The other day I thought that between vinyl and cassettes he had at home as a child often did not have the disks that are considered indisputable classics : Radio Ethiopia had but Horses; Wild Planet had but we had The B-52's ; Pretenders II but Pretenders, we had even a Vangelis album that almost nobody cares that I like a lot, See You Later. That was good in a way, because you did not know that records were more difficult to digest, or had been bad or disappointing. Received them without any reference and could become your classics, or at least always would have a soft spot for sentimental alibi but later found out that there were more and better.
De The Sugarcubes had tape Here Today, Tomorrow, Next Week! (1989). When the radio got in the car for the A side was accelerated during the first song without reasonable cause and listen to some nervous Alvin and the Chipmunks for two minutes. A few years later, when Björk began publishing their own records and read the first interviews and books about him, I knew the world had not received very well that the Icelandic group's second album, in the musical press has given this exercise done so typical of the child who has been infatuated with a new toy when a band published the sequel to his debut. Lots of "no the magic of yesteryear "and the like.
The truth is that however much care that we have and although it is an album remarkable, I can understand that seams to be asked prying who would have discovered Life's Too Good : less cohesion (too many songs, some really loose), feeling less natural eccentricity and more of the vocalist Einar Örn : a clown in the band as important as any other member, if he recites in a pleasant interlude in a quiet, but often irritating screaming like a baby that's distracting and disruptive as you try to have a conversation on a subway car.
The group that formed The Sugarcubes was not formed by beginners. Drummer Sigtryggur Baldursson, Björk and Einar had already agreed for years in the group Kukl , a band that excelled in music circuits obscurantist in several countries in Europe for three years of the adventure. Nothing that made The Sugarcubes (added to Thor Eldon, guitar and Bragi Ólfasson, low) could interact directly with the labels "sinister" and "gothic", but it is true that the complexity and post-punk atmospheric abstraction of the previous project helped them as self-learning to enrich their pop after a holiday, thanks to this goes far beyond the fuss for nothing.
One can think about The B-52's indie pop and reference may be valid: there is the exchange between the robotic voice male and crazy melodies Björk, although the role of Einar is more anecdotal than relevant, it lacks Sarcasm kitsch of the girls from Athens for a more delicate sensibility, in the same way, the lyrics are a mix of cryptic and wild child dye false stories, which added to its appearance of small Eskimo Valeria qualifying him for Pixie and older girl for years.
Life's Too Good is an entertaining and solid collection of ten pop songs as jumping as ingenious part of its darkest point ('Traitor', a story of Einar that serves as a disturbing introduction: "Blindfolded at dawn / hear the drums of the Catalan marking time I have left" ) to come to light and talk about situations and colorful characters such as 'Motorcrash', in which an auto accident Björk motorcycle and abducted to cure the ailing, later returning to his home dressed to the surprise of her husband. Along the same lines we are casual other issues such as' Delicious Demon, "the pop automaton 'Blue Eyed Pop' or conclusive" Fucking in Rhythm & Sorrow ", a rockabilly which leads to suicidal and depressed to tell you not throw out the window something that summarizes the meaning sinuously hedonistic album title.
In 'Birthday' and 'Deus' the guitars interlining show its finest precious and dreamy; elements escalated to sexual tension and sticky 'Coldsweat,' and no more exciting time as the search for maternal shelter the Björk of breaks and tears in 'Mama', on the low repetitive and almost tribal drums. These last four, within of the bizarre, are the pieces that stand out and give the disc a degree of durability and undeniable magic, harbinger of all that Björk would start his solo career.
Much more than a little drunk Arties party in Reykjavik.
0 comments:
Post a Comment