ajejebrazorf

Anyway, I'll leave you to your homework, I sent you a private message, I have to log off for now :)

Sure, Hanrahan has written quite a few song-songs, verse-chorus. And by the way, what does wealth have to do with it? And about the song format, excuse me, how do you see albums like Araca azul?

"The Birthday Party have nothing to do with the things Cave would have done as a solo artist – and anyway, there were the pop group before them." No, the early Cave (mostly from 'her' and 'firstborn') is much more Birthday Party than late Cave. Tracks like 'Cabin Fever' or 'From Her to Eternity' definitely have little to do with the singer-songwriter at the piano from his later albums. But without a shadow of a doubt. Also, the pop group is close to that scene, but there’s no blues in it at all...

Indeed, the ambitious lovers resume the conversation started by Hanrahan.

Estrangeiro before reminding me of Lindsay brings to mind at least Kip Hanrahan, and I feel a strong connection, especially in the title track, which is the best piece, also reminiscent of Primal Roots by Sergio Mendes from '77. However, many tracks don't seem particularly innovative, firmly rooted in bossa nova (where would the innovation in Genipapo Absoluto be?). Not that it's a bad thing, but this whole revolution (considering we are not talking about a narrow scope: harmonically, we are discussing revolutions and innovations after atonality, free jazz, and the avant-gardes?) doesn't really resonate with me. And if you get bored, well, who cares, right? Cordially, of course.

@ole: too kind really, and I even did it believing in it. I won't write anymore because just to write nonsense I have the comments :)

>>>Who was this vaguely referring to? You and our little argument? You're wrong, I tried to distance myself from you as soon as I realized you were irredeemably deaf (see VELOSO-cave issue).<<< Well, maybe, the reference to Cave is coincidental. Anyway, it doesn't really matter. About the deafness: I don't know, I asked you if you want to talk about it, let’s say I’ll be deaf, but I know the records; you, on the other hand, either don’t know From her or Firstborn, or you heard them a long time ago and don’t remember them, which would explain why you don’t provide any shred of motivation for absurd statements like Veloso genius/Cave stinks. Gnè gnè gnè. Otherwise, you should explain to me why Estrangeiro or Manhata would be epoch-making masterpieces while saint huck or cabin fever are just little songs. >>>I think exactly like you about Marcio Faraco, but maybe you can't read.<<< Well, if you think exactly like me (that is: the Faraco record I’ve heard falls under the category of "nice"), and you speak well of it, then you can't say nasty things about Cave. Or do you think Faraco is worth more than Cave? Or do you speak well of the young Brazilian and badly of the Australian to "balance" the fact that one is famous and the other is not? >>>"From here to eternity" doesn’t seem to me to be such an innovative record (unlike "Kollaps" by Neubauten), you write that "it invented a gothic reading of the blues that didn’t exist before," but honestly, I don't understand what you mean.<<< I mean that certain stylistic choices (for example, that way of playing guitars, which you can hear perfectly in Blind lemon jefferson on Firstborn, come from that record, and are found in many things afterwards. Sure, the Doors also made blues and gothic things, the Velvet, the Stooges too, but they sound different nonetheless. >>>Blues has always been gloomy.<<< But no, do you think John Mayall is gloomy? It's a generalization; if you say "the blues is sad," fine, but there are so many different ways to play, and surely not all blues is "gothic." Dock Boggs is gothic, Muddy Waters I would say not at all. But beyond innovation, From her is a record that works great: there are innovative records that say nothing at all, and others that are derivative but great. This is both, and the innovation is the lesser side. >>>Rather, wanting to stick to the '80s and the post-punk realm, before Cave, I think - wanting to reduce myself to your expression - that they produced an excellent "gothic blues" the Gun Club, Foetus, Lydia Lunch...<<< Before? Cave with the Birthday Party (of which From her simply refines certain aspects) has been around since the late '70s. Fire of love by the Gun Club (with Kid Congo, then in the Bad Seeds, reiterating they were a group with many heads, not just the Cave/Bargeld pair you mention) is from '81, and while it undeniably has many similarities, it also has differences. Foetus and Lydia Lunch come from the same circle as Cave (here in this photo, you can see them all together passionately: link rotto and were also influenced by the Birthday Party. It’s obvious that exchanges were reciprocal, but that doesn’t take away from the beauty of the records. About Cave's story, I can’t remember right now, but considering he was heavily into heroin, it doesn’t seem too improbable. There are many, I recall the anecdote of him (and perhaps Bargeld) writing "coglione" on the chest of the Bauhaus singer...

"From her to eternity invented a Gothic reading of the blues that never existed before." I quote this for a reason, because I know very well that one can latch onto this sentence: deeply Gothic blues existed since the '20s, I’m talking about a certain way of playing guitars (think about the grattuggiamenti), of singing, of pairing the blues with the industrial sounds of neubauten, which then influenced many bands (like 16 horsepower and bachi da pietra, I mention them because it seems to me that you have excellent and extensive knowledge).

As for Veloso, I also made a specific comparison for you, talking about Cave's albums (from her) and Veloso's (Livro, Estrangeiro), meaning the records I like the most from the two artists, and you didn't comment, so it makes me think that you don't remember the albums (at least, Cave's album) and you brushed it off with "Veloso is much greater than Cave." I respond: no way. And I remember the albums perfectly. As for my bad review, which you read (and so you also know what I think about the Swans, since I wrote it making a direct comparison), the negative charm of Cave is undeniable, but it's part of the music, just as it could be for the equally theatrical Cohen, who is probably Cave's biggest source of inspiration. But wait, don’t tell me; let me guess: you’ll surely find some exceptions where Cohen is not actually as melodramatic and theatrical as Cave. Ah, cordiality, it’s either cordiality or it’s bored. Bored cordiality sounds like a fuck you. Not that I have any big problems with it, but why be pretentious?

>>>@ajejebrazorf Are you following me along debaser?<<< No, I'm reading the latest comments, like everyone else. And the reference to Cave seemed to allude vaguely. >>>1) Michael Gira has produced nothing but masterpieces with his Swans, and questioning whether Soundtrack is among them says a lot about the quality of your eardrums.<<< Gira is a great artist, no doubt about it. For me, "masterpiece" is a very strong word; this is a great album, but it’s not a masterpiece, just my humble opinion. For me, a masterpiece is Filth, for example. >>>Blixa Bargeld literally invented a new language out of thin air, and the weight he has exerted on Cave's early works is evident (yet - who knows why - there’s no trace of an influence of Nick Cave on Neubauten!), while Mick Harvey as an arranger is not exactly Van Dyke Parks.<<< That "not Van Dyke Parks" I don’t understand: they are hardly comparable; I just say that the Bad Seeds are a great band and the merits should be shared. And the Bad Seeds, thanks to Harvey, created a sound. From Her to Eternity invented a gothic reading of the blues that didn’t exist before. And this is thanks, for example, to Cave's way of singing and to Blixa and Harvey's way of playing. And that kind of sound, just to say that Harvey was certainly not uninfluential, is heavily picked up in Crime and the City Solution. >>>Marcio Faraco I like (and I thank the great debaserian Jake Chambers again for introducing me to him), but I never said I find him a genius; however, I’m flattered knowing that you dedicate time and attention to my posts.<<< Well, I pay attention to many, and when I see something that might interest me, I listen. And as a fan of guitar and Brazilian music, I’ve heard the album and found it quite pleasant, and he’s an excellent guitarist, but really, thinking about Cave’s level, there’s frankly no comparison (at least for now, since Faraco is young), regardless of the different genres. And then I see that you praise him; what should I think if not that Cave annoys you a bit?