Te godine je izašao Nevermind. Šest godina kasnije izašao je Young Team.
Ovo je bio taj tekst u Melody Makeru.
Slint - Spiderland (Touch N' Go)
"Since about 1980, America has been host to an ever-increasing parasitic infestation of rock bands of ever-dwindling originality. It seems there is no one left on the continent with an aspiration to play guitar that hasn’t formed a band and released a record. And that record sounds a little bit like Dinosaur Jr.
Trust me on this; all but maybe three of those records are pure bullshit.
My primary association with rock music is that I am a fan of it, though listening to the aforementioned nearly killed that. In its best state, rock music invigorates me, changes my mood, triggers introspection or envelopes me with sheer sound. Spiderland does all those things, simultaneously and in turns, more than any records I can think of in five years.
Spiderland is, unfortunately, Slint’s swansong, the band having succumbed to the internal pressures which eventually punctuate all bands’ biographies. It’s an amazing record though, and no one still capable of being moved by rock music should miss it. In 10 years it will be a landmark and you’ll have to scramble to buy a copy then. Beat the rush.
Slint formed in 1986 as an outlet and pastime for four friends from Louisville, Kentucky. Their music was strange, wholly their own, sparse and tight. What immediately set them apart was their economy and precision. Slint was that rare band willing to play just one or two notes at a time and sometimes nothing at all. Their only other recording, 1989’s Tweez hints at their genius, but only a couple of the tracks have anything like the staying power of Spiderland.
Spiderland is a majestic album, sublime and strange, made more brilliant by its simplicity and quiet grace. Songs evolve and expand from simple statements that are inverted and truncated in a manner that seems spontaneous, but is so precise and emphatic that it must be intuitive or orchestrated or both.
Straining to find a band to compare them with, I can only think of two, and Slint doesn’t sound anything like either of them. Structurally and in tone, they recall Television circa Marquee Moon and Crazy Horse, whose simplicity they echo and whose style they most certainly do not.
To whom would Pere Ubu or Chrome have been compared in 1972? Forgive me, I am equally clueless.
Slint’s music has always been primarily instrumental, and Spiderland isn’t a radical departure, but the few vocals are among the most pungent of any album around. When I first heard Brian McMahan whisper the pathetic words to “Washer”, I was embarrased for him. When I listened to the song again, the content eluded me and I was staggered by the sophistication and subtle beauty of the phrasing. The third time, the story made me sad nearly to tears. Genius.
Spiderland is flawless. The dry, unembellished recording is so revealing it sometimes feels like eavesdropping. The crystalline guitar of Brian McMahan and the glassy, fluid guitar of David Pajo seem to hover in space directly past the listener’s nose. The incredibly precise-yet-instinctive drumming has the same range and wallop it would in your living room.
Only two other bands have meant as much to me as Slint in the past few years and only one of them, The Jesus Lizard, have made a record this good. We are in a time of midgets: dance music, three varieties of simple-minded hard rock genre crap, soulless-crooning, infantile slogan-studded rap and ball-less balladeering. My instincts tell me the dry spell will continue for a while - possibly until the bands Slint will inspire reach maturity. Until then, play this record and kick yourself if you never got to see them live. In ten years, you’ll lie like the cocksucker you are and say you did anyway.
Ten f**king stars.”
—Steve Albini.
I stajao je ispod ove slike*
Tad još nisam imao nikakav odnos prema Steveu Albiniju (a naročito ne kompleksan). Sa svojih šesnaest godina i bespogovornom odanošću Melody Makeru bio sam više fasciniran da neki album nije dobio ni "recommended" ni "bloody essential" odrednicu (jednu od dve koje su mogle da izdvoje izdanje), već je napravljen presedan sa ovim "ten f**king stars". Pri tome za Slint nikada pre toga nisam čuo. I sigurno je prošlo par godina do trenutka kada sam mu po prvi put posvetio pažnju (fala kumu? fala Slobi Vlaketiću? fala Merseru?). Ali omot sam zapamtio. Bilo je nečeg "kobnog", zlosutnog u fotografiji oivičenoj crnim trakama, kao da se radi o čitulji. Kao da će ove momke na obali sačekati čika sa motornom testerom i kožnom maskom. Ili odrastanje. I danas kad čitam Pitchforkovu recenziju vidim da se nešto od te "zle kobi" neplanirano prelilo iz života njegovih tvoraca i na omot. Na muziku svakako.
Muzika me nije posebno fascinirala kad sam joj se prvi put posvetio. I možda sam pre usvojio "slintovski zvuk" nego "Slintov zvuk". I to se, verrrovatno, desilo tek par godina kasnije kad su Slint počeli da se spominju u kontekstu sa Mogwai, For Carnation, Don Caballero, Tortoise, Cul De Sac, Gastr Del Sol... Sa izuzetkom Mogwai, danas bi verovatno više voleo (i cenio) većinu pobrojanih bendova nego kada sam ih prvi put slušao, ali još uvek me ništa ne vuče da to potvrdim. Mogwai su bili moji Slint. Manje emotivni i bučniji.
Bez nekog opštepoznatog povoda, 23 godine kasnije (uz veliki kombek Pixies, pod istim kriterijumima), stiže Spiderland, "d bokset". Šest originalnih pesama (varijanta "remaster") i 14 do sada (ne)objavljenih (a među njima singl Glenn, par snimaka iz podruma, par četvorokanalnih demoa, jedna obrada Neil Younga i par snimaka na kojima se čuju samo rifovi). Pretpostavljam da je to apsolutno sve što je bend ikada snimio, a što se na bilo kakav način dovesti u vezu sa originalnim Spiderlandom. Kako to baš i nije mnogo, možda ne bi trebalo da zakeramo. Ali bez najgore obrade Cortez The Killer ikada smo mogli. A bez tzv "Evanston riff tapes" još i više.
Kako svi koji znaju za Slint i vole ih verovatno i znaju sve o Slint kao i zašto ih vole. I tu bi baš bilo superglupo od mene da nešto pokušavam da pametujem. Sada sam daleko svesniji toga da su Slint svojevremeno kreirali nešto prilično originalno, ali ni tada, ni sada nisam pred tim ostao bez daha kao kad sam čuo prvi EP Sonic Youth (koje podjednako (ne) volim kao Slint). Radije bih da verujem u neverovatnu autentičnost ćorsokaka u koju su Slint stigli sa Spiderland, nego da su oni praoci post-rocka.
Što se tiče samog Spiderland boxseta, srce mi se najviše nakostrešilo na ove četvorokanlane demo-snimke. Glas, šapat je više u prvom planu. Možeš nekako da osetiš težinu dečaštva. Nemoć. I manje imaš prostora da utekneš ili skreneš pogled. Washer mi je verovatno najdraža. Ako vas Spiderlandovih šest ostavi ravnodušnim možda da, ipak, probate i ovo. Duh onoga što ja prepoznajem kao "slint" jače živi u tim demo snimcima, jer distanca je manja, a naivnost veća.
Glenn mi je, takođe, bolja od albuma. Možda zato što najviše liči na Mogwai (ili ovi na nju, zavisi koliko smarate). Epska je, ali stavite je pored bilo koje od Mogwai i nemoguće je da ne osetite koliko je ona ličnija, usamljenija, "ekspirijens", pre nego atmosfera.
"Originalnih šest" me nakon (bukvalno) godina i godina apsorbovanne muzike ne rade koliko su mogle u ono vreme dok sam još bio bure bez dna. Sigurno ne koliko ovaj novi (malo je reći briljantni!) omot. Jedna velika ideja (quiet-quiet-loud) koja se vrti u krug. Ovi tinejdžeri možda jesu bili vizionari, ali ne i virtuozi. Čitav Spiderland jeste jedan pasivno-agresivni stav i bojim se da, i dalje, zahteva posebno raspoloženje da bi prodisao. U suprotnom preplitanje par nota trajaće predugo, spoken word deonice delovaće bajato, a kada stvar bukne učiniće vam se da ste kroz slične požarčiće već trčali bosi. Možda je ovo pre post-blues, nego post-rock. Kad se sve uzme u obzir.
SELEKTAH: (kad se sabere staro i novo) 7/ 10
PS Nakon što je inicijalni tiraž (od 3 i nešto hiljade primeraka) rasprodat sebi možete pribaviti kopiju ako se isprsite za čak 1.000$ (plus poštarina). Drugarski nasis.
* Posle odgledanog dokumentarca Breadcrumb Trail jasno mi je da je omot albuma stajao iznad teksta samo u Melody Makeru u mojoj glavi (čari sećanja). Umesto omota tekst je krasila fotografija benda na kojoj izgledaju kao junaci filma Kevina Smitha
PPS A kad smo već kod situacije nakon gledanja pomenutog filma, (tek) sad mi je jasno u kojoj meri je prvi album Palace Brothers zapravo Slint featuring Will Oldham. Pa koga zanima...
Ovo je bio taj tekst u Melody Makeru.
Slint - Spiderland (Touch N' Go)
"Since about 1980, America has been host to an ever-increasing parasitic infestation of rock bands of ever-dwindling originality. It seems there is no one left on the continent with an aspiration to play guitar that hasn’t formed a band and released a record. And that record sounds a little bit like Dinosaur Jr.
Trust me on this; all but maybe three of those records are pure bullshit.
My primary association with rock music is that I am a fan of it, though listening to the aforementioned nearly killed that. In its best state, rock music invigorates me, changes my mood, triggers introspection or envelopes me with sheer sound. Spiderland does all those things, simultaneously and in turns, more than any records I can think of in five years.
Spiderland is, unfortunately, Slint’s swansong, the band having succumbed to the internal pressures which eventually punctuate all bands’ biographies. It’s an amazing record though, and no one still capable of being moved by rock music should miss it. In 10 years it will be a landmark and you’ll have to scramble to buy a copy then. Beat the rush.
Slint formed in 1986 as an outlet and pastime for four friends from Louisville, Kentucky. Their music was strange, wholly their own, sparse and tight. What immediately set them apart was their economy and precision. Slint was that rare band willing to play just one or two notes at a time and sometimes nothing at all. Their only other recording, 1989’s Tweez hints at their genius, but only a couple of the tracks have anything like the staying power of Spiderland.
Spiderland is a majestic album, sublime and strange, made more brilliant by its simplicity and quiet grace. Songs evolve and expand from simple statements that are inverted and truncated in a manner that seems spontaneous, but is so precise and emphatic that it must be intuitive or orchestrated or both.
Straining to find a band to compare them with, I can only think of two, and Slint doesn’t sound anything like either of them. Structurally and in tone, they recall Television circa Marquee Moon and Crazy Horse, whose simplicity they echo and whose style they most certainly do not.
To whom would Pere Ubu or Chrome have been compared in 1972? Forgive me, I am equally clueless.
Slint’s music has always been primarily instrumental, and Spiderland isn’t a radical departure, but the few vocals are among the most pungent of any album around. When I first heard Brian McMahan whisper the pathetic words to “Washer”, I was embarrased for him. When I listened to the song again, the content eluded me and I was staggered by the sophistication and subtle beauty of the phrasing. The third time, the story made me sad nearly to tears. Genius.
Spiderland is flawless. The dry, unembellished recording is so revealing it sometimes feels like eavesdropping. The crystalline guitar of Brian McMahan and the glassy, fluid guitar of David Pajo seem to hover in space directly past the listener’s nose. The incredibly precise-yet-instinctive drumming has the same range and wallop it would in your living room.
Only two other bands have meant as much to me as Slint in the past few years and only one of them, The Jesus Lizard, have made a record this good. We are in a time of midgets: dance music, three varieties of simple-minded hard rock genre crap, soulless-crooning, infantile slogan-studded rap and ball-less balladeering. My instincts tell me the dry spell will continue for a while - possibly until the bands Slint will inspire reach maturity. Until then, play this record and kick yourself if you never got to see them live. In ten years, you’ll lie like the cocksucker you are and say you did anyway.
Ten f**king stars.”
—Steve Albini.
I stajao je ispod ove slike*
Tad još nisam imao nikakav odnos prema Steveu Albiniju (a naročito ne kompleksan). Sa svojih šesnaest godina i bespogovornom odanošću Melody Makeru bio sam više fasciniran da neki album nije dobio ni "recommended" ni "bloody essential" odrednicu (jednu od dve koje su mogle da izdvoje izdanje), već je napravljen presedan sa ovim "ten f**king stars". Pri tome za Slint nikada pre toga nisam čuo. I sigurno je prošlo par godina do trenutka kada sam mu po prvi put posvetio pažnju (fala kumu? fala Slobi Vlaketiću? fala Merseru?). Ali omot sam zapamtio. Bilo je nečeg "kobnog", zlosutnog u fotografiji oivičenoj crnim trakama, kao da se radi o čitulji. Kao da će ove momke na obali sačekati čika sa motornom testerom i kožnom maskom. Ili odrastanje. I danas kad čitam Pitchforkovu recenziju vidim da se nešto od te "zle kobi" neplanirano prelilo iz života njegovih tvoraca i na omot. Na muziku svakako.
Muzika me nije posebno fascinirala kad sam joj se prvi put posvetio. I možda sam pre usvojio "slintovski zvuk" nego "Slintov zvuk". I to se, verrrovatno, desilo tek par godina kasnije kad su Slint počeli da se spominju u kontekstu sa Mogwai, For Carnation, Don Caballero, Tortoise, Cul De Sac, Gastr Del Sol... Sa izuzetkom Mogwai, danas bi verovatno više voleo (i cenio) većinu pobrojanih bendova nego kada sam ih prvi put slušao, ali još uvek me ništa ne vuče da to potvrdim. Mogwai su bili moji Slint. Manje emotivni i bučniji.
Bez nekog opštepoznatog povoda, 23 godine kasnije (uz veliki kombek Pixies, pod istim kriterijumima), stiže Spiderland, "d bokset". Šest originalnih pesama (varijanta "remaster") i 14 do sada (ne)objavljenih (a među njima singl Glenn, par snimaka iz podruma, par četvorokanalnih demoa, jedna obrada Neil Younga i par snimaka na kojima se čuju samo rifovi). Pretpostavljam da je to apsolutno sve što je bend ikada snimio, a što se na bilo kakav način dovesti u vezu sa originalnim Spiderlandom. Kako to baš i nije mnogo, možda ne bi trebalo da zakeramo. Ali bez najgore obrade Cortez The Killer ikada smo mogli. A bez tzv "Evanston riff tapes" još i više.
Kako svi koji znaju za Slint i vole ih verovatno i znaju sve o Slint kao i zašto ih vole. I tu bi baš bilo superglupo od mene da nešto pokušavam da pametujem. Sada sam daleko svesniji toga da su Slint svojevremeno kreirali nešto prilično originalno, ali ni tada, ni sada nisam pred tim ostao bez daha kao kad sam čuo prvi EP Sonic Youth (koje podjednako (ne) volim kao Slint). Radije bih da verujem u neverovatnu autentičnost ćorsokaka u koju su Slint stigli sa Spiderland, nego da su oni praoci post-rocka.
Što se tiče samog Spiderland boxseta, srce mi se najviše nakostrešilo na ove četvorokanlane demo-snimke. Glas, šapat je više u prvom planu. Možeš nekako da osetiš težinu dečaštva. Nemoć. I manje imaš prostora da utekneš ili skreneš pogled. Washer mi je verovatno najdraža. Ako vas Spiderlandovih šest ostavi ravnodušnim možda da, ipak, probate i ovo. Duh onoga što ja prepoznajem kao "slint" jače živi u tim demo snimcima, jer distanca je manja, a naivnost veća.
Glenn mi je, takođe, bolja od albuma. Možda zato što najviše liči na Mogwai (ili ovi na nju, zavisi koliko smarate). Epska je, ali stavite je pored bilo koje od Mogwai i nemoguće je da ne osetite koliko je ona ličnija, usamljenija, "ekspirijens", pre nego atmosfera.
"Originalnih šest" me nakon (bukvalno) godina i godina apsorbovanne muzike ne rade koliko su mogle u ono vreme dok sam još bio bure bez dna. Sigurno ne koliko ovaj novi (malo je reći briljantni!) omot. Jedna velika ideja (quiet-quiet-loud) koja se vrti u krug. Ovi tinejdžeri možda jesu bili vizionari, ali ne i virtuozi. Čitav Spiderland jeste jedan pasivno-agresivni stav i bojim se da, i dalje, zahteva posebno raspoloženje da bi prodisao. U suprotnom preplitanje par nota trajaće predugo, spoken word deonice delovaće bajato, a kada stvar bukne učiniće vam se da ste kroz slične požarčiće već trčali bosi. Možda je ovo pre post-blues, nego post-rock. Kad se sve uzme u obzir.
SELEKTAH: (kad se sabere staro i novo) 7/ 10
PS Nakon što je inicijalni tiraž (od 3 i nešto hiljade primeraka) rasprodat sebi možete pribaviti kopiju ako se isprsite za čak 1.000$ (plus poštarina). Drugarski nasis.
* Posle odgledanog dokumentarca Breadcrumb Trail jasno mi je da je omot albuma stajao iznad teksta samo u Melody Makeru u mojoj glavi (čari sećanja). Umesto omota tekst je krasila fotografija benda na kojoj izgledaju kao junaci filma Kevina Smitha
PPS A kad smo već kod situacije nakon gledanja pomenutog filma, (tek) sad mi je jasno u kojoj meri je prvi album Palace Brothers zapravo Slint featuring Will Oldham. Pa koga zanima...
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