Mostrando postagens com marcador art-rock. Mostrar todas as postagens
Mostrando postagens com marcador art-rock. Mostrar todas as postagens

terça-feira, 13 de janeiro de 2009

X



X - "LOS ANGELES" (1980)

Sensacional disco de estréia desta lenda do art-punk, o grande X, grupo nascido influenciado pelo furor da cena punk de Nova York da segunda metade dos 70. Chefiada pelo bizarro casal de vocalistas Exene Cervenka & John Doe e pelo guitarrista Billy Zoom, mestre nos licks de rockabilly tocados em velocidade punky e volume ensurdecedor, o X nos presenteou com um espetáculo de raw power com este "Los Angeles", um dos grandes debuts de uma banda punk americana em toda a história do estilo. Os caras tiveram a honra de ter o tecladista do Doors, Ray Manzareck, comandando a produção desse álbum, no qual o grupo de Jim Morrison é homenageado com uma cover quase hardcore de "Soul Kitchen". (Conta a lenda que Ray se interessou pela banda ao ler uma matéria de jornal que tinha como manchete essa ótima descrição pro X: "IT SOUNDS LIKE MURDER.") Passamos a palavra a um tal de BillyZoom, usuário do RateYourMusic, que escreveu uma ótima resenha do disco, da qual selecionamos alguns trechos notáveis:

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"...the lyrics are vague and poetic, in stark contrast to the then simmering L.A. hardcore scene filled with bands who did nothing more then rant and rage. The music is tight and furious, the playing spot on and clean, all elements balanced and equal. (...) Something you may not think of as punk until albums like this and The Clash's "London Calling", to name just a couple, came along and began to change what punk was and what it could be by using punk itself to break down musical barriers and musical stereotypes. Only unlike The Clash who "experimented" with music and were influenced by funk, jazz, reggae, etc... X simply came to the table raw and spit it out. Which makes for a very spontaneous musical experience, to say the least.

Not that this is eclectic stuff or arty by any stretch of the imagination. The straight forward and literal title cut is no less then a raging slab of punk rock anger that rants at everything from jews to blacks to mexicans to gays from the perspective of a young woman fed up and out of luck in the City Of Angels. And the hard hitting "The Unheard Music" sounds like either a heavy metal dirge or a long lost Doors tune depending on who you ask.

(...) This is all great stuff, as the songwriting is keen, musicianship sharp and precise, and certainly it's performed with the verve and attitude required. (...) "...very much the X of past, present, and future at this early stage with its perfectly intertwined harmonies, rockabilly inspired guitar, steady beat, and fast and furious pace.

Wrap it all up and you get not just a punk rock classic for the ages, but also a fairly standard rock n roll album that perhaps even a child of the '60's can embrace. Punk rock for the "classic rock" enthusiast? Maybe? Or maybe simply good, rebellious rock n roll waiting for a tired and stale mainstream to catch up. Whatever you call it its undeniably vital, undeniably intense, and undeniably, earth shakingly powerful. And with this group that would continue to be the case for three more classic albums and beyond, as you can catch this band perform even today, better then ever. (...) X's Los Angeles is a classic album of rock n roll inspiration for all the right reasons and none of the wrong ones. Dedicated, hard, committed, and performed with great heart, it was simply the first shot fired from one of rocks great bands of the last 25 years. Their best shot? Maybe not. But as with many great battles won and lost, even punk rock battles, X proves with this album its often the first shot that matters most."

DOWNLOAD (MP3 de 256kps - 67MB):
http://www.mediafire.com/?vyucdj2xmmz


quinta-feira, 4 de dezembro de 2008

:: John Zorn ::


Zorn(oise)
- por Marco Souza -

A primeira vez que fiquei chocado ao ouvir um disco foi quando comprei (promoção de 3 CDs por 10 reais!) o CD do Mr. Bungle, Disco Volante. Final de 90. Esquisitice das boas, mas na época achei apenas esquisito. Uma mistureba de estilos sonoros e a doidera vocálica de Mike Patton (ex-Faith No More). Há algumas semanas atrás o Mr. Patton e o baixista Trevor Dunn, resquícios de Mr. Bungle, me chocam de novo, mas dessa vez em um grupo comandado por John Zorn.

O grupo em questão é Moonchild (Patton, Dunn e Joey Baron na bateria), até ai tudo bem, um som sujo, hardcore (mais no significado da palavra do que no estilo musical), denso, pesado, como vocês podem conferir no myspace da banda. Baixo distorcido, bateria quebrada e vocal... bem, pra dizer tudo: Mike Patton. O mesmo grupo do álbum Astronome. Ambos tem como compositor John Zorn.

Em Six Litanies to Heliogabalus a coisa chega num grau diferente. Zorn pega seu sax alto, se junta a Moonchild, chama Ikue Mori, compositora e performer de sons eletrônicos, e Jamie Saft, tecladista que já tocou com Beastie Boys, B-52's, além de outros que desconheço, mistura com um trio de vocal lírico composto por Abby Fischer, Martha Cluver, Kirsten Soller (de quem não consegui foto) e resolve compor coisas absurdas.

O resultado é uma barulhenta loucura sonora, uma banda de grindcore tentado jazz em um hospício. Suas ladainhas são o extremo do experimentalismo atual. Há faixas que fogem do rótulo de música, Litany IV por exemplo é um gigante solo (no sentido musical e solitário da palavra) de vocal de Mike Patton, algo que se eu for explicar através de palavras ficaria assim: "TÁ tuctaqdoqtada TÁ tuctaqdoqtada Tá tá schá AAAhhhhhhhhhhhhhhh". No meio disso existem riffs interessantes, mas tudo que foge à menor lembrança em meio a complexidade e textura sonora geral. Litany V parece que terá um padrão quando o vocal lírico a interrrompe e o Sax estridente já desestrutura o padrão musical que montavamos em nossas cabeças. O excelente começo de Litany I parece um dos mais pesados e violentos trash metal existentes, e se completa pela calma induzida pelo vocal lírico, que acaba massacrado pelo baixo monstruoso de Dunn e os teclados de Saft. A maior parte do álbum é assim, algazarras alternadas com pausas e insanidades.

Orações para o Imperador Romano (ou o deus?) Heliogabalos é o conceito do álbum. Há um tom profano e de ironia no som, mesclando a pureza e aura sacral do coro lírico com a frieza dos instrumentos metálicos/eletrônicos e a gritaria sarcástica de Patton.

Six Litanies to Heliogabalus é uma experiência sonora de difícil assimilação. A primeira vez que ouvi achei genial, a segunda não aguentei dois minutos, ouvi pela terceira vez e resolvi apresentar aqui pois sei de pessoas que irão adorar o álbum. A maioria irá odiar.

Recomendado para fãs incondicionais de Mike Patton, pessoas que procuram os sons mais pesados e/ou experimentais possíveis e para aqueles que queiram se chocar. Típico som que dá medo de escutar sozinho.

Download (6 músicas - 68 MB)

quarta-feira, 30 de janeiro de 2008

:: Joan ::



:: JOAN AS A POLICE WOMAN, "Real Life" (2006)

Com a palavra, a própria Joan Wasser:

[1] - "I've called it Punk Rock R&B but American Soul Music is better, I feel like my music is the melding of the two styles I love most - Soul, that whole encompassing Al Green, Nina Simone and Isaac Hayes, and then all the stuff that came from Punk like The Smiths, the Grifters and Siouxsie Sioux..."

[2] - "...rock moved very easily into punk for me. I loved X, the Stooges, the Minutemen. In town there was an all-ages punk rock club, The Anthrax: thank god for this club! It changed my life." Here Joan witnessed the likes of Sonic Youth, Black Flag and Bad Brains, "who all blew my mind".

[3] - "Because I don't have to deal with basic everyday survival, like killing for food and not freezing to death my music is about [laughs] love and loss. Beyond that, it's about finding a way to be truthful with myself, after a really long time running away from myself. From becoming an adult, facing fears without fear, or with fear but being fine with it. To trust yourself enough to admit how you're feeling, which takes a lot of patience. This record is about learning to be real. Real clear."


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"Joan as Police Woman, like Blondie, is a band-- also featuring the sterling Ben Perowsky and Rainy Orteca-- but, as with the inspirational Angie Dickinson, it's essentially a one-woman show. Wasser has a distinguished résumé: a teenage punk and Mahler freak, she trained as a classical musician, played Hendrixian five-string violin in early 90s Bostonians The Dambuilders, and has performed and arranged in both Antony's Johnsons and Rufus Wainwright's band.

Wasser was also Jeff Buckley's partner from 1994 up to his death, and though it's undoubtedly creepy to speculate about someone's private grief, this loss feels key to her subsequent development. Although she'd contributed to songs in the Dambuilders, it was only really in the wake of Buckley's death-- first performing alongside his band as Black Beetle, then on her own-- that she purposefully began songwriting.

You wouldn't have to know the biography to detect connections. This isn't to imply some simplistic one-way influence, but rather to suggest a more mysterious musical affinity. (...)Emerging from grief, stepping into the light, Real Life feels like a wonderfully fresh start."

Da PITCHFORK.

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DOWNLOAD (mp3 de 160 kps - 43 MB):
http://www.mediafire.com/?azbkgek5zpj