Porque me siento rara vol.55 / Esto lo estoy tocando mañana #36 - Peter Hammill (1978)

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"The Future Now 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. (...)"

(AllMusic - https://www.allmusic.com/album/the-future-now-mw0000199085)

 

Peter Hammill's notes - https://www.sofasound.com/phcds/tfncd.htm

@Flac

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/)

@Flac

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)

Mp3@320

Porque me siento rara vol.51 - Gesellschaft Zur Emanzipation Des Samples

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"(...)

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“?

‘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?

 (...)"

(Complete review in https://ultimae.com/product/gesellschaft-zur-emanzipation-des-samples-circulations-faitiche-cd/)

Mp3@320

Porque me siento rara vol.50 / Rescate emotivo vol.9 - Teenage Jesus & the Jerks

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"- 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. (...)

What’s your favorite criminal act?
 
- My existence.actually."

(Complete interview in "Teenage Jesus and The Jerks: Nothing Could Possibly Disgust Me")

@Flac

Porque me siento rara vol.49 - Smog

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"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.
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."

(Complete in "Bill Callahan – Album By Album")

Mp3@192

Porque me siento rara vol.48 - Alva Noto

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"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.

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.

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.

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?

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."

Mp3@320

Porque me siento rara vol.47 - Melvins

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"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 Kurt Cobain. 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 Black Sabbath, or Black Flag, pretty much a mix between both of them. Which is exactly what the Melvins were looking for."

(Más en https://www.ultimate-guitar.com/reviews/compact_discs/melvins/houdini/index.html)

@VBR

Porque me siento rara vol.46 - Bilateral Separation

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"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."

(Descripción en Discogs)

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Porque me siento rara vol.45 - Sonic Youth

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"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)

@Flac

Porque me siento rara vol.44 - Kink Gong

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(...)For Voices, Laurent based his alternate re-versions around the extensive voice recordings he made on location in the southern regions of Yunnan and Guizhou in China as well as in Sapa, North Vietnam and Phongsaly, Northern Laos. 
The compositions contain unedited acoustic recordings, computer modified parts, sound collages and acoustic recordings of people and instruments. All tracks were recorded on location and re-arranged by Laurent Jeanneau in Dali, China.
(...)

(Completo en http://www.discrepant.net/products/536514-kink-gong-voices)

Mp3@320

Porque me siento rara vol.43 - J. Spaceman / Sun City Girls

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(...)The soundtrack for Mister Lonely is deceptively minimal -- a guitar or piano line that blinks past repetition and blushes into something grander; a motif reappearing under new auspices; link pieces that become spotlight moments, densely worked-out, stars in their own right.(...)

(Completo en http://www.suncitygirls.com/discography/MisterLonely.php)

Mp3@320

Porque me siento rara vol.42 - Wolfgang Voigt

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(...)The 11 tracks follow a strict conceptual policy of sampling only the voice of 20th century literary giant Franz Kafka, hence the title. As with more recent Voigt productions, the inclusion of a beat isn't intended for the dance floor, although a more adventurous DJ would have a ball with this, but more so as the hypnotic glue that holds together his avant-garde tendencies.
(...)

(Completo en http://exclaim.ca/Reviews/DanceAndElectronic/wolfgang_voigt-kafkatrax)

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Porque me siento rara vol.41 - Nailbomb

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Entre el genial Chaos AD de 1993 y el tribal Roots del 96, Max Cavalera consiguió un lugar en su apretada agenda para editar (junto a su colega Alex Newport) el inspirado proyecto que hoy nos convoca, Nailbomb, cuyo único pero imperdible disco de estudio se titula Point Blank. Las influencias de cada uno de sus integrantes (o sea el thrash de Sepultura y el post hardcore / sludge metal de Fundge Tunnel) más el uso de samplers y el tratamiento marcadamente industrial de guitarras y batería arrojaron como resultado un volcánico y demoledor disco de groove metal industrial.
(...)

(Completo en http://www.elportaldelmetal.com/critica/nailbomb-point-blank)

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Porque me siento rara vol.40 - Dios

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Por los siglos de los siglos

Amén

Tuve mi primer dinero cuando trabajé

antes los reyes magos, papá noel o mis abuelos me regalaban monedas

ahora trabajo duro día y noche para procurar dinero

pongo la ficha y un subte lleno de gente decente me lleva

de noche duermo tranquilo porque mi casa es segura

y en el barrio levanto orgulloso la cabeza porque no le debo nada a nadie

con mi visión comercial tengo el futuro asegurado

voy a llegar bien alto

con el tiempo envejeceré 

y seré un viejo baboso, separado

entre levante y levante voy a quedar seco

sin remedio

apoyado en la barra de un bar de avenida de mayo

día tras día 

la barba canosa y los pelos desparramados

terminaré en un umbral mugriento de chacabuco y méxico

mirando la luna correr a través del frasco de benvenutto

y una mañana fría y seca

me encontrarán seco y duro

con los ojos abiertos

me llevarán no sé adónde

y me pondrán con más cuerpos muertos

nunca desafían las costrumbres

nunca enderezan su espalda

nunca desafían las costrumbres

nunca enderezan su espalda

la información causa de todo

los virus seducen la sangre

la información causa de todo

los virus seducen la sangre

la información

los virus

Los campesinos

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Porque me siento rara vol.39 - Satan Is Real

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Songs of Death, Destruction and the Devil.

On Friday and Saturday nights across America the devil is gaining demonic control over thousands of teenage lives. It is possible that any person who has danced for substantial lenghts of time to rock and roll music may have come under the oppressive, obsessive, or possessive influence of demons. Knowing this, churches and clergymen need to shed their cloak of compromise and firmly denounce rock and roll dances. Dancing is no longer an artistic form of expression (if it ever was) but a subtle instrument of Satan to morally and spiritually destroy youth.

Bob Larson

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Porque me siento rara vol.38 - Organum

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This was the first ever appearance of the name ‘Organum’. Black & white cover with an ‘X’ motif over scratched monoprint background. The word ‘Organum’ appears on the cassette spine. Track titles appear on the inside of the cover. The cassette is a standard Sony CHF C30 cassette tape with a small yellow, round label with the number n/100 on the bottom left of side A, where n is a number between 1 and 9. Originally 100 were intended, but the project only got as far as number 9. Just one copy was sold. Copy numbers 1 and 9 were used as the basis of Kanroku (see entry 1:11). The sounds were derived from 6 linked square-wave oscillators custommade by David Jackman. All sounds by David Jackman. The tapes were recorded on a stereo cassette deck and monitored using headphones.

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Porque me siento rara vol.37 - Bill Orcutt

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(...)

Twenty years later, Bill Orcutt still only plays four strings, but now they are attached to a vintage acoustic Kay that has withstood enough damage and repair that it requires custom tuning to stay in one piece. Sometimes clanging and ominous, other times mournful and slight, strangely alienating, but simultaneously vulnerable and cathartic, his music is compared with equal frequency to avant-garde composers and rural bluesman.

(...)

(Complete on http://frontporchproductions.org/artist/billorcutt)

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Link Fixed

Porque me siento rara vol.36 - Mueran Humanos

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En China los niños vivimos en cuevas

En China los edificios están dados vuelta

En China el mar tiene huesos

Y los aviones son todos negros

En China los que duermen van caminando

Y los despiertos están enterrados

En China se esconden muchos caballos

Y la luna es un cuadro

En China las flores son invisibles

Y los árboles de gusanos

En China las piedras viven en casas

Y los dientes en chino son clavos

Y en los jardines

de China

florecen

Balas

Leones en China (fragmento)

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