. Gotas
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0:58 $0.99
2. Pararrayos
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4:53 $0.99
3. Lego
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4:10 $0.99
4. Crissis en el Cielo
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5:02 $0.99
5. El Péndulo
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5:41 $0.99
6. 1984
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4:10 $0.99
7. Espacio y Forma
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5:36 $0.99
8. Feliz
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2:24 $0.99
9. Feliz (Extensión en Vivo)
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1:45 $0.99
10. El Rescate
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4:56 $0.99
11. Lego (Versión Acústica)
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4:00 $0.99
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ABOUT THIS ALBUM


Album Notes
"Dias de Septiembre are from Caracas in Venezuela. They comfortably fit into the mold of moody post-rock, recalling Mogwai, albeit with a dash of hardcore anger and a sprinkle of mainstream pop in some of their melodies. Their debut self-titled album is available to download for free from their website.

Notably, their album comes with artwork for each song, with a number of great illustrations that hint at a band with one eye on the aesthetic as well as the music."

Sound and Colours (soundandcolor[dot]com)

"Dias de Septiembre is a five-piece post-rock/experimental band from Venezuela. The music is for the most part instrumental but there is singing used in various places throughout their self-tiled debut “Dias de Septiembre”. This looks to be a re-release version of “Dias de Septiembre” because it looks like it was originally released in 2011 and featured only 8 tracks. The version I have for review was released February 12, 2012 by Onion Music (sub division of Misanthropic Art Productions) and features 11 tracks with updated album artwork.

“Dias de Septiembre” is a very solid album right from the opening track “Goats”. The album is so easy to listen too and it flows so well that it seems like it’s over before you know it. The music itself is kept pretty basic but it seems to work very well for the band. Soft, post-rock style melodies drive the songs with a steady bass line providing pace. At times heavier chords bring a little edge to the music but overall this is a mellower album than I’m used to reviewing and listening too for that matter. So I guess my only knock against this album is that it lacks a little bit of fierceness to it. I am aware that this is an indie/post-rock release and I’m likely being way too picky but I would have liked to hear a little more of an edge to the heavier arrangements.
This is for the most part an album made up of instrumental compositions but there are some vocals used throughout some of the songs. The vocals sound great and fit the music very well. They are soft, clean vocals that carry good melody and add some emotional atmosphere to the tracks. The lyrics are in Spanish as you might have expected from this Venezuelan band. The guitars come in a few different variations which all have the typical post-rock tone and sound to them. I really like the sound and feel of the acoustic guitars which are very warm and welcoming. The bass has a clear tone which really comes through the music well and the drums have a great hollow, natural sound to them – especially the snare and cymbals.

Some of the highlights for me on the album include “Lego”, “Espacio y forma”, “Feliz”, “Feliz (Extension en vivo)” and “Lego (Acoustic Version)”. “Lego” has a really good melody to it and I like the vocals that give the song some extra atmosphere. “Espacio y forma” also has great melody to it and it also has a little more variation then some of the other tracks. There is a cool lead with a dreamy tone to it and the drums shine through on this track. “Feliz” is a short, albeit catchy, acoustic piece which sticks in my head every time I listen to it. The vocals are quite nice and flow well along with the acoustic guitars. It is a very simple, yet honest track. There are no drums or bass. You might expect “Feliz (Extension en vivo)” to a simply re-working of “Feliz” but that is not so. It is it’s very own song with a very unique feel. It is also very catchy but unlike “Feliz” features bass, electric guitar and drums. It has a simple yet effective melody to it that makes it enjoyable to listen to. “Lego (Acoustic Version)” has all the greatness of the original but in a nice, mellow acoustic package.

“Dias de Septiembre” is a very solid album and one that is very easy to listen too. There are no tracks that need be skipped over. Each song has something to offer which helps the album flow well from start to finish. The melodies are soft but they do a good job of evoking interesting thoughts and feelings. For some reason I tend to picture past summers which bring out odd memories and feelings for me. It makes me sad in a way as I remember these distant memories when life was (sorry for the cliche) innocent. I would recommend “Dias de Septiembre” to fans of indie/post-rock but I would also recommend it to fans of black metal (blackgaze), doom metal and shoegaze. Just because it’s not “metal” doesn’t mean it’s not good. Just keep an open mind and you will be rewarded."

Midwiter Fires (midwinterfires[dot]com)

"Sin lugar a dudas existen los momentos adecuados para ponernos los audífonos y escuchar música, principalmente nueva. Estoy de acuerdo con que no todo debe ser directo, sin percibir algún otro ruido que se cuele a tus oídos, un poco más de la vieja escuela que ponía su disco y se sentaba o acostaba a disfrutarlo.

Esto de las bandas con propuesta instrumental que no dan peso a la voz, cada vez me parece mejor. ¿Dónde está el coro? No es importante, y mucho menos cuando encuentras trabajos que no solamente resaltan cada instrumento que participa, sino el hecho de que mantengan una personalidad distinta en cada canción y que en el momento en el que se conjugan en una pieza, por derecha sonidos agudos de una guitarra, por izquierda el bajo, al centro la batería, platillos paneados y más ambiente que se puede generar, logran proyectar algo a lo que sólo la música nos puede evocar.

Desde Venezuela nos llegó Días de Septiembre con su material homónimo. Edgar, Pedro, Christian, Ángel y Mígliz, deciden conjuntar una serie de instrumentos comunes para hacer música de estaciones sentimentales, de estados de ánimo distintos y sumergir al escucha en un ambiente de “emociones sugeridas, no dictadas”, como lo expresan en sus redes sociales, y envolvernos de tal forma que, cuando damos play a “Gotas”, no podemos parar hasta que el fade out se come la última nota en “Feliz”.

Cualquier duda con el nombre queda resuelta al momento que comienza la introducción del disco, el track 1 llamado “Gotas” que, a través de un monólogo nos explica la situación que replicaremos en nuestra mente. Una lluvia densa que se torna a notas que fungen con la misma función. Una batería marca el inicio de “Pararrayos” que mantiene ese ambiente de tarde nublada, de un niño viendo a través de una ventana aquella cancha a la que no puede salir a jugar porque llueve. Revienta en un momento, donde se intensifica el mal clima pero como todo, siempre decae.

Sin dejarnos respirar nos lleva, automáticamente, a “LEGO”. Las voces que fungen solamente como parte de un ambiente te evoca a reflexión. A diferencia de sus predecesoras, es constante la potencia que se siente en esta melodía, donde se perciben guitarras sucias.

Llega “Crissis en el Cielo”, tal vez la canción más pegajosa hasta el momento. Algo que me encantó de esta banda fue el no saber qué sucederá en una misma canción, no son predecibles, pueden explotar riffs rápidos por momentos y bajarnos de golpe a un silencio. Si buscan guitarras, aquí las tienen.

“El Péndulo” juega perfectamente con el paneo de sonidos. Desde que comienza esta canción nos lleva con ese vaivén de notas a un ambiente mucho más relajado que los anteriores.

Yo podría aventurarme a afirmar que “1984” y “Viento y Forma” son como una sola pieza que nos lleva al inicio y final de una pequeña historia. La primera con una ambientación, mostrando el contexto, y la segunda exhibiendo momentos fatídicos hasta llegar a un final.

Llega el momento de “Feliz”, el último track y nos lleva a una sorpresa más. La canción está acompañada de una letra, hermosa por cierto, cursi hasta en sus guitarras, pero reflexiva. El cierre de un ciclo y toda esa evaluación que hacemos de algo que termina, dándonos cuenta que no fue malo. Un final majestuoso para un excelente disco."

Rock and radio (rockandradio[dot]net)

"ías de Septiembre (Days of September) is a fantastic example of how the influence of the core post-rock sound can stretch all over the world, and inspire musicians everywhere to take this inspiration and run with it. Originating in Caracas, Venezuela in 2008, the band recently released their self-titled debut to show off their stuff, and they have a very accessible, tried-and-true sound to the educated instrumental rock listener.

The first song on the record, "Gotas" (Drops), is a very calming, emotional introduction, rather than it's own individual song. Beginning with a recorded Spanish monologue, gentle synths and a soft beat on toms leads melodically into a dual guitar-led transition after a final tom hit at the beginning of the second track on the record, "Pararrayos" (Lightning Rods). Pedro Deniz and Angel Negrin, guitarists both, lead a very entwined, relaxing melody and harmony arm in arm as the song progresses, and Christian Arana begins a driving-but-not-distracting rhythm in the background, allowing for the guitar melodies to prevail. In addition to the familiar fuzz of the distorted melodies, the two guitarists and Mígliz Mena, the synth player, begin to harmonize their voices as well, leading to simple but powerful chords that reach a cathartic finale as the synth and an amiable guitar lead into the third track.

The fifth track on the record, "El Péndulo" (The Pendulum), opens with an ominous, systematic guitar, strumming a haunting melody in a slow two, while the synth creates a dark air, as the other instruments solemnly begin to fall in line, first drums, then more guitars and finally bass, all the while chanting the same manner of refrain. The song moves along in a very sinusoidal manner, with spots of transitional chords thrown in whimsically, but always lead back down to the core minor chord. In an interesting twist that compliments the change from minor to major feel, Christian Arana shifts the beat into a triplet feel over the original four beat feel. With a low-fi guitar strumming in the background and the drums providing the beat without much other glamour, the song utilizes guitar and bass to center the buildup, with fairly heavy distortion on both, until everything else begins to drop out, leaving the outro clinging onto a clean guitar in the background, and the distorted bass still plugging away, until they too simply dissipate into beautiful silence.

A fantastically solid record, I would definitely recommend this to fans of indie and post-rock, or just instrumental music of that sort of nature. The band lists some of their influences centered around big names like Mogwai, Explosions in the Sky, This Will Destroy You, Death Cab for Cutie, and Caspian. I think they take some of the best elements of each of these bands, throw in their own creative twists, and really orchestrate something wonderful on their debut. It was an original sounding album, but at the same time didn't stray too far from what I would have expected, which was a pleasure. It was nice to have something that felt familiar, but in the same strain, completely different, and I think this album is a strong competitor for anything else coming out this year because of it."

Muzik Dizcovery (muzikdizcovery[dot]com)


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