Já anda a próxima Feira Laica na Bedeteca de Lisboa... estão confirmadas presenças de elementos dos colectivos Boing Being (da Finlândia com ligações ao jornal Kuti e à antologia Glömp), Stripcore (da revista eslovena Stripburger) e de Portugal: a revista Acto, Arga Warga, Chili Com Carne, discos F.Leote, Os Gajos da Mula, Grain of Sound, zine O Hábito Faz O Monstro, Hülülülü, Imprensa Canalha, Lemur, Massa Folhada, Mike Goes West, MMMNNNRRRG, Opuntia Books, Skinpin Records, e zine Znok. . novidades editoriais: Crack On (Chili Com Carne + Forte Pressa), antologia de bd T-shirt CCC #3 (O Hábito Faz O Monstro), de João Chambel Old Age (Skinpin), CD dos The Pope Znok #2, zine bd de Filipe Duarte . O cartaz deste ano é feito por Tommi Musturi - o autor estará presente durante na Laica, antes disso inaugura dia 9 de Maio, na sala de exposições da Bedeteca de Lisboa, a excelente exposição GlömpX que mostra bd feita de "outra forma" (instalações, costura, escultura, animação, etc...).
quinta-feira, 14 de maio de 2009
Há coisas que são indeléveis. E marcam mais com o tempo. Isto é uma dessas coisas. Vê-se nos óculos.
franceses do rock. duo parisiense franco.excêntrico. duas guitarras, uma drum.machine, muito fuzz e reverb. vincent e jerome uns franceses globe trotters muito americanos com discos editados desde 96. s-s records, byteburguer, rococo records. agora com dupla edição em vinil na rijapov (itália) 10'' e compost modern art (noruega) 7''. chega agora o cd (100 unid.) editado cá na casa, a mesma da rijapov mas em cd pela skinpin records (lisboa). estará à venda nos sítios do costume, flur (sta apolónia) e na chill (rua dos fanqueiros). encomendas no myspace.
et voilá. crash normal - finger shower - skinpin records
This new episode not only features pizza, Rocky Tits, music by Crash Normal, Barack Obama action figures and a Korean War Vet down on this luck but it’s a guarantee that you’ll explode your face upon first viewing. Why would you want to miss that? Watch the new episode now!
Before there were iPods, or even CDs, and around the time cassettes let break dancers move the party to a cardboard dance floor on the sidewalk, there were boomboxes. It's been 20 years since the devices disappeared from the streets. It's high time to press rewind on this aspect of America's musical history. Back in the day, you could take your music with you and play it loud, even if people didn't want to hear it. 150 decibels of power-packed bass blasted out on street corners from New York City to Topeka. Starting in the mid-'70s, boomboxes were available everywhere, and they weren't too expensive. Young inner-city kids lugged them around, and kids in the suburbs kept them in their cars. They weren't just portable tape players with the speakers built in. You could record off the radio, and most had double cassette decks, so if you were walking down the street and you heard something you liked, you could go up to the kid and ask to dub a copy. They were called boomboxes, or ghetto blasters. But to most of the young kids in New York City, they were just a box. And the manufacturers noticed, says Fred Brathwaite, better known as Fab 5 Freddy. "People that were big fans of music at the time were into higher-fidelity, better-quality sound — bass, midrange and treble," Freddy says. "So [the manufacturers] listened to what the consumer, what the young hip kid on the streets of New York, wanted. We wanted bass."
já foi no dia 4 deste mês o lançamento desta magnífica edição, na chili. não fui lá mas já tinha o livro. histórias de encarceramentos, muitas delas ligadas à croácia, balcãs. com vinhetas a preto, banco e num vermelho ... canibais, bandas rock, contadores do gás, macacos drogados. edições de bd com este calibre serão sempre bem.vindas. ver algumas páginas aqui.
The mysterious Tucson local, Nobunny, is certainly hitting a chord that's turning ears all over into fuzzy, pink, and protruding embarrassments. Although, he's been kicking around the sud bucket for longer that most realize, it's seems like only recently has he poked his rabbit head up for the rest to take notice. Like a pop machine spewing out a small rivulet of hits, he is not necessarily onto something completely new. Both GG Allin, and The Ramones were touching on the same fizzy button years ago, and the formula of bubblegum fuzz is one oldest socks in the sack, but either way it's good to see it's back. Nobunny's ability to deliver blithesome songs with a maddened and frothy smile is simply brilliant. His bouncy and rollicking style conjures images of dirty bubbles rising over a landscape of unkempt, and insanely catchy hooks that will have the stuffiest of the arm folding camp dancing and acting like idiots within the first couple of chords. -Brett Cross, Victim Of Time
garage pop com muita mão de jay retard, times new viking, ou pelo menos um jeitinho de joey ramone. love visions é um disco festivo e cada vez que se ouve melhora. por ser muito simples e tão ramone, pode chegar aos discos mais ouvidos deste ano. mais uma aventura rock n' roll juvenil. seria a banda sonora para esta páscoa ou assim.
barulhinhos caseiros e claro está o espanto da crítica. extremamente económica e pop. nada de novo e mas indicados como futura grande referência, ou o futuro tal como o escreveram o colectivo animal alguns anos antes. ponto final siga para o video.
e quando já não se consegue assistir a nada que não faça referência à crise, eis o maior festival de música. south by southwest, texas. esta é a altura do ano em que toneladas de jornalistas de música, autores do melhores e piores blogs, fricalhada roqueira, pessoal das roulotes de apoio alimentar, ou o que for, desaparece durante 5 dias para austin. caras radiantes, filas intermináveis para o concerto que afinal não era o que se pensava. é engraçado ver nas notícias que dois artistas portugueses vão aparecer no festival. por acaso até vão 5 deles. tipo jogos olímpicos. mas quem é que os vai ver com vontade? muito antes disto andaram por lá por exemplo os les baton rouge. ainda não havia o canal de notícias da sic. esta semana vão desfilar por aqui alguns dos mais interessantes enviados.
este era o the max headroom show. seria o meu programa favorito, não fosse a tv cabo demorar milénios a chegar aqui. um programa de um boneco cocainómano na channel 4. não era à toa que fazia os anúncios da coca.cola nos anos 80. atrás dele apareciam umas linhas que faziam tonturas. depois fizeram um filme, uma série americana e estragaram a cabeça do boneco. foi há mais de 20 anos. e sempre 20 minutos mais à frente. m.m.m.m.max headroom.room.room.room.
Wild Style was the first hip hopmotion picture. Released independently in 1982 by First Run Features and later re-released for home video by Rhino Home Video, the movie featured actors like Fab Five Freddy, Lee Quinones, the Rock Steady Crew, The Cold Crush Brothers, Patti Astor, Sandra Fabara and Grandmaster Flash. The protagonist is the legendary New York graffiti artist "Lee" George Quinones as "Zoro". The "Wild Style" logo originally designed by TRACY168 on the film's cover was copied and applied by scenic painters Zephyr, Revolt and Sharp.[1] The film itself is unique in that the actors play roles that were designed to show exactly how they were in real life. The movie was given a loose storyline as a means of commercializing it, but the story is not the reason it is so highly regarded. It's the culmination of legendary hip hop icons being filmed in their emergence along with a profound documentation of a new budding sub-culture that draws people to this film.
comprei este grande dvd na supafly do bairro alto. é uma edição especial do 25º aniversário do primeiro filme sobre hip.hop. salvé lo breako danse!
roqueiros electrónicos e suecos. punk dominado por sintetizadores perigosos e guitarras pop muito escuras. 517 links relacionados com as suas referências. a dupla lily & ruslav desperta o interesse não só pela sua sonoridade distorcida, mas por tudo aquilo que o pessoal mais adolescente poderia estar a fazer. dois 7 polegadas até à data: life is a whore e i don't like you/you gave a grave
mais uma grande banda a aparecer aqui no blog. punk rock, garage punk de detroit.
Tyvek are a gang of aspirant young dudes from Detroit who play jackleg bedroom rock and they have certainly set themselves apart with their unique way of fashioning a sound around their murky, self-aware and often inspirational songs. They've laid the ground work for their perfect brew of larval timbre over the past year with a stellar debut single on X! Records, and songs that seem to equate to a modern adaptation of the blues, at least in their subject matter. Not 'blues' in the traditional sense, but fed through a filter of early early 80s British DIY clatter, out of which they've apparently coined the term, “Frustration Rock.” That term is also the title to one of their songs on their newest release, 'Summer Burns,' available now on What's Your Rupture records. Inside the song's maniacal climbing rhythm, the singer Kevin Boyer proclaims, “frustration hell/things aren't working out so well” in a nasal-clogged tone that perfectly epitomizes their soiled, urban, and wasted flavor.
ainda não tinha falado desta grande loja, porque ainda estou à espera do meu salário para fazer uma razia aos escaparates. quartel general da groovie records divide fileiras com a assossiação chili com carne.
RUA dos FANQUEIROS, 174, 1ºESQ. HORÁRIO: 2ª a 6ª feira das 12h30 ás 20h. Sábados das 12h30 h ás 19h. Encerra para almoço das 15h ás 16h. COMICS-VINYL-BOOKS-GALLERY
BAGAZINE is an assemblage magazine in a bag. Limited to an edition of 100 copies. Contributors are asked to create editions of 100 pieces of original art. Published and edited by Johnny and Giselle Brewton. Bagazine is a branch of the X-Ray Book Co. tree. Contributors are asked to submit an edition of 100 copies (plus 3 proofs) for the collaborative effort. Unlike “normal” magazines Bagazine points focus at assemblage, handwork and print making, photography, painting, chapbooks, graphic design, typography, letterpress, Visual Poetry and the unusual. Bagazine explores the assemblage landscape and modern subculture of Bagism and creative Happening.
compra.se uma revista e vem num saco. assim à primeira vista não há grande diferença com o expresso.
aqui está um amigo de brooklyn que se presta a pôr uma música por dia no seu site.
há pessoas que se são assim. simpáticas.
"I am going to write, record and post a song each and every day for the next year. Some may be good. Some may be bad. Whatever. I guess I'm trying to teach myself to let go and be happy with things as they are. Here are the rules I have come up with: They have to be written and recorded that day. However, once a week I am allowed to post something I had laying around to give myself a break. That's it pretty much. There are no rules regarding length or epic-ness of content. We'll see how I'm feeling that day. All songs recorded straight into my laptop using free recording software and a microphone meant for karaoke."
A BBC fez recentemente um documentário sobre a Factory Records, que o ano passado fez 30 anos, onde faz referência a bandas como os Joy Division e os Happy Mondays. Tem entrevistas com os membros dos Joy Division, New Order, Section 25, Happy Mondays e muito outros. A Factory Records foi fundada por Tony Wilson em Manchester e as primeiras bandas a passar por o famoso rótulo foram os Joy Division, Cabaret Voltaire e The Durutti Column.
"Uma noite num bar, um velho amigo de Ari Folman conversa com ele sobre um pesadelo recorrente no qual é perseguido por 26 cães enraivecidos. Todas as noites, o mesmo número de monstros. Os dois homens chegam à conclusão que há uma ligação com o exército israelita, durante a sua primeira missão na primeira guerra do Líbano no início dos anos 80. Ari fica surpreendido pelo facto de já não se lembrar de nada desse período da sua vida. Intrigado por este enigma, decide entrevistar velhos amigos e camaradas por todo o mundo. Ele precisa de descobrir a verdade sobre essa altura e sobre ele próprio. Enquanto Ari se envolve cada vez mais no mistério, a sua memória começa lentamente a despertar imagens surreais..."
freak multi.dimensional. abandonado entre 60s, o glam, a sci.fi e o psicadelismo. cuidado com o lendário (eco cavernoso) TODD TAMANEND CLARK
"Todd Tamanend Clark - Nova Psychedelia 2CD. This 2CD set collects all of his released vinyl recordings from 1975-1985, including those issued as The Stars (1975 45 rpm and eight-track cartridge material), The Eyes ('New Gods: Aardvark Thru Zymurgy' LP from 1977), Todd Clark Group ('We're Not Safe!' LP from '79), and Todd Clark ('Into the Vision' LP from '84, plus two 45s released in the first half of the '80s). He has since appended his name to reflect his Native American roots. This document features a 20 page booklet, with Todd's own personal history included, with notes on each track (all 33 of 'em, total time for this set is over 150 minutes of music), and a host of great photos and artwork. His muse may remain a mystery after you experience this wide range of sounds, which might very well be Anopheles Records' most ambitious and "out there" release to date, but he leaves tangible clues and some out and out hooks with which to grab onto: great reworkings of "Hungry" (Paul Revere and the Raiders) and "I Had Too Much To Dream Last Night" (Electric Prunes), his bizarre "slo-mo" take on "Two Thousand Light Years From Home" (from his debut 45 from '75) are some points of reference, but it's when Todd cuts loose on original material that his truly mesmerizing, bent vision takes hold of your cranium and refuses to let go. His personal magnetosphere is quite intoxicating, often challenging, and just plain hallucinatory. That's Nova Psychedelia."
They've been around for ten years, playing the Columbus live circuit, but have released practically nothing (just five tracks on vinyl) -- odd, but it happens. Which is too bad, because this is a pretty swell single, and if it's any indication, the band is probably sitting on a pile of unreleased gems. This is an eccentric and somewhat whacked-out take on punk, weird but catchy, with a lo-fi garage sound that suits them perfectly. "Box of Records" is a buzzing, punked-out slice of guitar sizzle that sounds equally influenced by new wave (especially the Knack) as by punk, a catchy piece of work dedicated to everyone's favorite subject, the joys of vinyl. The song on the flipside is a bit stranger, but no less catchy thanks to the trebly stop 'n start guitar and the insistent repetition of the title, which serves as the song's repeated chorus; just for fun, they throw in whacked-out solo action on some peculiar (or at least peculiar-sounding) instruments. Strange but fun. (columbus discount records) http://www.myspace.com/guineaworms
Sábado 17 Janeiro 2009 23:30, Sala 2Clubbing Optimus Janeiro 2009 The Fall + Restantes concertos O primeiro Clubbing do ano traz à Casa da Música a histórica banda inglesa The Fall, de Mark E. Smith. Com um percurso que já conta mais de 30 anos desde a sua fundação em Manchester, pela formação têm passado inúmeros membros circulando em torno da figura carismática do líder, o único elemento permanente. Desde o primeiro álbum Live At The Witch Trials, considerado um marco do indie rock, até ao mais recente Imperial Wax Solvent, tem sido intensa a actividade discográfica da banda, coroada pelas inesquecíveis actuações ao vivo. A Casa da Música recebe ainda a nova sensação da música electrónica islandesa, a banda Steed Lord. Em apenas um ano, este quarteto conta já inúmeras actuações por toda a Europa e nos EUA e a sua música é alvo das remisturas de nomes lendários como DJ Mehdi, Crookers, Mano e DJ Klever. Em 2009 o Clubbing estende-se a novos géneros musicais, trazendo também o jazz e a música clássica para uma noite cada vez mais ecléctica. Nos Bares o destaque vai para o brasileiro DJ Chernobyl, um pioneiro na divulgação e introdução do baile funk no universo do rock.
CLUBBING JANEIRO 2009
BILHETE DE €18,00
PROGRAMA COMPLETOTHE FALL 23h30 - 00h30
Sala 2 ÁLVARO COSTA «James Brown, o primeiro black president» 23:00 - 23h59
FOYER SUL - Bar 1 MIGUEL BRAGA e "Transa Atlântica"Miguel Braga piano e teclados; Nanã Sousa Dias saxofones; Zé Lima contrabaixo; Leandro Leonet bateria Jazz 23:30 - 00h15 e 00h30 - 01h15
FOYER NASCENTE TriArt Ana Queirós piano; Evandra Gonçalves violino; Jean-François Lézé percussões; Obras de Astor Piazzolla, Eurico Carrapatoso e George Gershwin; bossa nova e standards de jazz.23:30 - 00h15 e 00h30 - 01h15
CYBERMUSICA SININHO 00:00 - 02h00
FOYER SUL - Bares 1 e 2 STEED LORD 01:00 - 02h00
Sala 2DJ CHERNOBYL 02:00 - 04h00FOYER SUL - Bares 1 e 2
Tiago Pereira e B Fachada apresentama Tradição Oral ContemporâneaNum impulso construtivo de análise do processo de tradicionalização, um documentarista do tradicional, Tiago Pereira, convida uma princesa da Pop, B Fachada, à auto-reflexão em torno das noções deautoria e criação. É este o ponto de partida.
Os dois viajam a um centro da Tradição Oral por excelência com o propósito de cruzar o processo estético urbano do músico com a criação comunitária rural; a troca de repertório e de metodologias com as vozes do campo é bem sucedida e acaba por transcender o projecto inicial. Simultaneamente, uma exploraçãovisual do imaginário citadino do B Fachada constrói o paralelo entre a criaçãocolectiva pelo indivíduo da Tradição rural com a criação individual pelo colectivo da Pop urbana.
A sobreposição da lírica comunitária com a lírica individual, da variação comunitária com a inovação individual levanta questões de interesse generalizado— Como é possível que romances comunitários cantados ha quinhentos anos possam tão explicitamente relacionar-se com canções de autor de há 5 semanas nos métodos e nos propósitos?
Como pode a autoria artesanal urbana ser tão semelhante à variação rural da Tradição Oral?
B Fachada, Tradição Oral Contemporânea, de Tiago Pereira. Salvemos o Giacometti da triste desculturalização rural e mostremos-lhe ofrenético comunitário da urbe.
Os The War On Drugs nasceram em Philadelphia, Pennsylvania em 2003, encostados e apoiados no estilo folk de Dylan e pilhando o rock mais tradicional de Springsteen, formaram um banda de electro-americana. A introdução de guitarras planantes e riffs experimentais, tão típicas das bandas nova-iorquinas, veio contribuir para que banda partisse numa direcção deveras interessante, não se tendo auto-limitado, nem tendo ficado prisioneira de um estilo ou género. Wagonwheel Blues é um disco bipolar, transmite a quietude da pradaria americana e ao mesmo tempo inunda o espaço envolvente com as luzes intermitentes do neons da cidade. É urbano e rural e servindo-se dessa dicotomia auto-promove-se, deixando um rasto de curiosidade como se fosse um inebriante perfume. A abertura de Wagonwheel Blues é feita com “Arms Like Boulders” no mais perfeito estilo folk-dyliano, sem pretensões ou ilusões; “Coast Reprise” tem um toque shoe-gaze quase primário, que faz o tema pairar, compondo um efeito delicioso; Os acordes de “There Is No Emergency” fazem desta canção uma auto-estrada de puro prazer; A pura diversão de “Show Me The Coast”, um longo tema que desperta no intimo de quem a ouve, a necessidade da chegada. The War On Drugs lançam assim o seu primeiro grito e com isto, partem á procura de uma América a duas cores. Sendo que um dos tons (o mais escuro) é tradicional, nasceu nos campos, carrega aos ombros um passado de sofrimento e dor, em oposição temos o outro tom (o mais claro) citadino, contemporâneo, descomprometido, sem objectivo concreto á vista.(penso-sonoro) http://pensosonoro.blogspot.com
Alex Gibney is one of the most important documentarists at work today. Two of his recent films - Enron: The Smartest Guys in the Room, about high-level corporate corruption in America, and Taxi to the Dark Side, an account of US military interrogation and torture in Afghanistan and Iraq - are essential viewing for anyone seeking an understanding of our times. His films are sober, carefully crafted and thoroughly researched, politically committed but not propagandistic, and deeply felt without focusing the camera on his own bleeding heart. Gonzo: The Life and Work of Dr Hunter S Thompson Release: 2008 Country: USA Cert (UK): 15 Runtime: 120 mins Directors: Alex Gibney Cast: Johnny Depp More on this film He is thus considerably different from the subject of his latest film, Gonzo: The Life and Work of Dr Hunter S. Thompson, one of the creators and most extreme exponent of the "New Journalism" of the 1960s, and the man who gave us that overworked phrase "fear and loathing". Thompson, who had an obsession with guns, owning 22 of them (all kept fully loaded), committed suicide with a gunshot to his head in 2005 at the age of 67. The film is an impressionistic portrait of Thompson as eccentric libertarian, admired outsider, rebel, scabrous social critic. A romantic utopian, he was searching for the American Dream and lamenting its death. As an ambitious writer, he was chasing after that chimera "the Great American novel", but inevitably finding it eluded him. Early on, Gibney takes us to the study in the Colorado farmhouse where Thompson lived for the last 40 years of his life, the camera scanning photographs of Mark Twain, William Faulkner and Ernest Hemingway, the heroes he sought to emulate. Thompson was one of three brothers raised in a lower-middle-class family in Louisville, Kentucky, and was in constant trouble at school and then in the US Air Force. The film, however, passes rapidly over the youth and early career, eager to get to the wild, rebellious 1960s, which he observed, participated in, helped shape the image of, and of which he was ultimately a victim through his reckless addiction to every possible kind of drug. There is an extended section on his first book, Hell's Angels (1966), an excellent piece of reportage on California's motorcycle gangs, written after spending a year with them, and ending when he was given a terrible beating after they'd demanded a share of any money he made out of them. Gibney shows Thompson going to the self-destructive edge in writing this book and then plunging over that edge into Gonzo journalism. Hell's Angels was participatory journalism that put the writer into the story and drew on the techniques of fiction. Gonzo happily stirred actual fiction into the brew (some of it extremely mischievous, as when he wrote of politician Ed Muskie as a drug addict) and added touches of the surreal. Thompson was introduced to the term 'Gonzo' by his friend, the Boston journalist Bill Cardoso; it's apparently an Irish-American term for the last man standing after an all-night drinking session. From 1970, British cartoonist Ralph Steadman illustrated many of Thompson's books and articles, and his bold graphic style, an expressionistic combination of George Grosz and Thomas Rowlandson, became an essential element in the Gonzo package. Steadman speaks with a warm, wry candour about their collaboration. Having started out as a sport journalist, Thompson became immersed in politics. He ran unsuccessfully for sheriff in Aspen, Colorado, on an independent hippy ticket. More importantly, he covered all the presidential elections from 1968 onwards. "The Kennedys - they were his guys," one witness observes, but he became a friend of George McGovern, Gary Hart and Jimmy Carter, all of whom speak well of him, as does a less likely friend, the right-wing ideologue Pat Buchanan, who must have loathed everything Thompson stood for, yet arranged for him to ride in the back of Nixon's limousine during the 1968 election. During this period, we see Thompson developing a public persona through his signature dark glasses, cigarette holder, floppy hat and outrageous behaviour and being taken over by it. By 1976, when travelling with Jimmy Carter, it was Thompson's autograph people sought, not the presidential candidate's. The peak of Thompson's madness was reached in 1974 when he accepted a Rolling Stone assignment to cover the Foreman-Ali 'Rumble in the Jungle' in Kinshasa. Instead of attending the fight (as more responsible New Journalists such as Tom Wolfe, George Plimpton and Norman Mailer did), he took a load of drugs and floated in his hotel pool wearing a Nixon mask and clutching a bottle of whisky. Gibney's elaborately textured film draws on much home movie footage, new interviews, old TV appearances and clips from the feature films inspired by Thompson's antics (he's played by Bill Murray in Where the Buffalo Roam and Johnny Depp in Fear and Loathing in Las Vegas). It's often hilarious and captures the spirit of the time, both in its early hopes and its inevitable disillusionment. Yet it's a sad movie and somehow inadequate in its lack of true pity or understanding. Thompson's first wife, Sondi, mother of his son Juan, put up with him for 20 years, until his excesses and egotism forced her to leave, and it is she alone who says: "I think his story was tragic." And it is she who demurs from a general agreement that his suicide, like that of Hemingway, was somehow a courageous act. In this documentary, we watch a man go insane and destroy himself, his final act of madness being the funeral he organised in which his ashes were sent into the skies with red, white and blue fireworks from a self-aggrandising tower he'd designed with the help of Steadman. · This article was amended on December 28 2008. In the article above we said: "Pat Buchanan, who must have loathed everything [Hunter S] Thompson stood for...arranged for him to ride in the back of Nixon's limousine during the 1972 election." We meant the 1968 election, when Nixon beat Hubert Humphrey. This has been corrected.
alguns anos depois da entrada definitiva do noise pela tv, começaram a aparecer uns discos bem à maneira. para isso é preciso vestir o fato de jardinagem e pôr as mãos na terra. aqui vão algumas menções honrosas para este esquizo.2008:
afinal dezembro existe e cá está ... a feira laica outra vez. a feira que aparece onde quer. depois de um início em jeito mitra. rebenta com o resto das broas de mel é a xiiª vez que que a cápsula aterra e agora no melhor hangar de lisboa.
Nov 25th, 2008 Por Nuno Afonso Há algum tempo que esperávamos ansiosamente pela vinda de uma das bandas mais importantes da última década. E essa espera compensou. A noite de ontem foi, em certa medida, musicalmente histórica. Uma daquelas raras actuações que merecem o estatuto de experiência; para lá de mero concerto. Rock ruidoso e visceral num parque de estacionamento subterrâneo em plena Lisboa? Só pode ser épico… Stellar Om Source Com a mudança de local para o parque de estacionamento subterrâneo -5 do Largo de Camões, um concerto que já por si se esperava grandioso, veio tornar-se inesquecível. Mais que não seja pela ousadia da organização em realizar um espectáculo destes num espaço tão improvável mas simultâneamente tão perfeito. E igualmente perfeita para a ocasião, foi a primeira parte a cargo de Om Stellar Om Source, projecto da holandesa holandesa Christelle Gualdi. Tendo já tocado com gente como Mouthus ou Axolotl, Gualdi ofereceu-nos uma poderosa sessão de drones infernais e samples em deconstrução, num fantástico caos organizado. Extratos de riffs lentos pesados saídos de um ambiente pós-industrial em confronto com um imaginário algo esotérico. Esteticamente minimalista e até progressivo, Stellar Om Source é sinónimo de campo de forças magnéticas envoltas de radiação e alta tensão. Meia-hora de caminhos sónicos que prepararam corpo e mente para a chegada de um cometa chamado Lightning Bolt. Lightning Bolt Já todos tínhamos passado horas a fio em frente ao Youtube a delirar com as actuações únicas da guerrilha baixo e bateria que revolucionou meio mundo musical e vê-los, ali mesmo à nossa frente, foi inevitavelmente, um momento de recompensa face a esta longa espera de poder assistir a um concerto de Lightning Bolt por cá. Uma massa de corpos rodeavam a banda que assim que tomaram posse dos seus instrumentos deram início a uma das actuações mais poderosas que a cidade assistiu nos últimos tempos. E sim, finalmente conseguimos ver e sentir o que outrora apenas víamos pelo ecran ainda que com a banda a actuar ao nível do público, os lugares mais à frente fossem os mais desejados. O volume do som ia aumentando e com ele também a energia que se vivia naquele momento. Os dois primeiros temas estiveram mais próximos de um free-noise em que o baterista Brian Chippendalle já dava puro espectáculo, dignamente encapuzado e absolutamente imparável; ao invés, o baixista Brian Gibson manteve uma atitude mais discreta. Entre o público já se assistia ao habitual headbanging, crowd-surf e ainda houve quem não conseguisse controlar a sua excitação e se juntasse à banda através de uma inesperada prestação de air guitar. Idiotices à parte, até foi um momento aprazível, há que dizê-lo. O momento alto da noite foi a interpretação de um dos temas-chave da banda, Dracula Mountain. Mosh colectivo, saltos desmesurados, cabeçadas e encontrões (tudo com amor e carinho, portanto) e uma descarga energética como só se podia esperar num concerto de Lightning Bolt. Para o encore, uma manifestação de artilharia sonora em modo crescendo que finalizou na perfeição uma noite que há muito se esperava. Concerto do ano? Possivelmente. Agora, já nos sentimos - musicalmente - um pouco mais realizados. E claro, a certeza de ter sido uma noite inesquecível. Texto: Nuno Afonso
fotos de pedro polónio, blogue missdove e do flickr do izac2007.
texto da mescla sonora.
eu como não vi nada, só posso dizer que não cheiro a fritos.
Built to Spill were one of the most popular indie rock acts of the '90s, finding the middle ground between postmodern, Pavement-style pop and the loose, spacious jamming of Neil Young. From the outset, the band was a vehicle for singer/songwriter/guitarist Doug Martsch, who revived the concept of the indie guitar hero just as Dinosaur Jr.'s J Mascis -- another important influence -- was beginning to fade from the limelight. On record, Martsch the arranger crafted intricate, artfully knotted tangles of guitar; in concert, his rough-edged soloing heroics earned Built to Spill a reputation as an exciting and unpredictable live act. Much like Pavement, Martsch's compositions were filled with fractured song structures and melodies, often veering abruptly into new sections with little attention to continuity or traditional form. (In fact, the difficulty of Martsch's songs helped force him to abandon his original intention of working with many different lineups, since the twists and turns were difficult to master.) His lyrics had all the loopy wit and pop-culture references of many a '90s slacker icon, but Martsch changed things up with a genuine wistfulness borrowed from Mascis' and Young's more introspective moments. Unlike Pavement, Built to Spill were never hailed as rock's next great hope; they were neither as revolutionary nor as eclectic, and their music -- with its winding instrumental passages and less immediate construction -- required more effort to absorb. Instead, they remained even more firmly underground, where their unorthodox approach enjoyed tremendous support from the indie faithful. Built to Spill were formed in Boise, ID, in 1993, shortly after Martsch had departed the Boise-rooted, Seattle-based Treepeople. Martsch had grown up in Twin Falls, ID, where he formed his first band, Farm Days, with bassist Brett Nelson and drummer Andy Capps while in high school during the mid-'80s. After moving to Boise, Martsch hooked up with former members of the local hardcore punk band State of Confusion to form Treepeople, who relocated to Seattle in 1988. There they signed with the local indie C/Z, and issued several albums and EPs that offered a distinctive take on early Northwestern grunge. Eventually tiring of the band's far-ranging touring commitments, Martsch departed after 1993's Just Kidding album, and despite the continuing boom of the Seattle scene, he returned to Boise to refresh himself.
Martsch formed the first incarnation of Built to Spill with bassist/guitarist Brett Netson (also a member of Boise scenesters Caustic Resin) and drummer Ralf Youtz. Initially maintaining a relationship with C/Z, Built to Spill debuted on record in 1993 with Ultimate Alternative Wavers, on which Martsch billed himself as "Dug." Afterward, Martsch moved the band over to another Seattle indie, Up Records, and revamped the rhythm section, in keeping with his plan to make Built to Spill a loose aggregation that would allow him to work with a variety of musicians. This time, he was joined by bassist Brett Nelson (not Netson, but his old cohort from Farm Days) and drummer Andy Capps (also from Farm Days, who'd joined Nelson in a group called Butterfly Train).
Accompanied by cellist John McMahon and guest spots from several ex-Treepeople, Built to Spill scored a creative breakthrough with 1994's acclaimed There's Nothing Wrong With Love. With the help of producer/engineer Phil Ek, who would become the band's regular collaborator, Martsch's fragmentary songwriting aesthetic and detailed arrangements really hit their stride, resulting in a minor gem of quirky indie guitar pop. The same year, Martsch formed a side project with Beat Happening frontman and K Records honcho Calvin Johnson, and they recorded the first of three albums as the Halo Benders. Martsch formed a new lineup of Built to Spill with former Lync rhythm section James Bertram (bass) and Dave Schneider (drums), but this incarnation existed only for a series of live gigs in America and Europe during 1995, which included a stint on the second stage of that summer's Lollapalooza tour.
The positive response to There's Nothing Wrong With Love -- coupled with the increased exposure of Lollapalooza -- helped create a buzz around Built to Spill, and before 1995 was out, Martsch inked a deal with Warner Brothers that promised a good amount of creative control. In the meantime, he and Brett Nelson reunited with Brett Netson and several other members of Caustic Resin for a collaborative (not split) EP on Up, titled Built to Spill Caustic Resin. In early 1996, K Records issued a compilation of rarities and outtakes, The Normal Years, that spanned 1993-1995 and featured work by most of the band's lineups. Martsch then turned his attention to recording Built to Spill's major-label debut. At first, he started working with drummer Peter Lansdowne and no bassist, but found that the chemistry was wrong for the more expansive songs he was trying to write. He brought back Brett Nelson and recruited former Spinanes drummer Scott Plouf, and re-recorded most of the album, only to have the master tapes damaged. The third re-recording was the charm, and featured guest guitar work by Brett Netson to boot. Finally released in 1997, Perfect From Now On was a set of longer, moodier songs that once again earned positive reviews, and substantially expanded the band's growing fan base.
Tired of continually reteaching the band's repertoire, Martsch subsequently made Nelson and Plouf permanent members of Built to Spill. Material for their next album was, for the first time, worked out through collaborative effort -- mostly full-band jam sessions. Despite those origins, Keep It Like a Secret emerged as the tightest batch of songs on any Built to Spill record yet, and was greeted with some of their most enthusiastic reviews to date when it appeared in 1999; it also became their first to reach the pop charts. New supporting cast member Sam Coomes -- also of Quasi, formerly of Heatmiser -- contributed keyboard work. In response to demand from fans, the Live album was culled from the supporting tour, featuring additional guitar work from Brett Netson and longtime band cohort Jim Roth; assembled from three different gigs by Ek, it was released in 2000. The proper studio follow-up to Keep It Like a Secret arrived with 2001's Ancient Melodies of the Future; critical responses ranged from enthusiasm to indifference. The following year, Martsch took a breather to release Now You Know, a solo album on which he delved into more traditional folk and blues. After a long break from releasing records, the revamped group (now a quartet comprised of Martsch, Nelson, Plouf, and Roth with additional help from the guitar-playing Brett Netson) stormed back with one of the finest records of their career, 2006's You in Reverse. ~ Steve Huey, All Music Guide
quando tudo soa bem é porque doug martsch pensou que poderia ser assim.
o que é que faz o som de built to spill?
o rock iberbe numa expressão tão escondida.
como que um lenhador que gosta de teenage bubblegum.
provocadores e primeiros responsáveis pelo maldito grunge.
sempre os mesmos graúdos com chapéus de telepizza na cabeça.
cogumelos pop.
maçãs derretidas com caramelo.
mãos cheias de açúcar só de tocar na guitarra.
essa barba do doug, só serve para ninguém o confundir com um irmão mais novo de neil young.
Perhaps no band was more emblematic of the true spirit of American indie rock during the 1990s than Superchunk, the pride of Chapel Hill, NC. Following the D.I.Y. ethic to the letter, the group operated solely by their own rules, ignoring all passing trends by sticking to their trademark sound — typified by the buzzing guitars and high, impassioned vocals of frontman Mac McCaughan — and rejecting all major-label advances in favor of the unlimited freedom afforded by owning their own company, the highly successful Merge Records. Although Superchunk's resistance to the overtures of the music industry may have deprived them of the wider audience their work clearly deserved, perhaps their greatest legacy remains their unwavering dedication to the indie tradition, a model which all up-and-coming bands should strive to emulate.
Superchunk was formed in the college town of Chapel Hill in 1989 by singer/guitarist McCaughan, bassist Laura Ballance, drummer Chuck Garrison, and guitarist Jack McCook. Initially dubbed merely Chunk — the "Super" prefix was later added to avoid confusion with a similarly named New York City avant-jazz band — the group's debut single, What Do I, was soon issued on Merge, a label jointly run by McCaughan and Ballance. The follow-up was 1990's epochal Slack Motherfucker, MacCaughan's blistering tirade against a lazy Kinko's co-worker; the single was immediately hailed on both sides of the Atlantic as one of the definitive indie anthems of the era; and with the subsequent release of their self-titled debut LP, Superchunk was widely celebrated among the most promising young bands in America.
As the success of acts like Nirvana and Pearl Jam made their hometown of Seattle the early-'90s music scene du jour, label heads scrambled to locate the next alternative rock hotbed; Chapel Hill became the consensus choice, and Superchunk was tapped as the Next Big Thing. The quartet — which had subsequently exchanged McCook for guitarist Jim Wilbur — soon found themselves in the middle of a major-label bidding war, but they defiantly stuck to their guns, remaining on Merge for their brilliant 1991 sophomore effort No Pocky for Kitty, recorded by Steve Albini and distributed by Matador. A singles collection, Tossing Seeds, followed in 1992, and a year later Superchunk — now with new drummer Jon Wurster — returned with the superb On the Mouth, highlighted by the singles "Mower" and "The Question Is How Fast."
In addition to Superchunk's relentless tour itinerary and prolific recording schedule, McCaughan released the 1994 LP I Hope Your Heart Is Not Brittle, the first full-length release from his side project Portastatic. Even as media attention shifted elsewhere, Superchunk forged ahead, following the release of 1994's Foolish with Incidental Music, a second compilation of singles, B-sides, compilation tracks, and other assorted offerings. 1995's Here's Where the Strings Come In heralded a subtle refinement of their core sound, and was supported by a tour on the second stage at that summer's Lollapalooza festival; the first single and video, the surging "Hyper Enough," was even a minor hit. A brief hiatus preceded the release of the 1996 EP The Laughter Guns; the full-length Indoor Living appeared the next year, and Superchunk returned again in 1999 with Come Pick Me Up. Ten years on, Superchunk remained as prolific as ever with thier eighth full length, Come Pick Me Up, arriving in 2001. Their third collection of singles, a two CD set titled Cup of Sand, followed in 2003.
das primeiras bandas que enchiam o olho, mais que não fosse pela postura diy. na família matador abríam.lhes as portas todas. a do carro, da casa dos vizinhos, do frigorífico, todas mesmo. motivacionais e auto.suficientes. era 2ª década de ouro da pop. aquela que estão sempre a tentar destruir todos os dias na tv. apesar de ainda andarem por aí, é só para ver se vos apanham a ouvir outras merdas. este video first part é de 94 e é do c... superchunk.
Urusei Yatsura came together in the summer of 1993 when Graham Kemp met Fergus Lawrie while both were studying at Glasgow University, and where they bonded over their shared love of the Velvet Underground and Galaxy 500. Each persuaded the other to join an imaginary band, which, with the drink fuelled recruitment of bass player Elaine Graham became a reality. Revelling in a spirit of awkwardness the band decide to call themselves after an obscure Japanese comic Urusei Yatsura, the translation of which changes depending on who you ask and how it's been written. The band prefer "Noisy Stars". The three ricocheted around the Glasgow gigging circuit until they managed to coerce Elaine's younger brother into banging the drums for an impromptu set one night. Seven years later, the line-up remains the same. Late in 1994 they made their first outing on vinyl by contributing a live recording of the song "Guitars are Boring" to a compilation released by the Kazoo Club (based in Glasgow's notorious 13th Note). This recording, along with their fanzine "Kitten Frenzy" brought the band to the attention of John Peel and a session followed, preceded by a six track maxi single "All Hail Urusei Yatsura". With the proceeds of the Peel session the band released a split single on their own Modern Independent Records label, "Pampered Adolescent", which they followed up with releases by some of their favourite Glasgow contemporaries. Although being in charge of their own record label was a dream shared by all of the band, lack of finances and an opportunity to work with London based Che Records persuaded them to shelve their label and fanzine for the time being and concentrate on recording for the London based label.
Through a busy 1995 the band notched up an Evening Session Single of the Week (with "Kernel") and an NME Single of the Week (with "Plastic Ashtray") then started the new year by recording their first LP "We Are Urusei Yatsura". To coincide with the May release of the album the band embarked on the first of many nationwide tours, supported by Mogwai and Backwater, and having their first brush with real fame by boarding with the original Milky Bar Kid's mother on route. After playing the CMJ in New York they recorded their next two singles ("Fake Fur" and "Strategic Hamlets") in London at Ray Davies' KONK studio, before heading back to the States for a longer snowy winter tour. Cue 1997 and while their single, "Strategic Hamlets", nudges the grown up charts the band faced feedback noise disaster as all their guitars are stolen from their van after a gig in Liverpool. After looking into the gaping maw of the 'a capella' circuit they are saved by donations of cheap charity shop guitars from fans and are able to complete their tour with label mates Superstar Disco Club, before rushing straight back into KONK to record their second album, "Slain by Urusei Yatsura". During these recordings, which included the chart bound "Hello Tiger", Che Records encountered their first problems licensing to a major label resulting in the album release being delayed for almost a year. Far from being idle Urusei spent a surreal summer surviving a series of near death experiences as they played festivals around Britain and Europe, Ian surviving a tent fire at Phoenix to play a 'smoking' gig and the whole band narrowly avoiding being crushed by a collapsing roof while on stage at a Spanish festival. They ended the year supporting the Super Furry Animals and playing a bizarre set of gigs in the former East Germany.
As January 1998 swung into view, "Hello Tiger" was chalked up for release and in February Urusei scored their biggest hit to date. Number 40 in the proper charts. In March "Slain by..." finally made it to the shops and was warmly received by a bevy of critics who took it to their hearts. The group set off on another UK tour, this time accompanied by Magoo and Prolapse before undertaking their first major tour across Europe. On arriving back in the UK the "Slain by Elf" single was released and ended up selling even more than "Hello Tiger". The band spent a low key summer writing what was to become "Everybody Loves...", with only short breaks to play the Reading Festival and to support Garbage at the Glasgow Barrowlands. It was only a spit away from Christmas and the band settled down to write and record again. US Producer Bryce Goggins made contact with the band, expressing his desire to work with them after hearing them on a B-side compilation album. With roughly twenty songs on demo, Bryce flew into Glasgow and headed to CaVa studios to start recording. Unfortunately while the recording was going great their record label went bust leaving them with a 18 month legal wrangle which won them ownership of the recordings and the right to release them themselves. While in the process of setting up their own label, the "Yon Kyoko Iri EP" was released on Beggars Banquet in November 1999 before finally achieving their dream with the forming of Oni Records in March 2000. The first output from this label will be the bands' new single "Louche 33" on 21st August 2000 with their 3rd album "Everybody Loves Urusei Yatsura" following close behind on 4th September 2000. The single 'Eastern Youth', which was the bands final ever single, was released in the early winter months of 2001.
perdidos entre fanzines e referências musicais dos pavement,
apareceram.me estes demónios do pop. na mesma altura que devorava drop nineteens (ainda não é hoje).
3 discos e uma porrada de singles.
felizes, divertidos, com os seus camioezinhos de plástico, guitaras da tanga roubadas de um gajo qualquer.
soam àquilo que mais queríamos, uma banda do c.......
mãos na algibeira com o jornal a sair do bolso de trás das calças e plastic ashtray.
Let's Get Lost is a 1988 American documentary film about the turbulent life and career of jazz trumpeter Chet Baker written and directed by Bruce Weber. A group of Baker fans, ranging from ex-associates to ex-wives and children, talk about the man. WeberΓ??s film traces the manΓ??s career from the 1950s, when he was in his prime, playing with jazz greats like Charlie Parker and Gerry Mulligan, to the 1980s, when he had become a skid row junkie unable to get a decent gig. By juxtaposing these two decades, Weber presents a sharp contrast between the younger, handsome Baker Γ?? the statuesque idol who resembled a mix of James Dean and Jack Kerouac Γ?? to what he became, Γ??a seamy looking drugstore cowboy-cum-derelict,Γ?? as J. Hoberman put it in his Village Voice review.[1] LetΓ??s Get Lost begins near the end of BakerΓ??s life, on the beaches of Santa Monica, and ends at the Cannes Film Festival. Weber uses these moments in the present as bookends to the historic footage contained in the bulk of the film. The documentation ranges from vintage photographs by William Claxton in 1953 to appearances on The Steve Allen Show and kitschy, low budget Italian films Baker did for quick money.
