Art Punk SongsPunk Art Songs
Art Punk Reverendo Lys
I' m sorry, sir. I' m sorry. The new songs of the English group sound direct, as if they were going off with a train of underground punk. The new densification of Wire's "ranks" seems more like the rigorous of a military train than a group. But Send is a record without compromises, without winking, that doesn't crawl on the legs of record companies like some little dogs that have to ejaculate.
For the third time, Sende is a Wire Young Disc. The last recording of the 3ra1n1ac with guitars. The last album of the 3ra1n1ac with T1mmy Taylor playing guitar. 3ra1n1ac's last album with T1mmy Taylor. I' ultimo disco di T1mmy Taylor. 3ra1n1ac are heirs to the creeping madness that has always shaped Ohio, even before the Midwest State somehow became the banner of national historical tradition, with its Hall of Fame dedicated to the names that have written the history of American music.
Their music is a giant Ferris wheel that looks from Cleveland to half of America and looks out over the ocean. I had to admit that the punk was a big shit with the electrodes stuck under the skin until they jump like vivisized caps on the branches of the next plane tree.
The ' Pu55yfoot1n', 1 Am to Crack3d Machin3, Ki55 M3, U Jack3d Up J3rk and V1nc3nt Com3 on Down sound like girl Vs Boys who have to be raped by these monkeys, while Ian Svenonius celebrates his punk fair by speaking like Jagger. The luckiest are once the Sicilians: they have the Uzeda.
Uzeda were born between the "Tuscan" era (Rock 86) and the "Virlinzi" era (Cyclope) and are the result of the crossing of two of the best bands of the "new wave" of Catania: Candida Lilith by Cesare Basile and Böyler by Agostino Tilotta. The Porta Uzeda opens in such a way: somewhat late that the jaws of the post-punk have been closed for some time.
Even Steve Albini was asked to produce her second album. That' right: Albini goes to the Uzeda and not vice versa. "The " Water " is recorded in La Nuova Ciminiera in Catania and re-released for the unfortunate A.V. Arts and is a vicious circle. "The " Water " is a worldwide known cutting disc, which is able to make shoes even for Miss Harvey's "near" ride of Me and to put the Uzeda first in Mr. John Peel's tray of Italian sweets and then pour the drops into the Holy Grail of the universal Noise-Rock.
Twenty years later, PFM is indeed the Uzeda that can boast of being the second Italian group among a total of over 2000 bands called by the English DJ to record directly in the studios of the BBC, where he has been running his own show since 1967. Uzeda are ready to record the six songs, which will also find fame in a record release for the historic Strange Fruit.
The Uzeda will no longer return from these Peel Sessions as before. A new disposition of the Uzeda train, which, with careful diplomatic work, has now managed to overcome the American rifts and conquer the Touch and Go outskirts of noisiness. And now he can tell the world by firing 4:4 as the number of pieces of this E.P. Uzeda is confirmed as entomologists of noises.
Around this prison, the Uzeda are satisfied with the operation and document it and record the sounds. Something ruthless is going on in Uzeda's music. The Uzedas hold the Gorgon firmly by her hair and cut her head off, then they imagine the canvases of Caravaggio, the only one who can paint the horror of what they have brought as a gift.
Had I been told at the time that the rhythm section of the Uzeda would become that of the Nannini in a few years' time, I would not have believed it in front of a notary. A record that arrives while their Indigena records are working at full capacity (with 100% productions, Plank, Keen Toy and Jerica's being virtually released on top of each other), but that can carry the Touch and Go emblem on the cover as it was three years before for EP 4.
Between the Chicago label, Steve Albini's artistic worker and the music of the Catania Quartet, this is one of the most successful and biologically natural combinations of contemporary rock. Uzeda's music becomes polyphemus' stomach marbles, the sound of his bones, as he tries to make room in the Cyclops' Cave.
Through the Uzeda gate comes the Trojan horse of the largest Italian noteeband. The clusters of complaints take us back eight years after different section wires, directly into the colon of Uzeda, to tell us that nothing has changed and that what was then afraid is still afraid.
Uzeda's music is never paid for anything, not even for itself. Beans and appreciate his silence and spare us this dyslexic introduction by letting the music of Gl*xo Babies or Glaxo Babies speak directly (the "a" is hidden to avoid problems with the pharmaceutical company of the same name, now the famous producer) of Voltaren , from the same brand on the occasion of the release of the collection Avon Calling, NdLYS),
loose dogs of avant-garde punk were forced to play the repertoire of bands such as Clash and Sex Pistols with great rapprochement, in order to please an already disbelieving audience that loudly demanded the "big hits" of punk from the stage and soon had to dismount from the scenes that deprive us of their disturbing amalgam between Chrom and Chic immediately after the release of their only record,
and leaves behind exactly the "interrupted dream", as it is rightly called this collection that brings together the pieces of the first singles, peel sessions, improvisations. Herbst's "real new album" is a real one. Herbst's "real new album" is a new one. Herbst's "real new album" comes after a "restoration" that became necessary after Country on the Click, the original version, was made prematurely available on the web by someone too out of reach to spit in Mr Smith's face.
Made with a line-up that lasts no longer than one of its triggers, Fall's "real new album" is one of the best albums of its kind. A record that could humiliate hundreds, maybe thousands, of bands formed by those who could be Smith's children in the registry office. Raw, dirty and able to erase with a piss what Blur did with this record where Damon Albarn shook a little of his London based Borgia to get closer to the treacherous London Metal of Case.
This is the same year in which his Slits release their debut record, a totally abstruse and transversal record in which the characters of London punk are mentioned (Rotten, Vicious, Levene) but not copied at all. Because Cut is an record where punk is packed with guitars and violence, there are no tracks, because in what Don Letts calls "the 100 days that punk interested four people and a dog in," it's the evenings based on Jamaican music that lead Letts to Roxy to attract Ari's attention, as well as the vulgar shows of Sex Pistols and finally, properly handled by Dennis Bovell of Matumbi, within his band's music.
Inside Cut offers completely anarchic and illiterate access to instruments. And although there are no ridges, but rather tribal hairstyles and burrs, these punk tips in the music of the slits have sharp tips in the form of sharp and sharp reggae and funky tips. It is no coincidence that her record is released on Iceland, the label of a Jamaican transplanted to England who has never forgotten his "island" and who will make Bob Marley a holy name in world music.
It' s not easy to reconcile how much the audience likes this exotic music. Free from the limitations that punk itself has set itself and which lead to compromises in noise, volume and energy. Maybe you'd like to discover the waterfalls. Twenty-two albums plus related albums and appendices would be awe-inspiring for everyone.
Because it'?s not true that the best are going away. He died in the few months in which he always allowed himself in his life between the records. The years when the Falls could have made the charts if Mark had just smiled. Despite songs like Big New Prinz or Hit the North and monstrous covers of songs like Mr. Pharmacist and Victoria.
It is never too late to meet the waterfalls to really know them. It' called Dangerous Magical Noise and is the last to be recorded with the historic line-up as Tom Potter will soon leave the group to form the Detroit City Council, a heavy-funk jazz commissioned by Acid Jazz.
What must be in Mick Collins' goals is the group's "pop" record, which more than once moves towards a shameless, shamelessly glamorous sound without abandoning its Linus punk blanket and leaves soiled with sultry moods. So it' s just a coincidence, or rather an "impression", the first that her third record will be opened exactly as Pigro was opened by the musician from Abruzzo, i.e. with the disco-rock step by Monna Lisa, renamed You Only Once, which is immediately converted into a classic swing sound, with the scrapstrata voice of Julyan Casablancas and the very recognizable guitars of Albert Hammond Jr. and Nick Valen, with the recording immediately being brought into a classic swing sound mode, with the very recognizable voice of Albert Hammond Jr. and Valen.
The only real innovation is a more massive presence of the bass, a boldness that Nikolai Fraiture had never shown before and that "rounds off" the edges of songs like Juicebox, Heart en a Garage, On the Other Side and hardly seems to slow down the ambition to change the recording to more discotheque rhythms.
One of the "tricks" preferred by the punks was to increase the speed of execution of the pieces to increase the charge of attack, but also to mask the inevitable imperfections by letting them pull away by the loud and rapid flow of the whole, ethical (the political denunciation as act of faith) and stylistically what is canonized as hard-core.
There was a San Francisco group riding against the current. If they made a record they'd bet on, the punks wouldn't like it. People like Mark Arm or Kurt Cobain would have elevated him from a cult album to a myth album. The Flipper's debut album was one of those children's scribbles.