ANGST IN MY PANTS

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- Links:
1 pouco mouco
a suavidade do extintor
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hit da breakz
j. m. l.
knock is there
ladies love cool r
memory lane
muito tempo
o sofá verde
o som e a fúria
provas de contacto
secretos de porco
sound + vision
um amigo pop
woodstock no deserto

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27 abril, 2007

Dos últimos dias

--- Na sua intervenção na EMP Pop Conference do passado fim-de-semana, Sasha Frere-Jones leu a lista dos nº. 1 da tabela Hot 100 de cada semana de 2004 e 2005 como se de um poema se tratasse. Terá sido algo do género:
Hey Ya!
Hey Ya!
Hey Ya!
Yeah!
Yeah!
Yeah!
Yeah!
Yeah!
O objectivo era demonstrar a dominação do r&b após o 11 de Setembro. De facto, em 2004, 2005 e 2006, as únicas excepções à soberania do r&b/hip-hop provieram de concorrentes do American Idol e dos lamentosos James Blunt e Daniel Powter. Em 2007, a excepção ocorreu nesta semana, com"Girlfriend" de Avril Lavigne a chegar ao nº. 1.

--- Relativamente à direcção do seu novo álbum, Dizzee Rascal diz ter ouvido "old OutKast stuff, Young Jeezy, Dem Franchize Boyz, D4L's 'Laffy Taffy': that whole Atlanta 'snap' thing" e que isso o fez querer fazer "banging tunes - tunes that people can bump to and be ignorant to". (entrevista longa no OMM)

--- No amador feliz escreve-se sobre "Be My Baby" das Ronettes: do tempo em que a pop "ainda não sabia olhar para a câmara de televisão", da ligação ao filme Mean Streets e do comentário ao que Marcello Carlin escreveu há quatro anos sobre Phil Spector (na altura em que Spector fora preso e acusado de homicídio).

--- A primeira produção de Richard X em vários meses, um arranhanço à irmandade Minogue: Chungking – Slow it Down.
Espera-se que surja brevemente o trabalho que fez em três temas do novo disco de Annie (onde também intervirá Brian Higgins/Xenomania em quatro faixas. Richard X 3x + Xenomania 4x já é uma estimativa de que a coisa dificilmente correrá para o torto).

--- Just Blaze improvisou a batida; JME, Skepta e Klashnekoff improvisaram a letra. O resultado está aqui.
"Boy better know we cool / I don't care if you buss your tool / me and JME sold so many t-shirts / we make Versace look like a fool"

--- Perto do final da EMP Pop Conference, Amy Phillips (editora da secção de notícias da Pitchfork) interveio afirmando (entre outras coisas): "Kids don’t care about Robert Christgau or Simon Reynolds". Posteriormente, Scott Plagenhoef (também editor no mesmo site) desenvolveu a ideia no ILM:
«(...) to an emerging generation of kids, music criticism is 24-hour news and leaks and mp3s and ratings and getting to things first. It's not about digesting music and it's not having meaningful conversations about it or reading someone else's ideas about it. Indeed, it's barely having conversations about it all. The democratization of music crit-- on mssg boards, mp3 blogs, etc.-- seems to not be resulting in ppl sharing more ideas with one another, but falling over another just to plant flags. And now many (specifically indie) fans seem actively suspicious of anyone who talks at length about music.

P4k's very act of printing longform reviews and attempting to share ideas about music is, quite oddly, resented and seen to many as us cramming our opinions down someone's throat or inherently self-indulgent because ppl don't look to music writers for ideas, merely for suggestions on what to download. It's resented and kicked against because music crit is, to many of them, seemingly merely used as a tipsheet and now they can just 'listen to an mp3 and make up their own mind.'

And I fear that with mp3s giving people v. little tangible to grasp onto (no album art, liner notes, photos-- no product), the internet eliminating the need to hunt for info or sounds about/from an artist (let alone make choices about who to literally invest in), the rise of DVDs and video games as products that kids cherish, collect, and participate in w/o other distractions, and music almost exclusively something you do while you're doing something else (a background/lifestyle item) that there is little myth-making or magic in pop music these days, and as a result fewer ideas and conversations and arguments. (...)»

22 abril, 2007

O grime não morreu (parte 4)



A imagem é fabulosa. É a capa de Playtime is Over, o novo disco de Wiley, que assinala a sua reforma do MCing. Perceba-se que a retirada do "godfather" do grime não anuncia de forma alguma a sua morte. Apesar de se afastar dos microfones, o homem continuará atrás dos botões (i.e., na produção), além de deixar um legado gigantesco (em ambos os sentidos). Duas amostras de Playtime is Over:

Wiley - Stars
Wiley - Slippin'

O disco tem edição marcada para 4 de Junho, a sair pela Big Dada.

19 abril, 2007

Dos últimos dias

--- O que interessa saber sobre o novo álbum das Girls Aloud:
1. vai haver um novo álbum das Girls Aloud.
2. não há covers.
Sarah Harding (a loira) escreve sobre o assunto no site oficial das GA.

--- Abby McDonald entrevista Robyn.
sobre a "casa" Cheiron:
«(...) If you were to compare songwriting to science, then writing pop songs would be rocket science. Because everything has to work, and when you're up there, you don't have anything to fall back on. Everything has to be perfect. So it's been a great school. And overall, I think that Sweden has a unique way of looking at melodies.»
--- Mark Fisher entrevista Simon Reynolds (a propósito do novo livro deste, uma compilação de peças dos últimos 20 anos).

--- Daddy Yankee tem um novo single, "Impacto", que antecede um novo álbum. Fergie participa na cena e a cena é bastante boa, para quem costuma tolerar este tipo de cena. É natural que nada disto faça sentido, mas "Impacto" é bom porque:
--- é reggaetón puro (ou quase; Fergie é um factor parasita, ou quase). Não se tentou nenhum híbrido com um qualquer outro género mais popular que o reggaetón (agora que perdeu terreno significativo)
--- Fergie não é propriamente parasita pois acaba por ser o que o single tem de melhor
--- "Da-ddy! Yan-kehh!". É claro que tinha saudades disto.
--- pelos segmentos vocoderizados que acabam por ser, afinal, o refrão.
--- pelas partes em que a voz segue o "boom chk-boom chk boom" da batida.
--- por haver a interacção ele diz<->ela diz, algo que um tema como "I Luv U" de Dizzee Rascal mostrou ser uma coisa boa. É aliás algo usual no reggaetón, ainda que por vezes apenas presente numa troca de palavras do tipo:
----ele: "Toma-toma!"
----ela: "Dame-dame!"
É engraçado.
--- O Popjustice voltou. :-)

14 abril, 2007

Dos últimos dias/semanas

--- Em reacção ao tratamento dado no site Pitchfork à notícia da colaboração de Robert Smith com Ashlee Simpson, Frank Kogan pondera razões para a ridicularização da pop adolescente:
(1) the fear of not being hip (hence the breezy know-it-all tone);
(2) the fear that one's hard-won critical stance in young adulthood is bollocks ('cause here are these teenpoppers making smarter music, or so some people seem to think);
(3) fear of teengirl sexuality;
(4) fear of mainstream girls who are flaunting their sexuality while being insufficiently butch;
(5) fear of the teen audience;
(6) fear of the mainstream audience;
(7) fear of being boring
Parêntesis para o terceiro ponto:
«Interesting that it does seem to be all around teen girls. I never noticed anyone suggesting I was a perv for liking the teen Arctic Monkey guys who did "I Bet You Look Good On The Dance Floor" or for that matter back in the day liking the teen Spoonie Gee who recorded "Spoonin' Rap" or the teen Cure guy who recorded "Killing An Arab."»
--- A norueguesa Marit Larsen entrevistada pela Stylus + relato do seu concerto no SXSW por alguém que diz ter-se apaixonado por ela.

--- Elisabeth Vincentelli admite que os joelhos lhe fraquejam quando pensa em Darren Hayes (o ex-Savage Garden) e descreve-o como "uma versão masculina de Kylie Minogue".

--- Ciara, a "princesa do crunk", em entrevista no Guardian. Atenção maior às observações apuradas de Alex Macpherson:
«Ciara Harris, wearing fluffy yellow slippers roughly three times the size of her feet, sails across the floor of her plush Kensington suite, bestows a gracious air kiss and settles herself into a couch in one swift movement. Far more ebullient than one would expect at 10 in the morning, her chocolate brown eyes open wide as she says in a warm, Southern drawl how much she "loooooves" London.

(...) Her music, unimaginatively given the moniker of crunk'n'b, defused the music's testosterone-fuelled aggression with sensual, breathy vocals and subtle, minimal melody, and her first album Goodies spawned three international smash hits - three of this decade's finest pop singles.

(...) In person, Ciara brims over with a peculiarly American strain of ultra-confidence, manifest in a stream of quasi-religious corporate speak. It leaves the listener with the slightly uneasy feeling that, even though Ciara makes a point of holding eye contact, she's really talking past you - not to another person, but in the sense that her focus is permanently on a greater picture than such minor concerns as a conversation.

(...) Ciara originally trained as a dancer, rather than a singer. That fact is important: along with Justin Timberlake, Ciara is arguably the greatest dancer in pop music right now, someone who approaches dance as an art form rather than merely background choreography. (...) That sense of rhythm is also key to the appeal of Ciara's voice: it is a thin instrument that has been criticised for its technical limitations next to R&B belters such as Beyoncé, but it possesses a compelling elasticity, jumping and darting nimbly along the melodies.»
--- O vocalista dos 4Taste com Panda Bear.

--- "Big Shit Poppin'", o novo single de T.I.



O grime não morreu (parte 3)

Tinchy Stryder - Mainstream Money

10 abril, 2007

Robyn

Simon Hampson examina três espécies da sueca Robyn e classifica-a como possivelmente a melhor artista pop do mundo, após tê-la visto em concerto em Londres:

--- the Missy Elliot-goes-pop Robyn:
"She does the whole bit: the jerky, phlegmatic flow, the accent, the lyrics about cum that make delicate souls like me blush. You might expect that a Swedish pop star trying to do hip hop would be embarrassing and wretched, but it’s really not. (…) Even the moments where she tries to, erm, ‘bust some moves’ are great; her joy in performing is truly infectious, and as she smiles delightedly, like a naughty kid, we all smile back. Pop music is at its best when it’s teetering on the cusp of ridiculousness, and Robyn knows this."

--- the broken hearted synth-pop Robyn:
"The beautiful ‘With Every Heartbeat’ is a frayed stitch in time at Cargo: the kind of song, and the kind of performance, that seems to stop the world for a little while. (…) But Robyn is no slit-your-wrists miserablist; however sad her songs, her melodies are always so tender and so sweetly sung that they’re uplifting, in the way that The Ronettes could carry you away into a weird kind of bliss with the most melancholy songs."

--- the deeply eccentric, kind of punk rock Robyn:
"This one’s not on the album, but she features a great deal in the live set. Much of the set consists of Robyn singing, a drummer, and a guitar player scratching away at crabbed, awkward riffs, and that’s it. No bass, nor any of the lovely synth flourishes and textures of the album."


03 abril, 2007

Obrigado, nu-rave.

Cena slogans + neons em t-shirts totalmente aprovada a partir deste instante:

Jamelia

Sugababes

Katharine Hamnett deve estar orgulhosa.