Owen Pallett es Final Fantasy (terrible elección de nombre porque cada vez que quieres buscar algo sobre ellos no sale nada más que el juego de nintendo ese), un prodigio musical que, aunque no lo sepas, ha participado en alguno de los discos que escuchas: por ejemplo, él es el encargado de los arreglos de cuerda en los discos de The Arcade Fire (Funeral y Neon Bible) y de Beirut (uno de mis favoritos, probablemente el próximo post). Lo recordé esta vez por la simple razón de que usa la misma técnica de loopeo que el Mr.Bird... Aparte, hace pocos meses comezó a colaborar con Grizzly Bear.
Need I say more? Nah.
Una buena entrevista aqui.
Una buena (muy buena) canción aqui.
7 comentarios:
efectivamente, una buena canción.
Esto fue la primera que leí de él.
http://www.nytimes.com/2005/12/11/arts/music/11wils.html
Tarde ya pero, siendo sordo, tiendo a estar atrasado en cuanto a las novedades musicales.
Tus blogs están para pirrarse, Dana Blanco.
The World's Most Popular Gay Postmodern Harpsichord Nerd!
Recomiendo mucho el artículo que posteó el señor/a Anhedionísiaco: http://www.nytimes.com/2005/12/11/arts/music/11wils.html
Merci.
Seño', srita.
Y no es la última palabra respecto a él por parte del Times, sabes, lo canonizaron como punto de partida para el 1-Man Band Manifesto:
http://www.nytimes.com/2008/05/18/magazine/18bands-t.html?pagewanted=1
“There are still all sorts of glitches in the program; the algorithms are really complex.”
¿Podrías postear las partes má interesantes? No se puede leer todo el artículo si no estoy inscrita a los tiempos neoyorquinos...
Nítido que puedo.
Lo único es que no logro sacudir el creerlo todo pertinente...
Con disculpas a Annie Clarke y Noah Lennox por la indecendia (¡indecencia, joven!) de hacer caso omiso de ellos, aqui tenés:
On a rainy afternoon this past December, in his cramped rehearsal studio on Toronto’s southwest side, Owen Pallett — known to his fans as the singer, songwriter, violinist, pianist, bassist, harpsichordist, engineer and everything else that makes up the indie-rock one-man band Final Fantasy — was trying to play his violin through five amplifiers at once. Effects pedals, instrument cables, patch cords and microphone stands took up most of the space, radiating out from the laptop and sound card that Pallett was fussing over, and an ominous hum filled the room. The amps were arranged in a loose semicircle, vaguely reminiscent of Stonehenge: Pallett spent the day before writing a computer program to coordinate the various outputs, and the impression he made now was less that of an up-and-coming rock star than of a crackpot inventor, à la Nikola Tesla, sequestered in his workshop. “Oh! This is exciting,” he whispered at one point, giggling to himself nerdishly. “I’ve never made it this far before.”
The idea was to cycle his violin’s signal from one amplifier to the next — something like surround sound in a movie theater — but it wasn’t quite working. “I want the sound to make a smooth transition from amp to amp,” Pallett said, pouting a little. “A fade, not a jump.” A few moments later he got to his feet, bowed his violin violently, and the room shook with elegant noise. The effect was dramatic, to say the least, but Pallett still wasn’t satisfied. “I shouldn’t have brought you here,” he murmured apologetically. “There are still all sorts of glitches in the program; the algorithms are really complex.” He frowned at the tangle of cables at his feet, seemingly forgetting me altogether, then suddenly broke into a boyish grin. “When it’s done, though, it’s going to be kind of unprecedented.”
“There’s this utopian idea — a cult, really — that an artist should have infinite means at his disposal,” Pallett told me over lunch at a vegan cafe. “But to me that’s not interesting. The boundaries of what I’m doing as Final Fantasy define the whole project: I choose to perform solo, and to write songs in the pop idiom, so neither of those two things are limitations. They’re choices I made.” When I asked whether both those decisions had the same objective — liberation through a kind of radical economy of means — Pallett bobbed his head enthusiastically. “Absolutely. I feel liberated by them every day.”
Pallett’s decision to limit his options seems motivated not by a desire to do less with his songs, in a minimalist sense, but by the hope of avoiding those things that most bands do too much of. The sleeve of Final Fantasy’s most recent album (the title is at once innocent and vulgar, and can’t be printed here) lists violin, trombone, concertina, accordion, harpsichord, a string quartet, shouting and a monologue among its instruments, but guitar is nowhere to be found; neither, for that matter, is a drum kit. When I asked him why, Pallett answered without a moment’s hesitation. “Drummers ruin bands,” he said simply, as if the fact were common knowledge. “There are probably about 10 people in indie rock who know how to play the drums. If you’re in a mediocre band, just fire the drummer, and chances are you’ll have the best band in the world.”
“I THINK ONE-MAN BANDS are a rising trend,” Pallett told me at lunch. “The era of solo performers — singer-songwriters and all that — is pretty much done. There aren’t any new solo performers out there that are interesting; now it’s all this assisted-performance type of thing.” When I asked him to clarify the difference between a solo performer and the music he made, Pallett was quick to oblige. “With a solo performer, what matters is the material — in the sense of the written song, the lyrics and so on — and the songwriter’s charisma; it’s about the personality that comes through in the music. There’s no technical aspect involved: nothing too difficult is attempted.” He gave a mock sigh of despair. “For better or for worse, there’s difficulty in a lot of what I do.”
Te regalo "anhedoniac" y "maullido" para ver el resto, gallarda, usalo como te plazca
Muchas gracias Anhedionísiaco.
: )
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