domingo, diciembre 03, 2017

Porque me siento rara vol.49 - Smog

"That record is half on four-track, and half in a studio. It was kind of strange to have someone else there. And the engineer was this portly, ruddy, miserable blob. He had this six-pack of beer he was just guzzling. He didn’t share them, no, I brought my own. I just had to go for it, and try to block out all that stuff. I went out on my first tour in ’92, too, and I remember I closed my eyes and went through a song for the sound-check. And I opened them, and the engineer had left. That was the same important realisation – that no-one cared, except me.
When I started out I wanted to make music that would just happen this one time and be caught on tape, and that could never be repeated. Very immediate. Not a lot of words. The first three records were completely naïve. I didn’t understand about the balance of sound. All that stuff that people strive for. I had to learn… everything. I’m not too sure if it even helps to know how to make a record, actually."

(Complete in "Bill Callahan – Album By Album")


domingo, julio 09, 2017

Porque me siento rara vol.48 - Alva Noto

"originals are unique. whether they be genetic codes, documents, or electronic image and sound files. their copies are simply a means of distribution. today we are preoccupied with protecting these originals from misuse, whilst the essence and potential of the copy is generally disregarded.

in our world of constant reproduction the immeasurable number of multiplied images corroborate the original. the copy assumes its Independence and its own value. the replication equals the original, which as an icon becomes abstract and virtual.

via the technique of duplication the copy often contains mistakes and glitches that differ from the original. these simplifications and deformations lead to a gradual loss of the copy's relationship to the original and can result in a substantial change in meaning.

although elements of the source remain, the original message dissolves amongst the white noise of reproduction. in the end the observer can barely recognize if the origin still forms a part of the information transferred. does an integral material component of the original remain or can this only be projected?

in the end the process of copying can itself become a creative tool which analytically generates something new. the mutating copy emerges as a new original and thereby provides space for development."


lunes, enero 02, 2017

Rescate emotivo vol.8 - Futbol (2011/13)


Al contrario de los trabajos anteriores de la agrupación, en La gallina no hay piezas instrumentales. Todas cuentan con la pluma y la voz del baterista Santiago Douton. Si en el disco anterior las letras se distinguían en muchos casos por mantras eufóricos (como el ya clásico de la banda “No llores niño”), aquí hay más ánimo de descripción –siempre inmediata, nunca embrollada- de seres particulares (“Barquillero”, “El ciego” o “Ceferino”, canción homenaje a Ceferino Namuncurá), lugares de la vasta geografía argentina (“Río Colorado”, el Paso de los Libres en “500 submarinos” y la mención a los campos de algodón en Formosa y las plantaciones de quebracho del norte chaqueño en “Golondrinas”) y hasta acontecimientos como los desmadres ocurridos luego del descenso de River a la B Nacional (“El asedio de River Plate”). Esto hace que las canciones, aunque repletas de vértigo en varios tramos, posean en su ADN un aire terrenal y hasta de cierta cotidianeidad.

(Emmanuel Patrone - Review completa en