tag:blogger.com,1999:blog-125989952024-03-13T12:40:32.318-03:00NoiseArt - BlogNoiseArt - Música - Poesía - Información - Mecánica y Diseño WebMarcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.comBlogger211125tag:blogger.com,1999:blog-12598995.post-73330497223580663612021-01-17T15:33:00.003-03:002021-06-12T17:13:11.157-03:00Esto lo estoy tocando mañana #37 - Talking Heads (1980)<div class="separator" style="clear: both; text-align: center;">
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<br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Cs6hKyP6jHk/YASBRRCMuvI/AAAAAAAABHo/LFsPLGpE8mcc9t0Ple-BFbNGiIdqXj4OgCLcBGAsYHQ/s1500/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="400" src="https://1.bp.blogspot.com/-Cs6hKyP6jHk/YASBRRCMuvI/AAAAAAAABHo/LFsPLGpE8mcc9t0Ple-BFbNGiIdqXj4OgCLcBGAsYHQ/w400-h400/cover.jpg" width="400" /></a></div><br /><p><br />
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<br /></div><div style="text-align: center;"><a href="https://en.wikipedia.org/wiki/Remain_in_Light" style="color: white;"><i><b>wiki</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://talking-heads.nl/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/talking-heads/remain-in-light-20/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/Talking-Heads-Remain-In-Light/release/1312119" style="color: white;"><i><b>dscgs</b></i></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">(...)<br /><br />Talking Heads experimented with polyrhythms on 1979’s Fear of Music with “I, Zimbra,” speeding them up and maintaining an overarching 4/4 beat. The opening track of Remain in Light, “Born Under Punches,” preserves the frenetic speed but dispenses with beat in favor of rhythm. It bursts into a multilayered guitar, bass, and drum pattern that resists counting but demands dancing, yanking the listener into a cloud of short, sharp noises with only involuntary movements to guide us through.<br /><br />Over this background, Byrne bellows: “Take a look at these hands/The hand speaks/The hand of a government man.” Later he adds, “I’m so thin.” These words do not make sense. They mimic the condition of the listener amid the swirl of polyrhythms, though, caught in a moment of reflection that yields no insight but only feelings. It is the sound of stage-two cocaine addiction, when you are always doing something but never know what to do. The hand speaks: We lose control of ourselves, and what we have done becomes our new identity. The elliptical lyrics at the beginning of Remain in Light can be read as an artist’s statement: Taking their music in an unpredictable new direction, Talking Heads have found their essence by losing control over what they do.<br /><br />(...)<br /><br />Although Remain in Light has become an acknowledged classic, it retains a feeling of unfamiliarity. It is tempting to attribute this quality to Byrne’s obtuse lyrics, but the album’s instrumental arrangements also constitute a break with rock’s conventional forms. Weymouth’s bassline on “Crosseyed and Painless” crowds staccato bursts of notes into the first half of each measure, leaving the second half empty in a way that defines the percussion pattern. This technique, essential to funk, diverges from rock’s standard practice of using the bass to keep time. Perhaps the album’s greatest heresy, though, is its total absence of guitar riffs. Like Weymouth, Harrison prefers to use his instrument as a noisemaker. His howling fills on “Listening Wind” lend a foreboding, unpredictable atmosphere to lyrics that are as close as Byrne gets to conventional narrative. These tracks do not hew as strictly to Afrobeat forms as “Once in a Lifetime” or “Born Under Punches (The Heat Goes On),” but they still manage to introduce a coherent sound that is alien to mainstream rock.<br /><br />(...)</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">Pitchfork - <a href="https://pitchfork.com/reviews/albums/talking-heads-remain-in-light/">https://pitchfork.com/reviews/albums/talking-heads-remain-in-light/</a></span>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/folder/6E8D3KaC#OjaNxzKw8FOmrJ1c-juexA">@Flac (vinyl rip, 24/96)</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-42983087480390513902021-01-02T10:39:00.002-03:002021-06-12T17:13:24.104-03:00Porque me siento rara vol.55 / Esto lo estoy tocando mañana #36 - Peter Hammill (1978)<div class="separator" style="clear: both; text-align: center;">
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<br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZgsoRP9DvmM/X_B176XOozI/AAAAAAAABHI/t7Cg7CvfPt8Wg1R7J8H-Upeq4PNqwmBlACLcBGAsYHQ/s600/front.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="600" height="391" src="https://1.bp.blogspot.com/-ZgsoRP9DvmM/X_B176XOozI/AAAAAAAABHI/t7Cg7CvfPt8Wg1R7J8H-Upeq4PNqwmBlACLcBGAsYHQ/w400-h391/front.jpeg" width="400" /></a></div><br /><p><br />
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<br /></div><div style="text-align: center;"><a href="https://en.wikipedia.org/wiki/Peter_Hammill" style="color: white;"><i><b>wiki</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.sofasound.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/artist/peter-hammill" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/artist/279473-Peter-Hammill" style="color: white;"><i><b>dscgs</b></i></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;"><b>The Future Now</b> is one of Peter Hammill's best and most disconcerting albums since the mid-'70s. Filled with beautiful piano ballads, strange experiments, and anthemic rock songs, it stands as multi-faceted as the artist -- who, incidentally, shaved half of his facial hair for the eye-catching cover shot. Hammill has never mastered the art of the opening track, and this album marks no exception: "Pushing Thirties" is a bland, surprise-less rock song. Once you pass that gate though, wonders succeed one another in your ears. (...)</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">AllMusic - <a href="https://www.allmusic.com/album/the-future-now-mw0000199085">https://www.allmusic.com/album/the-future-now-mw0000199085</a></span>)</span></div><div style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span></div><div style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Peter Hammill's notes - <a href="https://www.sofasound.com/phcds/tfncd.htm">https://www.sofasound.com/phcds/tfncd.htm</a> <br /></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/file/3JVkVTIT#9u_xUIkO5Gc5FZ7oTx1XSDlWSC3TPEMGtHIN39WVLbA">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-66566950084898405262020-12-06T17:14:00.000-03:002020-12-06T17:14:10.360-03:00Rescate emotivo vol.11 - Helmet<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Helmet_(band)"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="https://www.helmetmusic.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/helmet/betty/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Helmet-Betty/master/52337" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">While nowhere near as intense as it’s predecessor, Betty includes a lot of experimentation within it, as the band’s jazz and funk influences become very noticeable in multiple tracks. For example, “Biscuits for Smut” is a fun number that makes you question whether or not it was made by the same band that did “In The Meantime”. Henry Bogdan’s bass is incredibly thick and funky, bouncing against the juicy guitars, adding a carefree-attitude to the track. The dynamics on some of the songs here are also worthy of mention, such as those to be found on “Milquetoast”. This track begins with the band’s trademark crunch, with John Stainer’s complex drum work acts as the foundations for Page Hamilton’s and then-newly recruited Rob Echeverria’s heavy guitar riffs. Then, out of the blue, the guitar's end, leaving behind Bogdan’s irresistible bass tone, layered with Hamilton’s echoing croons.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(Nota completa en <a href="https://www.sputnikmusic.com/review/67682/Helmet-Betty/">https://www.sputnikmusic.com/review/67682/Helmet-Betty/</a></span>)</div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/file/iRtBzIDA#m-s1_pIY-kvRat8FGRCMOzrqptTVYElB5y_XEXhIhJc">@<span style="font-family: "georgia" , "times new roman" , serif;">Flac</span></a></span></span><br />
<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"> </span></span> </span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-67593148375724890342020-11-25T19:08:00.008-03:002020-11-25T19:13:54.420-03:00 Esto lo estoy tocando mañana #35 - Refused (1998)<div class="separator" style="clear: both; text-align: center;">
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<br /></div><div style="text-align: center;"><a href="https://en.wikipedia.org/wiki/Refused" style="color: white;"><i><b>wiki</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.officialrefused.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/refused/the-shape-of-punk-to-come/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/Refused-The-Shape-Of-Punk-To-Come-A-Chimerical-Bombination-In-12-Bursts/master/77278" style="color: white;"><i><b>dscgs</b></i></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">In college, I lent this album to a friend of mine who, upon returning the album, asked me “What kind of music would you call that?” I looked at him silently for a moment and said “It’s called The Shape of Punk to Come.” He said “Yeah, but that’s not punk.” It’s true that, for the casual listener, the album’s mix of hardcore, electronic, jazz, spoken word, heavy metal, and even classical doesn’t necessarily sound like punk. Then again, to one who’s versed in the history of punk, from Suicide to The Screamers, Patti Smith, to Naked City, these genres don’t sound completely out of place on what is ostensibly a punk album.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">PunkNews.Org - <a href="https://www.punknews.org/review/16234/refused-the-shape-of-punk-to-come">https://www.punknews.org/review/16234/refused-the-shape-of-punk-to-come</a></span>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/file/zVEihRrA#0ZJUVzaIa9ovYpG1nmNHFYxD3MbacEn1O1Fgk8FudFY">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-19646439325472022602019-06-30T13:40:00.000-03:002019-06-30T13:41:05.184-03:00Rescate emotivo vol.10 - Los Pillos<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><strike><i><b><span style="color: white;">wiki</span></b></i></strike><span style="color: white;"><i><b>][</b></i></span><i><b>i<strike>nfo</strike></b></i><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/comp/los_pillos/antologia_1985_1988/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Los-Pillos-Antolog%C3%ADa-19851988/release/7004950" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">Había una vez, allá por los ochenta, una banda de rock que trascendió su casi nulo suceso de ventas. Un grupo que, sin un disco en la calle, fue telonero de la única visita al país de <b>Siouxsie & The Banshees</b>. Un cuarteto que grabó un solo álbum, que hoy puede llegar a cotizar en el mercado de coleccionistas cerca de cuatro mil pesos. Un combo que mezcló poesía beatnik con el postpunk de la época pero con un sonido ciudadano y argentino, y que en estos días de revival suena cien por ciento atemporal. Gente que, en un recital conjunto con unos <b>Fabulosos Cadillacs</b> que aún no eran mainstream, fueron presentados por Vicentico como “El mejor grupo del mundo”. Señoras y señores, con ustedes, <b>Los Pillos</b> (Adrián Yanzón en voz, Martín Aloe en bajo, Alejandro Fiori en guitarra y Pablo Esau en batería) y su leyenda.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(Nota completa en <a href="https://losinrocks.com/antolog%C3%ADa-1985-1988-de-los-pillos-82d1c84115e4">https://losinrocks.com/antolog%C3%ADa-1985-1988-de-los-pillos-82d1c84115e4</a></span>)</div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/#F!eBUTWaJR!ozak-5H0Qu1ZZ4qkirBXCg"><span style="font-family: "georgia" , "times new roman" , serif;">CD</span>@<span style="font-family: "georgia" , "times new roman" , serif;">Flac</span></a></span></span><br />
<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/#F!2RVwyapQ!zIw2B8iPApSnzZR7dO_kaQ">DVD@Mp4</a></span></span></span></span><br />
<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://mega.nz/#F!TMVHXSwT!abX47mM1sSUNyldJcHLKCg">@rt</a></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"> </span></span> </span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-67310122581510899622019-06-24T10:12:00.001-03:002019-06-30T13:27:09.833-03:00Porque me siento rara vol.54 - Pelican<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Pelican_(band)"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="https://www.pelicansong.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/ep/pelican/pelican/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Pelican-Pelican/release/9691975" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"(...)<br /> </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Things get started with album opener ‘Pulse’ which is pretty average as far as intros go but it is rather deceiving. From first listen I assumed it would be a more upbeat affair, but these expectations were quickly doused by the following tracks as they are dark in mood and possess a disturbing, almost menacing vibe. Just listen to the intro to tracks ‘The Woods’ and ‘Forecast for Today’, which are the probably the best tracks on offer here. Unlike the first two tracks, these tracks twist and turn and build up for minutes at a time, before reaching an epic climax, which can only be described as a wall of sound cemented together by these four musicians. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(...)"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(Complete on <a href="https://www.sputnikmusic.com/review/25105/Pelican-Pelican/">https://www.sputnikmusic.com/review/25105/Pelican-Pelican/)</a> </span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/eb8Dwp/Pelican%20-%20(2001)%20-%20Pelican.rar">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-76579579456254842892019-05-07T11:03:00.001-03:002019-05-07T11:03:25.163-03:00Porque me siento rara vol.53 - Loren Mazzacane Connors<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Loren_Mazzacane_Connors"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.lorenconnors.net/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/loren-mazzacane-connors/lullaby/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Loren-MazzaCane-Connors-Lullaby/master/1005840" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Guitarras temblorosas y llenas de aire, llorando c<span style="font-family: "georgia" , "times new roman" , serif;">anciones tristes en piezas oscuras, para acunar niños negros muertos.</span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/q8ev77/Loren%20MazzaCane%20Connors%20-%20(2001)%20-%20Lullaby%20%5BCDr%5D.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-2304553716084148232019-04-28T17:13:00.002-03:002019-04-28T17:13:53.786-03:00Porque me siento rara vol.52 - The Music Improvisation Company<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/The_Music_Improvisation_Company"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><strike><i><b>info</b></i></strike><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/the-music-improvisation-company/the-music-improvisation-company/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/The-Music-Improvisation-Company-The-Music-Improvisation-Company/master/217407" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Although this is one of Derek Bailey’s earliest recordings, it holds much of the microscopic precision, a love of empty space and his detailed but fractured aesthetic for which he became famous and respected. The official ECM site states the dilemma that occupied me in the process of categorizing such music: “Yet how to describe it? A possessed duck call tripping down a flight of stairs into a pile of discarded instruments? A broken jack-in-the-box heavily amplified on cheap speakers? A radio being tortured to give up its innermost secrets? A coven of instrumental wizards poring over the crucibles of some private alchemical experiment? Unfortunately, none of these seems to come close to mapping the album’s rambling course. One thing I can say for sure: the results are very consistent.” </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">(Complete review in <a href="http://www.kurrentmusic.com/blogviewer.html?blog-guid=3bc9144a-e04d-48c1-84fb-e266cfee4aef">http://www.kurrentmusic.com/blogviewer.html?blog-guid=3bc9144a-e04d-48c1-84fb-e266cfee4aef</a>) </span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/9bmPuZ/The%20Music%20Improvisation%20Company%20-%20(1970)%20-%20The%20Music%20Improvisation%20Company.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-2000966522195761532019-04-21T09:59:00.001-03:002019-04-28T17:14:41.307-03:00Esto lo estoy tocando mañana #34 - Free Nelson MandoomJazz (2014)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><strike><i><b><span style="color: white;">wiki</span></b></i></strike><span style="color: white;"><i><b>][</b></i></span><a href="http://freenelsonmandoomjazz.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/artist/free_nelson_mandoomjazz" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/Free-Nelson-Mandoomjazz-The-Shape-Of-Doomjazz-To-Come-Saxophone-Giganticus/master/753702" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">Doomjazz/Giganticus concludes with music written by or in honor of Domenico Scarlatti, Sonny Rollins and Black Sabbath. Stewart plays walking lines so fast they turn "K54" (inspired by Scarlatti's "Sonata K54") into a tumbling run timed by Archibald's whipcrack snare and closed in a lovely coda. "Saxophone Giganticus" repeats its blues stomp over and over until its sound seems to grow monstrously big and deep, like Pink Floyd nursing an electric blues grudge. They close with Sneddon abstractly sketching the leadoff and ultimate track from Black Sabbath's eponymous 1970 debut (Warner Bros.).<br /><br />(...)<br /><br />Jazz is sometimes criticized by fans of other musical styles for being too intellectual and not as visceral as blues or rock can be. Free Nelson Mandoomjazz shatters that criticism to pieces with rhythms that rip from deep and powerful places, and land so hard in your ears that you feel their punch in your guts.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">All About Jazz - <a href="https://www.allaboutjazz.com/the-shape-of-doomjazz-to-come-saxophone-giganticus-free-nelson-mandoomjazz-rarenoiserecords-review-by-chris-m-slawecki.php">https://www.allaboutjazz.com/the-shape-of-doomjazz-to-come-saxophone-giganticus-free-nelson-mandoomjazz-rarenoiserecords-review-by-chris-m-slawecki.php</a></span>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/88ect2/Free%20Nelson%20MandoomJazz%20-%20(2014)%20-%20The%20Shape%20of%20Doomjazz%20to%20Come-Saxophone%20Giganticus.rar">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-63610542820806325802018-12-18T00:08:00.003-03:002019-01-09T22:02:58.709-03:00Porque me siento rara vol.51 - Gesellschaft Zur Emanzipation Des Samples<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Jan_Jelinek"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><strike><i><b>info</b></i></strike><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/artist/gesellschaft_zur_emanzipation_des_samples" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/artist/1587137-Gesellschaft-Zur-Emanzipation-Des-Samples" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"(...)</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">On ‘Circulations‘: The idea for this audio collage emerged from random recordings of pop songs played through the PA of a fairground carousel. Picture the scene: Bumper cars racing to Bruce Springsteen‘s ‘Born In The USA‘, a carousel turning to Marvin Gaye‘s ‘Sexual Healing‘, but also projector sounds in the cinema or the sine generators of a sound installation: all of these are recordings of public space. And yet, they contain not only the ambient sounds of their specific point of origin, but also a discrete and distinct recognisable moment. We will always be able to decipher and disassociate ‘Sexual Healing‘ from the random noise of public space, irrespective of location.
To what extent does the recording process affect potential copyright claims? Are Marvin Gaye‘s publishers entitled to royalties because the recording of a merry-go-round conveys traces of “Sexual Healing“?<br /><br />‘Circulations‘ aims to restage this particular recording premise. Playback devices are placed in public space and broadcast the desired sampling material. The recordings bear witness to music in public space. Even where authorship is still recognisable, the resulting field recordings relegate music to a casual, circulating background element – just one event among many, equal to the ambient acoustics, casual conversations and traffic noise. Do the rules of copyright still apply?</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> (...)"</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">(Complete review in <a href="https://ultimae.com/product/gesellschaft-zur-emanzipation-des-samples-circulations-faitiche-cd/">https://ultimae.com/product/gesellschaft-zur-emanzipation-des-samples-circulations-faitiche-cd/</a>) </span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/GFwsj9/GZEDS%20-%20(2009)%20-%20Circulations-More%20Circulations.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-80675359696989788292018-12-13T16:22:00.000-03:002019-01-09T22:05:22.425-03:00Esto lo estoy tocando mañana #33 - G.L. Unit (1970)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://sv.wikipedia.org/wiki/G.L._Unit"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><strike><span style="color: white;"><i><b>info</b></i></span></strike><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/g_l-unit/orangutang/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/GL-Unit-Orangutang/release/3395946" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">First of all, I'm not even going to start mentioning names of those heard on this album because everybody's on it. The album's a veritable who's who of the top players of the Swedish jazz scene at the time; a true big band effort but of course it's not classic big band jazz with a band leader constantly smiling at the audience, tux dressed players and decorated music stands in front of them. No.<br /><br />This makes John Coltrane's ”Ascension” sound like a hummable little ditty.<br /><br />This is TNT.<br /><br />”Orangutang!” is the most powerful Swedish 70's free jazz album, great on an international level, up there with Alan Silva, Globe Unity Orchestra, François Tusques and the lot. Great jazz hurts, and no other Swedish album hurts as good as this one does. But just like any good free jazz album, it has a sense of elevated beauty, a serene lyricism, an intense burning light with your mind being its focal point. And it's dynamic, effortlessly moving from full blast detonations to jittery reflection. Of course it's not easy listening, it's not at all the perfect aural backdrop to a nice barbecue in the garden but it's got the spark to set your soul ablaze.<br /><br />I save words like 'masterpiece' for albums like this.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">The Swedish Progg Blog - <a href="http://swedishprogg.blogspot.com/2018/08/gl-unit-orangutang-odeon-1969.html">http://swedishprogg.blogspot.com/2018/08/gl-unit-orangutang-odeon-1969.html</a></span>)</span></div>
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-58168082172862632752018-04-22T02:05:00.000-03:002018-04-24T00:10:28.518-03:00Porque me siento rara vol.50 / Rescate emotivo vol.9 - Teenage Jesus & the Jerks<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Teenage_Jesus_and_the_Jerks"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.lydia-lunch.net/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/artist/teenage-jesus-and-the-jerks" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/artist/88519-Teenage-Jesus-And-The-Jerks" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">- With Teenage Jesus it’s just brutality. The music is brutal. The lyrics are brutal. It makes me feel very brutal. When I did the first shows at the Knitting Factory with Thurston I was amazed that I felt so fucking angry—‘Hang on a second, haven’t I had half a century to deal with my fucking anger issues?’ But the music just inspired … maybe it’s because people were so happy to see it. (...)<br /><br /><b>What’s your favorite criminal act?</b><br /> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">- My existence.actually."</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">(Complete interview in "<a href="http://larecord.com/interviews/2009/10/06/teenage-jesus-and-the-jerks-lydia-lunch-interview-nothing-could-possibly-disgust-me" target="_blank">Teenage Jesus and The Jerks: Nothing Could Possibly Disgust Me</a>") </span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/PR8N9P/Teenage%20Jesus%20%26%20The%20Jerks%20-%20(1995)%20-%20Everything.rar">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-71361998983942244952018-02-04T11:30:00.000-03:002018-02-04T11:30:16.277-03:00Esto lo estoy tocando mañana #32 - Roscoe Mitchell Sextet (1966)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Roscoe_Mitchell"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><strike><span style="color: white;"><i><b>info</b></i></span></strike><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/roscoe_mitchell_sextet/sound_f1/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/Roscoe-Mitchell-Sextet-Sound/master/106191" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;"><b>Sound</b>, <b>Roscoe Mitchell</b>'s debut as a leader, was an early free jazz landmark and an enormously groundbreaking album in many respects. Historically, it marked the very first time that members of Chicago's seminal <b>AACM</b> community appeared on record; it also showcased the early chemistry between future <b>Art Ensemble of Chicago</b> members <b>Mitchell</b>, <b>Lester Bowie</b>, and <b>Malachi Favors</b>. Arrangement-wise, it employed a number of instruments largely foreign to avant-garde jazz -- not just cello and clarinet, but the AEC's notorious "little instruments," like recorder, whistle, harmonica, and assorted small percussion devices (gourds, maracas, bells, etc.), heard to best effect on the playful "Little Suite." Structurally, Sound heralded a whole new approach to free improvisation; where most previous free jazz prized an unrelenting fever pitch of emotion, Sound was full of wide-open spaces between instruments, an agreeably rambling pace in between the high-energy climaxes, and a more abstract quality to its solos.</span> (...)"</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">AllMusic</span> - Review completa en <a href="https://www.allmusic.com/album/sound-mw0000613368">https://www.allmusic.com/album/sound-mw0000613368</a>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/5RWHxX/Roscoe%20Mitchell%20Sextet%20-%20(1966)%20-%20Sound.rar">Mp3@256</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com3tag:blogger.com,1999:blog-12598995.post-20009530464434638922017-12-03T23:16:00.001-03:002018-02-13T22:56:28.663-03:00Porque me siento rara vol.49 - Smog<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Bill_Callahan_(musician)"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.dragcity.com/artists/smog" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/artist/smog" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/artist/56147-Smog" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">That record is half on four-track, and half in a studio. It was kind of strange to have someone else there. And the engineer was this portly, ruddy, miserable blob. He had this six-pack of beer he was just guzzling. He didn’t share them, no, I brought my own. I just had to go for it, and try to block out all that stuff. I went out on my first tour in ’92, too, and I remember I closed my eyes and went through a song for the sound-check. And I opened them, and the engineer had left. That was the same important realisation – that no-one cared, except me.<br />When I started out I wanted to make music that would just happen this one time and be caught on tape, and that could never be repeated. Very immediate. Not a lot of words. The first three records were completely naïve. I didn’t understand about the balance of sound. All that stuff that people strive for. I had to learn… everything. I’m not too sure if it even helps to know how to make a record, actually."</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">(Complete in "<a href="http://www.uncut.co.uk/features/bill-callahan-album-by-album-25202" target="_blank">Bill Callahan – Album By Album</a>") </span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/c4SqvT/Smog%20-%20(1993)%20-%20Julius%20Caesar.rar">Mp3@192</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-57678905915185059482017-07-09T11:24:00.000-03:002017-07-09T11:24:09.916-03:00Porque me siento rara vol.48 - Alva Noto<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Alva_Noto"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.alvanoto.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="http://rateyourmusic.com/artist/alva_noto" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/artist/3823-Alva-Noto" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">originals are unique. whether they be genetic codes, documents, or electronic image and sound files. their copies are simply a means of distribution. today we are preoccupied with protecting these originals from misuse, whilst the essence and potential of the copy is generally disregarded.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />in our world of constant reproduction the immeasurable number of multiplied images corroborate the original. the copy assumes its Independence and its own value. the replication equals the original, which as an icon becomes abstract and virtual.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />via the technique of duplication the copy often contains mistakes and glitches that differ from the original. these simplifications and deformations lead to a gradual loss of the copy's relationship to the original and can result in a substantial change in meaning.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />although elements of the source remain, the original message dissolves amongst the white noise of reproduction. in the end the observer can barely recognize if the origin still forms a part of the information transferred. does an integral material component of the original remain or can this only be projected?</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br />in the end the process of copying can itself become a creative tool which analytically generates something new. the mutating copy emerges as a new original and thereby provides space for development."</span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/NHRSpE/Alva%20Noto%20-%20(2007)%20-%20Xerrox%20Vol.1.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-22196991710125280962017-01-02T11:51:00.000-03:002017-01-02T11:51:15.247-03:00Rescate emotivo vol.8 - Futbol (2011/13)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><strike><i><b><span style="color: white;">wiki</span></b></i></strike><span style="color: white;"><i><b>][</b></i></span><a href="http://www.futbolrock.com/espanol.html" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/futbol/la_gallina/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><strike><i><b>dscgs</b></i></strike> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"(...)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Al contrario de los trabajos anteriores de la agrupación, en <b>La gallina</b> no hay piezas instrumentales. Todas cuentan con la pluma y la voz del baterista <b>Santiago Douton</b>. Si en el disco anterior las letras se distinguían en muchos casos por mantras eufóricos (como el ya clásico de la banda “No llores niño”), aquí hay más ánimo de descripción –siempre inmediata, nunca embrollada- de seres particulares (“Barquillero”, “El ciego” o “Ceferino”, canción homenaje a Ceferino Namuncurá), lugares de la vasta geografía argentina (“Río Colorado”, el Paso de los Libres en “500 submarinos” y la mención a los campos de algodón en Formosa y las plantaciones de quebracho del norte chaqueño en “Golondrinas”) y hasta acontecimientos como los desmadres ocurridos luego del descenso de River a la B Nacional (“El asedio de River Plate”). Esto hace que las canciones, aunque repletas de vértigo en varios tramos, posean en su ADN un aire terrenal y hasta de cierta cotidianeidad.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">(...)"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">Emmanuel Patrone</span> - Review completa en <a href="http://artezeta.com.ar/los-huevos-bien-puestos/"><span style="font-family: "georgia" , "times new roman" , serif;">http://artezeta.com.ar/los-huevos-bien-puestos/</span></a>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/JwTYyY/Futbol%20-%20(2012)%20-%20La%20gallina.rar">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-88758711147802401342016-12-26T10:58:00.000-03:002016-12-26T10:58:24.501-03:00Esto lo estoy tocando mañana #31 - Big Satan (1997)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Big_Satan"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><strike><i><b>info</b></i></strike><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/big_satan/i_think_they_liked_it_honey/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Big-Satan-I-Think-They-Liked-It-Honey/release/407096" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">Some things, no matter how wild and lacking in discipline, just make sense. Big Satan’s sole album, <b>I Think They Liked It Honey</b>, is a perfect example of this. And before you get ahead of yourself, let’s establish what <b>Big Satan</b> is: modern saxophone genius <b>Tim Berne</b>, skronk-guitarist <b>Marc Ducret</b>, and drummer <b>Tom Rainey</b> (I ran out of superlatives, sorry.)<br /><br /><b>Big Satan</b> ply their trade in the kind of jazz that defies description and quickly divides listeners into those who like improvisatory jazz and those who don’t. Those who don’t are missing out. While improv-based music has gotten a bad rap due to artists who use it as a canvas for laying out their every lick and riff, the best transcend the pure-blowing nature to make music on a different level – free from the constraints of melody and structure, yet interacting in melodic and structured ways that constantly shift and twist. There’s a sense that these players are connecting mentally, as no one is left behind and no one surges ahead – changes are made as a group with no hesitation. The pure joy these players exhibit in their individual playing is obvious from the moment the first notes of “Bobby Raconte une Histoire” skitter out of your speakers.</span> (...)"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">Tom Johnson</span> - Review completa en <a href="http://blogcritics.org/big-satan-i-think-they-liked/"><span style="font-family: "georgia" , "times new roman" , serif;">http://blogcritics.org/big-satan-i-think-they-liked/</span></a>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/sUKhkj/Big%20Satan%20-%20(1997)%20-%20Big%20Satan%20%5Ba.k.a.%20I%20Think%20They%20Liked%20It%20Honey%5D.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com1tag:blogger.com,1999:blog-12598995.post-88225099680840277552016-09-12T11:04:00.001-03:002016-09-12T11:04:15.341-03:00Porque me siento rara vol.47 - Melvins<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Melvins"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.themelvins.net/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/artist/melvins" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/artist/87652-Melvins" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">This record is one of the heaviest, and most hate-filled records of all time. It came out during the heyday of "grunge" started, thanks to ex-Melvins roadie/worshipper <b>Kurt Cobain</b>. This is really not just, or at all, a "grunge" record. It's one of those heavy, but slow songs that makes the listener want to kill everything in sight. The closest band/s I would relate this to is <b>Black Sabbath</b>, or <b>Black Flag</b>, pretty much a mix between both of them. Which is exactly what the <b>Melvins</b> were looking for.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(Más en <a href="https://www.ultimate-guitar.com/reviews/compact_discs/melvins/houdini/index.html"><span style="font-family: "georgia" , "times new roman" , serif;">https://www.ultimate-guitar.com/reviews/compact_discs/melvins/houdini/index.html</span></a></span>)</div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/5AubjX/Melvins%20-%20(1993)%20-%20Houdini.rar">@VBR</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-38811006737950782372016-08-23T10:49:00.000-03:002016-08-23T10:50:03.596-03:00Esto lo estoy tocando mañana #30 - Ornette Coleman (1959)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/The_Shape_of_Jazz_to_Come"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.ornettecoleman.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/ornette_coleman/the_shape_of_jazz_to_come/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Ornette-Coleman-The-Shape-Of-Jazz-To-Come/master/47813" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">Coleman's recording career during the '50s was short, consisting of a mere three albums with Atlantic, but it only took one to make his career legendary. His second album was titled <b>The Question Is Tomorrow!</b> and the saxophonist anticipated titling his third set Focus on Sanity. That wasn't good enough for producer Nesuhi Ertegun, who heard the future in Coleman's off-the-wall improvisations, and he pushed the star to consider the title <b>The Sound of Jazz to Come</b>, a statement answering the "question" posed by the title of the previous work. It was a bold title, and one that proved true. The album created an uproar in the industry, with both critics and performers either praising or lambasting the release with no middle ground. Among the most vocal critics was <b>Miles Davis</b>, who had recently released his iconic <b>Kind of Blue</b> album. Yet Coleman's sound pushed the jazz scene in such a direction that Davis formed his second quintet to reflect the sound pioneered by Coleman and Davis' former trainee, <b>John Coltrane</b>.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(Complet<span style="font-family: "georgia" , "times new roman" , serif;">o en: <a href="http://www.musictimes.com/articles/40718/20150611/ornette-colemans-best-albums-decade-shape-of-jazz-to-come-free-jazz.htm">http://www.musictimes.com/articles/40718/20150611/ornette-colemans-best-albums-decade-shape-of-jazz-to-come-free-jazz.htm</a>)</span> </span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/8SNCHD/Ornette%20Coleman%20-%20(1959)%20-%20The%20Shape%20Of%20Jazz%20To%20Come.rar">@Flac</a></span></span><br />
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<br />Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-60474089155972657762016-08-07T15:18:00.002-03:002016-08-07T15:18:56.701-03:00Rescate emotivo vol.7 - Butthole Surfers (1993)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Butthole_Surfers"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.buttholesurfers.com/" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/album/butthole_surfers/independent_worm_saloon/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Butthole-Surfers-Independent-Worm-Saloon/release/584671" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">Having existed at the fringe of unaltered reality for quite some time, <b>Butthole Surfers</b> began their courtship of the supposed mainstream in 1993 with <i>Independent Worm Saloon</i>, mostly due to the groove-driven single "Who Was In My Room Last Night?". Independent Worm Saloon certainly qualifies for one of the most eclectic and varied descents into insanity to catch even the edge of mainstream. The combination of Gibby Haynes, who sounds like the hybrid bastard offspring of a pleasant lounge singer and a lawnmower, the psycho-delic guitar weavings of Paul Leary and the perfectly in place drumming of King Coffey results in a record that is often disturbing while being completely hummable and toe tapping at the same time. The inclusion of bizarre spoken word moments, such as the rather stomach wrenching bit of "Chewin' George Lucas' Chocolate", only furthers the insanity. </span>(...)"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Review c</span>ompleta en <a href="http://www.ssmt-reviews.com/artist/butthole.html">http://www.ssmt-reviews.com/artist/butthole.html</a></span>)</span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/BrG9dB/Butthole%20Surfers%20-%20(1993)%20-%20Independent%20Worm%20Saloon.rar">@Flac</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-9346096557989051532016-05-22T11:28:00.000-03:002019-06-30T13:41:22.535-03:00Porque me siento rara vol.46 - Bilateral Separation<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><strike><i><b><span style="color: white;">wiki</span></b></i></strike><span style="color: white;"><i><b>][</b></i></span><i><b>i<strike>nfo</strike></b></i><span style="color: white;"><i><b>][</b></i></span><a href="https://rateyourmusic.com/release/comp/various_artists_f2/bilateral_separation/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/Various-Bilateral-Separation/release/639074" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">A split channel compilation featuring different sound artists on the left and right channels to be played either alone or simultaneously. In other words, there are technically 20 tracks, not 10. The left most artist and title featured corresponds to the left channel and vice versa.</span>"</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(Descripción en Discogs</span>)</div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/z46jbZ/Bilateral%20Separation%20-%20(1996)%20-%20a%20split%20channel%20compilation%20%5BCassette%5D.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-87692481310326647642016-05-07T13:15:00.000-03:002016-05-07T13:15:15.405-03:00Esto lo estoy tocando mañana #29 - Prince (1987)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Prince_%28musician%29"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><a href="http://www.princevault.com/index.php?title=Main_Page" style="color: white;"><i><b>info</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="http://rateyourmusic.com/release/album/prince/sign_%E2%98%AE_the_times_f8/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="https://www.discogs.com/es/Prince-Sign-O-The-Times/release/7018304" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"<span style="font-family: "georgia" , "times new roman" , serif;">(...)<b><span style="font-family: "georgia" , "times new roman" , serif;"> </span></b></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-family: "georgia" , "times new roman" , serif;">Sign O’ The Times </span></b><span style="font-family: "georgia" , "times new roman" , serif;">(1987) es la obra maestra de Prince, y es doble. Como para que no queden dudas. Abarca un abanico estilístico tan enorme que es tan imposible de describir como de pronunciar lo fue su símbolo de los 90. Y en la música negra su peso especificó fue equivalente al de What’s Goin’ On de Marvin Gaye o Songs In The Key Of Life de Stevie Wonder, trabajos revolucionarios que impusieron nuevos órdenes y marcaron nuevos rumbos. En <b>Sign O’ The Times</b>, Prince se pone rockero, místico, sexy, mundano, literario e infantil en solo dos discos: traspasa su propio Rubicón a la velocidad del sonido.</span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span style="font-family: "georgia" , "times new roman" , serif;">F</span>ragmento <span style="font-family: "georgia" , "times new roman" , serif;">de "Nuestro amo juega al esclavo"</span>, de Sergio Marchi, completa en <a href="http://www.pagina12.com.ar/diario/suplementos/radar/subnotas/11461-2510-2016-05-07.html"><span style="font-family: "georgia" , "times new roman" , serif;">http://www.pagina12.com.ar/diario/suplementos/radar/subnotas/11461-2510-2016-05-07.html</span></a>) </span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/zczQXf/Prince%20-%20(1987)%20-%20Sign%20'O'%20The%20Times.rar">@Flac</a></span></span><br />
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"></span></span><br />Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-23693829397963191412016-02-10T17:38:00.002-03:002016-02-10T17:41:02.496-03:00El niño proletario (un cuento de Osvaldo Lamborghini)<br />
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<a href="https://2.bp.blogspot.com/-OKiMqc996qQ/VrufssSd9vI/AAAAAAAAAs4/XNDNpe5hG_c/s1600/O_Lamborghini.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-OKiMqc996qQ/VrufssSd9vI/AAAAAAAAAs4/XNDNpe5hG_c/s400/O_Lamborghini.jpg" width="302" /></a><span style="font-size: xx-small;"><span style="font-family: "lucida grande" , "tahoma" , "verdana" , "arial" , sans-serif;"><span style="font-size: x-small;">Desde que empieza a dar sus primeros pasos en la vida, el niño proletario sufre las consecuencias de pertenecer a la clase explotada. Nace en una pieza que se cae a pedazos, generalmente con una inmensa herencia alcohólica en la sangre. Mientras la autora de sus días lo echa al mundo, asistida por una curandera vieja y reviciosa, el padre, el autor, entre vómitos que apagan los gemidos lícitos de la parturienta, se emborracha con un vino más denso que la mugre de su miseria.<br /><br />Me congratulo por eso de no ser obrero, de no haber nacido en un hogar proletario.<br /><br />El padre borracho y siempre al borde de la desocupación, le pega a su niño con una cadena de pegar, y cuando le habla es sólo para inculcarle ideas asesinas. Desde niño el niño proletario trabaja, saltando de tranvía en tranvía para vender sus periódicos. En la escuela, que nunca termina, es diariamente humillado por sus compañeros ricos. En su hogar, ese antro repulsivo, asiste a la prostitución de su madre, que se deja trincar por los comerciantes del barrio para conservar el fiado.<br /><br />En mi escuela teníamos a uno, a un niño proletario.<br /><br />Stroppani era su nombre, pero la maestra de inferior se lo había cambiado por el de ¡Estropeado! A rodillazos llevaba a la Dirección a ¡Estropeado! cada vez que, filtrado por el hambre, ¡Estropeado! no acertaba a entender sus explicaciones. Nosotros nos divertíamos en grande.<br /><br />Evidentemente, la sociedad burguesa, se complace en torturar al niño proletario, esa baba, esa larva criada en medio de la idiotez y del terror.<br /><br />Con el correr de los años el niño proletario se convierte en hombre proletario y vale menos que una cosa. Contrae sífilis y, enseguida que la contrae, siente el irresistible impulso de casarse para perpetuar la enfermedad a través de las generaciones. Como la única herencia que puede dejar es la de sus chancros jamás se abstiene de dejarla. Hace cuantas veces puede la bestia de dos espaldas con su esposa ilícita, y así, gracias a una alquimia que aún no puedo llegar a entender (o que tal vez nunca llegaré a entender), su semen se convierte en venéreos niños proletarios. De esa manera se cierra el círculo, exasperadamente se completa.<br /><br />¡Estropeado!, con su pantaloncito sostenido por un solo tirador de trapo y los periódicos bajo el brazo, venía sin vernos caminando hacia nosotros, tres niños burgueses: Esteban, Gustavo, yo.<br /><br />La execración de los obreros también nosotros la llevamos en la sangre.<br /><br />Gustavo adelantó la rueda de su bicicleta azul y así ocupó toda la vereda. ¡Estropeado! hubo de parar y nos miró con ojos azorados, inquiriendo con la mirada a qué nueva humillación debía someterse. Nosotros tampoco lo sabíamos aún pero empezamos por incendiarle los periódicos y arrancarle las monedas ganadas del fondo destrozado de sus bolsillos. ¡Estropeado! nos miraba inquiriendo con la cara blanca de terror o por ese color blanco de terror en las caras odiadas, en las fachas obreras más odiadas, por verlo aparecer sin desaparición nosotros hubiéramos donado nuestros palacios multicolores, la atmósfera que nos envolvía de dorado color.<br /><br />A empujones y patadas zambullimos a ¡Estropeado! en el fondo de una zanja de agua escasa. Chapoteaba de bruces ahí, con la cara manchada de barro, y nuestro delirio iba en aumento. La cara de Gustavo aparecía contraída por un espasmo de agónico placer. Esteban alcanzó un pedazo cortante de vidrio triangular. Los tres nos zambullimos en la zanja. Gustavo, con el brazo que le terminaba en un vidrio triangular en alto, se aproximó a ¡Estropeado!, y lo miró. Yo me aferraba a mis testículos por miedo a mi propio placer, temeroso de mi propio ululante, agónico placer. Gustavo le tajeó la cara al niño proletario de arriba hacia abajo y después ahondó lateralmente los labios de la herida. Esteban y yo ululábamos. Gustavo se sostenía el brazo del vidrio con la otra mano para aumentar la fuerza de la incisión.<br /><br />No desfallecer, Gustavo, no desfallecer.<br /><br />Nosotros quisiéramos morir así, cuando el goce y la venganza se penetran y llegan a su culminación.<br /><br />Porque el goce llama al goce, llama a la venganza, llama a la culminación.<br /><br />Porque Gustavo parecía, al sol, exhibir una espada espejeante con destellos que también a nosotros venían a herirnos en los ojos y en los órganos del goce.<br /><br />Porque el goce ya estaba decretado ahí, por decreto, en ese pantaloncito sostenido por un solo tirador de trapo gris, mugriento y desflecado.<br /><br />Esteban se lo arrancó y quedaron al aire las nalgas sin calzoncillos, amargamente desnutridas del niño proletario. El goce estaba ahí, ya decretado, y Esteban, Esteban de un solo manotazo, arrancó el sucio tirador. Pero fue Gustavo quien se le echó encima primero, el primero que arremetió contra el cuerpiño de ¡Estropeado!, Gustavo, quien nos lideraría luego en la edad madura, todos estos años de fracasada, estropeada pasión: el primero, clavó primero el vidrio triangular donde empezaba la raya del trasero de ¡Estropeado! y prolongó el tajo natural. Salió la sangre esparcida hacia arriba y hacia abajo, iluminada por el sol, y el agujero del ano quedó húmedo sin esfuerzo como para facilitar el acto que preparábamos. Y fue Gustavo, Gustavo el que lo traspasó primero con su falo, enorme para su edad, demasiado filoso para el amor.<br /><br />Esteban y yo nos conteníamos ásperamente, con las gargantas bloqueadas por un silencio de ansiedad, desesperación. Esteban y yo. Con los falos enardecidos en las manos esperábamos y esperábamos, mientras Gustavo daba brincos que taladraban a ¡Estropeado! y ¡Estropeado! no podía gritar, ni siquiera gritar, porque su boca era firmemente hundida en el barro por la mano fuerte militari de Gustavo.<br /><br />A Esteban se le contrajo el estómago a raíz de la ansiedad y luego de la arcada desalojó algo del estómago, algo que cayó a mis pies. Era un espléndido conjunto de objetos brillantes, ricamente ornamentados, espejeantes al sol. Me agaché, lo incorporé a mi estómago, y Esteban entendió mi hermanación. Se arrojó a mis brazos y yo me bajé los pantalones. Por el ano desocupé. Desalojé una masa luminosa que enceguecía con el sol. Esteban la comió y a sus brazos hermanados me arrojé.<br /><br />Mientras tanto ¡Estropeado! se ahogaba en el barro, con su ano opaco rasgado por el falo de Gustavo, quien por fin tuvo su goce con un alarido. La inocencia del justiciero placer.<br /><br />Esteban y yo nos precipitamos sobre el inmundo cuerpo abandonado. Esteban le enterró el falo, recóndito, fecal, y yo le horadé un pie con un punzón a través de la suela de soga de alpargata. Pero no me contentaba tristemente con eso. Le corté uno a uno los dedos mugrientos de los pies, malolientes de los pies, que ya de nada irían a servirle. Nunca más correteos, correteos y saltos de tranvía en tranvía, tranvías amarillos.<br /><br />Promediaba mi turno pero yo no quería penetrarlo por el ano.<br /><br />-Yo quiero succión -crují.<br /><br />Esteban se afanaba en los últimos jadeos. Yo esperaba que Esteban terminara, que la cara de ¡Estropeado! se desuniera del barro para que ¡Estropeado! me lamiera el falo, pero debía entretener la espera, armarme en la tardanza. Entonces todas las cosas que le hice, en la tarde de sol menguante, azul, con el punzón. Le abrí un canal de doble labio en la pierna izquierda hasta que el hueso despreciable y atorrante quedó al desnudo. Era un hueso blanco como todos los demás, pero sus huesos no eran huesos semejantes. Le rebané la mano y vi otro hueso, crispados los nódulos-falanges aferrados, clavados en el barro, mientras Esteban agonizaba a punto de gozar. Con mi corbata roja hice un ensayo en el cuello del niño proletario. Cuatro tirones rápidos, dolorosos, sin todavía el prístino argénteo fin de muerte. Todavía escabullirse literalmente en la tardanza.<br /><br />Gustavo pedía a gritos por su parte un fino pañuelo de batista. Quería limpiarse la arremolinada materia fecal conque ¡Estropeado! le ensuciara la punta rósea hiriente de su falo. Parece que ¡Estropeado! se cagó. Era enorme y agresivo entre paréntesis el falo de Gustavo. Con entera independencia y solo se movía, así, y así, cabezadas y embestidas. Tensaba para colmo los labios delgados de su boca como si ya mismo y sin tardanza fuera a aullar. Y el sol se ponía, el sol que se ponía, ponía. Nos iluminaban los últimos rayos en la rompiente tarde azul. Cada cosa que se rompe y adentro que se rompe y afuera que se rompe, adentro y afuera, adentro y afuera, entra y sale que se rompe, lívido Gustavo miraba el sol que se moría y reclamaba aquel pañuelo de batista, bordado y maternal. Yo le di para calmarlo mi pañuelo de batista donde el rostro de mi madre augusta estaba bordado, rodeado por una esplendente aureola como de fingidos rayos, en tanto que tantas veces sequé mis lágrimas en ese mismo pañuelo, y sobre él volqué, años después, mi primera y trémula eyaculación.<br /><br />Porque la venganza llama al goce y el goce a la venganza pero no en cualquier vagina y es preferible que en ninguna. Con mi pañuelo de batista en la mano Gustavo se limpió su punta agresiva y así me lo devolvió rojo sangre y marrón. Mi lengua lo limpió en un segundo, hasta devolverle al paño la cara augusta, el retrato con un collar de perlas en el cuello, eh. Con un collar en el cuello. Justo ahí.<br /><br />Descansaba Esteban mirando el aire después de gozar y era mi turno. Yo me acerqué a la forma de ¡Estropeado! medio sepultada en el barro y la di vuelta con el pie. En la cara brillaba el tajo obra del vidrio triangular. El ombligo de raquítico lucía lívido azulado. Tenía los brazos y las piernas encogidos, como si ahora y todavía, después de la derrota, intentara protegerse del asalto. Reflejo que no pudo tener en su momento condenado por la clase. Con el punzón le alargué el ombligo de otro tajo. Manó la sangre entre los dedos de sus manos. En el estilo más feroz el punzón le vació los ojos con dos y sólo dos golpes exactos. Me felicitó Gustavo y Esteban abandonó el gesto de contemplar el vidrio esférico del sol para felicitar. Me agaché. Conecté el falo a la boca respirante de ¡Estropeado! Con los cinco dedos de la mano imité la forma de la fusta. A fustazos le arranqué tiras de la piel de la cara a ¡Estropeado! y le impartí la parca orden:<br /><br />-Habrás de lamerlo. Succión-<br /><br />¡Estropeado! se puso a lamerlo. Con escasas fuerzas, como si temiera hacerme daño, aumentándome el placer.<br /><br />A otra cosa. La verdad nunca una muerte logró afectarme. Los que dije querer y que murieron, y si es que alguna vez lo dije, incluso camaradas, al irse me regalaron un claro sentimiento de liberación. Era un espacio en blanco aquel que se extendía para mí crujir.<br /><br />Era un espacio en blanco.<br /><br />Era un espacio en blanco.<br /><br />Era un espacio en blanco.<br /><br />Pero también vendrá por mí. Mi muerte será otro parto solitario del que ni sé siquiera si conservo memoria.<br /><br />Desde la torre fría y de vidrio. Desde donde he contemplado después el trabajo de los jornaleros tendiendo las vías del nuevo ferrocarril. Desde la torre erigida como si yo alguna vez pudiera estar erecto. Los cuerpos se aplanaban con paciencia sobre las labores de encargo. La muerte plana, aplanada, que me dejaba vacío y crispado. Yo soy aquel que ayer nomás decía y eso es lo que digo. La exasperación no me abandonó nunca y mi estilo lo confirma letra por letra.<br /><br />Desde este ángulo de agonía la muerte de un niño proletario es un hecho perfectamente lógico y natural. Es un hecho perfecto.<br /><br />Los despojos de ¡Estropeado! ya no daban para más. Mi mano los palpaba mientras él me lamía el falo. Con los ojos entrecerrados y a punto de gozar yo comprobaba, con una sola recorrida de mi mano, que todo estaba herido ya con exhaustiva precisión. Se ocultaba el sol, le negaba sus rayos a todo un hemisferio y la tarde moría. Descargué mi puño martillo sobre la cabeza achatada de animal de ¡Estropeado!: él me lamía el falo. Impacientes Gustavo y Esteban querían que aquello culminara para de una buena vez por todas: Ejecutar el acto. Empuñé mechones del pelo de ¡Estropeado! y le sacudí la cabeza para acelerar el goce. No podía salir de ahí para entrar al otro acto. Le metí en la boca el punzón para sentir el frío del metal junto a la punta del falo. Hasta que de puro estremecimiento pude gozar. Entonces dejé que se posara sobre el barro la cabeza achatada de animal.<br /><br />-Ahora hay que ahorcarlo rápido -dijo Gustavo.<br /><br />-Con un alambre -dijo Esteban en la calle de tierra donde empieza el barrio precario de los desocupados.<br /><br />-Y adiós Stroppani ¡vamos! -dije yo.<br /><br />Remontamos el cuerpo flojo del niño proletario hasta el lugar indicado. Nos proveímos de un alambre. Gustavo lo ahorcó bajo la luna, joyesca, tirando de los extremos del alambre. La lengua quedó colgante de la boca como en todo caso de estrangulación.</span><br /><br />[De "Sebregondi retrocede", publicado en 1973 © herederos de Osvaldo Lamborghini]</span></span><br />
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Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-26005843731988595922016-01-10T18:14:00.000-03:002016-01-10T18:14:24.269-03:00Esto lo estoy tocando mañana #28 - Abraxasaxophonic (2000)<div class="separator" style="clear: both; text-align: center;">
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<i><strike>wiki</strike><span style="color: white; font-weight: bold;">][</span><strike>web</strike><span style="color: white; font-weight: bold;">][</span><a href="http://rateyourmusic.com/release/album/abraxasaxophonic/smooth_jazz_vagina/" style="color: white; font-weight: bold;">rtyrmsc</a><span style="color: white; font-weight: bold;">][</span><a href="http://www.discogs.com/Abraxasaxophonic-Arrington-De-Dionyso-Smooth-Jazz-Vagina/release/4433579" style="color: white; font-weight: bold;">dscgs</a></i> <br />
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<b>Smooth Jazz Vagina</b> is the first and last album by <b>Abraxasaxophonic</b>. It was the not-so-secret identity of saxophonist <b>Arrington De Dionyso</b> of <b>Old Time Relijun</b>, where he plays distorted sax over a very loud smooth jazz radio station. Songs #1-2 are the original release, songs #3-7 are bonus tracks. This was released on the N.G.W.T.T. ("Nothing Gets Worse Than This") label.<br />
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #b6d7a8;"><a href="https://www.adrive.com/public/MkG4vp/Abraxasaxophonic%20-%20(2000)%20-%20Smooth%20Jazz%20Vagina.rar">Mp3@320</a></span></span><br />
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0tag:blogger.com,1999:blog-12598995.post-15896836043475258422015-12-31T12:30:00.001-03:002015-12-31T12:36:17.919-03:00Rescate emotivo vol.6 - Molly Drake (2013)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: white;"><i><b><a href="https://en.wikipedia.org/wiki/Molly_Drake"><span style="color: white;">wiki</span></a></b></i><span style="color: white;"><i><b>][</b></i></span><strike><i><b>info</b></i></strike><span style="color: white;"><i><b>][</b></i></span><a href="http://rateyourmusic.com/release/album/molly_drake/molly_drake/" style="color: white;"><i><b>rtyrmsc</b></i></a><span style="color: white;"><i><b>][</b></i></span><a href="http://www.discogs.com/Molly-Drake-Molly-Drake/release/7236918" style="color: white;"><i><b>dscgs</b></i></a> </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">"(...)<span style="color: #005000;"> </span>This collection of home-recorded songs by <b>Molly Drake</b>, 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 <b>Nick Drake</b> 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. (...)"</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">(Fred Thomas - Review completa en <a href="http://www.allmusic.com/album/molly-drake-mw0002505189">http://www.allmusic.com/album/molly-drake-mw0002505189</a>)</span></div>
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</span></span>Marcelo Brigatohttp://www.blogger.com/profile/03988812337139351344noreply@blogger.com0