Why wont u make up ur mind 🎶

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Peter Solarz
cherry valley forever

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we're not kids anymore.
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@meimportaesto
Why wont u make up ur mind 🎶
Ups 😬
Plantilla para poner frases de canciones o pensamientos 💭 random
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© ➳ Λ L E X
Que ganas de eso.
A.C.A.B
“¡Una mañana te despertarás y sabrás en qué lado de la cama has estado durmiendo!”
Vicious Vinyl 🦇
El metal nació el año en que nació mi papá
50 años de Black Sabbath
El 13 de febrero de 2020, se cumplen 50 años del lanzamiento del primer álbum de Black Sabbath.
Como siempre empiezo haciendo aclaraciones por aquí, yo no soy musicologa. Este tumblr nació para tener un espacio en Internet para hablar y ya.
Si buscan Black Sabbath hoy (13 de febrero de 2020), encontrarán que los primeros resultados de búsqueda son periodistas que en medios especializados de música, han publicado textos conmemorando los 50 años del disco debut de la banda inglesa.
Este disco, de acuerdo a varios críticos de música, marcó el inicio del metal. Aunque como en todo, puede que las raíces de este género se puedan rastrear a sonidos más antiguos, que sea la mezcla de influencias y de construcciones colectivas que mezclan sonidos de diferentes regiones. De hecho así lo explica el headbanger y antropólogo Sam Dunn en su increíble documental Metal: a headbangers journey.
¿Qué hace tan especial al álbum Black Sabbath?
Como es habitual en los discos, películas y canciones que nos marcan existe una unión de coincidencias, genialidad y narraciones posteriores que hacen que se empiece a forjar una especie de leyenda.
Los integrantes de la banda ha admitido que el disco fue grabado en una sola sesión. Son muchas las curiosidades que han hecho parte del status de leyenda de este álbum de 7 canciones y 38 minutos de duración, como que la ausencia de una falange de Tommy Iommi, el guitarrista, marcó la creación de los emblemáticos riffs del álbum.
Pero no solo son las coincidencias o anécdotas alrededor del disco, es definitivamente el sentimiento de escuchar grandes canciones como NIB o Black Sabbath, es ese vínculo que se crea con un disco.
Ese sentimiento es lo que precisamente ha llevado a un montón de fans alrededor del mundo a, como yo, manifestar su emoción por la banda y por el disco.
Y es lo que a mi me ha llevado hoy miércoles 12 de febrero a escribir esto, porque el año en que nació el metal, fue el mismo año en que nació mi papá, quién de hecho fue quién a mi me presentó el metal.
La relación con mi papá ha sido igual de peculiar y problemática a la que he tenido con el metal, por momentos lejana, por momentos cercana, pero siempre llena de amor.
Black Sabbath me recuerda a mi papá, a mis amigos que ya no están, me recuerda la época en que me daba miedo o pereza ir sola a conciertos, me recuerda que nunca los pude ver en vivo y que ahora tengo una gran amiga que quizás pude conocer más en la universidad. En general asocio a Black Sabbath con cosas importantes.
Pero también Black Sabbath me recuerda que de la grandeza a la perdición hay un reality (me lo vi todo 🙈) , kilos de cocaína, entrevistas, escándalos y una gira de despedida a la cual me hubiese encantado ir.
¡Que grande es Black Sabbath! Que grandes son los vínculos que ha tejido la música en mi vida.
¡Felices 50 años Black Sabbath! ¡Felices 50 años MACV!
MACV = iniciales del nombre de mi papá.
Fans de Black Sabbath siendo fans de Black Sabbath <3
El ilustrador de la marca española, Branca Studio celebrará con un fanzine conmemorativo.
https://www.instagram.com/p/B8dum2JIXRK/
2- En Londres hubo una fiesta de escucha o Listening Party a oscuras para conmemorar los 50 años de Black Sabbath.
3- Vayan a Reddit y busquen Black Sabbath <3
Te amo Ministro <3
El mejor bajista del mundo 🌎
Foto de Kevin Cummins
JOY DIVISION: "Unknown Pleasures" reviewed by Jon Savage 21/7/79
Melody Maker 21/7/79 Album review by Jon Savage JOY DIVISION: “Unknown Pleasures” (Factory FACT 10) “To talk of life today is like talking of rope in the house of a hanged man.” Where will it end? The point is so obvious. It’s been made time and time again. So often that it’s a truism, if not a cliche. Cry wolf, yet again. At the time of writing, our very own mode of (Western, advanced, techno-) capitalism is slipping down the slope to it’s terminal phase: critical mass. Things fall apart. The cracks get wider: more paper is used, with increasing ingenuity, to cover them. Madness implodes, as people are slowly crushed, or, perhaps worse, help in crushing others. The abyss beckons: nevertheless, a febrile momentum keeps the train on the tracks. The question that lies behind the analysis (should, of course, you agree) is what action can anyone take? One particular and vigorous product of capitalism’s excess has been pop music, not so much because of the form’s intrinsic merit (if any) but because, for many, bar football, it’s the only arena going in this country, at least. So vigorous because so much has to be channeled into so small a space: rebellion, creation, dance, sex energy, and this space, small as it is, is a market ruled by commerce, and excess of money. It’s as much as anyone can do, it seems, to accept the process and carefully construct their theatre for performance and sale in halls in the flesh, in rooms and on radios (if you’re very lucky) in the plastic. The limits imposed (especially as far as effective action goes) by this iron cycle of creation to consumption are as hard to break as they are suffocating. “Trying to find a clue/trying to find a way/trying to get out!” “Unknown Pleasures” is a brave bulletin, a danceable dream; brilliantly, a record of place. Of one particular city, Manchester: your reviewer might very well be biased (after all, he lives there) but it is contended that “Unknown Pleasures,” in defining reaction and adjustment to place so accurately, makes the specific general, the particular a paradigm. “To the centre of the city in the night waiting for you…” Joy Division’s spatial, circular themes and Martin Hannett’s shiny, waking-dream production gloss are one perfect reflection of Manchester’s dark spaces and empty places: endless sodium lights and hidden semis seen from a speeding car, vacant industrial sites - the endless detritus of the 19th century - seen gaping like rotten teeth from an orange bus. Hulme seen from the fifth floor on a threatening, rainy day… This is not, specifically, to glamourise; it could be anywhere. Manchester, as a (if not the city of the Industrial Revolution, happens only to be a more obvious example of decay and malaise. That Joy Division’s vision is so accurate is a matter of accident as much as of design: “Unknown Pleasures,” which together with recent gigs captures the group at some kind of peak, is a more precise, mature version of the confused anger and dark premonitions to be found (in their incarnation as Warsaw) on the skimpy “Electric Circus” blue thing, the inchoate “Ideal For Living” EP, and their unreleased LP from last year. As rarely happens, the timing is just right. The song titles read as an opaque manifesto; “Disorder,” “Day Of The Lords,” “Candidate,” “Insight,” “New Dawn Fades” - to recite the first, aptly named, “Outside”. Loosely, they restate outsider themes (from Celine on in): the preoccupations and reactions of individuals caught in a trap they dimly perceive - anger, paranoia, alienation, feelings of thwarted power, and so on. Hardly pretty, but compulsive. Again, these themes have been stated so often as to be cliches: what gives Joy Division their edge is the consistency of their vision - translated into crude musical terms, the taut danceability of their faster songs, and the dreamlike spell of their slower explorations. Both rely on the tense, careful counterpoint of bass (Peter Hook), drums (Stephen Morris) and guitar (Bernard Dickin): Ian Curtis’ expressive, confused vocals croon deeply over recurring musical patterns which themselves mock any idea of escape. LIve, he appears possessed by demons, dancing spastically and with lightning speed, unwinding and winding as the rigid metal music folds and unfolds over him. Recording, as ever, demands a different context: Hannett imposes a colder, more controlled hysteria together with an ebb and flow - songs merge in and out with one another in a brittle, metallic atmosphere. The album begins unequivocally with “Disorder”: “I’ve been waiting for a guide to come and take me by the hand”; the track races briskly, with ominous organ swirls - at the end, Curtis intones “Feeling feeling feeling” in the exact tone of someone who’s not sure he has any left. Two slower songs follow, both based on massively accented drumming and rumbling bass - in their slow, relentless sucking tension, they pursue confusion to a dreamlike state: “Day Of The Lords” is built around a wrenching chorus of “Where will it end?” while the even sparser “Candidate” fleshes out the bare rhythm section with chance guitar ambience. In a story of failed connection and obscure madness, Curtis intones: “I tried to get to you” - ending with the pertinent “It’s just second nature/ It’s what we’ve been shown/We’re living by your rules/That’s all that we’ve known.” The album’s two aces are “Insight” and “She’s Lost Control”; here, finally, Gary Glitter meets the Velvet Underground. Both rely on rock-hard echoed drumming and bass recorded well up to take the melody - the guitar provides textural icing and thrust over the top. The former leads out of “Candidate” with a suitable hesitation: whirring Leslie ambience leads to a door slamming, then a slow bass/drum fade into the song. The attractive, bouncing melody belies the lyrics: “But I don’t care anymore/ I’ve lost the will to want more” - at the end Curtis croons, his voice treated, ghostly: “I’m not afraid anymore” to drown in a flurry of electronic noise from the synthesised snare. “She’s Lost Control”, remixed to emphasise guitar and percussion, is a possible hit single: it’s certainly the obvious track for radio play. Deep and dark vocals ride over an irresistible, circular backing that threatens to break loose but never does: the tension ends in a crescendo of synthesised noise. On the “Inside,” three faster tracks follow - mutated heavy pop, all built around punishing rhythms and riffs it’d be tempting to call metal, except control is everywhere. “Shadowplay” is a metallic travelogue - the city at night - with Curtis fleeing internal demons; the following couple, “Interzone” and “Wilderness,” wind the mesh even tighter. “Wilderness” externalises things into Lovecraftian fantasy, all echoed drumming and sickening guitar slides, while “Interzone” moves through a clipped, perfect introduction to guitar shrills and “Murder Mystery” mumbles: “Down the dark street the houses look the same trying to find a way trying to find a clue trying to get out! Light shine like a neon tune no time to lose no place to stop no place to go…” Both sides, finally, end with tracks - “New Dawn Fades” and “Remember Nothing” - so slow and atmospheric that alienation becomes a waking dream upon which nothing impinges: “Me in my own world…” Leaving the 20th Century is difficult; most people prefer to go back and nostalgise, Oh Boy. Joy Division at least set a course in the present with contrails for the future - perhaps you can’t ask for much more. Indeed, “Unknown Pleasures” may very well be one of the best , white, english, debut LPs of the year. Problems remain; in recording place so accurately, Joy Division are vulnerable to any success the album may bring - once the delicate relationship with the environment is altered or tampered with, they may never produce anything as good again. And, ultimately, in their desperation and confusion about decay, there’s somewhere a premise that what has decayed is more valuable than what is to follow. The strengths of the album, however, belie this. Perhaps it’s time we all started facing the future. How soon will it end? - JON SAVAGE
La letra más sensata de los últimos meses.
Clueless production polaroids
Interpol y El Mató a un policía motorizado en Bogotá.
Fotos por: Sebastián Pedroza Vera @Cabronazo__
Reseña: http://www.escenaindie.com/2015/03/26/deudas-saldadas-interpol-y-el-mato-a-un-policia-motorizado-en-bogota/
Todos los derechos reservados.
ERSTE HEXE
Me pesa la vida que no lee y no escribe, la que no quieres saber ni mirar más allá; me arde la vida sometida y sin pasos intermitentes. Me parte la vida que no se estima, me corta la vida que no disfruta del tiempo sin drogas y alcohol. Me corroe la vida prestada, la vivida en otros zapatos. Me asfixia la vida triste y llena de lamentaciones; me mata la desobligada y sin preocupaciones.
Me descoloca la música como negocio, la plata y las malas costumbres; la vida de niños como grandes. Me impacienta la vida acallada de seres fieles y el pensamiento censurado de sabios. Me fatiga la vida conformista y la pesimista, la vida enferma y llena de grietas. Me hierbe el arte que no se aprecia y se toma por moda, me comprime la vida vivida sin recuerdos y en fotos, las palabras que no se dicen sin escribirse. Me aprieta la vida que no se siente y el amor que no se recibe.
Me lastima la vida que se vive como centro, las lágrimas sin inversión, las hojas desperdiciadas y los gustos que no se llenan. Me margina el rencor, la superioridad y la superficialidad; me arrincona el miedo, los sustos y la intranquilidad. Me amarga la falta de carácter y decisión, la atención que quiere ser robada y los favores con condiciones.
Me enfrasca la vida que no me pertenece y quiero vivir, me encierra la vida que critica y no libera. Me estanca la vida que no supera y no quiere olvidar, la que mira y no habla, la vida que no piensa, no siente y no ama. Me desquicia la vida que no sabe que vivir y escapa de toda realidad, la vida sin ningún valor o aprecio por si misma; me fulmina la vida dependiente y cansada, la vida que no cree.
Me apacigua la vida irreal, la fantasía de una noche que no se reconoce cuando amanece; me inquieta la vida que no cree y que se queja, la vida que no resuelve problemas y la vida que los empeora. Me martiriza la vida que busca refugio en un techo con huecos, la vida que vuela sin polo a tierra, la vida que huele a perderse y evadir; la vida sin prioridades.
… Me acaba la vida que vivimos…
Gracias a la Fatshionista La Pesada de Moda por incluirme en esta hermosa publicación.