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Art Punk Reverendo Lys Pagina 3
Even before the music was the cover, it conveyed a vague feeling of unease. The Poi arriveava la musicica. ¡Una magica a santuffo, aspincrona, disonante. In the spirit of New York No-Wave terrorism, the vandalism that attacked New York Funk and Jamaican music. On Christmas Eve 1965 in Godfrey's house, little Adrian Nicholas (nine years old) and Kevin Paul (six years old) unpack a record their father gave them.
Some years later, when Adrian (renamed Nikki Sudden) and Kevin (who radically transformed his name into a cinematic epic soundtrack) decided, partly for fun, partly for bets, to form a run-down new group and record an equally deranged record, they remember this record and the music Barry Gray had made for Gerry Anderson's animated films.
The Swell Maps is stolen from an exclamation by Johnny, the same one that was isolated from this record and put into the opening of the album, with the title just like the "21 minutes of adventure" given to them. More punk in spirit than in form, alternately spitting and goingliardate, disrespect and avant-garde urges that it is difficult to judge whether they have been studied, accidentally found or exploited to make a virtue out of necessity (the use of the hexagonal scale used for the long harmony in your bath room, the dissertations on John Peel landed amidst a thousand other noises about the improvised notes on the Epic pianoforte on Don't Throw Ashtrays at Me, the improvised notes on the Epic pianoforte on Don't Thurrows Ashtrays at Me, the disrespect and avant-garde urges that it is difficult to judge whether they have been studied, accidentally found or exploited to make a virtue out of necessity (the use of the hexagonal scale used for the long harmony in your bath room, the dissertations on John Peel landed amid thousands of other noises on the improvised notes on the piano).
and cut) like the worst interrupted coitus, the Alien Code Mors from Adventuring into Basketry, the encoded performances "Fall" that season the record, and the equally strange deviations inspired by listening to the Kraut of Can skirt, the explosive surfing deviations, the confetti of the concrete music falling through the record.
On June 27, 1979, when the record was immediately distributed to the shops, Epic and Nikki remembered their father and this gift. In intentions, but even more in content, the record that Mark Perry chose to break with the punk movement, Mark Up was guilty of dethroning the old dinosaurs of skirt, according to Perry, in order to become an institution, a popular taste, a label.
A bastard by nature and the representation of his independence. Punk, cos'altro? The first of the many are No Deal, a "new" group from Cagliari who actually hide two quarters of the rippers, the guitarists of freaks and the chief of the historical Gravedigger's who keep the bass here with the same swollen and rocky approach of Keith Evans and Cord Neal, perfectly functional to the band's chaotic garages punk where everything is reduced to the essentials.
An electro punk who gives his best on feeling This Way, with a beautiful 80's choir that would fill the necks of many celebrated New Age bands around the world and instead, I think we'll hear some. These are the three albums released between the seventies and the following decade: New Picnic Time, The Art of walking, The Bailing Man with the addition of a fourth record with the goodies of the same time.
We find ourselves in one of the most deformed blocks in the history of new wave and skirt everything, in a surreal as well as harassing "replica" of the trout mask from the memory of Beefheartian with David Thomas, who with a Bertukzienstimme wants to parody the murmuring of the captain and the volume, which can evoke ghosts and monsters with unconnected and unconnected characteristics.
Art of walking completely records the grimaces of Mayo Thompson, who has officially entered the Pere Ubu wildlife sanctuary, even if it is the disharmonic step of Allenn Ravenstine's synthesizer that gives the record its impression. Fier's choice is no coincidence, because the whole record somehow seems to want to go a less uneven way than the first five albums.
The remastered new editions respect the 36-minute minute David Thomas imposed on Thomas at the time, so the "bonuses" of the circumstances have been summarized in an additional CD entitled Architectural Salvage, including the vocal version of Arabia, the singles of the time and some alternative mixes to songs like Horses, Rounder, Young Miles in the Basement and All the Dogs Are Bonking.
To sum it up in two lines: a punk playing group before punk was born who recorded the first record when the old punks accompanied their grandchildren to school. None of them will, of course, save the planet. The frayed sound of the beginnings is now covered with the hard skin that the years give us as protection against the progress of time, and the punks will not like that.
But Thomas is still, together with Mark E. Smith, Jello Biafra and John Lydon, the only one who can sing in a rocking discotheque as if presenting a mask parade in the playroom. They wanted to enter the history of music in this way, the half-Japanese. Twenty years later, when the list of Kurt's 50 favorite albums will appear in the archives, just below the second Beatles record, but much earlier than Bowie and the historical Wipers trilogy, We Are They Ache With Amorous Love by Mezzo Giapponese is available.
The Fire, reprinted in the first record's edition of deluxe, was happy to browse the American band's catalogue, and therefore thought twice about putting together the boxes, which encompass the entire subsequent production, with variable cadence into triplets "thunderstorms". Playroom songs in which the children of Don Van Vliet, Mark E. Smith, Ari Up and Poly Styrene are forced to play a perverse educational game in which they set their grimaces to music, but have the freedom to meet all the physiological needs that arise during the hours necessary to carry out the birth.
Musically speaking, Jad and his brother David have no roots in punk. Then for the bands of Detroit, Bob Marley, Cramps and Tav Falco, Cohen, Cash, James Brown, Patti Smith, Speaking Heads, Van Morrison and especially for the Caribbean music of Lord Invader. Barnum of the American music.
Velvet Underground and Nico is a difficult, unhealthy, restless, violent and heavy record. It is the record that finally closes the door of the teenage band garages of the sixties. It ends with a double mandate, and with the bands still inside playing their version of Louie Louie and Fortune Teller.
It' a no return album, like Stooges' Fun House and Miles Davis' Bitches Brew. Nico will often sing it on stage, but Lou demands that he do it on record. The stoicism of his words contrasts with the solarity of music, which is capable of accompanying a sweet awakening like the sweet hours of dawn.
On a skeleton of sound that flashes with rocks and rolls and rhythms'n blues, a frame of sounds and rhythms emerges that are repeated to the point of obsession. Nico is entrusted with Femme Fatale, the choanteuse who wanted to accompany Warhol on her debut and who gives her debut as prima donna in this piece, is a moment of relaxation that serves as a counterweight to the most difficult material.
The incredible parties at the 131st of 47 Manhattan, where sex, pills, music and strobe lights are transformed into a single, endless journey, are the theme of All Tomorrow's Parties, Nico's lament that closes and torments the first page of the record. a devotional love song written by Lou for a flame by him and extinguished under the imperfect utterances of Nico, the last oasis of tranquility from the dark and twisted violence of The Black Angel's Death Song and European Son, dedicated to Delmore Schwartz.
The first lives from the shrill gait of John Core's electric violet alienating and swirling, the same one that made Elektra's pimps bend their noses and force the group to settle elsewhere, and that is instead the urban representation, but no less terrible than Edgar Allan Poe's Mahlstrom.
The European Son is the total destruction of the cliff and its recomposition by canons of total self-sacrifice of every pre-constituted form. Velvet Underground and Nico è il skirt. Like Joan Baez for the Folksaison and Janis Joplin for the Psychedelische, so also the next generation, which lives the restless days of the Punk, takes its muse.
Her name is Patricia Lee Smith and she was born in Chicago. But when she arrived in New York in 1967, they all called her Patti. It is the recording of Horses, the record with which Patti makes his debut in the world of discography and records his unbalanced poems on vinyl. When Horses came onto the market in December 1975, there was still no shelf dedicated to punk, although it was Lenny Kaye who had released the date five years earlier on the lining note of his nuggets, a key collection to celebrate the tiny sixties parking tape.
CBGB's has been active for exactly two years and Max's Kansas City, under the direction of Tommy Dean Mills, wants Patti Smith and his group to be regular guests alongside Mink DeVille, Television, Suicide, Ramones and Speaking Heads to give an artistic home to those who, starting from different arteries, let the city's new music coagulate into lumps.
Among them is Patti's group, who first debuted on record and gave Arista eight readings of what is immediately defined as "punk poetess", on an instrumental basis flirting with Reggae (Redondo Beach) and rock (Free Money), the distorted rendering of Gloria), which basically works on very open and experimental structures, on neurotic crescendi and revolts with almost dramatic tones that create an incoherent mantras perfect for the intellectual liturgy and outside Miss Smith's box.
That she will then decide to become Mrs Smith and leave fate to the thankless task of making her a widow Smith at the age of 48. I' m falling. When I started reading music magazines, they were already there. "No one dares to spread irony about falls by wondering if they're still there. Not only because it is certain that they will be there, but also to avoid the irritability that is one of the human qualities of Mr Smith, who in turn continues to sing with the same grace as a patient invited to spit blood and spit in the dentist's spittoon.
The sound remains the classic of dislocated bones, with the sporadic addition of some keyboard sounds to create a ghostly house sound, not even a novelty in the band's very long discography. Cause if you buy an autumn record, you fucking buy an autumn record. And you certainly don't stand in front of a Unieuro exhibitor, in front of the inviting orgy of smartphones that Mark Smith invites you to switch off at the end of the sub-lingual tablet.
This is a Mr. Disc, but this is obviously a disc for those who have the palate that is used to chew the music of case.