Word: bandã
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...rule, the reviewing of a greatest hits compilation should be left to an individual who is not intimately comfortable with a band??s music. The biases and judgments that tend to take hold in such reviews offer little for the supposed audience for such a disc, the newbie...
This is particularly true for a band like Yo La Tengo, who has remained for the past decade on the radar of most underground rock purveyors, if not in their CD changers. Though I’ve listened to a handful of the band??s more recognizable albums, I’ve made little effort to absorb the music; thankfully, their recently Matador-released retrospective, “Prisoners of Love: A Smattering of Scintillating Senescent Songs 1985-2003,” has given me the chance. My reaction borders on rapture...
...terms of spoken language, the dialogue between the quotation-sound-clips and the words or vocals they generate themselves takes on different forms. In “be good to them always,” there is a mirroring effect: the band??s vocals overlay the same lines spoken by various other voices in found audio clips. Recorded readings of “The Jabberwocky” and lines spoken in various languages are followed by vocals singing out-of-order lines from Carol’s poem in “vogt dig for kloppervok...
...combinations and their accompanying music are, invariably, beautiful, if sometimes bizarre. Explication for the band??s technique can be found in one of their few songs with mostly original lyrics, “smells like content:” “when finally we opened the box, / we couldn’t find any rules / our heads were reeling with a glut of possibilities…but whither ever increasing faith / we decided to go ahead and just ignore them…so instead we went ahead / to fabricate a catalog / of unstable elements, and modicums...
These lines tersely describe the band??s ars poetica of sorts—to catalog and re-combine disparate particles and fragments of language into a synthetic whole. The cut-and-pasted audio material creates a surreal sort of ‘exquisite corpse’ effect, not so much relating an explicit story as exposing an unconscious mood or psychic backdrop. In extreme cases, their own lyrical contribution is literally reduced to mere finger-snapping, as in “it never changes to stop...