Is it more than you can stand?
Better homes and gardens,
Australian wonderland."
γρυλισε το κατερινακι τυλιγμενο σε μια ντουζινα sanitas foil, με υφος βαρεσα-πεντε-μισυ-μαλακιες . και μου πεταξε στα μουτρα ενα παλιο αφισσακι των New Christs.
γεμισα εκπληξη, οταν μου πρωτοτρυπησε τα τυμπανα τον απριλη και παρ'οτι εχουμε σχεδον 2014, μοιαζει σα να βγηκε τριαντα χρονια πισω. οταν αποφασισε να ενστερνιστει τις αγνες προθεσεις αλλα και τις αρμονικες πολλων αλλων καλλιτεχνων της ωκεανιας, η κατερινα εδωσε με το Sideroxylon κατι καινουριο...κατι που προσπαθουσαν καιρο οι Radio Birdman, οι Saints, οι MC5 και αλλοι πιονιεροι του αλλου ημισφαιριου. ωμη ταχυτητα διακατεχει κατα τοπους το δισκο, στολισμενη με πολιτικο στιχο. στην ελληνικη εκδοση με τιτλο "η γευση της ζωης μου a.k.a. the taste of my life" τα κομματια ειναι ξανα ερμηνευμενα με αυτον τον ειλικρινη και ωμο rock'n'roll τροπο που μονο η κατερινα μπορει. ενα ντεμπουτο διγλωσσο οπου σε προσωπικη εκμυστηρευση της αφησε να διαρρευσει οτι τα κινητρα ηταν βασικα τρια: α) η αλληλεγγυη...με το να δωσει στο μεσο ελληνα να καταλαβει την καταπιεση που νιωθει ο μεσος αυστραλος για τη δια νομου απαγορευση ακροασης σε ανοικτους χωρους χρηστου θηβαιου. β) ο σπαραγμος ενος εθνους στην προσπαθεια αποκτησης σμαρτφοουν ενω δεν παιζει μια ουτε για σαλαμι λιντλ και γ) η εκδικηση εκ μερους ενος αλλου εθνικου κιθαρωδου, αυτου με το στενο πανταλονι και το φουτερ χωμενο μεσα και το πετσινο γελεκο. του δικου μας βασιλη, ο οποιος ατυχησε στην τελευταια διεθνη περιοδεια να παιζει ως σαπορτ στους Fields of the Nephilim. ας το γυρισουμε λιγο στο αγγλικο παλι...
With her TV eyes wide open and spewing forth the junkography of our
time, σηε accelerateσ head-on into her
first album.
Ηer noise is a mutant offspring of the Stooges/MC5/Saints/Visitors/Ramones/Dictators/Other Side etc. There have been many others who have attempted to drive this vehicle before, most of them slavishly copy cats who rarely, if ever, had an original thought in their lives. She makes the machine her own and take it forward in high gear rather than stalling it in neutral. Likewise Katerina revives her chosen genre with an uncomfortably keen awareness of what it means to be half-Australian and half-dead in the closing stages of the twentieth century. Instead of moralising about the situation, like Midnight Oil or Goanna, Katerina swallows it whole like the good suburban girl she is, then turns around and spews it back out at you in lightning-fast bursts of feedback and irony. Neither inner-city hipsters nor suburban petrol-heads, they turn a savage eye on everything and reduce it all to naught. "Η γευση της ζωης μου" is populated by the detritus of the modern world : the housewife, the junkie, the rising young executive, the punk, the radio talk back king, the surfie and all the others who inhabit the twentieth century wasteland, grooving to a soundtrack of easy-listening new wave pop, eyes glued to a screen full of soap operas , electronic pornography, game shows. Onstage, Katerina white trash thrash is one of the best manifestations of her style of music, by the judicious use of other instruments - sax, trombone, trumpet, keyboards, extra guitars and vocals - the strength, humour, style and intelligence of her sonic attack comes through with undiminished force. I know this record sounds like it might be heavy going, but it's not. It's trashy, it's loud, it's fun, it's noisy, it's dumb and it's smart.
Ηer noise is a mutant offspring of the Stooges/MC5/Saints/Visitors/Ramones/Dictators/Other Side etc. There have been many others who have attempted to drive this vehicle before, most of them slavishly copy cats who rarely, if ever, had an original thought in their lives. She makes the machine her own and take it forward in high gear rather than stalling it in neutral. Likewise Katerina revives her chosen genre with an uncomfortably keen awareness of what it means to be half-Australian and half-dead in the closing stages of the twentieth century. Instead of moralising about the situation, like Midnight Oil or Goanna, Katerina swallows it whole like the good suburban girl she is, then turns around and spews it back out at you in lightning-fast bursts of feedback and irony. Neither inner-city hipsters nor suburban petrol-heads, they turn a savage eye on everything and reduce it all to naught. "Η γευση της ζωης μου" is populated by the detritus of the modern world : the housewife, the junkie, the rising young executive, the punk, the radio talk back king, the surfie and all the others who inhabit the twentieth century wasteland, grooving to a soundtrack of easy-listening new wave pop, eyes glued to a screen full of soap operas , electronic pornography, game shows. Onstage, Katerina white trash thrash is one of the best manifestations of her style of music, by the judicious use of other instruments - sax, trombone, trumpet, keyboards, extra guitars and vocals - the strength, humour, style and intelligence of her sonic attack comes through with undiminished force. I know this record sounds like it might be heavy going, but it's not. It's trashy, it's loud, it's fun, it's noisy, it's dumb and it's smart.
07. Λευτερης Πανταζης - Ξαναγυρισες, Ε;
08. Factory Floor-Factory Floor
09. Ελενα Παπαριζου - Τι ωρα θα βγουμε;
10. Decades-Decades
11. Σταματης Γονiδης-Πλατη με Πλατη
12. The Ropes-Post-entertainment
13. Vatican Shadow-Remember Your Black Day
14. Poni Hoax-A State Of War
15. Πανος Κιαμος-Δε θελω επαφη
16. Sally Shapiro-Somewhere Else
17. Γιαννης Βασιλειου-Παιξε Μπαλα
18. Ellie Goulding-Halcyon Days
19. Boards Of Canada-Tomorrow's Harvest
20. Austra-Olympia
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