O REI DO GLITER E SEU ÁLBUM MAIS ICÔNICO

Por: Juliana Vannucchi

O The Slider, lançado em 1972, ao lado do Electric Warrior, pode, certamente, ser considerado o melhor álbum de estúdio do T-Rex. Este foi o trabalho mais comercial da banda, no qual se encontram os famosos hits “Telegram Sam” e “Metal Guru”. Para se ter uma ideia do sucesso e popularidade do The Slider, é válido citar que foram vendidas cem mil cópias em apenas quatro dias.

Nos “bastidores” do álbum, encontra-se o produtor Toni Visconti, que já trabalhou com grandes músicos e bandas, tal como David Bowie, Sparks, Thin Lizzy e Morrisey. O The Slider, de maneira geral, esbanja qualidade do início ao fim. Sua aura Glam transpõe o estado espiritual entusiasmado e criativo do genial Marc Bolan, frontman da banda, que foi um dos compositores mais diferenciados e inusitados do Rock And Roll. Podemos afirmar que o álbum é uma obra-prima visionária e é um dos mais ilustres representantes do Glam Rock, gênero musical que se popularizou principalmente ao longo da década de setenta. Suas faixas são profundamente tocantes, por vezes, introspectivas, sendo assim, capazes de dialogar e provocar os sentimentos do ouvinte. Entretanto, na mesma medida em que dialogam com os sentimentos, também são empolgantes e capazes de fazer qualquer um chacoalhar a cabeça e tirar os pés do chão. Por fim, este é um álbum singular e incomparável que proporciona um deslumbre existencial vigoroso e extasiante. Além do aspecto musical, é importante lembrarmos que Marc Bolan, através deste trabalho, sacudiu a Europa com seu visual extravagante, marcado especialmente por trajes coloridos, pela presença de ornamentos com glitter, pelo uso botas brilhantes e, claro, pelo constante uso de uma cartola que, inclusive, se tornou sua marca. O músico já era popular desde os trabalhos realizados antes do The Slider, mas foi esse álbum que o tornou definitivamente lendário, respeitado e inesquecível. A título de curiosidade, saiba-se que a fotografia presente na capa do álbum foi tirada por ninguém mais, ninguém menos, do que Ringo Star, que nutria uma forte amizade com Bolan.

Johnny Marr já chegou a afirmar que o The Slider foi de grande importância para sua carreira musical e também comentou que a faixa “Metal Guru” mudou sua vida. Gary Numan e Siouxsie Sioux também já declaram o quanto esse álbum os influenciou e, claro, sabemos que muitos outros músicos e bandas o tiveram e o terão como fonte de inspiração, afinal, o The Slider é simplesmente atemporal.

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HEARTWAVE - JESSIE EVANS

Por: Juliana Vannucchi e Gabriel Marinho

2019 está sendo um ano entusiasmante para os fãs de Jessie Evans. No mês de março, a cantora norte-americana divulgou um single gravado com o mexicano Zafiro Zafiro e agora, em junho, a talentosa artista nos presenteou com um novo álbum de estúdio intitulado “Heartwave”. 

O álbum foi produzido por Younick Yvenou e possui um total de dez faixas. As letras navegam por temáticas poeticamente sentimentais e por reflexões profundas. Elementos da natureza também citados - eles frequentemente estão presentes nas letras de Jessie Evans e são claramente uma inspiração grandiosa em sua vida. Instrumentalmente, é bem qualificado. Além da cantora, outros músicos também participaram das gravações do Heartwave: Automne Lajeat gravou o violoncelo, Deborah Saraiva e Gustavo Cecci foram os responsáveis pela percussão e Yvenou gravou a flauta e a guitarra. E válido citar que, Elladina, filha de Jessie Evans, também participou das gravações, cantando (maravilhosamente) na faixa “Hold Onto Me”. 

O Heartwave, de maneira geral, é imensamente envolvente e poderoso. As canções carregam uma sonoridade notavelmente criativa, cujas melodias variam entre um clima tradicional da New Wave e mesclam-se com dosagens de Dark Tropical Pop. Em sua totalidade, também paira uma atmosfera cósmica que assinala ao trabalho um tom único de originalidade. Certamente, o Heartwave representa o auge da preciosa discografia de Jessie Evans que mostra um amadurecimento musical cada vez maior, e um potencial artístico crescente.

> Escute o álbum na íntegra: https://jessieevans.bandcamp.com/

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INTERVIEW WITH HARRY HOWARD:

 By: Juliana Vannucchi and Abel Marinho

Harry Howard: Played bass guitar on Crime And City Solution, These Immortal Souls, The Birthday Party and currently plays on the band Harry And The NDE.

1. Harry, could you tell us a little bit about your musical career?

I first started to play with friends in 1978/9. I had inherited Rowland's acoustic on which i would try to work out the theme to Get Smart. i was pretty hopeless (so what's changed,?) I didn't know any real chords so I played bass and sang. I moved to London and became involved in music with my more famous friends and relations like Rowland and Mick Harvey. I never made any money but we travelled the world and became notorious in our way. That's not a bad thing.

2. How was your experience with the Australian Punk scene?

Australias "punk scene" was an opportunity presenting itself. A: you could be hateful toward authority and normality and B: you could achieve this on the cheap with less skill required (attitude and style taking up the slack).

There was plenty of inspiration coming from overseas and Australian bands who were scene makers themselves. The Saints were fabulous, snarling,  garage punk and there was Radio Birman too who really played proto punk / rock n roll stuff.


3. What do you think of the current music scene and what is your opinion for the future?

I'm always hopeful about music. i don't follow what is happening so much as allow the things i like to find me. And they do. I think people find new ways to say things musically and to break rules because of changing technology and because they are people and its in us to do that.

Harry Howard & The NDE.

4. Is Punk still alive? What does it mean to be Punk?

Is 1977 punk rock still an active viable thing? No. Punk is alive in different ways. Punk broke down the demand for highly skilled players and allowed people to make it up for themselves and feel ok about that. i don't think that will ever go away ~ punk reclaimed that for us all ~ nice punk.


5. You have not only lived the scene of Punk movement, but also lived Post Punk scene. How did you see the changes from one musical style to another?


It didn't take long at all before punk morphed into post punk but really that just meant you could be more arty and draw from broader influences from pre punk musicians like Bowie, Roxy Music, Iggy Pop's work, Eno, Can and blues and even reggae etc.

And then Bands like The Boys Next Door, The Young Charlatans, Whirly World, The Laughing Clowns and Crime and the City Solution all became important in my life.


6. I have already seen comments that associate you with the Gothic culture. Do you consider yourself part of this culture?

The gothic scene was never something i never felt involved in. I like some aspects of it but i thought t was a bit embarrassing that i might be identified as part of that.

Gothic is a useful word though and the Gothic Scene certainly doesn't own it.

7. As far as I know, you admire the poet John Keats. What do you like about his poetry?

Keat's theory of negative capability. look it up if you are unaware of it. Being a very lazy scholar i have never pursued my interest in poetry. My loss.

 (...) I have enormous respect for Rowland's talent. it was fabulous to play in bands with him (...)

8. Do you have other literary influences? Which are? And what's your favorite book? Why?  

I have been influenced by so many books from The Odyssey, Don Quixote, Notre-Dame de Paris, Moby Dick, trashy 30's crime novels, private detective type hard boiled prose, science fiction, dystopias, social satire, Victoriana. Never limit yourself to one book. Silas Marner by George Eliot is a very beautiful book which makes my heart ache but i don't have a favourite book.


9. What do you feel when you think about your past and the story you wrote in your whole life?

I feel mildly pleased that i was born me and had my own particular adventures.


10. You already played with The Birthday Party. How was the experience of playing with such a chaotic band?

Yes extremely chaotic certainly, but also quite a civilised intelligent group of people. It was terrifying being on stage with them at first but it is something I have always been proud of.


11. What was it like being part of bands with your brother? You played with him in Crime, These Immortal Souls and briefly with Lydia Lunch in the '90s.  

I have enormous respect for Rowland's talent. it was fabulous to play in bands with him. I consider myself lucky to have had such a high standard of material to contribute to. And I shared all that time and experience with someone dear to me.


12. What are your favorite bands?

All the good ones! (i don't like the bad ones.)


13. Which band would you like to collaborate with?

All the good ones! (and maybe some of the bad ones because they are rich)


14. Has any band in which you played that is more special to you? Why?

All the bands I have played in have been special to me. Because Rowland is no longer here those bands i was in with him are now the most special to me.

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INTERVIEW WITH MARY D'NELLON

 By: Juliana Vannucchi and Abel Marinho

Mary D'Nellon: Played percussion with the Virgin Prunes from 1981 to 1984.

1. How did you get into the Virgin Prunes? What you were doing before joining the band?

I saw Virgin Prunes supporting the Clash when I was 16 and I thought they were amazing – especially for a town like Dublin. After that I went to all their shows, and as Dublin is a small town, I started to meet them in cafés or at concerts. They were totally different from anybody I had ever known – alien, arrogant, frightening… I’d started a band called System X, I was the guitarist. We played quite a lot of shows in Dublin and The Virgin Prunes came to see us sometimes. I became friends with them, especially Gavin. Then when they sacked Bintti from the group before ‘New Form of Beauty’ Gavin called me and asked me to join the band as drummer. I’d never played drums before but 6 weeks later I was on stage.

2. How were the recordings of the album "…If I Die, I Die"?

Some of the songs like ‘Caucasian Walk’ were in fact quite old and we were really excited about finally recording them, other songs like ‘Baby turns Blue’ or ‘Bau-dachong’ were new. We had the idea for the two different sides to the album before recording as it reflected our stage show at the time. Colin Newman wasn’t our first choice as producer but Nick Launay (who produced ‘Pagan Lovesong’) wasn’t available. Colin Newman didn’t really understand our vibe – think the multi-layered approach he used worked on material like ‘Ulakanakulot’, ‘Sweethome...’ etc. but we weren’t really happy with ‘Caucasian Walk’, ‘Walls of Jericho’, all the songs on the ‘blue’ side of the album. There was quite a lot of conflict in the studio, I really wish we had used another producer – when I see videos of us playing ‘Caucasion Walk’ at that time I think a more direct approach would have been better. Apart from that, as a band, we were very happy with what we were creating at that time.

3. Most people rate Virgin Prunes as a gothic band. Do you agree with this label? Were you or are you gothic?

As I said, Virgin Prunes were playing concerts in 1978 – long before anyone talked about ‘Gothic’ music. There was a lot of religious imagery that we were interested in, but also Dadaism, Surrealism and we listened to all sorts of music, all those things influence creation, but we never wanted to sound like another band, or be a part of any movement. Obviously, there was a point when a lot of people coming to our shows had a certain ‘look’ and liked the more ‘Gothic’ elements of the group. We played with bands like Sisters of Mercy, Southern Death Cult… But we didn’t feel we had anything particular in common with those bands. I’ve never thought of myself as Gothic or anything else.

4. What were the main influences and inspirations of the band?

Really varied. We were influenced by the people around us, the films we saw, the books we read… the feelings, the vibes we used to get from those sources were translated into songs, sounds, visuals or stage shows. It probably won’t be a surprise to anyone to hear we all loved Bowie, Iggy, Roxy Music, The Velvets, they were certainly key to us wanting to make music but we never wanted to ‘sound’ like anyone else. Punk was the catalyst that made all of us feel we could go out and make music.

"There was no formality. No-one in Virgin Prunes had any kind of formal education regarding music or art, everything we did was instinctive, there were no rules".

5. What kind of effect do you think Virgin Prunes songs cause on people? What led you to make this kind of music so peculiar and artistic?

I’m lucky, because I saw the band before I was in the band, so I know exactly the kind of effect Virgin Prunes can have on people. I think that people who came to our shows often felt like I felt when I first saw the band. That anything is possible, that everything you think is ‘normal’ or ‘expected’ doesn’t have to be like that. That if you have the courage and the imagination you can create your own world and live your life the way you want.

Nothing ‘led’ us to make this particular type of music. The combination of personalities meant it had to be like that. It occurred naturally, organically.

6. Virgin Prunes has a very peculiar aura. Why do you think the band managed to create such a different atmosphere?

There’s a lot of different elements that went into Virgin Prunes. Where we grew up, our frustrations, our imaginations. Dublin was not an easy place to live in if you were ‘different’ at that time. We found a family in the people in Virgin Prunes and the people around the band and that allowed us to express ourselves. So, we had a common bond but we were very different in lots of ways and that mix made something unique. There was no formality. No-one in Virgin Prunes had any kind of formal education regarding music or art, everything we did was instinctive, there were no rules.

7. What is the best memory you have of your participation in the band?

Performing live, there were some amazing shows we did – before ‘…If I die, I die’ nearly every show was like a special event – we prepared each show differently, wrote special pieces, created visuals, etc. We had to buy Pigs heads, fish, all sorts of stuff. We borrowed furniture and set up the stage with sofas and TV’s. There were leaves, mannequins, bits of trees…When we were touring, that was no longer possible but, even so, every concert has a different energy, the audience reacts differently, the feeling between the musicians is different… I couldn't pick one concert but for sure there was something extra special when Guggi and Dik were in Virgin Prunes and I was behind them.

8. What are your favorite bands? And besides music, what do you like to do?

I don’t really think in terms of ‘bands’ any more. I listen to music I like. I stream, so I just listen to a song and if I like it I keep it. Like I said Bowie, Lou Reed, etc. have always been part of my life. I like hanging out in Paris, it’s a nice place to live.

9. How were the Virgin Prunes concert and where did you get all those theatrical elements? How did the public respond to you?

The theatrical part came from Gavin and Guggi, they were influenced by performance artists like Nigel Rolfe who did some pretty weird stuff, films like Nosferatu or Onibaba, theatre like Bertolt Brecht and just people whose mannerisms and gestures they found cool. They both painted and the visual side of the group was always important – they put a lot of thought into the make up, the clothes, album covers…

The response was sometimes violent at the beginning. In Dublin the clothes Virgin Prunes wore and the music we played were very provocative to a lot of people. Later, violence wasn’t a problem but the audiences could react in very different ways. Sometimes there would be silence and people would say to us after the show ‘We loved it but we didn’t think it was appropriate to clap.’ Other times there would be near riots – the audiences in Italy for example were very emotional! The stage show was not very black and white – people could interpret things in different ways. That’s what made people react differently, I think people were imagining their own story and felt we were communicating with them personally – I think that’s one of the things that made us special.

10. How was the transition from being the drummer to the guitarist? Have you played guitar before?

As I said before, I started playing guitar, so it wasn’t a problem. I love playing guitar and writing songs – I never play drums now. To be honest though I preferred Virgin prunes with Dik on guitar.

11. Is there any current band that you enjoy?

Like I said I don’t really ‘follow bands’ I just look for music I like. I did see a band last week called ‘My Great Blue Cadillac’ they were pretty cool.

12. Could you tell us about The Prunes, the project you had with Strongman and Busaras? Were you part of any other band after this one?

The Prunes was a reaction to Gavin leaving Virgin Prunes. We had been through a very difficult period and we were just about to go on a tour of the U.S. and Japan. Gavin just came in and said he didn’t want to go. We were devastated and felt personally betrayed. That’s the reason we kept part of the name. That probably wasn’t a good idea because we wanted to do something different - obviously we couldn’t do shows or make records like Virgin Prunes when there were just the three of us. We weren’t very focused – there wasn’t a leader like Gavin to drive the group. I’m not very happy with the records we made, I think there are some good songs, some good ideas, but we never really found our own identity. That said, I think the music we made is better than the music Gavin has made since leaving Virgin Prunes ;-). I’ve never wanted to be in another band. I’ve written music for films and TV series here in France – I still love making music.

13. Do you still keep in touch with your old bandmates?

Strongman was here in Paris last week. Him and Dave-id are like family to me. I exchange messages with Gavin but I haven’t spoken to Guggi or Dik for years. I love them all though. They were very special years we spent together and Virgin Prunes will always be a part of me.

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INTERVIEW WITH TOBBY DAMMIT:

 By: Juliana Vannucchi and Abel Marinho
  
Tobby Dammit: He currently plays on Nick Cave & The Bad Seeds and already played with Iggy Pop, The Stooges and Jessie Evans.

1. Toby, I read that you are a "multi-instrumentalist" of Nick Cave And The Bad Seeds. In addition to drums, what other instruments do you play? And what was the first one you learned to play?

I've only been playing drums for Nick this past month. However for the past five years I've been his keyboard player, occasionaly playing vibraphone and other odd melodic instruments and singing quite a lot. I'm a classically trained percussionist since I was a child, so that is my primary instrument.

2. I always see very different definitions for Nick Cave And The Bad Seeds songs. This is very interesting because I think it shows how peculiar they are. In your opinion, is it possible to say which the band’s musical category is?
I couldn't categorize the wide variety songs made by this band, but generally I believe anyone can find something to identify with at some point and become quite attached for their own personal reasons. It might be one song in 5 decades of songwriting, but once a person has found that link, they often become curious to exploring the entire trove.

"Honestly I feel I'm exactly in the right place for me right now (...)"

3. How did the opportunity to play with The Bad Seeds come about? How and when was your first meeting with Nick Cave?

I met all these guys in January 1993 in Australia. The Bad Seeds were part of a package tour with Iggy Pop, whom I was playing drums for. We traveled together for a couple of weeks and bonded as friends for life. This was a simple phone call and the timing was right.

4. Please, tell us how was the show you did in Brazil in October. Have you ever played in the country before or was it the first time you came here? How was it to be in São Paulo?

I've spent a fair amount of time in São Paulo before, Nick lived here, has a Brasilian family and the Bad Seeds made one of their greatest (in my opinion) albums here, so of course this show was special for us for a long list of personal reasons.

5. What was your feeling playing in a country that lives in such a complicated political situation and and realizing that people took it with them to the audience? Were you aware that this could happen?
I'm aware of the current election, due to the high number of friends I have here and the wild press flying around internationally, but in the end our job is to give everyone a night off from that and a time to have fun and enjoy these songs together. People find a release this way, even for one night, or a reinforcement the next day to look at things in a different way, perhaps based on a feeling they found from that show, that I hope can help them through a decision or a turning point. The songs from the Bad Seeds are almost always about difficult decisions and drastic turning points.

" I collect Brazilian records...a very dangerous hobby."

6. There was an interesting detail: Roger Waters fans and audience did not like it when he expressed himself in politics. But Nick Cave’s fans applauded and praised him when he said "ele não”/”not him." Why do you think this happened? Are these two audiences (of Roger Waters and Nick Caves) so different from each other?

I've never met Roger Waters, nor attended one of his concerts, so I can't answer this honestly. I do know a good portion of his records from the 1960's and 1970's and I really liked those albums and his original band.

7. You've played with Iggy Pop and with The Stooges, and the songs of some Iggy’s solo career (like Avenue B) are very different from The Stooges songs. What was it like working with Iggy Pop creating so different kind of music? And which album did you most enjoy recording with him?
The time I began working with Iggy Pop was an “exploratory” period for him as a songwriter, and I know I pushed that side of him. I think the best results was the “American Caesar” album. In this time, he and I also scored a motion picture for Johnny Depp called “The Brave”, which was certainly the deepest level we traveled together.

8. Your musical works with Jessie Evans has a very peculiar aura. How was the recording of “Is It Fire?” and “Glittermine”? Are any of these albums more special to you?
Both of those albums were adventures, both musically and literally. Those albums involved many journeys recording in multiple parts of the world and involving many people from around the world together. Musically they were both hybrids of sound & culture that were our own bizarre blended vision of what made sense to us, based on our influences and fantasies.

9. Budgie, another fantastic drummer had played drums on the album “Is It Fire?” I think it's great that you two have taken part in a single album. How was it to record with him?

It was “long-time-coming” dream come true for me. I've known Budgie since the early 90's. Though a very dear friend over the years, we never had the chance to play music together as drummers. The timing was right and he needed this moment as much as I did. It was a euphoric day for us both.

10. Do you know Brazilian musicians/bands? What do you think about Brazilian music?
Yes of course! I collect Brazilian records...a very dangerous hobby. I only recently discovered Arthur Verocai and Célia, but for years I've been crazy about Marcos Valle, Jorge Ben, Secos & Molhados, Os Mutantes...on and ON!

11. What was the happiest moment of your musical career?

Walking up the red carpet at the Cannes Film Festival with Johnny Depp and Iggy Pop was a very good day.

12. If you could play with an artist you’ve never played before, who would you choose?

There are many maestros I dreamt of... Morricone has retired. Honestly I feel I'm exactly in the right place for me right now, to offer my support and experience to Nick right now, when he needs it more than ever. Though we've been friends for so many years, now is the right time and he asked.

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CONHEÇA O TATUADOR THIAGO HALLECK

Por: Juliana Vannucchi

Thiago Halleck é um talentoso tatuador carioca que atualmente reside na capital paulista. Começou a esboçar seus primeiros desenhos durante a infância e naquele mesmo período, percebeu sua paixão por essa prática. O tatuador conta que: “Quando eu era criança, enquanto todos estavam descendo para o play para jogar bola ou andar de bicicleta, eu estava lá enfiado em casa, desenhando. No meio da aula, enquanto os professores explicavam a matéria, lá estava eu, desenhando. Eu desenhava vendo televisão, eu desenhava almoçando, eu desenhava no ônibus, eu desenhava absolutamente o tempo todo”. Como resultado de sua determinação e prática constante que era feita com entusiasmo e paixão, Thiago foi se aperfeiçoando cada vez mais em suas produções e, aos poucos, trilhando e conquistando seu espaço, seus clientes e reconhecimento.

Seus primeiros passos como profissional na área ocorreram no Rio de Janeiro. Atuou profissionalmente nessa mesma cidade durante cerca de 10 anos e desde meados de 2018, mora em São Paulo e trabalha no estúdio Tattooine, localizado em Pinheiros, embora, viaje com frequência ao Rio de Janeiro para tatuar os clientes que tem em sua terra natal.

A habilidade de Thiago é notória: ele possui portfólios de temas bastante diversificados, tal como bandas, atores, personagens de quadrinhos, instrumentos musicais, símbolos variados, animais, escritores e etc. Sua versatilidade temática somada ao seu refinamento técnico, o colocam num patamar diferenciado, no qual nem todos os tatuadores são capazes de chegar. Dentre suas principais inspirações, encontram-se alguns artistas tradicionais europeus, como, por exemplo, Max Brain, Daniele Delligati, El Bara, Samuele Briganti e outros. Além disso, Thiago também carrega uma forte influência do mangá japonês e nesse âmbito, tem interesse em artistas como Katsuhiro Otomo, Masakazu Katsura, Masamune Shirow, Junji Ito e Keita Amemiya que, de acordo com o tatuador “têm arte deles tem uma abordagem menos clichê e mais adulta, mais sóbria. Além disso, há alguns nomes ocidentais que são admirados por Thiago e que de alguma forma influenciam seu trabalho. Dentre tais, encontram-se especialmente Patrick Nagel e Roy Lichtenstein. E ele faz questão de mencionar outras personalidades que aprecia: “Também admiro muito artistas clássicos, como Picasso (fase azul), Magritte, Dalí, Escher e o meu preferido na vida, Van Gogh.

O talentoso tatuador Thiago Halleck em ação.

 

O desenhista também comentou: "Acho que uma das maiores influências, na prática, acaba sendo a galera que trabalha comigo nos estúdios. A gente sempre acaba observando muito o trabalho um do outro e pegando um monte de referência sem nem sentir”. O tatuador constantemente atualiza sua conta no Instagram mostrando novos desenhos e ideias, e conforme vamos acompanhando as postagens, vemos que parece não haver limites para a habilidade de Thiago. Suas postagens são surpreendes e sempre arrancam inúmeros elogios por parte de seus seguidores.

Tamanho profissionalismo e um talento tão especial, merecem o devido reconhecimento e é por isso que hoje, Thiago Halleck é o grande nome da nossa coluna de indicações. Muitas pessoas têm interesse em fazer tatuagem, mas em grande parte das ocasiões, elas sentem algum receio na hora de encontrar um profissional qualificado e preços justos. Felizmente, hoje apresentamos aos leitores um indivíduo competente e que passa segurança e tranquilidade aos seus clientes. Se você deseja conhecer melhor o trabalho do tatuador, agendar horários e/ou consultar valores, siga-o em suas contas oficiais:

Instagram: 

https://www.instagram.com/thiagohalleck/ 

https://www.instagram.com/flashhalleck/?hl=pt-br 

GALERIA DE IMAGENS - Confira abaixo alguns desenhos de autoria do tatuador: 

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SEIS BANDAS ALEMÃS QUE VOCÊ PRECISA CONHECER

Por: Juliana Vannucchi

A Alemanha, assim como muitos outros países do continente europeu, respira arte em cada esquina. Foi por entre as frias terras germânicas que surgiram alguns dos maiores representantes da literatura, do cinema e da pintura. E foi também nesse mesmo país que nasceram alguns dos mais brilhantes compositores de música clássica, cujo legado é imensamente valioso. E falando nisso, a Alemanha também se destacou com inúmeros músicos e bandas gloriosos de vertentes do Rock And Roll. Abaixo, vou compartilhar com os leitores alguns daqueles que mais aprecio. Vamos lá?

Kraftwerk:

Eu não poderia começar uma lista de bandas alemãs de maneira diferente. Acredito que seja justo dar a largada com um dos maiores nomes da história da música, o Kraftwerk. Existem inúmeros aspectos da carreira dessa banda que poderiam ser destrinchados e examinados. Contudo, o foco desse texto é tecer comentários breves. Assim sendo, vou destacar duas características que explicam a importância dessa banda: a primeira é o fato de que foram pioneiros mundiais da música eletrônica. A segunda, é a genialidade do profundo e reflexivo conteúdo de suas letras que, em suma, abordam temas como a tecnologia e o futurismo, fazendo incríveis analogias sobre a relação entre homem e máquina. O instrumental também é fascinante, sendo caracterizado por uma engenhosidade única. Em minha opinião, é a banda alemã mais original de todos os tempos.

Kraftwerk: Uma das bandas mais geniais e inovadoras que o mundo já conheceu.

 Estampie:

O Estampie, pra mim, é uma das mais elegantes bandas alemãs. É daquelas que não podem faltar em nenhuma das minhas playlists! Infelizmente (e injustamente), não são muito populares mundialmente, embora tenham reconhecimento por parte da crítica “especializada”.

Essa banda, em suma, produz músicas medievais e, ao meu ver, é a melhor do gênero – ou, no mínimo, uma das melhores representantes. Suas canções são penetrantes e atuam como verdadeiras pontes para um tempo passado que até hoje intriga a humanidade. Assim, escutar seus álbuns é voltar no tempo e, ainda que de maneira sutil e fantasiosa, vivenciar o período medieval penetrando nele, tanto em seus aspectos sombrios, quanto em suas faces luminosas.

Eloy:

O Eloy é um dos maiores e mais esplêndidos ícones do Rock Progressivo – muito embora as classificações do gênero musical nesse caso sejam meio controversas, pra mim, podemos classificá-los como uma banda de Progressivo – e suas composições são repletas de detalhes e caprichos técnicos cuja aplicação faz com o resultado final possua sempre uma atmosfera profunda e psicodélica.

Deixo aqui uma menção honrosa aos fabulosos acordes de guitarra trocados por Bornemann, que asseguram parte dos mais sofisticados trabalhos artísticos da história da banda. A discografia do Eloy é bem ampla, mas tenho algumas recomendações específicas para quem pretende explora-los: Dawn, Power And The Passion, Time To Turn e Colours. Cada um desses excelentes álbuns convida o ouvinte para uma diferente viagem alucinante!

Eloy: uma das bandas mais inventivas da Alemanha.

Amon Düul II:

O Amon Düul II é um dos mais notáveis e excepcionais representantes do Krautrock. Trata-se de uma banda ousada, potente e criativa, cujos álbuns são impressionantemente cativantes. A sonoridade do Amon Düul II sempre foi traçada por ondas de requintados experimentalismos que se tornaram uma assinatura da banda. O trabalho que mais conheço e que mais admiro é o extraordinário Wolf City, que acredito ser capaz de encantar qualquer ouvinte!Outro álbum que me agrada e que foi o primeiro com o qual tive contato, é o Yeti.

Neu!:

Um mito luxuoso do Krautrock! Sem dúvida alguma, uma das mais extraordinárias bandas alemãs dos últimos tempos. Suas inovações estéticas o levaram a destacar-se por um brilhantismo único! Sugiro aos interessados, que desfrutem o álbum Neu! na íntegra. Garanto que será uma experiência surreal!

Scorpions:

O Scorpions possui em seu currículo algumas das mais aclamadas baladas do Rock And Roll, tal como “Send Me An Angel”, “Wind Of Change” e “Still Loving You”.

Ao longo de sua trajetória, a banda sempre contou com músicos qualificados que garantiram excelentes resultados musicais e não posso deixar de citar o inconfundível e intenso timbre da voz do vocalista Klaus Meine, que é um dos principais marcos da banda. O Scorpions produz aquele tipo de Rock que todo mundo gosta de escutar e que sempre é muito bem-vindo!

Scorpions em ação. A banda de Hanôver é um dos maiores nomes do Hard Rock.

 

*Texto adaptado de: http://www.audiograma.com.br/2018/09/8-artistas-alemaes-que-todo-mundo-deveria-ouvir-agora-mesmo/

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CONHEÇA O ILUSTRADOR EDELCIO IPANEMA:

Por: Juliana Vannucchi

Sorocaba tem revelado inúmeros artistas talentosos. Felizmente, de vez em quando alguns deles cruzam o meu caminho. Hoje, com imensa satisfação, apresento aos leitores um texto sobre um dos mais habilidosos desenhistas da cidade e da região: Edelcio Ipanema.

A paixão pela arte o acompanhou durante praticamente toda a vida, caminhado fielmente ao seu lado tanto em situações agradáveis, quanto em situações penosas. Desde a tenra idade, Edelcio nutriu uma enorme paixão por histórias em quadrinhos e pelos famosos super-heróis que fazem parte delas, especialmente os que compõem os universos da Marvel e da DC. Quando folheava as páginas das HQs, perdia-se profundamente nos encantadores detalhes e características dos variados personagens, observando seus movimentos e expressões, analisando as diversificadas paisagens, as cores e, enfim, todo o conjunto de aspectos que compõe os quadrinhos. Começou ainda jovem a esboçar os primeiros traços inspirado nesse tipo de produção artística e com o passar do tempo, suas ilustrações foram se tornando cada vez mais refinadas, sendo que atualmente, seu foco como desenhista consiste justamente em super-heróis e histórias em quadrinho. 

“A arte está em todo lugar e representa a humanidade. Não vejo o mundo sem ela e acredito que o próprio ser humano é a mais bela de todas as artes que existem na Terra”. - Edelcio Ipanema.

O ilustrador sorocabano já teve seus desenhos publicados em revistas especializadas em super-heróis.

 Edelcio sempre se mostrou incansável em suas produções: já chegou a passar dez horas seguidas desenhando e, além disso, a prática é diária e incessante, muitas vezes atravessando a madrugada. Sempre foi naturalmente habilidoso, mas reconhece que o treino e a disciplina precisam ser contínuos e os levo muito a sério em seu cotidiano. Suas ilustrações fascinam pela perfeição da soma de detalhes: traços, cores, pintura, linhas e etc. Seu talento diferenciado o levou, aos poucos, a conquistar o devido reconhecimento e, atualmente, ele é agenciado pela Studio Ed Benes, já participou de eventos importantes como a Comic Con, além de ter suas ilustrações expostas em vários locais, dentre os quais se destacam o Palacete Scarpa, a Biblioteca Municipal a Câmara de Sorocaba. Somado a isso, é válido jogar que o desenhista já recebeu mais de uma bolsa de estudo em escolas renomadas na área. Esses e outros méritos são frutos de sua dedicação, talento e, claro, amor pela arte. Conforme ele comentou: “A arte está em todo lugar e representa a humanidade. Não vejo o mundo sem ela e acredito que o próprio ser humano é a mais bela de todas as artes que existem na Terra”.

Alguns dos incríveis desenhos feitos por Edelcio.

Atualmente Edelcio trabalha como freelancer, colabora constantemente com fanart, faz pin-ups para colecionadores, ilustra livros e, sempre que possível, continua participando de eventos. Em julho participará de uma exposição no Memorial da América Latina, na capital paulista, que será feita para homenagear o herói nipônico Jiraya. Edelcio foi um dos desenhistas especialmente convidadas para a ocasião. Em setembro de 2019, marcará presença no HQ Fest. Para conhecê-lo melhor e/ou consultar valores, acesse os links abaixo:

Facebook: https://www.facebook.com/hanzo.hattori.3367 

Instagram: https://www.instagram.com/edelcioipanema/ 

Blog: http://edelcioipanema.blogspot.com/

  

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