Rescate emotivo vol.10 - Los Pillos

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"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 Siouxsie & The Banshees. 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 Fabulosos Cadillacs que aún no eran mainstream, fueron presentados por Vicentico como “El mejor grupo del mundo”. Señoras y señores, con ustedes, Los Pillos (Adrián Yanzón en voz, Martín Aloe en bajo, Alejandro Fiori en guitarra y Pablo Esau en batería) y su leyenda."


(Nota completa en https://losinrocks.com/antolog%C3%ADa-1985-1988-de-los-pillos-82d1c84115e4)

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Porque me siento rara vol.54 - Pelican

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"(...)
 
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. 

(...)"

(Complete on https://www.sputnikmusic.com/review/25105/Pelican-Pelican/)

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Porque me siento rara vol.53 - Loren Mazzacane Connors

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Guitarras temblorosas y llenas de aire, llorando canciones tristes en piezas oscuras, para acunar niños negros muertos.

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Porque me siento rara vol.52 - The Music Improvisation Company

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"(...)

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.”

 (...)"

(Complete review in http://www.kurrentmusic.com/blogviewer.html?blog-guid=3bc9144a-e04d-48c1-84fb-e266cfee4aef)

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Esto lo estoy tocando mañana #34 - Free Nelson MandoomJazz (2014)

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"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.).

(...)

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."

(All About Jazz - https://www.allaboutjazz.com/the-shape-of-doomjazz-to-come-saxophone-giganticus-free-nelson-mandoomjazz-rarenoiserecords-review-by-chris-m-slawecki.php)

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