Está claro que a Beck le continúa poniendo mucho lo de meterse en todos los jardines. Con este Wow lo demuestra. No es precisamente la faceta que más me interese de Hansen, pero reconozco que su capacidad para arriesgar es infinita.
|06/17/2016||Best Kept Secret Festival (June 17-19)||Hilvarenbeek, Netherlands||Tickets|
|06/19/2016||Northside Festival||Aarhus, Denmark||Tickets|
|06/22/2016||Spandauer Zitadelle||Berlin, Germany||Tickets|
|06/25/2016||FOLD Festival||London, United Kingdom||Tickets|
|06/26/2016||Glastonbury Festival||Pilton, United Kingdom||Tickets|
|06/28/2016||O2 Academy Brixton||London, United Kingdom||Tickets|
|06/29/2016||Albert Hall||Manchester, United Kingdom||Tickets|
|07/01/2016||Festival Beauregard||Hérouville-St-Clair, France||Tickets|
|07/02/2016||Eurockeennes Festival||Belfort, France||Tickets|
|07/03/2016||Rock Werchter||Werchter, Belgium||Tickets|
|07/21/2016||Olympic Hall||Seoul, South Korea||Tickets|
|07/22/2016||Fuji Rock Festival (July 22-24)||Yuzawa, Japan||Tickets|
|09/24/2016||Pilgrimage Music Festival (Sept 24 – 25)||Franklin, TN, United States||Tickets|
Mr. Hansen nos cita en las pistas este verano…
Hace quince años, nuestro amigo Rhythm Scholar ya se entretenía en los platos remezclando un tema de Beck que ya de por sí era un llenapistas y un pelotazo ultrabailable. El resultado es sencillamente, espectacular…
En este link puedes encontrar, además, otras mezclas sobre la misma canción.
Quise realizar una crítica más o menos objetiva del último trabajo de Beck para esta entrada. Muchos esperan constantemente el nuevo Odelay. Que el californiano siga epatando con su música, con sus experimentes electrónicos o con su mezcla de Folk, Pop y demás elementos de su antigua batidora.
Morning Phase es evidentemente, una continuación (lógica) a Sea Change, su álbum acústico de 2002. Pero he aquí que acabo de encontrar una reseña de uno que realmente puede entender de ésto y puede encontrar un auténtico significado a la música actual de Beck. Hablo de Lou Barlow. Éstas son sus reflexiones:
“I don’t know if jealousy is the right way to describe how I feel about Beck. He does, however, remind me of my own shortcomings. I don’t know if I covet what he has, in the dark, Biblical sense, but I do wish I had a functioning studio (and an assistant or two) in my garden.
But, y’know, we all make choices, and my choices, for whatever reason, have led me in tight, anxious circles that are reflected in my music, which is, as a consequence, rarely as expansive as Mr. Beck’s. So, first off, when listening to Beck I have to overcome this flood of mixed feelings — I have to put myself aside for awhile.
I’ve listened to Morning Phase first thing in the morning for a week. My first impression: Sea Change 2. The opening slow symphonic whooshes recall the harmonic palette of that record, so the songs, at first, only trigger memories of “The Golden Age” and “Lost Cause.” Sea Change was a record that drove me crazy. Why? It was too fucking good, that’s why. In 2002 (the year of its release) I was picking up the pieces from some disaster in my life and not making my masterpiece. Meanwhile, by all accounts, Beck was.
But, also, Sea Change felt both too good and not good enough. Does saying “not good enough” speak to a personal and perhaps petty inability to be truly absorbed by it, or were the textures and words not conspiring in an emotional tidal wave, commanding my full attention and bringing me to the edge of openly weeping? I didn’t know, so I revisited the album.
And you know what? Time has definitely brought us together, Sea Change and I. It’s not making me cry, but it’s amazing. There’s far more going on stylistically than the atmospheric folk that characterizes its best-known (to me, anyway) songs. “Paper Tiger,” for one, is another of Beck’s perfect beasts, a masterful mix of a dozen styles and flat-out gorgeous.
So: Morning Phase. From the opening splat of the snare, my white guy comfort zone is massaged by its steady plod. (Think Neil Young’s Harvest.) Morning Phase keeps that pace throughout. Turns out it’s not actually Sea Change 2 but it does further explore the tantalizing Gordon Lightfoot feel of “The Golden Age” and the more Neil-like songs on that album. In a literal sense, it’s “cosmic American music.” And “cosmic American music” is the ultimate aspiration of a songwriter such as I. First used to describe Gram Parsons and his International Submarine Band back in the mid ’60s (by Gram himself, I think), it’s country music readdressed and spread across the sky, modernized. Beck’s country music is warm and psychedelic, familiar and challenging. I suspect Gram himself would have been knocked out by it.
The new Beck record is an exploration into just one side of his musical persona, of course. He’s probably on to his next “phase” by now. But, at heart, he is a fucking great folk singer (his first handful of records demonstrate that) and by extension a great cosmic American artist. I’ve seen him do jaw-dropping recreations of Hank Williams and Elliott Smith in a live setting. He was part of the “anti-folk” movement in NYC back in the early ’90s and his off-the-cuff songs from that era are still among my Beck favorites (“Steve Threw Up,” “Fume,” etc.). The songs on Morning Phase are meticulously crafted and laid their eggs in my brain quickly. The memories of “Golden Age” are giving way to “Say Goodbye” and I suspect that, in time, the whole album will unveil its gifts. But, as with Sea Change, it’ll probably take me another 10 years before I can properly give Morning Phase its due. The strange thing is that, though I’ve listened to Morning Phase several times, I still don’t know what the words we use to say goodbye are. His voice is front and center, as it should be, but I have a hard time following the lyrics.
I’m still puzzling over why I can’t engage with his music on an emotional level. I thought for a second that maybe new music can’t make me cry but then I got a link to a new Low song on Facebook (I like FB for that reason, people posting favorite songs, etc.) and “Just Make It Stop,” from last year’s The Invisible Way, has me tearing up by the second verse. Low explores a similar vein as Morning Phase without the prowess of Beck’s players or the awesome scope of his vision, but still, it hits me were I live. There is an urgency to Low that comes through in even their most glacial music. By contrast, Beck is so firmly in control that when he’s at the wheel I curl up in the back seat and drift off. Low has me up and looking around, anxious and aware as we, possibly, plunge off a cliff.
The thing that I equate most with Beck is generosity. He uses all the resources he has to make the most interesting music he can. After starting this piece, I headed out to the garage and started recording again. Beck reaches and so should I” (The Talkhouse)
Ugly Lovely es algo así como un gamberro de las remezclas, digamos que a lo Soulwax . Su base de operaciones está en Soundcloud, y una de sus últimas hazañas ha sido mezclar el So Watcha want de Beastie Boys con el Loser de Beck. El resultado es realmente divertido e interesante para pinchar en cualquier fiesta entonada.
“Who wouldn’t love anything with the Beastie Boys AND Beck? ”Loser” isn’t Beck’s best song, but mixed with “So Whatcha Want” Ugly Lovely creates a sick track with contextual contrasts, while still preserving both sounds and melodies. The guitar loop in “Loser” perfectly compliments the staccato lyrics in “So Whatcha Want,” almost so, that it feels like a battle between the 2 songs (fast forward to about 1min and 40 secs into the song to hear what I’m talking about) (listenbeforeyoubuy.net)
Ya sabéis lo que pienso de estas reuniones de amigos de Beck en torno a un disco en particular para rendirle homenaje y pleitesía. Lo cierto es que el proyecto continúa y en este caso el disco tributado es el Kick de Inxs, un disco de 1987 que Beck y sus colegas han reinterpretado a su manera, con mucho de improvisación, mucho de locura, y bastante de sentido del humor, porque algunas versiones, como la de New Sensations, no hay por donde pillarle el punto, por mucho Beck que la interprete. En fin, otro disco más para la saca y otro proyecto más de Beck, que como siga por este camino va a dejar al mismísimo Prince en calzoncillos, con tanto proyecto y tanto disco. El último es su colaboración en la banda sonora de la película Scott Pilgrim vs. The Original y ya hay preparado una quinta entrega del Record Club dedicada al músico griego Yanni.
“Record Club No. 4 is here…! Joining in this time we had three of my favorite bands— Liars, Annie Clark and Daniel Hart from St. Vincent, Sergio Dias from the legendary Brazilian band Os Mutantes, as well as RC veteran Brian Lebarton, just back from the Charlotte Gainsbourg tour. The record covered this time was 1987 blockbuster ‘Kick’ by INXS. The record was chosen by fellow Aussie, Angus from the Liars. It was recorded in a little over 12 hours on March 3rd, 2010. It was an intense, hilarious, daunting and completely fun undertaking. Thanks to everybody for being there and putting so much into it. Many classic moments, inspired performances and occasional anarchy. We’ll post the songs consecutively in the album’s original sequence. First one up is “Guns In The Sky” (beck.com/recordclub/)
La última entrega del Record Club ideado por Beck es este Oar, rendición y homenaje a Alexander “Skip” Spence, quien fuera miembro de Jefferson Airplane o Moby Grape, y que causara baja del grupo por problemas, digamos que, psicológicos, y del que han tomado Beck y compañía (Wilco, Jamie Lidell, Feist) este Oar para darle cumplido homenaje y tributo en la manera que ya hicieron anteriormente; es decir, con pocos ensayos y mucha improvisación. El resultado: juzgadlo vosotros mismos. La próxima entrega: Inxs.
“An album will be chosen to be reinterpreted and used as a framework,” says a statement on beck.com. “Nothing rehearsed or arranged ahead of time. A track will be uploaded once a week on beck.com as well as through the web sites of those involved in the project.”
Musical cohorts will include folks like Devendra Banhart, Jamie Lidell, Nigel Godrich and MGMT. The once-named Bek David Campbell and his posse will tackle The Velvet Underground & Nico first. One can only imagine what the surreal “Sunday Morning” or destabilizing “Heroin” will sound like after this crew gets done with them.
Andy Warhol, a repurposing icon, would be proud. Now all this thing needs is an iPhone app and a Twitter feed and it’s mellow gold, baby.” (wired.com)
Puedes descargar el disco pinchando en la portada.