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Róisín Murphy - Ruby Blue [21 Jul 2005|10:50pm]

gorecky22
[ mood | complacent ]

It’s been a long time since Róisín Murphy started stealing attention on Moloko’s gigs and videos, always captivating the audience with her shameless glamour. But as time ran away, the power was disappearing from their albums (although it could be found on their live). It’s true that “Statues” still had a few tracks of extraordinaire and progressive electronic beauty, but there were a rarefied air surrounding the whole album. So, for good or bad, Moloko’s on the fridge. But this doesn’t mean that Miss Murphy has surrendered to the advantages of this low temperature keeping her forever young. She wants to evolve, she wants to mature… and that’s precisely why she’s releasing “Ruby Blue”, an album destined to become a reference when speaking of this year’s electronic (and general) harvest.

We should put the blame on Matthew Herbert, a little genie who likes cooking with equal parts of jazz and electronic. On Roísín Murphy’s voice, Herbert has found a new and spectacular working tool. While Mark Brydon (from Moloko) seemed to consider that Murphy’s voice had to adjust to his music, Matthew Herbert’s on the opposite when dealing with his new muse: he plays with her voice as a child with his leggo. Further on Murphy’s exceptional lyrics (a little example on “Dear Diary”: “I decided to go home, denying myself. Living alone… living a lie”), Herbert samples her voice, dealing with it as one more electronic tic inside music. In almost every song, those voice deformations are the basics.

Altogether there are 12 jewels shining on this album’s neck. Anyone approaching those songs thinking of imitation jewellery would be blinded by giant diamonds sparks (and you know: “diamons are forever”). “Leaving the city” opens the album with a powerful speech: this is not music for the masses, so you better forget typical structures and simple melodies, and start thinking of elaborated filigrees where free jazz meets dance and electronic. From that point, each new song improves the level. “Sinking feeling” borders the banks of the traditional pop to sink into a sea of jazz enriched with a mysterious and cocky atmosphere. “Night of the dancing flame” is a freak feast full of twenties sounds destined to futuristic electronic cabarets. “Through time” rapes the rules of traditional ballad, proving that sweetness can be born from an electronic womb. “Sow into you” shows off that present is nothing without past: here you can listen to echoes from conventional house and from Moloko’s glam and dance sound, perfect to drive the audience crazy even on the club or on a gig. “Dear Diary”’s opening exhibits a millimetric insanity of synchronized sounds inside of an electronic pop song with a lot of nuances (as the whole album). “If we’re in love” was destined to be a single: Herbert and Murphy demonstrates that they can sound accessible without being typical. On the contrary, “Ramalama (bang bang)” is a hit with loud and near primitive percussion: it’s a blast of progressive rhythm destined to put all the clubs in a mess. Giving name to the album, “Ruby blue” is filled with guitar distortion and powerful claps, all under the wise and glamourous leadership of Róisín Murphy. From that point, “Off on it”, “Prelude to love in the making” and “The closing of the doors” mean a dangerous change of direction. But Murphy and Herbert come out of the situation with flying colours: ambient is seized by quietness while you can enjoy the thousand melodic pieces forming a peculiar puzzle.

Conclusion is easy: thanks to Matthew Herbert, Róisín Murphy has come to a superior quality level. It can be seen that there wouldn’t be much time until she become more than a fanciful and aesthetic goddess. Soon, very soon, Miss Murphy could enter the Olympus reserved to those musicians destined to be part of the history.

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Come play with me [20 Jul 2005|08:28pm]

liberty_bell
[ mood | Crítica, pa variar ]

La prensa musical de tendencias (y tendenciosa) es como el juego de "Simon dice".
Una revista dice: "Ladytron molan un güevo con esa súper pose homenaje a Kraftwerk, reversionando el sonido del nuevo siglo" y allá que van todas a decir lo mismo:"Sisisisisi...Ladytron molan mucho,es verdad".
Y la misma revista, u otra un poco más avezada, dos años después cuando Ladytron sacan su segundo disco, dice: "puf, vaya mierda los Ladytron estos que parece que actúen con un palo metido por el culo", y la misma semana el critiquillo de turno escribe en su espacio habitual: "cielos, son lo peor! qué? que aquí mismo dijimos que eran el fenómeno del momento?eso es mentiraaa!!"...bien, pues así con todo.
Pasa en todos los géneros, pero el de la música electrónica es el más vilipendiado en este sentido. He puesto el ejemplo de Ladytron, pero podría haberlo hecho con The Chemical Brothers o con Daft Punk.
El problema no es ya que una panda de gafapasta (me encanta este término!!más teniendo en cuenta que yo llevo gafas de pasta) se dediquen a plasmar sobre el papel sus amarguras y deficiencias sexuales en forma de críticas insulsas e irreverentes, sino que la gente, en un claro ejercicio de falta de criterio y pocas ganas de pensar, siga la corriente a esta corriente de absurdidad y prepotencia intelectual.
Hace cinco años un cholo en un Golf con Camela sonando era un embrión de Neng, hoy por hoy Camela son lo ultra-mega-más porque han reversionado una canción de Fangoria (que la canción tiene su coña, es verdad). Es como políticamente incorrecto y es súper molon.
Hace unos años cayó en mis manos una perla llamada "2 Future 4 U" que firmaba el señor Armand Van Helden, y no me importa reconocer que es uno de mis discos cabecera. En su día fue un bombazo y asentaba las bases del nuevo sonido house mucho antes de que el house fuera lo que es hoy, música para cholos (y nengs). A nadie se le ocurría poner en duda la calidad de dicho disco porque su valía era impepinable (no sólo por el mega hit generacional "U don´t know me", sino por perlas como Flowerz). Hoy he tenido la desgracia de leer en varias webs críticas al nuevo disco del dj, "Nympho" y ninguna era favorable. En la web de Florida 135 lo tildaban de "patillero y garrulo" (no son irónicos estos adjetivos en la página de la discoteca garrula por excelencia?),supongo que porque el sonido del disco se aleja de las bases house pastilleras para acercarse un poco al sonido electrorockero que tan de moda han puesto LCD Soundsystem. Como bien me dijo gorecky22: Van Helden ha enculado a James Murphy, y lo ha hecho a base de bien. Quizá no tenga la relevancia que han tenido los del sello DFA, pero el disco esta de muerte. Es muy bailongo, es divertido y muy fresco.
Perdónenme señores de las Altas Esferas Musicales, pero yo cuando me pongo un disco de música dance espero que me entretenga y me divierta, no aspiro a que me sople realidades metafísicas. Para eso me pongo a Sigur Rós (que según ustedes sacaran un disco de mierda dentro de poco, seguro).

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Primavera Sound 2005, saturday 28th - Spread the love vibration [07 Jul 2005|12:45am]

gorecky22
JOSH ROUSE – “I love you… would you marry me?”Collapse )

DOGS DIE IN HOT CARS – “I’ve learnt that indecission only brings no joy”Collapse )

ASTRUD – “Todo da lo mismo… nada depende de ninguna decisión”Collapse )

OUT HUD – “Dear Mr. Bush: There are over 100 words for shit and only one for music. Fuck you”Collapse )

THE GO! TEAM – “The power is on”Collapse )

ERLEND ØYE – “Feel my heartbeat”Collapse )
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Primavera Sound 2005, wednesday 27th- I hope there’s someone who takes care of my when I die… [07 Jul 2005|12:38am]

gorecky22
NACHO VEGAS – “Es hora de recapitular las hostias que me ha dado el mundo”Collapse )

ANTONY & THE JOHNSONS – “I fell in love with a beautiful boy”Collapse )

MICAH P. HINSON – “I’m packing all my nightmares and I’ll be on my way”Collapse )

IGGY & THE STOOGES – “I’ve been dirt… and I don’t care”Collapse )

NEW ORDER – “Every time I think of you I get a shot right through into a bolt of blue”Collapse )

WHITEY – “The Light at the end of the tunnel is a train”Collapse )

OPTIMO DJ’S – “¡Ay Carmela! Buena paliza les dio”Collapse )
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Primavera Sound 2005, thursday 26th - When you close your eyes: LIES!! [07 Jul 2005|12:33am]

gorecky22
A monumental queue. That’s the first sight for anyone arriving around 10 PM to the Forum fairground, before entering to Primavera Sound Festival 2005. It’s not difficult to guess the thoughts of all the people standing there: after the disastrous organization of last year’s entrance, finding a similar situation makes you think that man and donkey are the only animal to stumble twice with the same stone.

Anyhow, we must be fair: that queue ran in an unprecedent speed. And, for the rest, the queue was one of the few mistakes of an organization that has built a strong festival that stands out among its competitors due to the incredible quality of the selection, and also due to an ambient full of healthy enjoy. That ambient has a resemblance with the firsts FIB’s, when Benicassim wasn’t a massive and commercial festival.

However, in that queue, waiting to the ticket that would bring us into the fairground, was impossible to know about the tons of fun and emotions that the festival would give us. But, at the same moment as we cross the entrance to access the fairground, the soft sea breeze touched our faces, bringig some suspections about the unforgettable moments we were about to live. Fortunately, sea breeze never lies…

MAXÏMO PARK – “I wrote my feelings down in a rush… I didn’t even check the spelling”Collapse )

THE ARCADE FIRE – “I carved your name across my eyelids… you pray for rain… I pray for blindness”Collapse )

VITALIC – “My friend Dario has a super-mega-car”Collapse )
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Primavera Sound 2005, sábado 28 - “Spread the love vibration” [07 Jul 2005|12:26am]

gorecky22
JOSH ROUSE – “I love you… would you marry me?”Collapse )

DOGS DIE IN HOT CARS – “I’ve learnt that indecission only brings no joy”Collapse )

ASTRUD – “Todo da lo mismo… nada depende de ninguna decisión”Collapse )

OUT HUD – “Dear Mr. Bush: There are over 100 words for shit and only one for music. Fuck you”Collapse )

THE GO! TEAM – “The power is on”Collapse )

ERLEND ØYE – “Feel my heartbeat”Collapse )
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Primavera Sound 2005, viernes 27 - “I hope there’s someone who takes care of my when I die…” [07 Jul 2005|12:20am]

gorecky22
NACHO VEGAS – “Es hora de recapitular las hostias que me ha dado el mundo”Collapse )

ANTONY & THE JOHNSONS – “I fell in love with a beautiful boy”Collapse )

MICAH P. HINSON – “I’m packing all my nightmares and I’ll be on my way”Collapse )

IGGY & THE STOOGES – “I’ve been dirt… and I don’t care”Collapse )

NEW ORDER – “Every time I think of you I get a shot right through into a bolt of blue”Collapse )

WHITEY – “The Light at the end of the tunnel is a train”Collapse )

OPTIMO DJ’S – “¡Ay Carmela! Buena paliza les dio”Collapse )
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Primavera Sound 2005, jueves 26 - When you close your eyes: LIES!! [07 Jul 2005|12:13am]

gorecky22
Una cola monumental. Eso es lo primero que vio cualquiera que llegara sobre las 10 de la noche al recinto del Fórum dispuesto a entrar en el Primavera Sound. Los pensamientos que se cruzaban por las cabezas de todos los que nos congregamos allí no son difíciles de adivinar: después del desastre de organización en la entrada del año pasado, encontrarse con una situación similar te hace pensar que el hombre y el burro son los dos únicos animales que tropiezan dos veces en la misma piedra.

Sea como sea, es necesarios ser justos: aquella cola corría a una velocidad inaudita. Y, por lo demás, fue de los pocos deslices achacables a una organización impecable que ha sabido construir con solidez un festival que no solo destaca sobre sus competidores por la increíble calidad del cartel, sino sobre todo por conseguir que el ambiente general fuera de pleno y sano disfrute. Un ambiente que recordaba a aquellos primeros FIB’s, cuando la ciudad de Benicassim todavía no había sucumbido ante la masividad y la comercialidad.

Sin embargo, allí en la cola, a la espera de recibir la tarjeta que nos daría paso al recinto, todavía era imposible preconizar las toneladas de diversión y emociones diversas que el festival nos tenía reservados. Eso sí, sólo cruzar la puerta y entrar en el recinto, la suave brisa del mar acariciaba tu cara y te hacía intuir que ibas a vivir momentos inolvidables. Por suerte, la brisa del mar nunca miente...

MAXÏMO PARK – “I wrote my feelings down in a rush… I didn’t even check the spelling”Collapse )

THE ARCADE FIRE – “I carved your name across my eyelids… you pray for rain… I pray for blindness”Collapse )

VITALIC – “My friend Dario has a super-mega-car”Collapse )
2 comments|post comment

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