David Bowie - Low (1977)

Tracklist:

Side A

1. "Speed of Life" – 2:46
2. "Breaking Glass" (Bowie, Dennis Davis, George Murray) – 1:52
3. "What in the World" – 2:23
4. "Sound and Vision" – 3:05
5. "Always Crashing in the Same Car" – 3:33
6. "Be My Wife" – 2:58
7. "A New Career in a New Town" – 2:53

Side B

1. "Warszawa" (Bowie, Brian Eno) – 6:23
2. "Art Decade" – 3:46
3. "Weeping Wall" – 3:28
4. "Subterraneans" – 5:39

"I blew my nose one day and half my brains came out." With these gentle words, David Bowie said farewell to L.A., where he'd spent much of the mid-Seventies buried up to his clavicle in white powder, and fled back to Europe for some personal detox - not to mention some of the most amazing music of his amazing career. Low, released in January 1977, was a new beginning for Bowie, kicking off what is forever revered as his "Berlin trilogy," despite the fact that Low was mostly recorded just outside Paris. Side One consists of seven fragments, some of them manic synth-pop songs, some just chilly atmospherics. Side Two consists of four brooding electronic instrumentals. Both sides glisten with ideas: Listening to Low, you hear Kraftwerk and Neu!, maybe some Ramones, loads of Abba and disco. But Low flows together into a lyrical, hallucinatory, miraculously beautiful whole, the music of an overstimulated mind in an exhausted body, as rock's prettiest sex vampire sashays through some serious emotional wreckage.

Brian Eno gets much of the credit for Low - not only did he play keyboards on six of the eleven tracks and co-write "Warszawa," but you can hear the heavy influence of his own solo records, especially Another Green World. Still, Eno only dreamed about making noise like this, mainly because he never assembled a band anywhere near this great: A big hand, please, for the fuzzed-out guitars of Ricky Gardiner and Carlos Alomar, and the fantastic production of Tony Visconti, who distorted Dennis Davis' snare to create one of rock's all-time most imitated drum sounds. Bowie sings haikulike lyrics about emotional death and rebirth, sometimes hilarious ("Breaking Glass"), sometimes brutally honest, as in the electric-blue loneliness of "Sound and Vision" and "Be My Wife" or the doomed erotic obsession of "Always Crashing in the Same Car."

The record company begged Bowie not to release Low, but it became a surprise hit and holds up today as one of his most intense and influential albums, inspiring two excellent Berlin trilogy sequels, Heroes (1977) and the insanely underrated Lodger (1979). It makes sense that Bowie released Low the week after he turned thirty, for the same reasons it sounds so timely today: Low is the sound of the slinky vagabond falling to earth, trying to catch up with the speed of life - and maybe even find some kind of home there.

by Rob Sheffield

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Now playing: David Bowie - Always Crashing In The Same Car

King Crimson - The Power To Believe (2003)

Track listing

1. "The Power to Believe (Part I: A Capella)" – 0:44
2. "Level Five" – 7:17
3. "Eyes Wide Open" – 4:08
4. "EleKtriK" – 7:59
5. "Facts of Life (Intro)" – 1:38
6. "Facts of Life" – 5:05
7. "The Power to Believe (Part II: Power Circle)" – 7:43
8. "Dangerous Curves" – 6:42
9. "Happy with What You Have to Be Happy With" – 3:17
10. "The Power to Believe (Part III)" – 4:09
11. "The Power to Believe (Part IV: Coda)" – 2:29

Si bien no es radicalmente distinto al clásico "sonido Krimson", se podría decir que es una de las pocas bandas "progresivas" que supo mantenerse vigente y no en un frasco de formol setentoso o venderse totalmente al pop comercial (Phil Collins te estoy apuntando a vos).


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Now playing: King Crimson - Happy With What You Have To Be Happy With

Porcupine Tree - In Absentia (2002)

Tracklist:

1. "Blackest Eyes" – 4:23
2. "Trains" – 5:56
3. "Lips of Ashes" – 4:39
4. "The Sound of Muzak" – 4:59
5. "Gravity Eyelids" – 7:56
6. "Wedding Nails" - 6:33
7. "Prodigal" – 5:35
8. ".3" – 5:25
9. "The Creator Has a Mastertape" – 5:21
10. "Heartattack in a Layby" – 4:15
11. "Strip the Soul" – 7:21
12. "Collapse the Light into Earth" – 5:54

by Bradley Torreano

Continuing in the growing commercial vein of their previous releases, Porcupine Tree's In Absentia may be the most accessible release to ever spew forth from the group. Rolling electronic percussion blends with simple and solid live drumming to provide an understated backbeat as perennial Tree leader Steven Wilson pastes his complicated pop over the proceedings. Wilson's ability to bury his layered vocals in mountains of spacy electric guitar without drowning out his fragile lyrics is still a valued feature of the music, and the rare moments of clarity that his vocals display are breathtaking in their power. A reliance on a somewhat gothic heavy metal sound makes for some bizarre moments, especially when held up against his gentler material. The best example of this is the chugging "Wedding Nails," which recalls Dream Theater in its grandiose scope without utilizing the same sort of technical wizardry. But Wilson manages to bridge the gap between the various genres he utilizes, creating an environment where his haunting melodies could take a drastic turn at any minute. Porcupine Tree also continue their Radiohead fascination, although the influence is much less direct than on their last few efforts. Instead, it comes through at odd intervals, like the moments of sparse instrumentation on the otherwise lush "Heartattack in a Lay By." Sonically gorgeous and deceivingly complex, In Absentia has the most immediate appeal of anything Wilson has released under this moniker up to this point. By keeping the songs at manageable lengths and avoiding the avant-garde electronica flourishes of the band's early days, Porcupine Tree has grown into a fully realized pop group without cutting any of the elements that also make them an important force in the neo-prog movement.

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Now playing: Porcupine Tree - .3

Goldfrapp - Felt Mountain (2000)

Tracklist:

1. "Lovely Head" – 3:49
2. "Paper Bag" – 4:07
3. "Human" (Goldfrapp, Gregory, Locke, Norfolk) – 4:34
4. "Pilots" – 4:27
5. "Deer Stop" – 4:04
6. "Felt Mountain" – 4:15
7. "Oompa Radar" – 4:44
8. "Utopia" – 4:16
9. "Horse Tears" – 5:10

Cita:

Difícilmente los primeros seguidores de Alison Goldfrapp (los que conocían sus colaboraciones con Tricky, en Maxinquaye, Orbital, en Snivilisation y Add N to X, en Avant hard) podían esperar un debut como Felt mountain. En lugar de una nueva muestra de exuberancia vocal, lo que escuchamos es un trabajo de electrónica ambiental, con una contenida Goldfrapp en una faceta desconocida hasta entonces, etérea, como surgida del cosmos, incluso tratada en ciertos temas para abundar en ese mismo efecto de voz no terrenal. Es una electrónica que jamás soñó con sonar tan orgánica y cálida, que no desprecia la escritura tradicional y conoce la hondura sentimental que confiere una sección de cuerdas de sabor cinematográfico. Desde el sugerente silbido inicial de Lovely head hasta los tensos acordes con los que finaliza Horse tears, el álbum debut del dúo Goldfrapp (formado por la vocalista y Will Gregory) es tan emotivo y penetrante como el desesperado gripo que se escucha Deer stop y que nos pone la sensibilidad a flor de piel. Aunque tras una primera escucha Felt mountain puede dar la sensación de ser en exceso monotono, algo que se debe a su brillante homogeneidad y coherencia, sucesivas aproximaciones a esta maravilla desvelan sus múltiples influencias y la enorme variedad de los nueve temas. Desde las bandas sonoras de films de espías a la música de cabaret (Oompa radar), pasando por los ritmos latinos (Human), el ocasional empleo de instrumentación jazzística, sabor folk, atmósferas de ciencia ficción y hasta pop sesentero. Un álbum, en su conjunto, intimista y melancólico, de carácter invernal, ideal para que vuele la mente y afloren los sentimientos más profundos. Deja para la posteridad, además, piezas como Pilots o Utopia, posiblemente la cumbre Felt mountain.

Yo no escribí eso, pero es bastante acertado.

Links a youtube de algunos temas en vivo:

Lovely Head
Utopia
Felt Mountain



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Now playing: Goldfrapp - Pilots

Radiohead - KID A (2000)

1. "Everything in Its Right Place" – 4:11
   
2. "Kid A" – 4:44
   
3. "The National Anthem" – 5:50
   
4. "How to Disappear Completely" – 5:55
   
5. "Treefingers" – 3:42
   
6. "Optimistic" – 5:16
   
7. "In Limbo" – 3:31
   
8. "Idioteque" (Radiohead, Paul Lansky) – 5:09
   
9. "Morning Bell" – 4:29
   
10. "Motion Picture Soundtrack" – 6:59

Del wikipedia:

Cita:

The album's songwriting and recording were experimental for Radiohead,[7] as the band replaced their earlier "anthemic" rock style with a more electronic sound.[8] Influenced by Krautrock,[9] jazz,[10] and 20th century classical music,[11] Radiohead abandoned their three-guitar lineup for a wider range of instruments on Kid A, using keyboards, the Ondes martenot, and, on certain compositions, strings and brass.[9 Kid A has been considered one of the more challenging pop records to have commercial success,[14] and it polarised opinion among both fans and critics.[7] The album won a Grammy for Best Alternative Album and was nominated for Album of the Year. It also received praise for introducing listeners to diverse forms of underground music.[7]

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