I want to make a joke. You know the patterns
puzzle? Those patterns, ie, linking of words or phrases in their combination? An example that everybody knows is an anagram, which scramble the letters of a word to form another of sense.
I've always liked the wedges or additions, that is, when will be added letters or syllables in a word and so there were variations Gemini.
But I loved to do even more changes which included jumping from one word to another by changing a letter (consonant or vowel) going from one pole (or antipode / head) to another (or antipode / tail).
I wonder if instead of a word there was an idea and through small conceptual changes will come at the opposite pole? Here, I would do the same thing with the music, blending puzzle to the famous theory of six degrees of separation.
, lets start.
From " Neu! " we get to "The Horrors .
1. Neu! -> Kraftwerk.
Embee, easy easy to do.
Tutto parte da qui. Siamo in Germania agli inizi degli anni '70: la culla del kraut rock.
Ebbene, kraut rock, come quasi tutte le categorie o generi musicali, è un termine ombrello. In sé, quindi, non esprime proprio nulla, piuttosto comprende un variegato sottobosco musicale accomunato dalla matrice sperimentale che mescola psichedelia, elettronica alla Stockhausen e alla Klaus Schulze, improvvisazioni free-jazz e avantgarde. All'interno un nugolo di nomi: Neu!, Faust e Can su tutti, ma anche i primi Kraftwerk, quelli di Autobahn per intenderci, un album il cui ascolto vale più di mille parole e descrizioni.
2. Kraftwerk --> Giorgio Moroder .
Proprio di Autobahn , che esce nel 1974, pare fare una scorpacciata il buon Giorgio Moroder, italianissimo di Ortisei, che, all'epoca, in Germania bazzica da qualche anno. Folgorato sulla via del synth e del vocoder, pubblica nel '75 Einzelganger , disco che sintetizza le lunghe suite cosmiche kraftwerkiane cristallizandole in una forma più pop .
Moroder in seguito avrebbe sporcato l'elettronica kraut con ritmi funk partorendo dischi come From Here to Eternity e diventando così il padrino della disco music. Il suo stile è un marchio factory, its immense influence: Daft Punk, Air and Justice (and also Memory Neon Tapes and Indian) he will be eternally grateful.
3. Giorgio Moroder -> New Order
The step from Kraftwerk to New Order appear shortly. Autobahn and Trans Europe Express have, within a very short time, not just kill anybody famous (the Bowie of Low , the Eno's Another Green World ), but have had a particularly strong, very strong pedigree rock on post '77. The rapid rise and fall , dizzy, angry, visceral punk port to a fragmentation of styles that will be divided under labels including new wave and post-punk . Interpreters of this wave more musciale, which merges the lesson to krautrock electronic minimalism up to the rhythms of disco music and funk / dub in Jamaica are GDP of that crazy about Johnny Rotten, the Wire, Talking Heads, the Gang of Four and of course Joy Division.
What the German spirit hovered over the four already in Manchester it is clear from the first album, Disorder (1979), in which almost industrial rhythms of drums and bass (which, with its harmonious lines, post-punk, will replace the guitar and become the main instrument) are combined with aseptically suffered the voice of Ian Curtis, producing a Brechtian alienating effect of memory.
Closer , the following year, only serves to make matters worse by opening up more to the synth and keyboards. And then darkness. A new order
horizon. Power, Corruption and Lies of 1983 and the emergence of this new order: icy electronics, martial rhythms, synths that hover like ghosts and cobwebs, entries that leaked emotions.
Blue Monday, a perfect fusion of rufianaggine moroderiana Robotics and dance to Kraftwerk, gives the final opening the path marked out already by Gary Numan and Soft Cell, cleared through customs the dark wave and hybridization with disco music, creating the multi-genre of synth-pop.
4. New Order -> Massive Attack
time gap of 7 years. Scenarios diverse yet kindred.
It is forging in the area of \u200b\u200bBristol, a new sound in contrast to the techno music and the Madchester scene more adrift. A dark and full sound that draws on both hands to the very hip hop and dub, but that is in line with the derivation of electronic kraut. Sounds dark, slow and dense that reflects the lesson post-punk and that poses, once again, down in the foreground, a low tended to mo 'Bourdon holding up the frame with rhythmic drums, sometimes with dirty scratch.
Massive Attack. The trip-hop.
Then you get to 1998 and with him Mezzanine . An album's pitch black, claustrophobic and suffocating. A universe made of underground tunnels and hallucinatory nightmares. On all tracks stand out as Man Next Door or Angel . The dark wave is revised, corrected and updated to trip-hop styles. The result is more than a remake, it's almost post-modern music.
5. Massive Attack -> Portishead
Tappa obbligata. Un passaggio quasi scontato, forse.
Il trip-hop nella sua veste più elegante e sontuosa, nonché ambigua e decadente, trova nella voce di Beth Gibbons un'interprete d'eccezione. Dolorose liturgie morriconiane, paesaggi melodici come tavolozze sbiadite, zone d'ombra, velluto blu, strade notturne, armonie slabbrate, fine fotografia in bianco e nero di film francesi degli anni '60: suggestioni, ritmi lenti, attese.
Spiriti affini gli Stereolab, metà americani metà francesi, che hanno messo a punto un perfetto ed inquietante modernariato pop, arricchito di tanto in tanto di sferzate noise e kraut.
Dal 1998 al 2008. E si approda a Third , Portishead's third opera.
And once glimpsed, always timely, sound and kraut kosmische, rushing in their dress in dark Silence brush, spirit chansonier , to go to industrial and obsessive rhythms of Machine Gun and land to the chameleon-like sweetness The Rip, where the synth, first in the second floor, exploding in a blaze moroder from here to eternity.
6. Portishead -> Horrors
How can converge in a song 40 years of music?
Here is the answer.
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