Continuiamo a navigare su reti internazionali piratando barriere a ritmo rock!
LUNEDì 18 APRILE
dalle 20:00
RADIO CAROLINE!
Scarica la prima puntata con gli Enfance Rouge –> QUI
Questa volta ai microfoni:
LYDIA LUNCH e JAMES JOHNSTON
“Big Sexy Noise”
Con:
MAURIZIO VITALE
“Lolita Terrorist Sounds”
RADIO CAROLINE, per rinnovare il discorso sulla genuinità dell’ascolto e della creazione musicale, in antitesi a un mercato delle note sempre più essenziale e consumistico. Per rifiutare quelle stesse logiche che asfissiano gli spiriti e deprimono i corpi, capitalizzando gusto e cultura a scapito degli artisti stessi. Per riequilibrare le orecchie, il cuore e le membra. Per danzare!
Lydia Lunch comincia a fare musica appena diciassettenne, nel 1976, militando, in qualità di chitarrista e cantante, nei Teenage Jesus And Jerks. Giovanissima madre del movimento No Wave, farà colpo su Brian Eno, che sceglierà i Teenage Jesus and Jerks per la compilation “No New York”. Di qui in poi un crescendo di creatività espressa attraverso la musica (ambito colorato di numerose collaborazioni con altre grandi personalità del rock alternativo, come J. G. Thirlwell, Kim Gordon, Thurston Moore, Nick Cave), libri, performance parlate, film, video, fotografia, poesia e una moltitudine di sforzi creativi, Ludia Lunch ha dimostrato di essere una delle più interessanti artiste dell’era attuale. In Big Sexy Noise, nome che funge da titolo e ragione musicale del progetto, la Lunch compie un viaggio a ritroso nel rumore perduto, in compagnia di altri reduci della grande stagione del rock alternativo degli anni 90, ovverossia tre pinte su quattro di Gallon Drunk: James Johnston alla chitarra, Ian White alla batteria e Terry Edwards, organo e sax.
Prima di tutto c’è il blues: catramato, rintronato di clacson e monossido metropolitano. Poi c’è il punk, quello più teatrale, vicino alla performance art: l’interpretazione della Lunch, la sua voce sempre più bassa, vetrosa, gracchiante. Infine, il noise: la distorsione, il fuzz schiumoso e purulento come una fogna che trabocca, il filo spinato dei feedback, il sax quasi free che sfregia i riff monolitici e fa da controcanto alla Lunch, la scuola della no-wave e dei Sonic Youth (Kim Gordon è coautrice di buona parte dei brani).
Una furia che attacca, sexy, ironica, sboccata, con “Another Man Coming”, scandita da metriche schioccanti quasi a tempo di rap, assume tonalità jazzy e noir nella ipnotizzante “Bad For Bobby” e arriva a montare in una sorta di blues-doom iperrealistico con le poderose “Baby Faced Killer” e il monologo in un solo atto di “Your Love Don’t Pay My Fuckin’ Rent”. Poi c’è la cover “vissuta” di “Kill Your Sons” di Lou Reed: con la Lunch che quando dice – la voce dura e rovinata come le vene di un tossico veterano – “(…) but when you shoot you up with thorazine on/ crystal smoke/ you choke/ like a son of a gun”, lei che nella sua vita ha flirtato più volte con la follia e i ricoveri mentali, dà letteralmente i brividi.
Long before fashion logos such as the alligator, the polo player, the double C’s, and the double G’s were around, there was the first Brooks Brothers in 1818 in lower Manhattan. president to wear a powdered wig and breeches. This is the brand that first imported Scotland’s shetland sweaters, France’s foulard tie, and introduced gentlemen to the quintessentially American Ivy League sack suit as an alternative to more fitted continental and drape cuts. Bush, celebrities and presidents have been outfitted by the brand. Even Union officers reporting to Ulysses S. Grant during the Civil War had Brooks Brothers uniforms. Lincoln wore his Brooks Brothers coat to Ford Theater on the night he was assassinated and Franklin D. With British origins in representing a military regiment, a college, or a private club, have you ever noticed which way the stripes go? In Britain, the stripes went from left to right, that is, from the heart to the sword. The stripes were, in fact, reversed from right to left for the mass American market by Brooks Brothers in 1902.
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