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exocet

Inaugurating the cyber exocet daily on the Internet. All Songs.
here.

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of remedies of Dr. Bach

I put to work to regain my identity as a musician or at least as someone who aspires to do, and I started to do a new theme, a remix and a version. All to forget, but it's this back into shape.
What really made me feel good was recovered a few minutes each day for the piano, and what better way to reconnect neurons Bach. I'm not a pianist and I've never aspired to be, but if you want to pursue this music has to be faced with an instrument. Mine turned out to be the piano, playing Bach's what makes the novice feel like making music and exercises no anchors. So I picked up some easy preludes.
What I did not expect was that the intellectual exercise, in addition to driving, I could be so therapeutic in these moments when the anxiety caused by the imminent abandonment of Barcelona to return to Mexico I had hanging on the walls.
serious musicians and scholars claim that all Western music is contained in Bach, that all the chords and possible links are in some stage of his work.
Perhaps that was brought into the twentieth century is the functional redefinition of those chords and links. The Blues, for example, has made over minor seventh chords are no longer dominant sound and can only function as tonal centers ... but I'm rolling. Al
end all that was intended, was to suggest to those who had the fortune of having a piano and vague notions about music theory, a Bach remedy against stress. No contraindications or overdose, just requires a bit of stubbornness.

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the edge of the precipice


So this is how music is abandoned.
As the end of childhood: it is impossible to say when I played with my playmobil last.
The last time I went through a period of time without musical activity, which would not have a class to give or receive, an essay, a concert, a project underway, a commission, a written text was eighteen years ago.
Since summer classes are over on the scale, I formalized my leaving the group that took months to surrender to himself, there was no music because the last concert Nomhadas were anything but that, plus I have the study removed: With the mind set to leave Barcelona, \u200b\u200bI have dedicated myself to be normal people, ie to work eight hours or more on something that interests me and I really do not care with the sole motivation to make ends meet. On weekends as a package, PLC television.
The next step is to buy a dog and pretend that I like golf. Overcoming musical instinct by becoming rock critic, those with T-shirts ingenious and clever styling. The downside is that it should learn how to put adjectives Buzzwords, skills necessary for the supreme art of saying nothing and looking very interesting. Or maybe
me one of those cliques scalding unwary managers are left with such disregard of sending them from time to time on stage seven hundred miles from home. But I do not like cocaine, it makes me paranoid and I would by swindle.
I see. The edge of the precipice. Media
back.

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Neko Case and miles political



When it comes to talking something in relation to the sex of the subjects who produces while bored pile, it is easy to drown in vacuous platitudes or exercises that usually hide machismo or at least misogyny. But I must say that females, regardless of age, is able to speak of a much larger universe of sensations, to see life from many points of view and hours in the day and always keep a mystery involved.
Girls can be so topical or not.

So I'm realizing that I was more interested in music made by women. My latest musical love is embodied Neko Case, but the list is long: Hildegard Von Bingen, Billie Holliday, Kate Bush, Suzanne Vega, Elizabeth Frazer, Lisa Gerrard, Siouxsie Sioux, Sade Adu, Patti Smith, PJ Harvey, Rickie Lee Jones, Joni Mitchell, Sinead O'Connor, Tracey Thorn, Roisin Murphy, Tujiko Noriko, Leila, Imogen Heap, Björk. Varied as

this universe, oozing femininity and mysterious as I find the women, everything that rears its inner world gives me entranced.
will age.

All that you feel very well to music.

back to my delicious contemporary Neko Case, guilty of making an album that has charmed me from start to finish: Fox Confessor Brings The Flood . I stress it for a number of contemporary reasons, but mainly because I still feel that I miss the rice (musically, of course, the other already cooked)
... dreamer.
At first he put country gringófobas blew my alarm, I even predisposed to disappointment and made a mental bet on how many songs would endure, paying two to one that did not exceed three.
Three times I heard the entire disc without stopping.
The first time far away, cleaning the kitchen, with the intention of paying cursory attention, but not stopped: every time I called attention to a melodic turn, a sequence of chords or a tear in her voice. And suddenly it's over, so we had to put it back because and I was intrigued. And then again because they were the stars from the window and wanted to listen to Jim to see if that was really good and the heat was affecting me.
been years since I spent it.
is the color of a desert road movie , the claw of his punk past. Not content with easy formulas without losing the simplicity. Tune, but tasty tune. It has blues, catharsis. Music for Barflies on a dusty road maybe Dakota, but never naive or complacent. Unequivocally gringa, but those that are not on TV. Music of a generation that has suffered a Reagan and both Bushes and not misleading. Pretty
're screwed. And yet no place for beauty. Or to invent a new one. Singing
well.
I think and that's enough for me.
The fact that Neko Case record refuse aguerridamente transnational, MTV's and other paraphernalia is just one more fact about the many delights it holds.
To me the music, and the rest is periphery.

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Someday, brother grows up and does not offend anyone's sensibilities, or flat and I do not care, I'll tell the intricacies of human relationships of the groups I have played.

stage holidays are over this weekend Going to be over! The

Nomhadas are back with all splendor, everything is more acute and intense. The concerts we gave in a couple of festivals this Friday and Saturday may not have been very technical, but they were energetic and not lack of magic. What surprises me is that with the amount of energy is going into a lot of strange things, yet we can go to play more than the happy birthday.

I always thought that the groups end up being a human relations workshop in which the music is incidental, an excuse to exercise our most arrogant posturing and our most generous flash, and considering that the musicians we tend to be a social lost, everything is rare and peripheral dynamics in which we try to adapt the recipes of social behavior "normal" to our inappropriate behavior.

We want to find alternative ways of living, perceiving, behaving and end at the mercy of the power relations of life, with the addition that we are totally unable to drive as political entities within our small communities. (Understood as "political" that which relates to common issues and making decisions in the public interest)

the end, as elsewhere, the power problems are being claimed but not assumed, which is exercised but not acknowledged. He who ignores. Which is transferred surreptitiously. Imposing silence.
The punitive, the coercive. The solidarity. The remuneration.

faces is not a monster, but a form of energy that is not created or destroyed, transformed, disguised. Drained off, creeps. Flooded, soaked. Drains, eroded.
upsets, upsets.

I become exhausted physically, mentally and morally, and I wonder the same old thing: how much more will I endure this life transhumance?

No cetacean doses of adrenaline which seeks the office could live?

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The musicians are assholes horse 179-2

Over there I've encountered a meme circulating around, and as above, and embedded journal I am, I could not resist the curiosity to get involved.

is to transcribe the second paragraph on page 179 of the book I'm reading, so here it is:

"When she looked at Pauline, started. It was Pauline! Even with his clothes looked as bleak another person, younger, as if he had suddenly lifted a heavy burden. It was not his face or his mouth or his forehead that had changed. All the change came from the secret joy that animated his black eyes. Something unknown to all she produced an endless inner joy. " Maria

Dermoût, The ten thousand things

Page 179, another book I read, oddly enough is the last of the novel not yet published by my friend Juan Pablo, thus a real bitch I would transcribe the final paragraph.

What I do is include in this year's song No. 179, itunes library, and the second song that I prescribe Calypso (in rigorous random order) from this time.

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is a common thing in this business have to explain the music you make, it seems very normal and logical, but until you try it you realize how absurd it is, especially when the philosophy of what you mean spend by lining descriptive conventions and forget about genres, styles and trends.
I usually create grotesque and embarrassing situations in which they remained hopelessly badly.
"... pueees is cooomo" pfffff, is appalling.
I've a lot of ink and wasted many hours of discussion trying to define what it is exocet beyond being a newspaper and so do I have to avoid saying too much. This time I'll try another way , to see if now I come to something.

There are essentially two ways that complement each other:
The one comes from the music I've heard all my life: pop song format. Understood by that pop ranging from jazz standards to the clash . That is the way song, with verses, choruses and contrasts.
The song is common to almost everyone on the planet is something that binds us, something that, despite the prominence of the voice, the tongue goes into the background.
is a universal vehicle. We enjoy songs in Swahili, in Breton or Purépecha but not understand a word of what they tell us: the music is so powerful that all we need to invent our own history.

The other has to do with the personal, the need to find and express their own musical identity, not without influence, but ultimately something I can call my own. With the how to make the songs reflect my life, my privacy, my step this ephemeral world.

how it manifests itself in music?
Here I stop at a couple of things:
On one side is trying to achieve that harmony has various colors and shades. I do not seek complication or complexity, but the chords detonate the atmosphere on which the song is to swim.
This phase of work usually do at the piano, before getting to programming. Possibly the piano track will then be discarded and the voices of the chord redistributed to give subtlety to the harmonic motion.

The second thing that I pay particular attention is the sound, which is like the skin of the song, and here I like to contrast timbres ear known as pianos, guitars, etc., with atmospheres specially built for each subject either by synthesis, samples or other techniques.
I like unusual sources, I like how ineractúa sound over another, as noise becomes music and vice versa. I like that border and I enjoy arousing.
Each song represents a unique moment, and therefore must have a special sound.
This route takes me farther and farther away from the taste of people, but I approach the illusion of my sound, which is the main reason for the job.
Who knows why, pure folly.

The latter laying me question is often the language, why a Mexican writing in English?
This question has taken away the dream, I have suffered enough and has had several answers, all unsatisfactory.
The more honest I think it's this:
When I start working on the voice of a song 99% of the time I have not written a word of the lyrics, and what I do is to test against music melodies trying connect with the most intuitive and irrational in my brain, because I realize that the voice is more expressive than going to be on the track and I'm interested to have an emotional charge.
In this search of the melody the words automatically come in English, I guess because most of the music I like is in that language to talk to horses, and because it's easier to flow well, without having to worry about rationalizing. Usually this process
words or phrases that appear in a semi-conscious I end by suggesting the basic ideas of the letter, and the times I've stopped translating the failure has been dismal: the sound does not convince me and the words are too tight. I guess that's a sign that I'm pretty bad at writing, and must be true because it does not bother me. I've always been the voice (if I may) as an instrument. For the words I prefer books.
I do not care too much what people say singers. Most of the time I disappointed when I pay attention.
The lyrics of my songs have to be unintelligible to the listener. They always talk about intimacy, things that hurt, insecurity and fear, but perhaps only codes that I understand. Again I do not care. The only thing I try to tell the truth, or lie, which is not the same.

was not very clear.

the end will be better to have that every week I receive an anonymous call to a voice sensualísima I hum the songs to your ear, or that come in lucid dreams while flying over Lake Tanganyika (that would love to certain people I know who are the mystics are) or that are lost songs from Milli Vanilli ...
If everything is a lie why not say it's music for horses?

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Oneness Music: Nick Drake

is no doubt that the acoustic guitar ("classical" or "English ") is a marvelous tool, is portable, lightweight, capable of constructing complex chords, counterpoint allows melodic, and has a rich timbre harmonics. The sound power emitted by wrapping very well to the human voice without competing with it. It is perhaps the most versatile instrument.

No wonder it has been used to accompany the misery of many souls, giving rise to that that horribly called "bohemian" (a middle-class mystery more)
When I was growing up in the seventies, the world was full of "troubadours" musicians who were very profound poets, who saw themselves as guerrillas wielding their guitars and guns in the battle for freedom. In Cuba we arrived
Silvio Rodriguez, Victor Jara Chile. In Mexico we had Oscar Chavez and Spain Paco Ibáñez. To mention those who lived closer.
All my respects. I will not mess with their musical quality, or their ideological positions: Everyone does what he can with what you have.
What I'll tell you my personal experience. It
I went to school to give a "left", my classmates were the sons of renowned intellectuals, my teachers militant activists, and of course the "soundtrack" was basically Silvio Rodriguez with his regrets and lost blue unicorn (according to recent findings seem that he stole my little pony). What
nightmare.
At twelve boys are in total uncertainty. Some of them are teenagers, some are still children and most do one or the other. I was among those who were still children, was the shortest in the class, along with Inti, my soul brother, constant targets of abuse of older generations all had above. The freshman year was horrible. This has made my phobia trova, and especially by Silvio Rodriguez, is deeper than just a musical disappointment: it is a full-blown phobia, my body breaks down, I get dizzy and nauseous. No exaggeration.
So when I first heard music based I went synth head.
I had a hard time overcoming the trauma, and although the "trova" is making me run, the idea of \u200b\u200bthe guitar and voice stings me less and less, and largely thanks to Nick Drake.
My sister Aisha, who is a music lover, I recommended him when I was in my Sylvianesca stage, but I had no chance to listen to a couple of years was one of those moments when you're tired of hearing the same thing but while nothing new you like, also went through a severe crisis of creativity. In the Sant Pau library I came across Pink Moon and I took him to rely on the musical taste of Aisha.
I had no idea what I waited, and I confess that the first four bars I produced a shift in the stomach, but when I prepared a cold sweat, I realized that this was not so bad, not bad ... I actually caught.
Nick Drake's music is unconventional. It is extremely simple, almost minimal. But the spell, sure, it is his voice, and here I will make another presentation, with your permission.
I think singing is essentially a sham, is a struggle between who we are and who would want to be. Singing is as naked, is to expose what nature has given us, and as we practice we are "wearing" our voice. I lived in the flesh, and is also evident in the 99.99% singers. We protect ourselves with art, technology or whatever it takes. Fascias, from Montserrat Caballé to Johnny Rotten.
The naturalness of the voice of Nick Drake was overwhelming me, and therefore I think your music has the virtue of recognizing their own individuality, is the music of someone who knows he is alone in the world, and knows it absolutely inevitable. When a musician reaches that level of uniqueness as an individual is assumed to be unique, it breaks every genre in one fell swoop, it is automatically placed above all frivolity.
I will not mess with the myth that has become because I think it's hold over his death than his life.
As an example, here is Road disk Pink Moon, 1974, and to thank him for his music I have Solid Air, the album's title track that he dedicated his friend John Martyn in 1973, and version of Pink Moon I did in 2004. Who knows the original will know that it is infinitely better than mine, everyone does what he can with what you have.
Make a version or "cover" is an exercise in trying to do one or two times a year: in addition to what is learned, provides a very interesting relationship with the composer, especially if the version is not intended as a decal but a reinterpretation of the original.
In this case, while was discovered that part of the charm is the strange tuning the guitar: when I put a sample of the song for processing in the metasynth I found a series of harmonics that I expected.
I will not be so foolish as to put here the two versions, first because it would look like a wimp, then it is a chance that he does not know listen to something else. ROAD


You can say the sun is shining if you really want to
I can see the moon and it Seems so clear
Puede take the road That Takes You
to the stars
now I can take a road that'll see me Through

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10 years ... Exo-Semitism


... makes ultra published , and was one of those albums that ilusonan, inviting, that charm.
have the cathartic effect of the Blues or Pink Floyd. Encarna
my rage not forgetting to repeat the breeze blowing out there, sunshine spring offensive.
Heimlich maneuver is a beast.

1997 was a year of those, destroyed and built again. And it is happening again. Same
but different.
And today, in a critical day he came out at random and opens her lap.
Today I am with sore joints that I would leave. You apologize.
Or not.

Oh weep the tears That You
Tortured For the poor souls Who
fall at your feet
With Their love begging bowls all
All the clerks and the tailors The sharks
and the sailors All good at

Their trades But they'll always Be Failures

music Any comments?
only one: please notice how it expands harmony in the last bar of the A, just before it's martyrs Needs Love ...
It could do a lot more, but not touch today.

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Following the can lately has given me my love of Peter for the Beatles, (we made the plan to destroy one of his albums in the next Audio course), I keep thinking about the loneliness of musical tastes - all that will happen? - and I wonder, for the umpteenth time, why conditions.
I'm sure that has to do with intimate and tender moments that are attacking us over there, with sudden flashes of light in which children suddenly ordering the cosmos, with moments of fragility or class origin, with intelligence, with chance.
Still too many variables, and finally nothing explains why only my understanding of music as me, and I do not understand how can you like x ...
Now there are companies that are dedicated to making analytical information on successful components of songs, develop complex programs for publishers to maximize their resources on the safe bet. Fortunately fail ... if I'm going to feel even more alone.

The only object of study I have on hand myself, and, for starters, I have been able to identify feelings that have to do with the nights when my mother read me or Sandokan adventures of Tintin. Hergé Salgari
have in common and very vivid descriptions of places they had never seen romanticizing , if I may, the environments in which they placed their stories, it provides them with a particular power, and have an ability to stimulate enormous imagination, perhaps stronger by the fact of having to promote themselves to make credible his stories, or his own need to escape. This false

exoticism, that need to travel without leaving one's head was inoculated me since childhood, and has resulted in music search. Maybe so, but a couple of exceptions, can not stand the rock in English: me too real and immediate, words weigh more than the music, and words of the rockers rarely interest me. The music, while mystery, resists understanding. So I am a musician.

And strange things have happened to me, for example: flamenco gave me a huge fascination while living in Mexico. Their sound, their strength, were added to the illusion of having roots in another country that gave new meaning to my life. Now that I've walked their land, their flavors tasted, smelled its aroma, has ceased to interest me at all. I appreciate it as a genre and I enjoy it rationally, but for me it has lost its magic. It is no longer exotic. To make sense in context is dead fantasy.

intangible worlds to which music takes me is so real and horrible and dirty street because are music, and music is absolutely real.
are part of it as much as the instruments that play music or pancreas. Are possible universes, infinite and individual, and each contains a unique collection of music for each spirit.
The travel route is often lonely. At most we can hope for is a fortuitous collision, sporadic connections, a laugh here, a crybaby there.
As I say, as real as life itself.

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Pre-MIDI New Wave: Karn, Taylor. Parla

What happens to the bass is often condemned to immobility, he chained to the root of the chord and, if anything, are allowed to visit the fifth or a passing note.
as a teenager is full of hormomas to which forces them to stay at home on a Saturday night ... believe me I know that.
sad fate for such an instrument, I would call it musical castration.

Fortunately there are exceptions, such as Mick Karn and John Taylor.
reescucha I delivered to Gary Numan, to see if I can put into context all this eighties revival and finish convince me that retro is trivial and banal, that nostalgia is beautiful as it is intangible, loss, misleading reconstruction of our mind bored by this.
fortunate in that I stumbled upon Odyssey We take mystery (to bed) and Music for Chameleons. Both songs have a spectacular bass lines and thought that it was Paul Gardiner, bass player of Tubeway Army. What was my surprise when, researching researching, I find that the album bassist I, Assassin (1982) by Gary Numan was Mick Karn, one of the culprits that today I am a bassist wannabe.

Within the cataract of nonsense that is to commit to the time of cataloging a musical moment, the "wave" Britain's early 80's has been in memory as New Wave. had one foot in punk and the other in the disco or funk, reggae or post-psychedelic glam, and almost always in the wake of David Bowie or Roxy Music. Between this subgentuza difícilmete
qualifying groups are as Japan, Simple Minds, Depeche Mode, Duran Duran, OMD, The Cure, Siouxsie and the Banshees and of course Tubeway Army.
the middle of the decade the market had digested them all and suffered groups to find something new to say. Few did so, I must say ... Live Aid had become politically correct, Princes of Wales gave his permission.
However there is a technical breakthrough that I have never heard mention of the critics and try to figure out the profane:
In December 1982 he launched the Prophet 600 Sequential Circuits house, the first synth with MIDI. The technological revolution of the music gave a huge leap.
M usical I NSTRUMENTS D igital I nterface is the universal protocol that allows synthesizers chains to add their capabilities, connecting computers to ultra-detail set at the smallest musical event, synchronize devices ... now used for many applications including non-musical by multimedia artists.
What happened? MIDI euphoria that filled our plastic music, sequencers, synthesizers towers placed under his dictatorship and forced to comply with all the music functions in the service of fashion and vocal star of the moment. Just as video killed the radio star, MIDI killed the rock. The triumph of the machine. The currency of the digital age. Born
"synth pop".
The logical consequence was the return to the caves that we proposed the grunge the sake of honesty and rawness ... fortunately happened and it seems that the waters return to normal, the MIDI is just another tool and the bands have returned to play, the rock is dead, but nobody give a damn. MIDI
But before, when the synthesizer was a more of a band, the sound spectrum required instruments: drums, guitars and of course low. And in that context, those two or three years earlier New Wave to MIDI, excel in Japan Mick Karn and John Taylor in Duran Duran. Without them, the bands had not been the same.
Karn is for the New Wave which is the jazz Pastorius: electric bass and frees you do live in the foreground, is almost a solo. Brings a world of color scales introducing rare short chain movement whiff syncopations of funk and music makes the whole thing is a new and exciting, completely different from what they were doing their peers. If we add to David Sylvian, Richard Barbieri and Steve Jansen in Japan, Peter Murphy in Dalis Car, or Gary Numan have one of the tastiest dishes and more undervalued in the past thirty years.
John Taylor is more discreet but no less effective, perhaps more elegant. Duran Duran is one of those bands that make intellectual and enjoying wince at the bottom of his heart unspeakable. A crucial aspect of their sound is low, especially in the first two albums. Confessed admirer of Bernard Edwards (Chic), John Taylor becomes simple harmonies contrapuntal lines while being functional, are the glue that binds the melodies of voice with the guitar funk rhythms or arpeggios, with the harmonic subtleties keyboards and of course with the battery. Always energetic, but with a sense of melody. He gave as an example
Lonely in your nightmare by not raising one of the songs famous, but more missing songs exemplify the very suggest Rio
This time I'm going to start analyzing the songs because I want to illustrate is told himself, Just have to have a team that plays the bass a little better than typical computer speakers.
Since I discovered how to put music on the blog I am much happier.



Gary Numan, I assassin (1982)

Japan, tin drum (1981)

Duran Duran, rio (1982)

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a couple of weeks ago I met by chance the announcement that was going to play Steve Jansen in Madrid, and to find out about the event it was discovered that the previous day had Hector Zazou. Two hours later I had tickets and air ticket ready and talked to my brother, who lives in the city to make me a little space for my backpack.
Interparla The 2007 festival is one of those events to justify having come to live so far from home, and check there are things for which the "first world" works. Where else would I see such concerts for € 3 each?
Both concerts were to be direct to music in classic films, which slowly is becoming a genre in itself and that reminds me of when silent films were animated with a guy playing the piano roll ... as more or less equal, but in the XXI century. Zazou
reinterprets "The Passion of Joan of Arc" by Carl-Theodor Dreyer (1928) invites us to take the head of his protagonist through sound: The raw material that is served in this case is only birdsong. Hence the musicalization bearing the name of "A Symphony Bird."
is assumed that the film was burned before its release when I was almost finished and Dreyer reconstructed on the basis of material he had left, which are mainly close-ups, which takes a tremendous intensity thanks to the marvelous performance of Renée Falconetti .
Another theory says that the film Dreyer reconstructed alternate takes to the point that was almost identical to its predecessor. Unfortunately the second version was also destroyed by fire, but later appeared intact after a negative was (re) built by Lo Duca on a version that would be classified as unacceptable by the alterations and mutilations were inflicted on the original.
Finally in 1981, in Oslo, someone found lost in a cabinet a copy of the original version, 1928.
The film is immensely moving and Zazou's work is, call it that, "maddening" to the extent that it manages to get inside the mind of Joan of Arc and her dialogue with God based on electronic manipulation of voices of birds .
The way you relate to the image at any time is harsh and produces a sense of anachronism by the former film contrasted with contemporary electronics, on the contrary, the speeches will enrich and enhance each other and the narrative unity is achieved, is set to a level unexpected and profound in the absence of words (except for some intertitles) and incidental sound that we are so used.
The music speaks to the image, forcing us to a double effort of interpretation: First, the understanding of the image and its modern treatment (do not know film, but the resources I've seen that movie I have not seen in many of its contemporary) and the particular view of history honestly seeking to avoid Manichaeism flights and inquisitorial topics and on the other hand, the exercise of digging in the mind of Jeanne d'Arc led by the amazing sounds that are the language in which heroin communicates with God.
The experience is intense and moving, seasoned with the presence of Monsieur Zazou and manipulation of sound in situ (splendid 5.1)

My second day in Madrid was clouded when I found a sign at the entrance to the theater to put something like as "Steve Jansen will not play today because I have bronchitis, but as in any case would take place as the concert tried to put a good face out of respect for the other two musicians, who, incidentally, did not know.
The original idea came from Claudio Chianura, keyboardist. Jansen had been presented with this same work in Milan, which was released on CD (Kinoapparatom - Medium, 2001) and is now presented with Elsenburg on guitar.
the end it was this duo, acting on the image of the experimental film of 1929 "Kinoapparatom" Dziga Vertov (also known as "A man with a movie camera"). From the beginning Vertov
warns there are no actors or script, that his intention is releasing the movie theater or literature and explore the value itself.
The film begins with a stream of people coming to a cinema and the film that starts on the screen. A portrait of daily life in a Russian city that thought it was Odessa and Moscow trams, bars, sports, accident, factories, work, leisure and motherhood. And among all the activity starring cameraman filming everything as a premonition of a world hipermediatizado. Moving camera on wheels, or animated frame by frame. The camera looks and is in turn watched by another camera, that the final films to viewers in the cinema in a game of mirrors that reaches us through time. Maybe the seats of the theater that I'm more comfortable.
music, improvisations on themes and atmospheres, accentuates the different chapters of the film. I remember quite
parts of instgrumentales Gone to Earth David Sylvian. Long chords and atmospheric guitar and design detailed sound. Some loops, samples of stories in Russian. The images become nostalgic and others, are romanticize.
Unlike the work of previous day's Zazou, music and Elsenburg Chianura is completely tonal, modal or if you will, but based on notions of scale, harmony and rhythm that we are familiar, which makes it much more accessible, although this does not detract in any way.
the end I did not need to come Steve Jansen, and did not know the work before the concert I was completely satisfactory, perhaps not as intense as the previous day, but this may be due to the nature of the work. I congratulate
Interparla festival people and those who finance ... because the twenty cats in there were safe and did not manage to cover catering costs.

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confess to face to talk about these monsters who have spilled rivers of ink I was some panic, but not Calypso I can let down and let it pass.
Depeche Mode and the Beatles have in common musical use of sound unconventional treatments in the rock, both have made this a flag, seal, a manifesto.
It would certainly be nonsense to pretend that they are not heirs to the works of Boulez, Stockhausen and all that generation of electroacoustic experimentation that George Martin was quite aware, and I do not offend anyone if I think Depeche Mode owes much of its position sound to "Sgt Pepper." Thanks to them, rock sound could greatly broaden your horizon and become a more powerful vehicle of expression and profound, sometimes sublime.
this is usually associated with psychedelic and "culturalization" of drug use, but I think this is an overly simplistic view and an excuse to justify the use of psychoactive substances by several generations, as if drugs were the cause to which we must thank the talent, work and creativity.
What we have offered goes further to do with complex sensibilities who dare to peek cliffs rare emotional and expressive, but I get the same feeling when listening to Beethoven, Mahler or Bartok and would be very curious to get them to them inside the bag of psychedelia what the academicians would laugh! only see their faces would be worthwhile.
On the other hand, it would be fair to reduce the Beatles and Depeche Mode to their experimental sound, the songs work even be interpreted only with a piano or guitar. Martin Gore maintains this principle and Beatles songs have been fondled while needless to say.

The Darkest Star is a song that may go unnoticed is the last of the "Playing the Angel", and as most people can only pay attention for seven minutes, the last pieces are filled or are great.
There are many levels at which we can talk about it: its composition, sound design, his heartbreaking loneliness, his words no doubt everything will be larger than the sum of its parts.
When stripping the song and play the piano only demonstrates his pathetic and reminds me vaguely of Chopin by the decreased use of the minor mode. If there is a piano sheet music certainly ask as dynamic indication.
The B provides material for the coda and intro, a simple is overwhelming because of how well it works: chord followed by a fourth grade sforzando a flat diminished fifth grade (which ultimately is a socorridísimo investment grade declined) in which "breaks" the sound of piano with distortion rather noisy. Centuries ago as the effect of these chords automatically evokes feelings of hopelessness or sadness, to say the surface, but fortunately Martin Gore lyrics are cryptic enough to save us from sentimentality and suggest some other exercise of reflection (which I give to every one who, points whichare not mine)
Otherwise the esrtructura is typical: ABABC.
As note about the treatment of sound, the piano on the subject of guitar after the first B is modified to make a "bed" sound without breaking the propueso sound design from the beginning, there are also several reverses and of course all blips class full of filters. The bass and loop of the battery are in the mix to a fairly low level to give a feeling of containment, silent anguish, are the piano and voice which are responsible for dynamic movement.
The explosion Pisaj the sound of the coda is a very enjoyable trip, good night, sleep well, sleep with the angels.

Calypso Unless you've got a surprise when seeing eye pa'dentro and you drop an unexpected extension of the promenade.

All "bitlemaniacos" Beatle have our favorite ... I have not been very faithful: a child was Ringo Help! , then it was John because he was the revolutionary martyr, and now it is George because I simply like him. Paul is like Sting or Bono, I can not catch them affection.
The George songs have something special and you Love is a song to little Beatle, Ringo actually just play the tambourine. George sings, plays the sitar, the tambura and guitar touches the table Baghwat Anil. Paul had done some voices that ultimately were not included.
Although today take everything for granted and rare instruments enter the pop is full of topics, it is worth recognizing this song as one of the first to introduce traditional instruments of India. The sitar there is only listening to realize how powerful it is: a light curtain of harmonics so dense that it is difficult to incorporate other instruments other than percussion soloist, also in this case is accompanied by the tambura, which is its instrument relative and bass pedals makes something like the cello and viola, which already have a sound overwhelming. On the other hand, the sitar has a lot of strings that resonate parasympathetic affinity. This means that there are few possibilities to make different chords and harmonic development to the western style, which is obviously irrelevant when we heard the extremely complex melodic and rhythmic development of traditional Indian music.

Returning to the track, After the intro, the theme sitar is very characteristic use of the semitone between the sixth and seventh grade to give personality to the mixolydian mode.
Use rhythm changes is common in Indian music, are in fact fecuentes time signature sequences and possibly in this song George has used a particular pattern that will surely have a great name: it seems that the A's in 4 / 4 and there is a addition to advance to the B seems to be at 7 / 4 or rather have inserted a beat of 3 / 4, with Ringo's work is not as simple as it seems.
Just a guitar chord in reverse and appears repeatedly in the B, but fits well with the sonority of the piece.

The difficulty here is to get rid of preconceived ideas when listening to music, we earn our cultural taste by the exoticism and automatically categorize the song in your box corresponding. However
no longer a pop song , which is what George could do, some argue that is a pioneer of world music (as I do not know what that is I will refrain from commenting, at least until someone teach me some music moon) I do believe is that it opened a little more use of what can be done and express music. Risked, and I appreciate that.

Retaining Wall Block Menards

Ladybird Lilywhite Lilith



Peter told me the other day, while listening to some old vinyl of Pink Floyd as well displaced generation, who had read a free newspaper critic proclaimed genius of the concept album the seventies were an invention of the record. Of all the criticisms I have heard, many of which are secondary to progressive rock, this is by far the most outlandish. As we were starting from that laugh enraged that gives someone write that with impunity, we recalled that one thing that is brainchild of the record are compilations aberrant as the "Adagio Karajan" or four-minute songs, it really is a commercial invention of which, I confess, I am a victim: I have about seven gigabytes of music on the hard disk that practically only listen in shuffle mode, each time it is more difficult to find time and mental state to play a disc from beginning to pa, plus there are fewer than those designed for that purpose. Calypso fortunate (my machine) is a great DJ that surprised me the most successful eclectic mix.
All this comes about because I want to talk about a song from one of those concept albums of the seventies, seventy-four to be exact, and other published in 2004.

There are songs to listen for a sunny Saturday morning and calm, like today. long So much trouble in the World Bob Marley was my morning song par excellence, but there are many more and today I have suggested two Calypso: Liliwhite Lilith (1974) and "The Lamb Lies Down on Broadway" Genesis and Ladybird (2004), "Everybidy Loves a Happy Ending", last record of the meeting Tears For Fears.

is odd that I never liked progressive and yet now reescucho "The Lamb ..." and I appreciate the light of contemporary music groups such as Stereolab, Tortoise and Mogwai, this illuminating the past and giving it a sudden force.
I will commit the sin of Lilith Liliwhite decontextualise , which is a pretty rocking song that opens disc two. Strong guitar riffs, chords that move against a low pedal and a chorus surprising change of rhythmic feel after an addition of a bar.
Otherwise it is quite simple in structure: ABABC, with the C in the context of the subdominant. Not exactly a coda because it works more as liaison with the next piece of the disc.
A simple song with the grace of chords that move against the bass pedal, rhythmic subtleties and Peter Gabriel's voice has a fantastic color. Ladybird
in principle is quite different: while Lilywhite ... is part of a fairly dark story, Ladybird is a song almost naive but not without a certain melancholy. Curiously, the song by pop (TFF) is a bit more complicated than the progressive, but not much. What is shared and does have a peculiar attraction is the change of sense of rhythm and intensity in the chorus: The Ladybird stanzas are smooth and are in ¾, the choir surprised by switching to a 5 / 4 (3 +2 ) and increase the intensity.
In both songs the melody of the choir is up and arrangement is very contrasting with the stanza: in Lilywhite ... the verses are strong, the rhythmic feel of the chorus is cut in half and smooth, while in Ladybird is exactly the opposite.
As always, they are simple lyrics Tears For Fears are a show of compromise: with few elements manage to give variety to the topic: the intersection of tunes from the third A is very characteristic, and the hue before the last chorus to enhance the final. Perhaps the only thing I blame is the fade out.
In any case if someone wants to recommend listening to the experiment in reverse chronological order: Ladybird first and then Lilywhite Lilith.
Ah! and if you can put immediately after the San Lorenzo Huastecos Los Camperos (compilation "just another moment" CORASON record) going to be thrilled. I love my DJ.

"... Cupid, as a traitor, take my life is,
only ask a favor, that his sword is silver
to die with courage and in the arms of my flat ..."

Just a note more devoted to nostalgia: My friend Leonardo Neymet, with whom I had my first band was a fan of "The Lamb ..." Today, twenty years later, can I thank you for giving to him.

Kid Pops Wheelie On Buggy

Bloc Party or the elegance of tulips


When writing about music is easy to use adjectives that mean nothing when in fact you do not know what to say. One of them, socorridísimo by critics, is the elegant , if in common terms is not easy to define, in musical terms is worse. Ah, but what good is the criticism saying that so and so make a very elegant music!
Dictionaries define the elegance as a combination of distinction, taste and simplicity, which I turn could pose a dialectic spiral in which I will not get it just want to talk about a song by Bloc Party I can only describe as elegant .
"Tulips" is based on a Bm7 arpeggio on practically the whole song takes on whether wind, less than a coda that becomes luminous upon landing in D major. The riff of this arpeggio is maintained throughout the piece giving it consistency.
The trick is, largely, in the administration of musical resources and the movement from below that gets the same arpeggio notes become extensions and therefore in color.
modal environment allows such games and shows that musicians are a quartet Bloc Party eminently "rocker" who knows how to go beyond the chords with the guitar distortion and fundamental to pound on the bass: no expression in the harmony, the pursuit of a more original or less energy without losing the essence of basic rock band.
The structure of rock songs is extremely rigid, especially when there is a label that wants to economic performance, but also has a dramatic reason for being. In reality it is nothing new and usually gives a concise form and musical ideas. "Tulips" is no exception, and yet it is handled sensitively: the verses are not equal to each other, and neither are the choruses because they are framed in a general crescendo that leads the entire piece, from the intro battery until the final bound in D major which is the climax of the song while the voice sings "you're the one I love."
remove intelligence under the first verse and the subtlety with which you entered or the dynamics of the coda are witnesses of musicality and sensitivity to time to fix.
also grateful for the battery, without straying too far from the usual patterns found some originality and is functional enough to keep the whole thing. I also like that syncopation finish their rolls in the style of Sly Dunbar.
Finally, Bloc Party is allowed to play most style groups seem unable to conceive of making it a fairly unique: a genre so full of testosterone, the extensions of the chords and bass tones changed women seeking giving a special balance to the music without filling of affectation; this, added to the group spends too many production tricks and displayed as it is, get distinction its intrinsic simplicity thanks to skill and good taste of your arrangement.
To me that's elegance.