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K.D. Lang "Drag" (1997)

A good woman is discovered with his masterful reading "So in Love" in tribute to Cole Porter album "Red Hot + Blue" (90). Best of this album, apart from the tech version of "Night & Day" by U2 , making a love song into a haunting ode to obsessive (which amounts to a reinterpretation of a song well done, apart from the package modern records to find new music), two ladies were mighty voices: KD and Sinead O'Connor singing the "You Do Something To Me" (being an advance on their cover album "Am I Not Your Girl ", 92).

Truth guadianescamente I have followed the career of this woman, but this "Drag" has convinced me in his favor. I also remember a spectacular version of "I Will Survive" by Gloria Gaynor who listens to perform at a concert (can not remember which) they cast on television. It is unfortunate that only see this woman talking about the topic of homosexuality recognized, when a top performer. On the record before us centers around a series of very different versions, turning conceptually on addiction to snuff (although sometimes they let some license as in the case of the version of the Hollies or "The Joker" ). This, say, at the lyric or the concept that involves the versions. Musically, the issue becomes more important, it combines classicism (the songs, the interpretation) and renewal (such as original arrangements on that emphasize below). The mixture of historical classicism Jimmy Haskell (impressive resume, his is, for example, the award-winning string arrangement of "Bridge over troubled water" ) with atmospheric guitars (as stated in the libretto as "guitar loop" by David Top, provide the album a timeless, dreamlike, dreamy, and outside time.

To give some details, the final orchestration, as sounding from afar, the beautiful version of "The Air That I Breathe" of the Hollies. Deleted horrible original guitar solo, the song won integers. Or the beautiful game between similar tones of the organ and the vibraphone in "Smoke Dreams" that give a very close to Julie London records. To which also helps the savoir faire of Lang. Al "Do not smoke in bed" of Peggy Lee gives it subversively lounge atmosphere, although it seems paradoxical. What in the hands of others might be just easy listening, that is, sounds nice, it becomes something ethereal in this album. The catchy version of "The Joker" is a very conventional, not bad, the disk, although the tempo is changed and brought to ground. It also has merit its fabulous version of "Til the heart caves in" of his friend Roy Orbison or convert " The valley of the dolls" in a torch song, even more reading that Dionne Warwick.

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Hastiado del rock

I still be Guenin

99% of the current rock gives me a tremendous boredom. Compare the music of previous decades (I refer mainly to the 60 and 70) with what is done now, I suggest the image of a butcher cortándote a leg of ham and obsequiandote only the crust of the piece and with a bit of bacon stuck this, without ever scrape the inside of the ham.

Much to insist on the other side of the fence, those who say that everything is guest and can only honor the memory of those (groups) "dead", there is something inherently exciting about the discovery. In any area, not only in the musical. The human being is moved by the virgin land (in all senses) and routine kills not only sexual and emotional relationships, but also the creation. To justify this routine (in this case, music) there are all sorts of bad excuses: the eternal chant of "invent other, which is all that" or words that have been devoid of meaning, even embezzled , as an attitude (nose), roots (repeat), regardless of fashion (inability to absorb any influence new or explore other avenues). And of course, the "we" are supposed to do, good-songs, do not do boring and / or experimental sounds pretentious. " If fans with songs that remind hearth of their favorite songs-and past-at least to comfort and to deceive the firstborn, who does not know these previous references. And if school since the last coward.

Influences: Stones, Beatles, Kinks, Who ...

So, lately I'm trying to group them get a bit of jack, queen and king (of pop, rock ... well, the subtrack whatever). What bothers me is not to copy, copy is so bad. The lack of capacity for abstraction. A group of 60 copies a picture of another composition, I had a different context and created something completely different (and I think a completely valid creation). This concern has disappeared.

Well, what was. I'm trying to groups that long line that goes from (we're talking about upgrades) kraut, to trip hop, post rock, through the lounge. Groups such as Portishead, Laika, Moonshake, Tortoise, Stereolab, Broadcast and Pram. I like to play with textures, do not forget what a song and try to move (to cause some concern with the sounds that go beyond using sounds "Molanta" problem electronic music endemic to so-called "smart"). Speaking of emotions, words which I use for want of a better. Fed up with bands who insist on the spontaneous, willful little music, it seems that the exudative. It sounds like most of the time. He very well pass them, no doubt, but not the listener. From here I claim the cold mathematical intelligence of music.

made me reflect, albeit negative, a book that caught me on the technical aspects of the music of Brian Wilson. I bought very excited but I was disappointed. It's incredibly comprehensive at some level. You talk about a song and you compare your melody or chord changes with other parts, whether the same author or in which was probably inspired. But other aspects of Wilson's music does not speak or do not know. For example of their imaginative productions that sound completely natural but unrealistic (in terms of available sound layers) that succeeded. Or the incredible arrangements and infinite texture of your best work. And that made me think that maybe some players (say, learning by ear to learn music or a style only) copy such things (melody, riffs, chord wheel) and others (both ignore these aspects earlier, as have some studies say more regulated) are set out in more subtle aspects of music.

Throad Little White Blisters

Mr. Bungle "California" (1999)

The band's last album of Mike Patton and Trey Spruance is the disc alongside more accessible of the three that gave us the most achieved and the level of songs. Stylistic changes within a song are better integrated than in the two previous albums and easily engage the listener. The title of the album, it seems, is a joke at the expense of the Red Hot Chili Peppers then delivered their mediocrisimo "Californication" . Apart from this detail, also indicates the overall immersion in the music of the coast: surf, Hawaiian music and many details pointing to the greatest ambassador of music California, Brian Wilson.

Verily those drums that appear in the first issue, "Sweet charity" having a left to the music of Hawaii. "None of Them Knew They Were Robots" is a marvel multiestilisica concretion, a power surfing mixed with swing base, where they insert all the crazy things they come up! And work!: Metaleras guitars, music from cartoons, retro touches futuristic, funk, jazz and even pieces sung in Latin. To send the halo of which never had to leave all those swing sclerotic bands that emerged in the 90 to root bodriosa success of the movie "The Mask " (that hodgepodge starring actor Jim infra Carrey). "Retrovertigo" is most conventional album. A part-time with some melodic guitar pop and scheduled basis. But back to Brian Wilson, "The air conditioned nightmare" is a "Good Vibrations" modern. Wilson explotation the best I have heard in decades. No copy cliches (well, some structure, choirs and percussion if you have air, but well run), only allowing himself to imbue the unhealthy environment that swept much of the "Smiley Smile" . In "Ars moriendi with what they play is with Romani gypsy music from Eastern Europe, with rave metalheads and some mention of Dick Dale (again California surf music) creating an atmosphere of revelry downright fun.

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