jueves, diciembre 31, 2015

Rescate emotivo vol.6 - Molly Drake (2013)


"(...) This collection of home-recorded songs by Molly Drake, mother of Nick and writer of her own private, secluded songs, offers another perspective on where Nick might have developed his songwriting voice. Recorded at home to a rudimentary tape setup during the 1950s, the 19 songs here feature solely Molly's soft but strong vocals and spare piano accompaniment. Her poetic lyrics are sometimes storytelling, sometimes nostalgic, and other times more vague, but even at their most lighthearted are touched by a somber tone of despair. Songs like "Poor Mum" and "I Remember" foreshadow the dour softness that Nick Drake would sculpt in his most minimal songs on Pink Moon. Elsewhere, songs like "How Wild the Wind Blows" have a more chilling effect, with a brittle lo-fi recording quality and the sound of church bells and birds in the background melding with Molly's frail vocals, resulting in a haunting, restless feeling. (...)"

(Fred Thomas - Review completa en http://www.allmusic.com/album/molly-drake-mw0002505189)


miércoles, noviembre 18, 2015

Esto lo estoy tocando mañana #27 - Beastie Boys (1995)

"(...) The In Sound From Way Out (Grand Royal, 1995) is an all-instrumental album that mocks both electronica and jazz-funk and occasionally resembles Frank Zappa's orchestral work (Bobo On The Corner, Son of Neckbone). The style of this era owes quite a bit to mixmaster DJ Hurricane and to keyboardist Mark Ramos-Nishita.

(Fragmento de una sucinta y bella cronología de la banda, completa en http://www.scaruffi.com/vol4/beastie.html)


domingo, agosto 09, 2015

Porque me siento rara vol.45 - Sonic Youth

"What better source to turn to for the album's history than Thurston himself, whose liner notes are reproduced below. To expand on what he's written, I'll offer a few additional comments. The music was recorded in September and October 1986, between two American tours. Aside from its use within the film, it remained in the sonic vault until the band decided to release it in 1994 -- at this point, they offered a preview (simply titled "Made In USA [segment]") on a Bananafish compilation. This track follows the same theme used in "Moon in the Bathroom" "Lincoln's Gout" "Coughing Up Tweed" and others, but does not specifically appear on the soundtrack release (which makes me wonder how much other music was not included on the soundtrack!). The full soundtrack was released in early 1995 on Rhino records, on all formats (including clear vinyl in a plastic sleeve!). There was a "various artists" soundtrack release for the film when it was originally released, but SY's only contribution was the EVOL version of "Secret Girl" (and possibly "Tuck N Dar", I'm not sure). The music on Sonic Youth's soundtrack release remained untitled until 1994, at which point the band asked Byron Coley to title them at random, to which he gladly obliged."

(Más en http://www.sonicyouth.com/mustang/lp/lp12.html)


domingo, junio 21, 2015

Esto lo estoy tocando mañana #1 - Free Jazz (1961) (Re-subido)

"Free Jazz: A Collective Improvisation is an album by jazz saxophonist and composer Ornette Coleman, recorded in 1960. The original release embodied a painting by Jackson Pollock, on the front of the cover, and its title gave the name for the whole movement. It involves two separate quartets, one to each stereo channel; the rhythm sections play simultaneously, and though there is a succession of solos as is usual in jazz, they are peppered with freeform commentaries by the other horns that often turn into full-scale collective improvisation. The pre-composed material is a series of brief, dissonant fanfares for the horns which serve as interludes between solos. Not least among the album's achievements was that it was the first LP-length improvisation, nearly forty minutes in length, which was unheard of at the time.

The album was identified by Chris Kelsey in his Allmusic essay "Free Jazz: A Subjective History" as one of the 20 Essential Free Jazz Albums. It served as the blueprint for later large-ensemble free jazz recordings such as John Coltrane's Ascension and Peter Brötzmann's Machine Gun."


"Johnny estaba en gran forma en esos días, y yo había ido al ensayo nada más que para escucharlo a él y también a Miles Davis. Todos tenían ganas de tocar, estaban contentos, andaban bien vestidos (de esto me acuerdo quizá por contraste, por lo mal vestido y lo sucio que anda ahora Johnny), tocaban con gusto, sin ninguna impaciencia, y el técnico de sonido hacia señales de contento detrás de su ventanilla, como un babuino satisfecho. Y justamente en ese momento, cuando Johnny estaba como perdido en su alegría, de golpe dejó de tocar y soltándole un puñetazo a no sé quién dijo: "Esto lo estoy tocando mañana", y los muchachos se quedaron cortados, apenas dos o tres siguieron unos compases, como un tren que tarda en frenar, y Johnny se golpeaba la frente y repetía: "Esto ya lo toqué mañana, es horrible, Miles, esto ya lo toqué mañana", y no lo podían hacer salir de eso, y a partir de entonces todo anduvo mal, Johnny tocaba sin ganas y deseando irse (a drogarse otra vez, dijo el técnico de sonido muerto de rabia), y cuando lo vi salir, tambaleándose y con la cara cenicienta, me pregunté si eso iba a durar todavía mucho tiempo."

(El perseguidor, de Julio Cortázar [Fragmento])

sábado, junio 20, 2015

Rescate emotivo vol.5 - Fun People (1999)

Glamorosos, rockeros, romanticos, furiosos, FUN PEOPLE va explorando territorios desconocidos partiendo de las raices hardcore/punk... "hazlo tu mismo" usted habra escuchado este slogan cientos de veces, pero lo que ahora sostiene en sus manos es el resultado del persistente esfuerzo de una banda que se ha atrevido a realmente hacerlo por si mismos. ¡Que dificil es desafiar las reglas que imperan en el mundo de la musica del pop!
Los discos sencillos o EP's marcan una necesidad inmediata, dando a conocer las urgentes canciones que no pueden esperar, pero el long play es la prueba real del arte de un interprete. THE ART(E) OF ROMANCE tiene un swing contagioso, podran apreciarlo nitidamente en temas como "Take Over", "Dick Dale" o "A Mi Manera" donde la fervorosa participacion de Steve Albini y su destacado contacto con las perillas, aportan un toque distinto a cada una de las 20 canciones que resultaran capaces no solo de dejar satisfechos y orgullosos a sus fans, sino de conquistar el corazon y oido de cientos mas!


(Patricia P. - Resistencia Zine, completo en la contratapa del cd que se adjunta con la descarga)


sábado, abril 04, 2015

Rescate emotivo vol.4 - Nietos de Noche (1998)


Tuve el honor y la suerte de compartir escenario con esta banda gigante, siendo parte de Baader Meinhof, allá por el año '93. Este terrible disco es lo único que grabaron. Lo comparto en alta calidad, ripeado de un cd original que conseguí hace un par de meses.


sábado, enero 03, 2015

Recuperando vinilos #12 - Revolting Cocks (1986)

After "Twitch", the sound of "Big Sexy Land", the first album from Revolting Cocks (here made up of Al Jourgensen, Front 242's Richard 23 and Luc Van Acker) makes sense. It's not inaccessible (indeed, much of it resembles Front 242), but it's a pretty menacing piece of Industrial Dance that has something of a sense of humor (the album title is kind of a giveaway that this isn't meant to be taken too seriously.)

"38" opens things up with some fast, punishing beats, twisted samples and harsh vocals-the whole thing sounds like a "Twitch" outtake, but in a good way. "We Shall Cleanse the World" and "Attack Ships on Fire" add some pretty fat bass to the sound, with the latter almost coming off as funky. The title track and "T.V. Mind" sound like Front 242 (warped samples, heavy beats and Euro synth lines), though the title track adds a slight tip of the hat to the then new Chicago House scene. 

"No Devotion" is probably the highpoint, as it hints heavily at where Ministry would go with the next album, with it's harsh, distorted vocals and Post-Punk inspired bass. As for the "Union Carbide" songs-the first one feels like filler, but the "Bhopal Version" is a pretty catchy slice of Electro-Industrial.

In a lot of ways, this isn't a groundbreaking record, as  it doesn't sound that different from where Al and Richard's respective projects were headed. It's still a lot of fun though, and worth a listen. Plus, it's one of Carl Craig's favorite albums!

Mencacing Industrial Dance...with a Sense of Humor, by LarryChrist (Feb 17 2013)

(Más reviews en http://rateyourmusic.com/release/album/revolting_cocks/big_sexy_land/)