- Arquivos:
Março 2007
Abril 2007
Maio 2007
Junho 2007
Julho 2007
Agosto 2007
Setembro 2007
Novembro 2007
Dezembro 2007
Janeiro 2008
Fevereiro 2008
Março 2008
Maio 2008
Março 2009

- Links:
1 pouco mouco
a suavidade do extintor
amador feliz
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

- Muxtape

- Google Reader:

- E-mail:
anapatricia (at)


19 março, 2008

Das últimas semanas: links

--- Os Sparks continuam a saber escolher bons títulos para as suas canções. Exemplo aleatório do novo álbum, faixa #9: "Lighten up, Morrissey".

---- Sasha Frere-Jones explica o "circo" de Amy Winehouse: a música e o resto:
«Winehouse may seem like such a dedicated tearaway because the lens recording her movements is wider than anything a sixties celebrity would have encountered, doesn’t switch off, and continually feeds a twenty-four-hour newsstand. (...)

The central production conceit is in the voice, though; listen hard to Winehouse’s singing, and you will hear the odd combinations that make “Back to Black” more than skilled aping. (...) This style provides a way of singing derivations of black music without resembling modern R. & B. In fact, avoiding the sound of current R. & B. may be its guiding principle. (...) Listen to the mid-tempo shuffle “You Know I’m No Good” and hear how she elongates and deforms the word “worst.” Is she channelling a little-known blues singer? Is she hammered? This mush-mouthed approach is Winehouse’s real innovation—a mangling of language that will pull you in, especially when you want to hear the words.»
--- Martin Clark sobre os Ruff Sqwad, no último The Month in Grime/Dubstep:
«In the early days however, [Ruff Sqwad's] strong point was their production rather than their MCing-- especially compared to peers Roll Deep's bars-- but on "Ruff Sqwad Mandem" you can hear a crew at their vocal peak, each verse tight and energetic. It's pure inertia. "When we write tunes, we aim to make people react to it, we look for a bop of the head or watch them dance around," explains Rapid. His comments are telling only because the majority of big tunes in grime have tended to try to engender a reload rather than work towards a groove.»
--- No The Independent escreve-se sobre a última digressão de Rihanna:
«(...) It is as if her lithe, dancer's body has been dressed by older, male hands, to suit their own fantasies. Amy Winehouse's wild, wilful self-destruction suddenly looks almost healthy. (...) Look at the video screens, and you can admire Rihanna's looks, and diamond-encrusted mic. Look at the stage, and her real performance has no charisma, no defining persona. She could be a mannequin, or a hopeful rap video extra.»
--- Tim Finney observa o percurso discográfico da dupla Freemasons:
«Right now it's a common experience to go to commercial house clubs and unwittingly hear a half-dozen Freemasons tracks and remixes in the space of an hour. This monopoly is a simple consequence of supply and demand in commercial house music: as nearly every other major producer has embraced the hyperactive synth arpeggios and lumpen guitar riffs of electro-house, the Freemasons are almost alone in having kept faith with the larger-than-life disco-house sound that defined the genre at the beginning of the decade. Or at least, they're the only ones to have done so while still sounding interesting.»
--- "Common People" dos Pulp, versão BD.

--- Um dos mais recentes vídeos das coreografias do programa de reabilitação dos reclusos de uma prisão nas Filipinas: Soulja Boy/MC Hammer. Também a ver: "Thriller", "Jump", etc. Ainda bem que houve a decência de não os porem a dançar a "Locked Up" do Akon.