El Cuarteto de Nos: pop/rock do carajo!

Está saindo do forno o mais novo álbum do Cuarteto de Nos, veterana banda uruguaia de “rap rock alternativo cômico e pop”, se é que poderia existir tal definição.

É sempre boa essa sensação de ansiedade quando uma banda que a gente gosta está prestes a lançar material novo. Eu sou fã do Cuarteto há pouco tempo (infelizmente não tive a sorte de conhece-los antes), mas eles estão na ativa desde 1980, e seu primeiro disco foi lançado em 1984. São macacos velhos e fazem um som de primeiríssima.

Começaram fazendo um tipo de música bem regional, mas seus últimos trabalhos – principalmente a partir da segunda metade dos anos 90 – mudaram totalmente de rumo, e hoje o Cuarteto é uma das bandas mais populares do Uruguai.

Agora estão lançando seu décimo-quarto álbum, Porfiado, e semana passada divulgaram o primeiro vídeo oficial em seu canal do YouTube.

Para quem conhece a banda, a música nova traz as qualidades típicas do Cuarteto: letra cantada/falada, refrão apoteótico e instrumental apurado e impecável.

Para quem não conhece a banda e que entender melhor do que se trata, é assim:

1) É pop/rock.
2) É pop/rock misturado com rap.
3) É pop/rock misturado com rap, inteligente e divertido.
4) É pop/rock misturado com rap, inteligente, divertido e quando suas músicas atingem o refrão, as melodias são simplesmente memoráveis.

Uma observação: eu não gosto de rap, mas o tipo de rap que o Cuarteto de Nos emprega em suas músicas é bacana, e não aquela coisa gangsta-com-as-mãos-cruzadas-e-cara-de-mau. Aqui a poesia é rápida e divertida, e é um recurso muito bom do qual lançam mão para contar suas longas e hilárias epopeias.

E aí, quando chega na ponte e no refrão, a verdadeira face do Cuarteto se revela em forma de grandes melodias e refrões memoráveis. E como se não bastasse, a banda de Roberto Musso e cia. tem um dom inigualável de contar histórias. Quando só o som não basta, eles complementam sua narrativa com videos muito bem feitos.

Aqui tem a música nova e algumas mais antigas, pra quem conhece relembrar e pra quem não conhece se divertir com o primeiro contato. No site oficial deles, você também pode ver divertidos videos com o work-in-progress do disco novo.

Se quiser ir atrás dos álbuns, comece por estes: El Cuarteto de Nos (2004), Raro (2006) e Bipolar (2009).

Cuando sea grande, quiero ser como vos.






Brainstorm9Post originalmente publicado no Brainstorm #9
Twitter | Facebook | Contato | Anuncie


Advertisement


Heart-On-The-Sleeve Music

Está saindo essa semana, nos EUA, o primeiro álbum dos Lumineers, uma banda que já tem um bom tempo de estrada e 2 EPs lançados. O trio de pop-simpático-que-não-desgruda-da-cabeça passou os últimos 3 anos compondo as músicas que entraram no CD que chega agora às prateleiras yankees.

De pegada folk, rústica e – como eles mesmos se auto-denominam – “heart-on-the-sleeve music”, esta banda americana gosta de passear por diversos estilos e faz um tipo de som que lembra bastante Mumford & Sons e Avett Brothers. (O que é bom!)

Com tanta versatilidade e simpatia, a banda conquistou fãs ardorosos e vem esgotando ingressos para seus shows lá na terra do Tio Sam. Dead Sea, Flowers in Your Hair e Ho Hey são algumas das músicas que fazem os militantes da banda se emocionarem quando lotam os clubes por onde ela passa.

Pessoalmente, eu preciso de um pouco mais para me emocionar e sentir meu coração na garganta, como eles prometem em seu release oficial do CD de estreia. De qualquer modo, é um pop muito muito bonito, e todo primeiro álbum é uma grande conquista pra qualquer banda. Eles estão de parabéns.

Confira a Ho Hey, a música para grudar na sua cabeça antes do feriado. Valeu pela dica, Gabi Serio.

Brainstorm9Post originalmente publicado no Brainstorm #9
Twitter | Facebook | Contato | Anuncie


Advertisement


From Regina With Love

Três anos depois de lançar seu excelente Far, a divertida – e russa – pianista e compositora pop Regina Spektor volta à cena com seu sexto e aguardado álbum.

Produzido por Mike Elizondo (que deu uma forcinha em Extraordinary Machine, de Fiona Apple), o disco vai se chamar What We Saw From The Cheap Seats e já tem dois singles divulgados oficialmente pela cantora.

All The Rowboats foi lançada em fevereiro e já está disponível para download na iTunes Store. A segunda faixa divulgada é uma nova versão de Ne Me Quitte Pas, que já tinha aparecido em Songs, de 2002. São dois bons aperitivos para degustar enquanto o disco não chega.

Regina já toca músicas do novo disco em seus shows, e a julgar pelo estrondoso sucesso que seus álbuns anteriores fizeram (Begin To Hope e Far), este novo deve repetir o bem sucedido caminho, agora que ela tem cada vez mais fãs, popularidade e prestígio.

A data oficial de lançamento é 29 de maio (lá na gringa). Falta muito ainda, mas enquanto isso a gente vai enganando a ansiedade por aqui. Divirta-se.

 



Brainstorm9Post originalmente publicado no Brainstorm #9
Twitter | Facebook | Contato | Anuncie


Advertisement


Pelados e Famosos

Chamar qualquer banda de “fenômeno”, no século XXI, é no mínimo um abuso da hipérbole.

Então, quando eu ouvi dizer que o The Naked and Famous era o novo fenômeno da música indie/pop da atualidade, eu já filtrei a informação: ok, é a banda legal do momento. Vamos ver qual é que é.

Sexta-feira os neozelandeses desse grupo (que parece ter saído de um DeLorean vindo direto de 1986) tocaram aqui em São Paulo, no charmoso Cine Joia, mostrando as músicas de seu primeiro álbum: Passive Me Aggressive You.
(Disco este que, aparentemente, já é um clássico entre 11 de cada 10 pessoas que estavam lá.)

Fui pego de surpresa. Todo mundo cantando, berrando todas as músicas, verso por verso, pulando, ovacionando, dançando como se fosse o último show de suas vidas. E tenho que dizer: ponto pros neozelandeses. O publico saiu de lá realizado.

A banda fez uma apresentação competente, tocando muito bem e sendo bastante fiel às gravações de estúdio. Às vezes a fidelidade era tanta que eu me perguntava se não estaria rolando ali um playbackzinho pra segurar os vocais. Mas prefiro acreditar que não e manter imaculada a boa impressão que eles me causaram.

Surgido em Auckland em 2008, o The Naked And Famous conquistou sua terra natal com a música Young Blood, em 2010, para então conquistar o mundo (olha a hipérbole aí) no ano passado. O single vendeu 15 mil cópias e rendeu à banda o prêmio australiano Silver Scroll, e quando o álbum foi lançado eles foram direto para o primeiro lugar das paradas da Nova Zelândia. No ano passado, a BBC a incluiu a banda entre as revelações do ano, e finalmente o álbum deles chegou à iTunes Store americana.

Agora, estão viajando o mundo e aproveitando a fama e o sucesso, enquanto o próximo fenômeno não aparece para tomar seu lugar.

Se você gosta de pop 80’s, aqui está sua nova banda preferida. Divirta-se.





Brainstorm9Post originalmente publicado no Brainstorm #9
Twitter | Facebook | Contato | Anuncie


Advertisement


James Roper

James Roper est un artiste anglais à la fois illustrateur, peintre, ou encore sculpteur. Avec des choix de couleurs surprenants et des compositions impressionnantes, ce dernier nous plonge dans son univers unique et envoutant. Découvrez une série d’images dans la suite.



jamesroper29

jamesroper28

jamesroper27

jamesroper26

jamesroper25

jamesroper24

jamesroper23

jamesroper22

jamesroper20

jamesroper19

jamesroper18

jamesroper17

jamesroper16

jamesroper15

jamesroper14

jamesroper13

jamesroper12

jamesroper11

jamesroper10

jamesroper8

jamesroper7

jamesroper6

jamesroper5

jamesroper4

jamesroper3

jamesroper2

jamesroper1





























Previously on Fubiz

Copyright Fubiz™ – Suivez nous sur Twitter et Facebook

Post Cool

Carving up the new frontier of style.

by
Ted Gioia

From Adbusters #99: The Big Ideas of 2012

Post Cool

Cool’s original power had derived from its formative role in forging a modern personality type, a style of engagement – indirect, ironic, flexible, infused with humor, sometimes flippant – that was adopted with success by a growing percentage of the population.

But the relentless mass marketing of cool has tainted this style of behavior and made it seem inauthentic or contrived to a growing number of individuals. It is almost inconceivable that anything could happen, at this late stage, that would restore to cool the freshness and vitality it possessed in the fifties and sixties.

Of course, the old-school cool ethos will not disappear completely. Even when some color or fabric is passé, it still finds its way into our wardrobe. But cool now lacks conviction and energy. Above all, its economic force is diminishing. And this, more than anything, will accelerate its decline. One busy cash register is worth more than a thousand pundits. The arbiters of taste – at record labels, in films and TV, in consumer marketing, in media – will respond to these economic shifts rather than lead them. But follow they must, or disappear from the scene. Their successors will not make the same mistakes. Over time, this will transform even the last institutional bastions of cool into promoters of the postcool worldview.

One of the most interesting spectacles of postcool society will involve the dominant forces of the old paradigm scrambling to co-opt the new one. Packaged and slick and phony will attempt to become down-home and natural and authentic. We can see this playing out in many arenas – from music to clothing, politics to daily news. But let us take one sector of our economy and show how this works.

In consumer food products the postcool celebration of the natural and authentic is spelled out in the recent dramatic growth in the sale of organic fruits and vegetables, vitamin supplements, antibiotic-and-hormone-free beef, and other products that previously existed only on the fringes of the food industry. Of course this trend spells trouble for packaged-food multinationals, who are the real losers here. How do they respond? In the postcool society, representatives of the old paradigm imitate the new one. So we have the Naked Juice company, with its line of 100 percent natural, unsweetened beverages … but it’s owned by Pepsi.

The registered slogan of this company is “Nothing to Hide” – but one thing is clearly hidden in its marketing campaigns: its connection with PepsiCo Inc. Visit the Naked Juice website, and see if you can find the name of the parent company anywhere. Goodluck! Then again, Naked Juice needs to deal with its competitor Odwalla, a leader in all-natural juices … owned by Coca-Cola.

Next stop on your itinerary, please visit the website for Dagoba, a company committed to the highest quality organic chocolate, and see if you can find any mention of parent company Hershey. But Mars Inc., maker of M&M’s and Snickers, has gone even further, acquiring Seeds of Change, which sells more than six hundred types of 100 percent organically grown seeds. And we have the Back to Nature brand of cereal and granola … but it is now owned by Kraft foods, makers of Cheez Whiz and Velveeta. Heinz, through its minority position in Hain Celestial, has an equity share in dozens of natural brands. I could cite countless other examples. In fact, almost every major purveyor of packaged, processed food loaded with preservatives and various chemicals is trying to position itself as a champion of healthy, natural eating.

But the fascinating angle here is how well hidden these relationships are. In the old days, Hershey would make sure everyone knew they were involved when they sold chocolate. After all, what could be a better endorsement for confections than the Hershey brand name? Or Coca-Cola’s for beverages? Or Pepsi’s? These companies have invested billions of dollars in building and enhancing the value of their brand names. Pepsi alone has purchased celebrity endorsements at untold cost from Britney Spears, Mariah Carey, P!nk, Christina Aguilera, Michael Jackson, Janet Jackson, David Beckham, David Bowie, Shakira, Jackie Chan, Halle Berry, Jennifer Lopez, Tina Turner, Justin Timberlake, Beyonce Knowles, Mary J. Blige, the Spice Girls, Ray Charles, and many, many others. Yet now this company needs to conceal its involvement in the fastest-growing segments of the beverage market? What gives? We see the same old shift in field after field – music, media, consumer products, retailing, politics, fashion, academia, the internet, almost everywhere you look. Organizations that have spent decades investing in their image, their brand, their logo, now admit that it’s best to junk all that and start with a clean sheet of paper.

This paradox will become part of the day-to-day life in postcool society. Even if postcool celebrates the real and authentic, the simple and down to earth, it doesn’t mean that these attributes will actually dominate public life. Instead we will find a grand charade of phony pretending to be authentic, of contrived acting as though it is real, the intricately planned putting on the mask of the simple and unaffected. In many instances, postcool will just be the same folks who brought you cool, hiding behind a mask.

But this faux postcool will increasingly be forced to compete with the real thing. Grassroots movements will be built around the core postcool values of simplicity, authenticity, naturalness and earnestness. These will flourish outside the market place, in public and private discourse, shaping attitudes and interpersonal relations. True, they will have an economic impact, but their significance will not be reducible to dollars and cents. Postcool will inhabit people’s psyches long before it takes control of their wallets.

This core distinction will be our chief guide in distinguishing the phony corporate maneuverings from the real grassroots changes that will drive postcool society. The former will always inhabit a product or service. And if the cool was a friend to business, seeing its own destiny in accessories and gadgets, the postcool will have a more ambivalent relationship with the prevailing economic interests. The new ethos does not require expensive new accessories and often will take positive delight in downscaling lifestyles and paring back on unneeded extras.

Simplicity, authenticity, naturalness and earnestness … I mentioned these as though they were parts of a product positioning exercise. But in fact they will be in the foundations of the postcool personality type. Just as the cool was at its best when internalized as a way people acted and not just trumpeted as a marketing message, so will postcool have its greatest impact as a way people instinctively deal with situations and circumstances. In a book such as this, the examples gathered inevitably come from things that can be seen, heard, touched, measured – in short, what we call empirical evidence. But don’t let that fool you into thinking that these are the primary signs of the new postcool era. Many of the most salient changes will be those that we can grasp only indirectly and will not be measurable with any exactitude by statisticians and pollsters.

For the same reason, postcool will be less fickle and changeable than cool. Postcool is not just another style, another trend. It is the antithesis of style, of trendiness. And because it reflects an emerging personality type and not a passing fashion, postcool will probably be around for quite a while. Many merchants of cool will be tempted to dismiss or misinterpret postcool, seeing its key elements as a new, marketable lifestyle, as just one more way of being cool. We can already see many examples of this shortsighted behavior. But ultimately the attempt to treat postcool as just another variant on cool will fail.

For 50 years, the prevailing tone has been focused outward. Cool was in the eyes of the beholder, and those who lived by its principles needed constantly to be attuned to what others were thinking and doing. As trends and fashions and languages changed, the cool cats had to changes as well … or risk being left behind. And even though good guys are expected to finish last, according to the adage, cool cats are not allowed to bring up the rear. The cool was a demanding deity, requiring its adherents to keep up with the times, to maintain a retinue of admirers. But postcool, by nature inward focused and self-directed, will not be so easily budged. From now on, the game will be played by different rules.

Postcool will be more intense than cool. Higher strung. More determined and less easily deflected and distracted. For this reason, many parties will strive to win the allegiance of this rapidly growing constituency. Political candidates will build their campaigns to appeal to the new psyche. Marketers will position products to maximize their perceived value to this demographic. Social movements and churches and media will all try to attract them. Who wouldn’t want these assertive, strong-willed folks in their camp? But the challenges involved in securing their support should not be minimized. The postcool person is not a belonger, not a follower. As Arnold Mitchell discovered when he first identified this group in the seventies – when it was just a tiny subset of the American public, maybe one or two percent by his measure – these individuals are the hardest to market to … because by their nature they are suspicious of marketing and resistant to its methods.

As a result, the postcool society will be full of surprises. The scene will be marked by unexpected grassroots activities that come to the fore despite the best-laid plans of politicians and corporate execs. Exciting? Perhaps. Dangerous and volatile? Certainly at times.

Of course, even postcool may sow the seeds of its own eventual decline. A new personality type lasts longer than a passing fashion, but even deep-seated character patterns and emotional styles can outlive their usefulness. Just as the cool personality became less effective over time, postcool could find itself replaced by some yet-to-be defined paradigm. We can already see postcool’s vulnerability in its unstable reliance on bluntness and aggression, its susceptibility to anger and confrontation. When so much irritability and adversarial posturing permeate our national and local lives, won’t this breed another reaction in time, a new cooling down of the temperature and the emergence of consensus building and a softer, gentler emotional style in public and private life?

But old-school cool will not come back. The cool is dead … at least as we knew it back in the second half of the 20th century. If aspects of it still hold center stage from time to time, they will do so because they have adapted to the new state of affairs. As with all passing movements, the age of cool will inspire nostalgia and retain a few adherents, those folks who always look back dreamily at the past, lamenting the loss of the good ol’ days. But the future belongs to a different personality type and hard-nosed assertiveness. It’s like everything Mom and Dad told you is finally coming true … only now you will be hearing it from your own children.

Ted Gioia writes on music, literature and contemporary culture. He is the author of eight books, including The History of Jazz, Delta Blues and The Birth (and Death) of the Cool.

Ring Pop Art

Dans la continuité de Staples Art, voici cette artiste Julia Chiang en provenance de Brooklyn. Des oeuvres créés avec une variété d’objets comme cette série faites de sucettes. Présentée à Miami Art Basel, ces dernières fondent sous la chaleur et font partie intégrante de l’oeuvre.



jc2

jc3

jc4

jc5

Portfolio de Julia Chiang.

Previously on Fubiz

Coke: Is it the Deadly Thing?

234937-300-0-1Coca Cola, invented in the late 19th century and marketed as a “cure-all” for diseases like morphine addiction, dyspepsia, neurasthenia, headache, and impotence has come a long way in a century. A friend once told me that Coke’s special formula used cocaine. Which is true, although at the time I called him a “lying pooh-pooh head.” In fact, a single glass of Coke contained nine milligrams of blow. The nice thing? No crusty white boogers or mirror checks before going outside. ‘Cola’ was spawned from the Kola nut, which added caffeine to the mix. It’s a wonder Ritalin wasn’t invented sooner.

One thing fair to assume in a company the size of Coke; upper management probably doesn’t have a clue about work in the trenches. So, when a plant worker at a Coke bottling plant in Columbia was gunned down for trying to unionize, no one upstairs was any wiser. (It was actually seven murders…). Well, this week that all changes.

Activist organization “The Campaign to Stop Killer Coke” plans a negative PR blitz in Atlanta against the beverage giant. The group, which claims Atlanta-based The Coca-Cola Co. (NYSE: KO) is guilty of labor, human rights and environmental abuses, will have this week a mobile billboard truck on metro Atlanta streets campaigning against Coke’s alleged abuses. One billboard says “Unthinkable! Undrinkable! Murders in Colombia, Child Labor in El Salvador, Stealing and Polluting Water in India, El Salvador and Mexico.” A second billboard says “Killer-Cola: The Drink that Represses!”

Coca Cola’s response, stunned that a PR blitz consists of a single billboard, has called an agency review.

Jeff Louis is a Strategic Media Planner, Project Manager, and New Business Coordinator. His passion is writing, contributing to BMA as well as freelancing. He’d love to hear from you: www.linkedin.com/in/jefflouis or on twitter @jlo0312.

POP: Guy

POP: Guy

The website that shows everything that is in your head.
www.pop.com.br

Advertising Agency: Original Studio, Curitiba, Brazil
Creative Directors: Rafael Oliveira and Victor Beuren
Art Director: Victor Beuren
Copywriter: Rafael Oliveira
Photographer: LuxLab
Published: March2008

POP: Girl

POP: Girl

The website that shows everything that is in your head.
www.pop.com.br

Advertising Agency: Original Studio, Curitiba, Brazil
Creative Directors: Rafael Oliveira and Victor Beuren
Art Director: Victor Beuren
Copywriter: Rafael Oliveira
Photographer: LuxLab
Published: March2008