Often as recently in other hives not fully explained the history of what was the basis of my musical education because depending on how it does not seem apropos go into the family. The fact is that my father started to design clothes twenty-five years ago and since then it shows from time to time, the first, like their designs, were anarchic and failed: often took place in pubs and wore dresses of friends and acquaintances of various kinds and degrees of eccentricity. Having two and three years old at the time, no memory of my assistance, but recapitulate and a couple of years later I do see the fascination that caused me to be in one of these pubs as he is on set shooting a movie, and is that I had ordered to magnify what these parades were repeatedly watching videotapes that were picked. The friend that the editing had excellent taste in music, and the trend was in the time of making the models stroll down the catwalk twenty times for each suit, each video was like a fantastic collection of eight or ten items. In my eyes, impossible music.
Over sixty songs only between 1986 and 1991. Some were obvious because we had the disc or tape at home, other performers discovered by intuition or causality, but the greater thickness remained anonymous until, as an adult, I felt the need to put a face to all, and has not been until very recently I have settled each of the mysteries after starting more than four years, I can not say how he would have done at one time without internet search engines and with no help from the memory of my father. And so, in 2006, I learned that was a fan of Tones on Tail for nearly two decades.
Tones on Tail began in 1982 as a side project of Daniel Ash Bauhaus to (guitar, vocals). It was associated with Glenn Campling (keyboard), a friend of his who was also the mother group roadie, and later with drummer Kevin Haskins when Bauhaus disbanded in 1983. The adventure, which historically does eventually become a bridge that led to Ash to Love & Rockets "was cut short due to differences between the two composers, as short as fertile and splendid for the same reason. For a hand, the principle was des expresses a desire to distance itself from the lines indicated by Bauhaus (carried even to the extent of dressing entirely in white to disengage from the tags "goth" and "sinister"), but they really needed based on the Happy clash between Campling like electronic music and avant-garde concerns of Ash in genres such as dub and jazz. No wonder they gave him the title Pop the debut album released in 1984, "pop", a word that was born as an abbreviation for "popular" that every so often makes a scraping meaning. I know other discs which were later taken that name, but none holds as plural content and risky, and therefore deserves a well located on the shelves next to other works in the first half of the eighties, made to subvert the concept of "pop" as a musical genre that came to a wider audience (we drop the names that you want: Tuxedomoon, PIL, Siouxsie & the Banshees, Laurie Anderson, The Residents, etc.). Still, Tones on Tail is still a dark creature and unacknowledged.
as taking the listener on an ant wandering watercolor pads, the duo put effort to provide each song a very distinctive personality, while two randomly picked pieces would raise no suspicion that they are signed by the same group. The start is brilliant: 'Lions', one of the songs that stand out without a problem among the twenty best I've ever heard, is based on two synth notes that are repeated throughout the entire song, harmonizing with the descending bass line of the chorus creating a virtual weightless rate under the soft, seductive voice, Daniel Ash, who says: "The lions always point to the top because killing has always been an easy out" . Is an abstract minimalist electronic number which is a shame that is not repeated throughout the MINUTES, but there's more: in its most light and playful, 'Happiness' which is ironic about the triumph in adult life between the air of free jazz (drums with brushes and under Rogue) and psychedelia (that body twisted and vile), and 'Slender Fungus' experience with oral noise samples to build a rhythm on which to blend vocal duo of the forties, while the baby's surreal imagery ( "The fungus thin eats in bed before going to bed ").
In some cases it is easier to relate to the darkness of how it wished to flee, as in empty space is perceived in 'Movement of Fear "(one of the most disturbing refer to the forefront of Tuxedomoon) or' The Never Never (is Forever) ', which together with' War '(more urgent, angular) is the time when Ash makes a more scraping of his vocal chords. 'Performance' is perhaps the most exuberant in terms of arrangements, using electronic schedules for shaping dance as a subject as somber and dressed with a melodic guitar ideas that go in all directions and a funky bass. Acoustic arpeggios of 'Real Life' do not walk away Bauhaus work at times of Burning From the Inside , and close air develop a piece of more than eight minutes, 'Rain', which hides a little strange aftertaste halftime positivist and reflexive: "She said " It's time crush this feeling " / writing long letters about rain / Oh, the rain" .
Pop was collected in 1998 (taking advantage of the interest generated by the meeting of Bauhaus that year) in Everything! , collecting all the material published between 1982 and 1984.
To listen to Spotify: Tones on Tail - "Everything!" (songs 1 to 9 are those that made Pop in its day).
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