What happens to me with female voices since childhood fascination of looking for deer, has always been so natural that I just started thinking about whether it would be weird when I'm stressed someone, or mocked (if women you admire most ladybird), or when confirming the names of the lineup of a festival and I found myself disappointed because there were groups of girls only; stuff. Of course I do not like all its kind and certainly is not synonymous with talent. But for every male voice that I like, have to like a woman fifteen, I greatly attracts the sensitivity of work. Having said this and in return, when I tempted by the voice of a man, it really makes . I like the voices are often serious and profound, even by the warmth that I can feel them when sail calm waters, or the implicit taxation exciting when they get the tone, or simply because it is the kind of voice that I would have. voices like Bill Callahan , the man behind Smog .
Reading a book about Chan Marshall, who had a relationship with him in the late nineties, I was surprised to see how the author introduced Callahan saying that his lyrics had been denounced as misogynistic, focusing on the topic of dark, tortured soul, a bit misleading I think the result of a manipulated interpretation of their (usually) Fates words in songs, a common interpretation when a man which describes their feelings honestly and coldness of desire, detachment, or repulsed by a woman. If the opposite occurs, they are usually welcomed jaleadas and have not openly revolt.
In that sense, 'I Break Horses' must be highly controversial in the feminist fronts care, for in it the author has no shame to be in the skin of a man who makes clear his lack of interest in having a serious relationship with her lover, the kind of performance that is usually judged as brash and inconsiderate, when in fact the most honorable thing you can do for that person, point out their intentions not just a selfish act that defines his freedom while he disclaims any responsibility on the road to follow the feelings of the other party, but that that should serve to know what to expect and do not see beyond.
beautiful images ( "rode to the ocean / and the water looked like tarnished gold / rode on a horse broken" ) Do not distract from the directness of the message: "I break horses, do not care for them / come to me, it seems / asking me to break / (...) It cost me a lot / a few words in the right place / and itinerant hearts are not ". Becomes even more explicit about sexual exchange and the subsequent burden: "At first I liked the warmth between my legs / (...) but soon became an itch in a scraped in a deep cut / (...) Today I'm swimming to my favorite island, and I do not see you swimming behind ".
a piece originally recorded intimate acoustic ep Kicking a Couple Around (1996), to 'I Break Horses' he breathed new life into the session recorded for John Peel Smog in October 1997, a wise decision. This is a reading that turns slowly matured from the scratching of tissue paper with which Callahan introduces the first section until the rise of intensity that causes the entry of other instruments at the height of the chorus (the piano has a fundamental role to sustain the emotion) and extending to the end on the same two chords.
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