ANDY WARHOL – O DOLAR MAIS CARO 2015

a nota dolar mais cara de sempre-Andy WarholO quadro “One Dollar Bill (Silver Certificate)” [Nota de Um Dólar (Certificado de Prata)], pintado por Andy Warhol em 1962, foi arrematado por 29,4 milhões de euros, o valor de venda mais alto de sempre de uma obra contemporânea num leilão em Londres.

A obra, uma reprodução de uma nota de dólar norte-americano, destaca-se por ser a única pintada à mão pelo artista conhecido pelos seus trabalhos de Pop Art e tinha uma estimativa de entre 18,4 milhões e 25,4 milhões de euros.

Anúncios

ADULT JAZZ

ADULT JAZZApós elogios da crítica pelo seu single de estreia Springful / Am Gone em janeiro, os Adult Jazz anunciaram o seu álbum de estreia em agosto de 2014, através do seu próprio selo Thought Spare.

Adult Jazz, são quatro (Harry Burgess, Tom Howe, Tim Slater e Steven Wells) e vêm deLeeds. Desde o primeiro single Springful publicado no início deste ano, e ao ouvir Gist It, disco de estreia do quarteto inglês logo me vem a cabeça comparações com An Awesome Wave, disco de estreia dos também ingleses Alt-J. 

Não pelo fato de serem dois artistas britânicos ou destes serem os seus primeiros álbuns, mas pela sonoridade que muitos consideraram“inclassificável”, pop e jazz com  palavras a desencadear imagens igualmente sedutoras e a voz, um timbre de freestyle desinibida.

Se Alt-J são um dos pontos de comparação, bandas como Wild Beasts, Dirty Projectors e Maps & Atlases podem entrar nessa lista também. Estilos como Prog-Jazz, Folk e Dream Pop engrossam o caldo estilistico.

Se os Wild Beast são um pouco divindades tutelares, meio-irmãos de a tudo tudo, os descendentes Alt-J, os cativantes Glass Animals, o encontro de American Football com Local Natives, ou Cosmo Sheldrake e Febueder aqueles que ainda estão nas sombras, os Adult Jazz são os que até agora têm empurrado para além da complexidade rítmica, muitas vezes de se aventurarem em vórtices de polirritmia, no entrelaçamento proezasvocais e estruturas em forma livre.

GOOGLE CANÇÕES

Google vai começar a publicar letras de canções

O motor de busca já terá começado a contratar pessoal para transcrever e fazer o upload das letras.

Segundo a imprensa internacional, o motor de busca já tem funcionários para transcrever e fazer o upload das letras, que passarão a surgir nos resultados das “pesquisas associadas”.

O Google irá assim competir com os serviços que há muito disponibilizam letras de canções, como os sites Metro Lyrics ou Sing 365, entre outros.

De acordo com alguns relatos, nos Estados Unidos os utilizadores do Google já encontram as letras fornecidas pelo Google quando usam o motor de busca para pesquisar pelas mesmas.

Os resultados do Google aparecem acima do de outros sites dedicados a esclarecer os melómanos sobre o conteúdo lírico das canções.

 

NEGATIVLAND

Sem nomeTHE NEGATIVLAND STORY : Since 1980, the 4 or 5 or 6 Floptops known as Negativland, a performance and recording group based in the San Francisco Bay Area, have been creating records, CDs, video, fine art, books, radio and live performance using appropriated sounds, images, objects, and text. Mixing original materials and original music with things taken from corporately owned mass culture and the world around them, Negativland rearranges these found bits and pieces to make them say and suggest things that they never intended to.
In doing this kind of cultural archaeology and “culture jamming” (a term they coined way back in 1984), Negativland have been sued twice for copyright infringement.

Over the years Negativland’s “illegal” collage and appropriation-based audio and visual works have touched on many things – pranks, media hoaxes, advertising, media literacy, religion, the evolving art of collage, the bizarre banality of suburban existence, creative anti-corporate activism in a media-saturated and multinational world, file sharing, intellectual property issues, wacky surrealism, evolving notions of art and ownership and law in a digital age, and artistic and humorous observations of mass media and mass culture.

While it is true that, after being sued, Negativland became more publicly involved in advocating significant reforms of our nation’s copyright laws (more recently finding themselves being brought to Washington DC and Capitol Hill as citizen lobbyists for
copyright and art issues), Negativland are artists first and activists second. All of their art and media interventions have intended to pose both serious and silly questions about the nature of sound, media, control, ownership, propaganda and perception in the United States of America. Their work is now referenced and taught in many college courses in the US, has been written about and mentioned in over 150 books (including “No Logo” by Naomi Klein, “Media Virus” by Douglas Rushkoff, and various biographies of the band U2), cited in legal journals, and they often lecture about their work here and in Europe.

Since 1981, Negativland and an evolving cast of characters have operated “Over The Edge,” a weekly radio show on KPFA-FM in Berkeley, California. “Over The Edge” continues to broadcast three hours of live, found-sound mixing every Thursday at midnight, West Coast time, also streamed online. In 1995 they released a 270-page book with 72-minute CD entitled “Fair Use: The Story of the Letter U and the Numeral 2,” documenting their infamous four-year long legal battle over their 1991 release of an audio piece entitled “U2”. They were the subjects of Craig Baldwin’s 1995 feature documentary “Sonic Outlaws” and created the soundtrack and sound design for Harold Boihem’s 1997 documentary film “The Ad And The Ego,” an excellent in-depth look into the hidden agendas of the corporate ad world and the ways that we are affected by advertising. In 2004 Negativland worked with Creative Commons to write the “Creative Commons Sampling License,” an alternative to existing copyrights that is now widely used by many artists, writers, musicians, film makers, and websites.

In 2005, they released the elaborately packaged “No Business” (with CD, 15,000-word essay, and custom-made whoopie cushion), and debuted “Negativlandland” – a large visual art show of over 80 pieces of their “fine art” works, videos, home-made electronic devices, and a life-sized animatronic Abe Lincoln robot, at New York City’s Gigantic Art Space. That art exhibit continues to change and evolve and has traveled around the country, showing in Los Angeles, Seattle, Minneapolis, Houston, and Richmond, VA.

In 2007, Negativland released “Our Favorite Things,” a feature-length DVD collection of their many years of collaborative film work, and in 2008 they surprised themselves and everybody else by putting out a toetapping all-songs project of one member’s compositions called “Negativland Presents Thigmotactic,” and they continue to occasionally visit Washington DC as citizen lobbyists.

More recently, Negativland has been performing a show of radically new audio-visual versions of many Negativland fan-favorites that have never before been heard live. Negativland’s current performance project, entitled “Content!,” finds them teaming up with electronic musician Wobbly, and “live cinema” video artist Steev Hise, to create a visual and sonic performance that reinvents favorite past and present dialog cut-ups, while showcasing Negativland’s homemade electronic noise-making devices that they call “Boopers,” and relying heavily on group improvisation.

And in 2014, for their first new audio release in six years, “It’s All In Your Head” finds the group tackling their biggest subject ever: God. This ambitious and densely-crafted double CD is packaged inside an actual King James Holy Bible which has been appropriately repurposed into a “found” art object. Negativland mixes found music, found sound, found dialogue, guest personalities and original electronic noises into a compelling and thoughtful musical essay on monotheism, Christianity, Islam, Judaism, neuroscience, suicide bombers, 9/11, colas, war, shaved chimps, and the all-important role played by the human brain in our beliefs. The audio is presented as a live radio broadcast
(modeled after the “Over The Edge” radio program).

This theater-of-the-mind project has been assembled from basic tracks recorded live in front of blindfolded studio audiences, and documents the unique style of live collage performances that Negativland has been presenting on stages, and on radio, since the formation of the group in 1980.

Negativland is interested in unusual noises and images (especially ones that are found close at hand), unusual ways to restructure such things and combine them with their own music and art, and mass media transmissions which have become sources and subjects for much of their work. Negativland covets insightful humor and wackiness from anywhere, lowtech approaches whenever possible, and vital social targets of any kind. Foregoing ideological preaching, but interested in side effects, Negativland is like a subliminal cultural sampling service concerned with making art about everything we aren’t supposed to notice.

About “It’s All In Your Head”: Negativland’s new album, “It’s All In Your Head”, finds the group tackling their biggest subject ever: why humans believe in God. Millennia-in-development, this ambitious and densely-crafted double CD is packaged inside an actual Holy Bible which has been appropriately repurposed into a “found” art object.

“It’s All In Your Head” intends to entertain, inform, and provoke. On the CDs, Negativland mixes found music, found sound, found dialogue, guest personalities and original electronic noises into a compelling and thoughtful musical essay that looks at monotheism, Christianity, Islam, Judaism, neuroscience, suicide bombers, 9/11, colas, war, shaved chimps, and the all-important role played by the human brain in our beliefs. Reading the attached Bible is optional.

The audio is presented as a live radio broadcast, modeled after Negativland’s weekly “Over the Edge” radio program on KPFA-FM in Berkeley, CA. This theater-of-the-mind project has been carefully crafted from basic tracks recorded live in front of blindfolded studio audiences, and documents the unique style of live collage performances that Negativland has been presenting on stages, and on radio, since the formation of the group in 1980.

Since its previous album release six years ago, Negativland has kept busy with its weekly radio program, lectures, art gallery shows and live performances in the U.S. and Europe. Currently in the works are several different studio albums, including Negativland’s all-electronic “Booper Symphonies,” two brand new “Over the Edge” album releases, more art shows, and a new touring live show called “Content!” with upcoming performances at festivals such as Bumbershoot, All Tomorrow’s Parties, and Moogfest.

NEGATIVLAND ALBUMS, BOOKS, DVDS AND ART SHOWS

Albums and EPs
1980 Negativland
1981 Points
1983 A Big 10-8 Place
1984 Over The Edge Vol. 1: JamCon ’84
1985 Over The Edge Vol. 1 1/2: The Starting Line with Dick Goodbody
1986 Over The Edge Vol. 2: Pastor Dick: Muriel’s Purse Fund
1987 Escape From Noise
1989 Helter Stupid
1989 Over The Edge Vol. 3: The Weatherman’s Dumb Stupid Come-out Line
1990 Over The Edge Vol. 4: Dick Vaughn’s Moribund Music of the 70’s
1991 “U2” (EP)
1992 “Guns” (EP)
1993 Over The Edge Vol. 5: Crosley Bendix: The Radio Reviews
1993 Over The Edge Vol. 6: The Willsaphone Stupid Show
1993 Free
1994 Over The Edge Vol. 7: Time Zones Exchange Project
1995 Over The Edge Vol. 8: Sex Dirt
1995 Dead Dog Records (as part of the “Fair Use” book)
1997 “Truth In Advertising” (EP)
1997 Dispepsi
1998 “Happy Heroes” (EP)
1999 “The ABCs of Anarchism” [with Chumbawamba] (EP)
2002 Deathsentences of the Polished and Structurally Weak (Book and CD)
2005 No Business (Book and CD)
2008 Negativland Presents Thigmotactic
2014 It’s All In Your Head

DVDs
1989 No Other Possibility (as part of A Big 10-8 Place reissue)
2007 Our Favorite Things

Books
1995 Fair Use:The Story of the Letter U and the Numeral 2
2002 Deathsentences of the Polished and Structurally Weak
2005 No Business

Compilations and Remixes
1984 Yogi Cometbus Audiocassette Magazine – “Seventy Dreams”
1985 Local International – “One Through Twenty”
1987 Northern California Is A Noisy Place, Indeed – “Paul McCartney’s Penis”
1987 Objekt 3 – “Radio Advertising”
1987 Zamizdat Trade Journal – “General Cavendish”
1987 Unsound Magazine “Play It Again”
1987 Potatoes – “Perfect Scrambled Eggs”
1987 Mashed Potatoe – “A Mashed Version Of Potatoes”
1990 Live At The Knitting Factory Volume Three – “You Must Choose”
1992 Bob’s Media Ecology² – “Tribal Mandate”
1997 Resonance Magazine – “Fast Talk”
1998 Staalplaat’s “The Sound of Music 3” CD – “The Weatherman’s Big 10-8 Doof”
1999 Knitting On The Roof – “Tevye’s Dream”
2000 Hate People Like Us – “What’s Music?”
2001 Yo-Yo A Go-Go 1999 – “The Immortal Words Of Casey Kasem”
2002 Tracks From The Best Dance Albums Of All Time – “Christianity Is Stupid”
2003 Ikebana: A Tribute to Merzbow – “An Actual Attack”
2003 Dubtometry – “Asphalt”
2006 Musicworks – “No Business” / “Favorite Things” / “It’s All In Your Head FM” (Rehearsal)

Retrospective Art Shows
2013 “Our Favorite Things” Ghost Print Gallery, Richmond, VA
2012 “Our Favorite Things” La Luz De Jesus, Los Angeles, CA
2010 “Our Favorite Things” Nau-haus Gallery, Houston, TX
2006 “Negativlandland” Creative Electric Studios, Minneapolis, MN
2006 “Negativlandland” Consolidated Works, Seattle, WA
2005 “Negativlandland” Gigantic Art Space, New York, NY

Other Art Shows in US and Europe
2010 “Thigmotactic” Sean Pace Gallery, Asheville NC
2010 “Dead Fingers Talk: The Influence of William Burroughs” IMT Gallery, London, England
2009 “Motion Graphics Festival” Chicago IL, Boston MA, Atlanta GA, Austin TX
2007 “In Appropriations” Gulf Coast University Museum, Ft. Myers, FL
2007 “Madonna and Child” Madison County Arts Council, Marshall, NC
2007 “Homegrown” Southeastern Center of Contemporary Arts, NC
2007 “System Error” Siena, Italy
2007 Sonar, Barcelona, Spain
2006 Scope Art Basel, Miami FL
2006 “Illegal Art” Art & Culture Center of Hollywood, FL
2006 “Illegal Art” Pacific NW College of Art, Portland, OR
2005 Projections on Side of World Intellectual Property Organization Building Geneva, Switzerland
2004 “Co-lage” Matthews Gallery, Tampa FL
2004 “Illegal Art” In These Times, Chicago
2004 “Illegal Art” Resource Center for Activism and Art, Washington DC
2004 “Illegal Art” SF MOMA, San Francisco, CA
2003 “Illegal Art” CBGB Gallery, New York, NY
2002 “Version 2.0” Chicago MOMA, Chicago IL
2002 Shack Obscura Van De Griff-Marr Gallery Santa Fe, NM
2002 “Deathsentences” Cornish College, Seattle, WA
2002 “The New Gatekeepers” Columbia University School Of Journalism, New York, NY
2001 “Pixelplunder” year01.com, 2001 Toronto Canada

PERE UBU

pere ubuThe art-rock godfathers, Pere Ubu release their fifteenth studio album, Lady from Shanghai.

“I’m no expert on dance. I think it’s a disaster. I mean, if you want to look at what’s destroyed music as a creative force, you should look at dance. Nothing’s happened since 1990. Well, that’s an exaggeration, of course there’s pockets of things that have happened, but substantively not – black culture is bankrupt, white culture is scared and cringing in the corner, and it’s all basically down to dance.”

So says David Thomas, the front man of Pere Ubu, who are just about to release a dance album, ‘The Lady From Shanghai’. Well, the band call it a dance album, but it’s more like deconstructed dance, as if the band smashed ‘dance music’ to pieces and put it back together with sticky tape, without checking which bits went where. The music is more electronic than the band has ever been, and although it’s fairly tightly wound, as you would expect a Pere Ubu album to be, it feels like the band has loosened the screws a little. It’s certainly avant-garde, but the songs maintain a distinct pop sensibility, albeit some distance away from the sort of stuff that troubles the charts.

“As I said, I’m no expert on the damn thing, but I suppose there’s a certain amount of deconstructing of the elements, if you want to use these fancy terms,” Thomas says. “I’m sure my notion of dance goes back to the early 80s or something, and that’s really where we started this quote unquote deconstruction process, basically because I was using an emulation of the Korg M20s, which was pretty much the standard machine for that era. So yeah, I wouldn’t use that term of deconstruction, but we definitely make use of the elements and try to, uh, I don’t know if subvert is the right phrase, but the only dancing that’s really possible with it is really goofball dancing. It would force your body to do things on the dancefloor that the girls would not like, would not be attracted to, so that was certainly on my mind.”

To create dance music that it’s almost impossible to dance to?

“Yeah. One of our superfans who had an advance copy just points out that really the intention seems to be to subvert anything your body means to do and turn it all internal. There’s a huge amount of detailing on the record. If you follow any one strand of some sound, the thing takes on a different perspective and different look to it. That was something I spent many months working on, the detailing of it.”

Thomas’ apparent irritation with dance music should, of course, be taken with a pinch of salt. If he has a genuine problem with anything, it is the way in which pop music has become referential, rehashing old ideas.

“It’s one of those things that I really hate to talk about too much, because you just sound like an old fart. But one thing that’s really evident, and I pick on 1990 as just a date, it’s not written in stone, is that fashions in music used to cycle through pretty damn quick. In the 1960s, three years, two years was a really long time and whatever fashion or style of music really didn’t last much longer than that. Stuff was coming or going quicker than you could spit at it. Now, if you just look around, the TV weatherman is doing hip hop, your grandpa is doing hip hop. What kind of world is this? When your grandpa, when your parents have their baseball caps on sideways? You think they’d be able to come up with something other than a damn baseball cap on sideways, which was a cliché 20 years ago and it’s still a cliché. So I was just sort of getting mad about the whole thing.”

So is it perhaps the absence of danger, of controversy, in pop music today? Since the 1950s, pop and rock was synonymous with rebellion, a way in which teenagers could annoy and outrage their parents, give themselves an identity. Now youth identity is a pastiche of those of previous generations, both in fashion and music, and parents are also likely to embrace the new, which isn’t a million miles away from what they have listened to before.

“What you have is basically just fear,” says Thomas. “It’s a fear of in any way standing out from anything. The main fear is a massive, paralysing fear of saying something that someone might take offence to or disagree with. I mean gee, what a terrible monster you must be if you say something that somebody takes offence at. Gee whiz! I find that distressing. And of course, dance promotes that attitude because there are no words in dance. That’s another exaggeration, but effectively yes; there are no words. What words there are, are meaningless. And by dance, I now extend it out to anything you’d see in pop music. They’re all the same route. The fear is paralysing everybody into not saying a damn thing. And I’m not talking about supposedly ‘controversial’ things; that’s baloney.”

As he rants, Thomas’ voice gradually loses its irritable energy fading out into a tired sigh: “I don’t like sounding like an old poot. But I mean, you know, I am an old poot. What the hell do I care? I’m free now. Nobody’s going to like what I do, and I don’t have to do anything, so what the hell does it matter.”

His entertaining bolshiness returns as he attempts to explain his current view of the world. “You get into this Clint Eastwood mindset, of – what was that movie? The one about the car.”

Gran Torino?

“Gran Torino, yeah. You get into that mindset of wanting to go out and say things that offend somebody just for the sake of it. I look forward to the day I say something that offends somebody so that I can refuse to apologise for offending them. That’s not a good mindset. That’s really a sidetracking sort of thing. I’ve got better stuff to do than looking forward to the day I offend someone so I can say: ‘I’m not apologising’. I’ve got meals to cook. I’ve got to sweep the floor. I’ve got stuff to do.”

His words are timely, with more and more instances of people being arrested for their offensive comments; for example, Matthew Woods, who made offensive jokes on his Facebook page about April Jones while the story of her disappearance played out in the newspapers, or Barry Thew, who made his own T-shirt celebrating the deaths of two police officers in Manchester. Though clearly not nice people, there has been some debate as to whether these people should be arrested for their insensitivity. There is no question as to what camp Thomas is in.

“I can’t believe this. Why people aren’t outraged that the police get involved because you’ve said something offensive? It makes you despair.”

Thomas’ argument is simple: you can’t arrest someone for being an idiot: “And I don’t want to defend somebody for being an idiot, but you know, hell, that’s my taxpayer money that’s going to waste by bothering to arrest somebody because they’re offensive. Gee whiz.”

Freedom of expression is a hot topic in media at the moment, predominantly due to the fact that, in the wake of the Leveson inquiry, the press themselves believe their freedom is threatened if their regulatory body was underpinned by statute. Thomas is less animated about press freedom, but he feels that the solution to the problem is simple:

“With this whole hacker thing, you don’t need a whole bunch of new laws. You just enforce the laws you got. There are plenty of laws that can apply to this. Why we have to have a whole other tranch of unelected prunes because of this issue, I don’t know. Why can’t we just enforce the law and put somebody in prison? There’s a radical idea for you.”

The band has described ‘The Lady From Shanghai’ as a radical idea, that “marks a new era of the history of Pere Ubu. In some ways, it is shocking.” But Thomas has been toying with electronics and synthesizers for some time, now, whether with Ubu or with side projects such as David Thomas and Two Pale Boys. Is Thomas using synthesizers because they’re fun to play around with?

“Obviously they’re fun to play with, but it’s hard to build an entire career on the whole notion, the premise that it’s fun to play with. I wanted to do something that involved a lot more synthesizers,” he chuckles, which, for an allegedly surly man, he does often.

“There are a number of trends that are going on that are interesting in the realm of computer music, where you’re running some jpeg through some sequencer that turns it into random sound, all that sort of stuff, which on it’s own, and separated from reality, is really kind of dire.”

The problem, he explains, is the lack of connection between the artist and the listener, the tendency for distance and coldness in electronic music. There has to be a human connect at some point, he explains, and you have to put it into a context of real emotion and real life and saying something.

“I like all that stuff in a really platonic way, but when you go see it, it’s ‘Eh alright, fine.’ So I was interested in it and Keith Moliné (Pere Ubu’s guitar player-Ed) is rabid about that tuff and always has been. It’s interesting to use the techniques musically, instead of a laptop performance or something, which I would go to, but like I said, I’d come out of it going: ‘Eh, alright, fine’.”

It was important, says Thomas, to give the process an element of danger (“and I use the word ‘danger’ in the loose, crappy way that it’s used these days.”). He cites the drums as an example. None of the songs, according to Thomas, make rhythmic sense. That is not obvious to the casual listener, but it would be a hell of a job for a drummer to learn to play them.

“You don’t sit there and go: ‘they dropped a beat and a half!’ or ‘there’s a measure missing there!’ and that stuff’s all over the place. I think there’s one song that makes sense, if you had to sit there and chart it out, like a drummer would have to do, if you were learning the damn thing. But again, there’s not big, neon signs pointing at it. I really went to town on the sort of organic sense of time stuff that I’ve been working on for quite a while, now.”

A lot of these ideas are explored in ‘Chinese Whispers’, a hundred-page book of what Thomas calls liner notes – the story of how the album was made, the methods and thinking behind every song, the recording process, the title, even the choice of artwork.

“I figured: well, nobody’s done a hundred-page liner notes to an album before, so I’m going to do it, damn it. Just because it’s there. In it, I describe the methodology for this record, which was Chinese whispers, where no two musicians were ever in the same room – I don’t count myself as a musician, I’m the producer.”

Thomas stuck to this rule religiously – throughout the writing and recording, no member of the band played together.

“There was one time that any two were in the same room at the same time, and that was for 37 seconds,” says Thomas. “I counted it, and I got them out of there as quickly as possible. No two people were ever together in the recording of this.”

During the writing process, all the band members would pass Thomas ideas for songs. Thomas would work on them and pass on the ones that were clicking to another member of the band. They would add some new ideas and pass it back and so on, until the band had put into the song.

“It’s a very complex system, which is why it takes a hundred pages to explain it all, but in the end I wanted to remove composition from the provenance of rehearsal.”

In a way, this brings an element of improvisation to the recording by removing the unsaid communication between musicians. ¬

“Clearly for a long time, I’ve been exploring the problems of improvisation and how to get improvisation to work in a human way, as opposed to a plinky-plonk ‘Oh Jesus, Ok. The bus is coming soon,’ sort of way. So this album is essentially improvised. Now you have to go a round about way to achieve that when you’re working with a traditional band, but I went round about, and it’s been achieved. Nobody knew what anybody else was doing, and when it came time for performance of your part in the composition of the song it was done live in one take, two takes, and generally I would lie to the musicians about what they were supposed to do and mislead them, move the goalposts at the last minute, so they were always uncertain but determined.”

“It’s rather complex how I went about it, but that was the intention. I’ve been moving towards this with Pere Ubu for quite a while. It’s quite an accomplished band now, capable of this sort of activity, where it’s just: well what the hell, let’s just do it. They’re all disciplined and creative.”

That method must require a lot of mutual trust in order to pull off. Thomas chuckles again.

“They don’t have any say in the matter, you know. They’ve just got to trust me. And to their credit they generally do. When you work with people who are exceptional, you want them to be exceptional, and basically you trust them.”

When Keith Moliné gave Thomas the closing track ‘Carpenter’s Son’, it was basically a laptop guitar track. Thomas’ reaction to the track was: “Oh god, what the hell am I going to do with this thing?” After studying the piece for a long time, he decided to trust Moliné. “Eventually, I realised that it was just a 12-bar blues without any bars, so then I had to weigh in and offload from that. Michele (Temple-bass, Ed) presented this demo on which nothing happened. It was this short little musical thing, but then it was just three or four minutes of this synth bell thing, and she just hadn’t bothered to cut it off. She was working on the front part, and she had laid that long bells thing on there just to work across until she was done. She submitted it to me and I thought, ‘Well, we’re going to keep the bell.’”

All of this, including the album’s running order, is included in ‘Chinese Whispers’. Every time he starts talking about an element of the recording, Thomas mentions the book. He laughs at the idea of it.

“Everything about this is covered in a chapter of the hundred-page liner notes. It really is a magnificent achievement. I’ve worked longer on that than I did on the record. Well, not really, but it seems like it. Yeah, I cover that issue in a chapter. I cover the artwork, the connection to the Orson Welles thing.I describe the Chinese whispers. Then there’s a long essay called ‘Drums and the Modern Man’, which analyses the evolution of drums, which was part of a longer piece that I abandoned, which was involved with the significance of signal compression ratios on FM radio in the 1970s, and what that did to drums, and the change in the vocabulary of drums because of that. I was never going to finish that, so it’s in there and a bunch of other stuff, I can’t remember, some other crap. A hundred pages.”

‘Long’ is certainly a key adjective when it comes to ‘The Lady From Shanghai’, with the album’s long gestation period and the book-size liner notes, to the length of the tracks themselves. Everything about the record has been painstakingly constructed. It is also diverse, with overtly electronic tracks alongside those that are closer to Ubu’s avant-garage sound. Tracks such as ‘Musicians are Scum’ are indeed rhythmically strange, with drum parts that work in a way completely contrary to normal expectations. Others, such as the drums on ‘Free White’ sound almost like 4/4 disco rhythms, but closer listening reveals something off about them that you cannot quite put your finger on. It’s a fantastic record, one of the band’s best of recent times, and one of the first notable releases of 2013, thanks to the challenge Thomas set himself and his bandmates.

“I’ve decided, by the way, that the next record is going to be all two-minute songs,” Thomas lets out a long chuckle. “Two-minute singles. What the hell else am I going to do?”

DEVO AGAINTS MITT ROMNEY

O lider da banda Americana dos anos 80,  Devo tomou uma apaixonada posição para o cão de Mitt Romney Seamus, o animal que foi amarrado ao tecto da carrinha, durante uma viagem de família. Não só o fundador e director comercial dos Devo, Gerald V. Casale, começou com a apoiar Remember Seamus, na campanha Dogs Against Romney, e uma nova faixa será lançada a 25 de Agosto intitulada, “Don’t Roof Rack Me, Bro! (Seamus Unleashed).”

FRANK ZAPPA – REEDIÇÕES

A familía de Frank Zappa fechou um acordo com a Universal Music para disponibilizar 60 faixas do guitarrista em versão digital.
Com esse acordo, boa parte do acervo de Frank Zappa será relançado em formato digital. Por enquanto, já foram confimados a digitalização de 12 álbuns. A primeira dúzia do que eventualmente pode ser, 60 reedições dos álbums do mestre Zappa chegaram a semana passada: Freak Out (1966), Absolutely Free (1967), Lumpy Gravy (1968), We’re Only In It For the Money (1968), Cruising With Ruben & The Jets (1968), Uncle Meat (1969), Hot Rats (1969), Brunt Weeny Sandwich (1970), Weasels Ripped My Flesh (1970), Chunga’s Revenge (1970), Filmore East, June 1971 (1971), e Just Another Band From L.A. (1972)

PASSION PIT

Revelado a artwork do álbum – a iluminada fotografia rosa foi criado pelo vocalista Michael Angelakos e fotógrafo britânico Mark Borthwick.
Passion Pit, dono de um dos melho­res dis­cos deste ano, Gossamer, tem mais um video, “Constant Conversations”, o ante­rior era “I’ll Be Alright”. Chamaram para realizar o vídeo Peter Bogdanovich, direc­tor de Last Picture Show, clás­sico dos anos 1970.

O quinteto será atração principal deste ano, do Governors Ball in New York City, com Beck, Modest Mouse e Fiona Apple.

PHIL ELVERUM

Mount Eerie lançou o seu primeiro videoclip oficial de sempre para a música “The Place Lives”. É uma faixa de Clear Moon, o seu mais recente álbum. Phil Elverum, o catalisador essencial do projeto Mount Eerie, fez e produziu o vídeo. Retrata uma aventura simples e singular, uma jornada solitária no deserto, que oferece algumas das vistas deslumbrantes. A música em si invariavelmente se articula com as imagens capturadas naturais.

THE CURE OPTIMUS ALIVE 2012

The Cure, tocam hoje no Optimus Alive 2012, num previsto show de quase três horas. O mesmo aconteceu num festival em Bilbao, Espanha, mas o equipamento do teclista Roger O’Donnell avariou. E enquanto a parte técnica estava sendo resolvida, Smith pegou na guitarra, foi ao microfone e disse “enquanto consertam, vou tocar algo pra vocês” antes de começar a tocar “Three Imaginary Boys”, “Fire In Cairo” e “Boys Don’t Cry” em versões acústicas.

LIARS

Angus Andrew, Aaron Hemphill, Pat Noecker, e Ron Albertson, gravaram o primeiro álbum,They Threw Us All in a Trench and Stuck a Monument on Top, em 2001. Noecker e Albertson saíram do grupo e Julian Gross foi para a bateria. Esta formação gravam os albums seguintes: They Were Wrong, So We Drowned (2004), Drum’s Not Dead (2005), Liars (2007), Sisterworld (2010), e WIXIW (2012), que tem produção de Daniel Miller, dono e fundador da Mute Records.

O FIM DOS LCD SOUNDSYSTEM

“Estamos nos retirando do jogo. Caindo fora. Saindo”, avisam em nota oficial. O último show vai ser muito especial: “Iremos nos apresentar com amigos e família por aproximadamente 3 horas. Tocaremos coisas que nunca tocamos antes e vamos quebrar tudo. E gostaríamos que você esteja lá. Se você for, amaremos se vieram de branco. Ou preto. Ou preto e branco. E venham, prontos para se divertir, por favor. Se isso é um funeral, que seja o melhor funeral de todos.”

Confira abaixo a íntegra da nota oficial: