droogs, droogs, droogs.
terça-feira, 30 de setembro de 2008
domingo, 28 de setembro de 2008
marcos farrajota - noitadas, deprês e bubas
é então mais difícil escrever uma má estória que publicá.la?
uma aubiografia entre os anos de 95 e 97.
paracem polaroids dessa década.
muito fumo de charros, mão morta, fantasias na carreira do 414? sem guita, música em altos berros, existencial.
um trabalho interno rico e muito interessante que não começa nem acaba com este livro.
é de notar as referências e o um total apoio e conhecimento do que se fazia internacionalmente.
as esperas no cofre do apartado por novos números.
um bonito exemplar e um sinal de esforço. isto ainda há.de vingar.
oito euros é um preço mais que convidativo.
mas para uma melhor compreensão...
segunda-feira, 22 de setembro de 2008
em velha a branca acontece isto
Velha-a-Branca Estalo Cultural
Braga dia 26 e 27 de Setembro
Frango e Bruno Silva
Tropa Macaca e Gustavo Costa
lobster + ideas.for.muscles @ zdb 26 set
Os Lobster intitulam-se power-rangers do noise rock, mas ao contrário dos super-heróis, Guilherme Canhão e Ricardo Martins não possuem super-poderes; isto pelo menos se considerarmos que a química que os une não é em si um super-poder. Cansaram-se de combater o crime e nos últimos tempos incendiaram palcos sempre que para isso tiveram oportunidade; não só em Portugal, mas também em Espanha e em França. Fizeram mossa desde os primeiros tempos, transformaram-se rapidamente numa das melhores bandas portuguesas ao vivo e agora havia que dar um passo decisivo e corajoso em frente."Sexually Transmitted Electricity" é o primeiro bilhete de identidade da dupla depois de algumas licenças prévias que ficaram para a história. (...) é um documento que apanha os Lobster no seu melhor momento. Não chegou tarde nem cedo; chegou mesmo a horas. Tamanha urgência merecia um disco assim – uma estreia mais do que notável.www.myspace.cpm/wearelobsters
Acabadinhos de lançar "Misuse of Muscle's Appliance", esta é a segunda visita dos Ideas For Muscles à galeria ZDB. Afirmam-se como um power duo destrutivo e psicadélico a ter muito em conta, e mostram-nos que o rock ainda pode conseguir soltar faisca. Munido de ritmos programados, vozes em delay, suor rock'n'roll, psicadelismo afro-beat, apresentam neste novo ep um re-inventar da fórmula apresentada no seu primeiro Fuck the Trainer (edição de autor). O método de trabalho utilizado no registo de estreia baseado em encontrar ordem no caos, é aqui "invertido". Em Misuse of Muscle's Appliance o desafio foi destruir a ordem criada pelas composições inicialmente orientadas para o formato "canção". Disco duro, espontâneo e aventuroso. Os concertos são curtos e directos, convidam à diluição dos corpos e à comunhão etérea.www.myspace.com/ideasformuscles
einsturzende neubauten - "ich komme davon" (the jewels)
If music were baseball, the departure of Blixa Bargeld from the Bad Seeds to focus exlusively on Einstürzende Neubauten would be considered one of the greatest front office moves of all time, one of those that leaves both squads better. Since Bargeld left in 2004, both his and Nick Cave’s band have put out some of the best music of their long careers. It freed Cave to tap into his rocker roots; the difference between Abbatoir Blues/Lyre of Orpheus and Nocturama is so drastic that the only link is Cave’s voice - and allowed Bargeld to focus his efforts solely on Neubauten and its vision of what music should be.
And that vision happens to include reshaping the way the audience and the artist interact. Their last album, Alles Wieder Offen, was funded by fan subscriptions, and this album actually started its life as bonus material for said subscribers. And while the Neubauten website still makes no reference to this album as a physical unit (only as a digital download), it does document its release, track-by-track, between March 2006 and February 2007. Unlike the songs on Alles, which was deliberately worked on and revised over that same span, those collected in The Jewels were all made quickly, in a day or two at most. And, in the grand tradition of Brian Eno, they built each track around the results of a card game based on neglected ideas from previous albums. Each band member would take a couple cards, grab an instrument or instruments (defined as loosely as possible, in that way only they can) and start playing. The remarkable part is that, when you listen to it, there is no hint of its diverse origins. The album is that coherent.
The material itself is, unsurprisingly, pretty close to that of Alles, just with a little less menace. Don’t get me wrong, it’s nearly impossible for Neubauten to not be menacing or imposing, but the eerie factor seems to be ratcheted down just a tad. There are still plenty of moments of dark ambience, crashing metal and rustling construction supplies, like the horror film clamor of “Mei Ro” and “Die Libellen,” but they are mere elements of songs, balanced out by snatches of melody, almost-calming drones, and a sense of pacing that makes them feel almost natural. Plus they are joined by the lovely melodicism of “Ich Komme Davon,” “Jeder Satz mit Ihr Hallt Nach,” and “Am I Only Jesus?” and the call-and-response of “Magyar Energia,” which at least partially subvert any menace hidden in the background. And “Epharisto” is about as close as Neubauten gets to Tom Waits, with its limping groove, off-kitler guitar and Bargeld’s random vocal interjections. The songs are all relatively short for recent Neubauten material - the average length is just over 2 minutes - so there is little space for the sweeping builds and flowing forms that characterize so much of their output. In a way, this album ends up occupying a space half-way in the early ’80s and half-way in the present. It almost makes for a great summation of what Bargeld and Co. are all about.
What’s really fascinating is that, while Neubauten doesn’t have the immediate rock’n’roll punch of recent Nick Cave, both groups seem to be starting from the same place: noise. As Emerson Dameron says in his review of Dig, Lazarus, Dig!!!, the latest Nick Cave record is also largely built around “scrapes and rattles,” mostly from Warren Ellis. And while it would be impossible to confuse one group for the other, it’s an interesting parallel, and perhaps speaks to why Cave hired Bargeld in the first place.
By Dan Ruccia -dusted magazine
And that vision happens to include reshaping the way the audience and the artist interact. Their last album, Alles Wieder Offen, was funded by fan subscriptions, and this album actually started its life as bonus material for said subscribers. And while the Neubauten website still makes no reference to this album as a physical unit (only as a digital download), it does document its release, track-by-track, between March 2006 and February 2007. Unlike the songs on Alles, which was deliberately worked on and revised over that same span, those collected in The Jewels were all made quickly, in a day or two at most. And, in the grand tradition of Brian Eno, they built each track around the results of a card game based on neglected ideas from previous albums. Each band member would take a couple cards, grab an instrument or instruments (defined as loosely as possible, in that way only they can) and start playing. The remarkable part is that, when you listen to it, there is no hint of its diverse origins. The album is that coherent.
The material itself is, unsurprisingly, pretty close to that of Alles, just with a little less menace. Don’t get me wrong, it’s nearly impossible for Neubauten to not be menacing or imposing, but the eerie factor seems to be ratcheted down just a tad. There are still plenty of moments of dark ambience, crashing metal and rustling construction supplies, like the horror film clamor of “Mei Ro” and “Die Libellen,” but they are mere elements of songs, balanced out by snatches of melody, almost-calming drones, and a sense of pacing that makes them feel almost natural. Plus they are joined by the lovely melodicism of “Ich Komme Davon,” “Jeder Satz mit Ihr Hallt Nach,” and “Am I Only Jesus?” and the call-and-response of “Magyar Energia,” which at least partially subvert any menace hidden in the background. And “Epharisto” is about as close as Neubauten gets to Tom Waits, with its limping groove, off-kitler guitar and Bargeld’s random vocal interjections. The songs are all relatively short for recent Neubauten material - the average length is just over 2 minutes - so there is little space for the sweeping builds and flowing forms that characterize so much of their output. In a way, this album ends up occupying a space half-way in the early ’80s and half-way in the present. It almost makes for a great summation of what Bargeld and Co. are all about.
What’s really fascinating is that, while Neubauten doesn’t have the immediate rock’n’roll punch of recent Nick Cave, both groups seem to be starting from the same place: noise. As Emerson Dameron says in his review of Dig, Lazarus, Dig!!!, the latest Nick Cave record is also largely built around “scrapes and rattles,” mostly from Warren Ellis. And while it would be impossible to confuse one group for the other, it’s an interesting parallel, and perhaps speaks to why Cave hired Bargeld in the first place.
By Dan Ruccia -dusted magazine
segunda-feira, 15 de setembro de 2008
terça-feira, 9 de setembro de 2008
free Man, awesome Color
skate psicadélico e garrafas com cenas manhosas.
http://www.myspace.com/awesomecolor
sábado, 6 de setembro de 2008
daily creeper vs night pleasure split 7"
e continuo a postar sobre discos que são dificéis de adquirir.
o split de 7" que une estas duas bandas de columbus, ohio, mostra dois lados diferentes.
night pleasure com um som vibrante, roqueiro, moldados pelas vocalizações berrantes.
grandes riffs com muito feedback de produção zero.
daily creeper parece ser um esquecido génio. powerpop muito doméstico, muito apurado.
um promissor songwriters de guitarrinha cativante.
"the time has come for the average men become superstars"
billy childish is dead - dvd
é um documentário possível do senhor.
e é com todo o respeito que o vemos a falar para a camara enquanto se barbeia, ou quando pratica o seu ioga.
o documento necessário para entender o mais prolífero artista inglês.
este dvd arranja.se na vynil experience, ali no bairro alto.
aqui fica o resumo noutra língua.
This is a great introduction to the work of this multi-talented songwriter, artist and poet. It opens with a conversation over an aborted move project which is a gentle introduction into the nature of Childish's character. The documentary shows him inking woodblock prints as the interviewer asks about his abused past. Childish's responses show the value of the psychotherapy he's received over the years and its easy to see why he's dropped the moniker "Wild Billy Childish" as he offers thoughtful, composed answers. There's plenty of music to pacify the fans of his band's various incarnations suhc as Thee Headcoats, Thee Milkshakes and most recently Musicians of the British Empire. Throughout his dress sense and epic moustache hark back to the Edwardian era and its easy to see why his work will stand the test of time, as opposed to someone like Tracey Emin. Childish will always be remembered for being her one-time boyfriend, though its easy to see where true genius lies!
http://www.cherryred.co.uk/
festival ultra
é já ali no scheldapen, em antuérpia.
mas o pessoal vai ficar fechado no escritório a pisar migalhas, ok?
ultra eczema
"Ultra Eczema records = A boiling puddle of multiple dimensions, reflected from the unsane brain of Dennis Tyfus. A vicious brother that's one step away from serving you a mutilated rat. All records are available through ultraeczema.com or through fine distributors worldwide such as fusetron, erst while, hanson, a musik, freaks end future, conspiracy, eclipse, volcanic tongue, blackest rainbow, etc... "
xiii... é só música marada.
levem um corta.unhas,
é mato serrado!
http://www.myspace.com/ultraeczemarecords
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