.Top 5 discs o' 2008.

Bueno chicos, por iniciativa de alex de chasm-filler (visítenlos! - es tremendísimo blog) decidimos hacer nuestras listitas de fin de año. Nos fuimos directo a nuestros discos favoritos (faltan dos o tres por ahí que no me las mandaron...):

Mr. Finchley:

1. The Walkmen - You And Me
2.Portishead- Third
3.Titus Andronicus - The Airing Of Grievances
4.King Khan and the Shrines - The Supreme Genius Of
5.Resplandor - Pleamar

Honorable mention:
No Age - Nouns

Laura del Mar:

1- Deerhunter -Microcastle
2- Jay Reatard - Matador Singles '08
3- King Khan and The Shrines - The Supreme Genius of...
4- Of Montreal - Skeletal Lamping
5- Empate entre: Mount Eerie - Lost Wisdom/ Boston Spaceships - Brown Submarine/ Crystal Castles - s/t

SON:

1) Mount Eerie - Lost Wisdom
2) Deerhunter- Microcastles
3) The Dodos - Visiter
4) No Age - Nouns
5) King Kahn and The Shrines - The Supreme Genius Of...

Maurice:

1 Russian Red - I Love Your Glasses
2 Crystal Castles - s/t
3 Air France - No Way Down Ep
4 Spiritualized - Songs in A & E
5 Resplandor - Pleamar

Honorable Mentions:
Beach House - Devotion , M83- Saturdays = Youth , Suturee- s/t.

Saracho

1. Beck - Modern Guilt
2. Crystal Castles - Crystal Castles
3. Suturee - Suturee
4. Sigur Rós - Með suð í eyrum við spilum endalaust
5. M83 - Saturdays = Youth

.mulatu astatke.

Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale, 1969-1974
[Buda Musique, 1998]

Musically trained in London and schooled in the club scene of mid-’60s New York, Mulatu Astatke stands as the exceptional musical innovator of the Ethiopian groove. Starting in 1969, he created the first bands independent of the military, which had previously dominated the country’s music scene. Having immersed himself in Caribbean music, funk, jazz and Latin grooves during his lengthy stint abroad, Mulatu returned to his native land to give rise to a brand new sound.

An album of instrumentals, Ethiopiques Volume 4 is a case study in the inventive blending of influences that comprised the Ethiopian groove. Strains of funk and reggae timings permeate the thick and chunky bass lines, which are pushed prominently forward in the mix. Multiple saxophones swirl with the hypnotic, snake-charming sounds of the East, while at the same time resonating with jazzy tones reminiscent of John Coltrane and Lester Young.


Guitar is a main ingredient here, growling with funky distorted wah-pedaled fuzz riffs that sound like they were lifted straight out of an early ’70s black-exploitation flick. Drums and percussion combine the punchy funk of James Brown and the Meters with the heavy Latin rhythms of Mongo Santamaria and Willie Bobo.

Fusing all of these elements together, Mulatu unleashes a potent brew of afro-jazz grooves that pull you in and leave you in a mystical trance-like state. Whew! Even when the record stops, these mood-inspiring sounds linger on like a drug. Get your head on right, light a candle, sit back, and you too will understand… Tropical in its roots, funky and intoxicating in its impact, Mulatu Astatke’s distinct brand of Ethiopian music features some of the most soulful hip-grinding instrumentals ever recorded in Mother Africa.
tomado de musthear.com-john ballon

.Fasat Alfa.

.balún.

Something Comes Our Way
[Brillante,2006]

*christian request

nota: ahora mismo está en *wma, pronto lo subimos en mp3.

.santos xuan.

Vaya New York
[2008]

Si quieren escuchar la música detrás del hombre brillante e inigualable que hace los reportajes para Jota News aquí es que es.

.pronósticos.

Tenía la intención de subir esto hace unas semanitas, pero estaba esperando el ok del señor quintero para ponerlo. Pusieron las canciones nuevas y recibí un email hoy, así que it's goodtogo.

Campo Formio

.Pronósticos.

Escuchen a Mackandal

Vaya pronostico...

.The Taxpayers.

Exhilarating News
[Useless State, 2007]

Trio de Portland, Oregon quienes tocan un punkrock con tendencias folk americanas y blues, especialmente la primera canción "We are the hellhounds", la cual te dan ganas de montarte en un caballo despues de cojer una jienda en El Refugio y robar el primer Banco Popular que encuentres. Sus letras aluden tanto a temas políticos como a la jode'era sarcástica que tienen los flowerchildren de Oregon hacia la decadencia de la sociedad americana.... pero luego te tiran temas como "Medicines" y "New German lullaby", y de repente quieres sonreirle en la cara a un guardia.




p.s - no sé tú... pero un show de esta gente con Jenny Fatale y Los Degolladores la fucking haría.

.Shows.

.dialogodigital.com.

Un millón de gracias al portal digital del periódico Diálogo, que añadió a borrateeste en su sección de Escribanía. El portal funciona como una plataforma digital del periódico, pero también intenta ser la conección de este al mundo. En la sección de Escribanía pretenden agrupar los mejores blogs del patio boricua.

Acá les dejo el link a la página y la sección:



Escribanía

.jóhann jóhannsson.

Fordlandia
[4AD, 2008]

Jóhann Jóhannsson’s Fordlandia is the second of a projected trilogy inspired by the icons of twentieth century American capitalism. After the elegy to the early computer age that was IBM 1401, a User´s Manual, this suite seems inspired by the twenties era of hope, and its unravelling in the following decade. The inner sleeve juxtaposes an image of retro-futurist rocketry with a group of plantation workers standing next to their battered Ford, stuck in real and metaphorical mud. Fordlandia itself was a vast tract of land in Brazil bought by the Ford motor company in the twenties for the establishment of rubber plantations – the aim being to extend the principles of the production line right down to the sourcing of raw materials. It was an expensive folly. Workers rebelled against the appalling conditions they were expected to endure, and blight and disease were widespread. With the invention of synthetic alternatives to rubber, the bottom fell out of the market, and the land was sold at an enormous loss to the corporation.
The album’s epic title track is a sweeping, stately piece of nostalgic melancholia. Strings build at a funereal pace and the whole thing is pervaded by a sense of lost dreams. It’s a theme throughout the album. Doleful piano and glassy strings are underpinned, and sometimes undermined, by dark rumbling beats or drones bringing with them a feeling of foreboding. Even the quasi-religious pipe organ of “Chimaerica” is offset against a background of shattered strings. “The Great God Pan Is Dead” is a beautiful choral piece that sounds like a war requiem.
tomado de dezji.wordpress.com

.animal collective.

Sung Tongs
[Fat Cat, 2004]

Muchos dicen que este fue el "turning point" de animal collective. Es mucho más folky aunque no se alejan para nada de su lado experimental.

.avey tare + panda bear (animal collective).

Spirit They're Gone, Spirit They've Vanished
[Fat Cat, 2003]

El primer disco que sacaron avey tare y panda bear en conjunto, lo que luego se llamó animal collective. En este disco la gran parte del trabajo le va a avey, y panda bear se relega a tocar la batería la mayoría del tiempo. No es un disco fácil, pero quizás es un entry-point más suave si estás intentando que te guste animal collective.

.tim hecker.

Harmony In Ultraviolet
[Kranky, 2006]

Casi como dormir con estática. Mejor.

--------

Canadian Tim Hecker has been a respected force on the electronica scene since his debut Haunt Me Haunt Me, Do It Again, came out in 2001 (in addition to his work as Jetone). Since then, he has consistently released experimental ambient music that broadens standard compositional barriers while still remaining accessible, and such is the case with Harmony in Ultraviolet, Hecker's fourth full-length. Though most of the tracks on the album are separate entities -- including each part of "Harmony in Blue" -- they work together to form an idea that's greater than its individual elements: a sense of exploration and sadness and understanding of the infiniteness and uncertainty and expanse of the world. Themes are introduced -- a looped arpeggio, a distorted guitar riff, lone keyboard notes -- but nothing is ever fully developed, nothing ever completely exposes itself. Instead, there's a suggestion that's built-up and expounded upon but never quite resolved, long notes that pull themselves in and out of focus are favored over melodies, leaving a kind of agitation in the listener like the dark restlessness of an industrial city. Three notes make a chord but somehow Hecker's don't, they're so different in texture and scope; in fact, they seem almost peacefully at odds with one another, aware of the others' existences but content to ignore them. It's the music of a gray urban skyline, of the kind of loneliness that comes from being around too many other people, of rusted fences and cold empty windows and distance, music that swells and crescendos, sets itself up for the denouement but never arrives at the climax; it's endlessly patient yet eager to move on. Wet bass notes and emaciated electric guitars, awash with distortion, crush together with programmed noise and drones, sounds erupt and are then dismissed, fifty minutes of questions and intimations, of resignation and acceptance, but not -- definitely not -- of answers. We'll have to find those ourselves. tomado de allmusic.com

.brian eno.

Ambient 1: Music for Airports
[EG, 1978]

Como no quiero meterme en el meollo de explicar conceptualmente de qué se trata este disco (trampa en la que se puede caer), les dejo un link a un review de Joseph Buck en musthear.com que lo explica mejor que yo. Simplemente sepan que este es uno de mis discos favorito para dormir, relajarme, estudiar y muchas otras actividades que necesitan ser llevaderas. La clave es dejarlo y seguir haciendo cosas, no prestarle tanta atención; de repente en algún momento todo se ilumina.

Review / Background de la historia de Ambient 1

.b.fleischmann.

Angst is Not a Weltanschauung
[Morr Music, 2008]

Me tomo la libertad de decir que este es el mejor disco que B.Fleischmann ha sacado en años, y yo lo adoro. Si les gusta la electronica de Morr Music give this shit a try.

.animal collective feat. vashti bunyan.

Prospect Hummer EP
[Fat Cat, 2005]

Corto, pero maravilloso ep de Animal Collective con la exquisita voz de Vashty Bunyan. Increible que no dura casi ni diez minutos y aún así siempre me trae una sonrisa.

Lydi: Por lo menos escucha una vez la segunda canción, prospect hummer. Dale, sino después lo borras...

.Shows.

.Blur-Coffee & TV.

Theeeeyy'reee Baaaaack! Wooooooo

Aquí les dejo un artículo en Laser Eater by Eddo

.Shows.

.arvo pärt.

Alina
[ECM, 1998]

Cuando escucho esto me siento mejor que si me enterrara un cuchillo en el corazón.
Desgarrador.
Triste se le queda corto.


Warning : this is quite possibly the most beautiful album you will ever own. Arvo Pärt has in the last few years become almost synonymous with the new wave of electronic/classical composers, one of the names almost always quoted (along with Steve Reich) as a primary influence. His blend of spiritual/sacred themes and an icy minimal neu-classical compositional style has won him masses of followers and turned heads of even people totally unconnected to the classical music genre, which maybe is his greatest gift. There is a tendency in classical music for the subgenres to become somewhat exclusive, and it can be difficult for fresher interested parties to penetrate the scene in any way whatsoever, but Pärt has become something of an entry point for so many and in that he is responsible for influencing a generation of musicians. 'Alina' is one of his most well known discs, and one of his finest, containing variations on two pieces; 'Spiegel Im Spiegel' and 'Fur Alina', both of which have been used in countless films. You might remember 'Spiegel Im Spiegel' being used in the documentary 'Touching the Void' or Gus Van Sant's unsettling buddy drama 'Gerry', and it's one of those works that while sounding familiar never fails to send shivers down your spine. This is a disc that I can safely say I can play almost any time, and I am always left stunned by Pärt's incredible ability to distil so much emotion and spirituality in his work. Whether you're a believer or not you can't help but feel moved by 'Alina', and any of you left floored by material from Marsen Jules, Max Richter, Ryan Teague or Greg Haines' owe it to themselves to find out where it all came from. Utter perfection. Tomado de Boomkat.com

.Jota News.

Entrevista a Harry Rag.

.mugison.

Mugimama: Is This Monkey Music?
[12 Tónar, 2004]

Mugison puede ser lo más toasty e interesante pasando en islandia hoy día.

Saracho request.

.coastal.

Coastal
[Words on Music, 2000]

Gracias a Pedro por subir esto en uno de los comentarios, se lo pongo acá pra que lo vean más fácilmente. Excelente!

.Shows.

.Shows.

Este jueves 4 de diciembre. 8 Bit midnight shows la fuckin' hacen. swoooopz!

.go organ!.

Ate Bit
[2008]


Re-post. Pa que pariseen a las 3 de la mañana.

HOY show en Nuestro son - 12am - 8 Bit DANCEOFF.

en Myspace

.Jawbreaker.

Etc.
[Blackball, 2002]

"Dreams die today.
Do you call this living really?
Too much hassle, too much risk.
Inside the holes you're digging.
Dreams die today.
Do you call this living really?
No more disappointments."

.Neil Young.

Sugar Mountain: Live At Canterbury House 1968
[Reprise, 2008]

Neil Young graba este en vivo justo despues de que se
separo de la banda Buffalo Springfield, y un par de
meses antes de sacar su primer disco como solista.
Aquí escuchamos a él solo con su guitarra acústica
cantando canciones excepcionalmente tristes; que
hasta el corrobora diciendo: "i guess i should write some
happy songs" y luego "their just all so down man, I'm just
gonna go home and write for about a month", pero siempre
manteniendo su sentido de humor.

.Pronósticos.

Yo no sé si esto contará como un pronóstico, ya que ellos llevan tocando como un millón de años, pero burning face es la que hay y aparentemente están grabando cosas nuevas.



en Myspace

*foto cortesía de f. (ese día fue el mejor)