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)

CD@Flac
DVD@Mp4
@rt
 

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.

Mp3@320

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

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)

@Flac

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

Esto lo estoy tocando mañana #33 - G.L. Unit (1970)

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"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.

This makes John Coltrane's ”Ascension” sound like a hummable little ditty.

This is TNT.

”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.

I save words like 'masterpiece' for albums like this."

(The Swedish Progg Blog - http://swedishprogg.blogspot.com/2018/08/gl-unit-orangutang-odeon-1969.html)

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

Esto lo estoy tocando mañana #32 - Roscoe Mitchell Sextet (1966)

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"Sound, Roscoe Mitchell'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 AACM community appeared on record; it also showcased the early chemistry between future Art Ensemble of Chicago members Mitchell, Lester Bowie, and Malachi Favors. 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. (...)"

(AllMusic - Review completa en https://www.allmusic.com/album/sound-mw0000613368)

Mp3@256

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

Rescate emotivo vol.8 - Futbol (2011/13)

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"(...)
Al contrario de los trabajos anteriores de la agrupación, en La gallina no hay piezas instrumentales. Todas cuentan con la pluma y la voz del baterista Santiago Douton. 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.
(...)"

(Emmanuel Patrone - Review completa en http://artezeta.com.ar/los-huevos-bien-puestos/)

@Flac

Esto lo estoy tocando mañana #31 - Big Satan (1997)

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"Some things, no matter how wild and lacking in discipline, just make sense. Big Satan’s sole album, I Think They Liked It Honey, is a perfect example of this. And before you get ahead of yourself, let’s establish what Big Satan is: modern saxophone genius Tim Berne, skronk-guitarist Marc Ducret, and drummer Tom Rainey (I ran out of superlatives, sorry.)

Big Satan 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. (...)"

(Tom Johnson - Review completa en http://blogcritics.org/big-satan-i-think-they-liked/)

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

Esto lo estoy tocando mañana #30 - Ornette Coleman (1959)

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"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 The Question Is Tomorrow! 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 The Sound of Jazz to Come, 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 Miles Davis, who had recently released his iconic Kind of Blue 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, John Coltrane."

(Completo en: http://www.musictimes.com/articles/40718/20150611/ornette-colemans-best-albums-decade-shape-of-jazz-to-come-free-jazz.htm)

@Flac

Rescate emotivo vol.7 - Butthole Surfers (1993)

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"Having existed at the fringe of unaltered reality for quite some time, Butthole Surfers began their courtship of the supposed mainstream in 1993 with Independent Worm Saloon, 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. (...)"

(Review completa en http://www.ssmt-reviews.com/artist/butthole.html)

@Flac

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)

Mp3@320

Esto lo estoy tocando mañana #29 - Prince (1987)

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"(...) 
Sign O’ The Times (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 Sign O’ The Times, Prince se pone rockero, místico, sexy, mundano, literario e infantil en solo dos discos: traspasa su propio Rubicón a la velocidad del sonido.
(...)"

(Fragmento de "Nuestro amo juega al esclavo", de Sergio Marchi, completa en http://www.pagina12.com.ar/diario/suplementos/radar/subnotas/11461-2510-2016-05-07.html)

@Flac