O Festival Invasão Sueca - o de line-up mais reduzido de todos os festivais paulistanos deste semestre - chega a mais uma edição nesta semana.

Amanhã e quarta-feira o público da cidade tem a chance de conferir no Studio SP (Rua Augusta, 591, telefone 3129 7040, R$ 50) o som do Shout Out Louds e do Peter Bjorn & John. Eternizados como a banda da música do assovio, PB&J ficaram famosos com a canção e agora estão lançando o quarto álbum, todo instrumental, Seaside Rock.

Segue essa deliciosa canção que, infelizmente, não encontra nenhuma à altura no resto do álbum Writer's Block, de 2006, do qual ela faz parte. Para matar a saudade - ou deixar com vontade de ir aos shows dos caras - eis Young Folks:

PS: Este post é dedicado ao meu amigo Lipp Sant'angelo que conheceu a música junto comigo numa sexta-feira do D-Edge. No dia seguinte, com uma interrogação na cabeça maior do que as bundas da Mulher Melancia e da Mulher Jaca juntas, ele contatou o DJ da noite - Edu Corelli - e assoviando-a e cantarolando-a descobriu a banda e a canção. Dias depois, comemoramos na festa Rebel - do meu amigo Fabilipo -, no Vegas, que colocou-a no line-up da noite apenas para atender a um pedido meu. Daquelas músicas que marcam um momento para sempre.

This song is almost a year old but somehow no one noticed it when Kanye put it on his blog. I promise when you listen to this you will be whistling ALL DAY LONG. It's addicting.

Kanye West - Young Folks (Peter Bjorn and John Cover)

[audio http://thegrip.files.wordpress.com/2008/09/13-young-folks.mp3]

Uma ótima oportunidade para conferir a banda que ganhou destaque com o clipe Young Folks. Os assobios que marcam a música levaram a melodia ao top 20 britânico. A exposição da banda indie foi tão intensa que as canções foram utilizadas em comerciais de grandes marcas, seriados de TV e até jogos de videogame!!!

Os escandinavos, inclusive, já disseram que a tropicália está entre as grandes influências do grupo, que lança seu novo álbum, o instrumental Seaside Rock no final de setembro. Um motivo a mais para conhecer o som na passagem pelo Brasil.

Siempre me pareció un poco triste decir que algo está "de moda", pero bueno, si tiene que estarlo, está y punto. Pues bueno, siguiendo en esta líneaindie, la canción que más se pudo escuchar el verano pasado fue la de Young folks de Peter, Björn & John con su pegadizo silbido y hace un par de años, en el 2006, Franz Ferdinand arrasó con su Take me out.

¿Cuál ha sido la de este verano?

Desde aquí propongo un par de canciones que para mí son las claras candidatas a ganar este concurso:

La primera de ellas es Time to pretend, del psicodélico dúo neoyorkino MGMT. El grupo se basa en ritmos pegadizos y repetitivos hasta la saciedad y con canciones como esta o como Kids se han convertido en uno de los grupos revelación del año.

La segunda canción es de los ingleses Ting Tings y se llama That's not my name. Igual de pegadiza o más que la anterior, That's not my name habla de una pobre chica de cuyo nombre nunca se acuerdan sus pretendientes... Grupo a seguir, sobre todo las canciones Great DJ y Shut up and let me go, muy recomendables.

Y bien, ¿Cuál os parece la canción indie del verano? Se aceptan sugerencias...

MGMT - Time to pretend

[audio=" http://www.goear.com/files/sst4/b3bbfba2ee303040df9fa0198fd83d87.mp3"]

The Ting Tings - That's not my name

[audio=" http://www.goear.com/files/sst4/d0758dfceb31d6c68096a054a4e27dda.mp3"]

]]> http://gkulaga.wordpress.com/?p=142 Thu, 04 Sep 2008 17:57:25 +0000 gkulaga http://gkulaga.pt-br.wordpress.com/2008/09/04/young-folks/ I've been meaning to get a post about music I like up here, so here's my first.

Peter, Bjorn & John - Young Folks

Heard this song on the Point Pleasant boardwalk the other day and haven't been able to get the infectious whistling out of my head since. First heard it last summer on WERS I think... just figured I'd share it and get it stuck in your craniums as well.

Kanye West is apparently a fan... he joined Peter, Bjorn & John on stage at the Way Out West fest in Gothenberg, Sweden (they're a swedish band... learn more through the almighty scholarly research power of wikipedia!) last summer and rapped over the song.

Here's that:

And here's a studio remix from him:

Some of the YouTube commenters hate on it, but I think it's a fun remix, even though Kanye seems to go on forever about himself at the end of it.

Personally, I think if there's any hate, it should be directed unilaterally and powerfully at one Mr. James Blunt, because this is effin' terrible... he sounds like he's trying to channel Cat Stevens and there's no whistling. Boo this man.

Ugh.

This cover by a British band called the Kooks is nice, but you'd really be best served downloading the original or **GASP!!** actually buying the album "Writer's Block", which I'm planning on doing.

6 days until NHL 09 ruins/enhances my life.

Não se engane com o nome da banda. Falta uma vírgula, mas eles são um trio. Peter Bjorn and John assoviaram na Suécia e o mundo todo escutou e repetiu. O hit 'Young folks' virou trilha sonora do seriado "Gossip Girl", do game Fifa 2008 e ganhou até mesmo o rapper Kanye West . No sábado 20 de setembro, eles fecham a noite do No Ar Coquetel Molotov, em Recife, na quarta edição do “Invasão Sueca”. Em São Paulo, se apresentam no dia 23 e 24 no Studio SP. Antes de desembarcar por aqui e tocar pela primeira vez algumas das músicas que serão lançadas no início de 2009, Peter Morén bateu um papo comigo.

Vocês não estão de saco cheio de cantar “young folks”?
As vezes eu perco a vontade sim, mas o público fica tão enlouquecido que não há como ignorar essa energia. Eu começo a gostar da música novamente.

Vocês estão preparando dois álbuns para o começo do ano que vem. Qual a diferença entre eles?
Um deles vai ser instrumental. É um trabalho especial, com instrumentos que gostamos muito como o sax e violino. Um disco com uma pegada mais funk, batidas africanas. O outro será nosso álbum mais pop, com sintetizadores e um mix de músicas. Sons para pistas e também canções mais melancólicas e reflexivas.

Você tem um trabalho solo na linha do folk rock. O gosto musical da banda é muito diferente ou você apenas queria ficar um pouco sozinho?
Acho que a principal razão pela qual escolhi isso é que temos sido uma banda por quase dez anos e eu e Bjorn ainda tivemos uma banda antes. Era tempo de tentar algo de outro jeito, já que eu escrevo canções toda hora. Então decidi levar algumas em uma direção mais acústica e limpa e realmente gostei de fazer isso.

Que tipo de som você escuta mais do que eles?
Acho que sou do tipo old music. Gosto de rock clássico, folk e não sou chegado a dance music. Também adoro as batidas africanas mais antigas.

Você é um comprador de discos ou apenas baixa mp3?
Faço de tudo, mas adoro vinil. Não sou um daqueles nerds que colecionam centenas deles, mas os álbuns mais especiais eu gosto de ter na estante.

Quais são seus 3 discos mais especiais?
É impossível responder, mas três grandes clássicos são "Bert Jansch" de Bert Jansch, "Just As I Am" de Bill Withers e "Songs of Leonard Cohen" de Leonard Cohen.

Qual foi o melhor show que você viu durante os festivais de verão?
Só estive em um festival em Estocolmo e o Vampire Weekend era a melhor banda por lá. Mas o melhor show do qual já participei foi um tributo ao "The Last Waltz" do The Band que eu e alguns amigos organizamos em um local ao ar livre. Foi meio solto e improvisado e dava uma sensação quase que espiritual. Tocamos músicas da The Band, Van Morrison, Neil Young e Bob Dylan. Me senti o próprio cantor de soul music mergulhando em "I Shall be Released" e "It Makes No Difference".

Você disse que gosta de músicas mais antigas, anos 60, 70 e batidas africanas. Nessa linha, quem são OS caras que não podem faltar no seu iPod, ou na sua vitrola?
Juro que não estou puxando o saco dos leitores do Brasil, mas tem que ser Caetano Veloso e Jorge Ben. Talvez não estejam exatamente nessa linha, mas...

Você gosta de cinema? Qual é seu filme inesquecível?
Eu estudava cinema na universidade, então eu gosto MUITO de filmes. Tem um documentário sueco "Cinema verité" - trilogia de Stefan Jarl que é ótimo. Acompanha uma turma de adolescentes/mods de Estocolmo desde o fim dos anos 60 ao começo dos 90. São crianças da classe trabalhadora que têm sua infância perturbada por pais alcoólatras e abusivos. Eventualmente, muitos deles acabam drogados e muitos morrem ao longo da trajetória. O terceiro filme mostra como os outros escolheram trajetórias mais normais que seus pais, uma forma diferente de rebelião. A trilogia é repleta de personagens incríveis que não tiveram uma chance na vida, estavam condenados desde o início. O primeiro filme chama "They call us misfis", o segundo "A Decent Life" e o terceiro "Misfits & Yuppies". Também adoro clássicos de Hollywood como "All About Eve" e o sentimental britânico "Brief Encounter". Um filme mais recente que gostei foi o alemão "The Life of Others".

Qual o livro mais legal que você leu recentemente?
No momento estou lendo "Soulsville U.S.A" do Rob Bowman. É uma história sobre a clássica gravadora de soul Stax in Memphis. Muito interessante e divertido. É estranho que Isaac Hayes tenha morrido no mesmo tempo em que eu lia sobre ele.

Quais instrumentos você toca? Você gosta de música clássica?
Meus principais instrumentos são guitarra, baixo e gaita. Toco um pouquinho de teclado, violino e o cítara indiana, que usamos em uma versão de "Young Folks" chamada "Sitar Folks". Gosto de algumas coisas clássicas como Debussy, Satie, Schönberg, Edgar Varese e até alguns hits do Mozart, mas ando muito ocupado ouvindo pop, rock, folk e jazz nos últimos tempos.

Tem alguma banda que você não suporta?
Os suecos do I'm from Barcelona. Gosto de bandas engraçadas, mas eles são engraçados de um jeito ruim, irritante. Tenho certeza que são boas pessoas e talvez o novo disco seja engraçado de um jeito bom, quem sabe...

Como funciona seu processo de composição?
Preciso de paz e silêncio pra compor. Então em casa, na casa dos meus pais ou no interior. Mas eu tenho idéias na rua, e carrego um bloquinho comigo sempre, principalmente para letras de música, mas sempre as termino em casa.

Quais bandas suecas deveriam estar no meu iPod?
Algumas das minhas favoritas são First Floor Power, Bear Quartet, Bob Hund e Eggstone. Um álbum recente que é ótimo e "Jag fick feeling" de Anna Järvinens.

Quais os lugares bacanas para curtir boa música em Estocolmo ?
Para folk e coisas mais calmas, o lindo teatro Södra Teatern é muito bom. Para coisas mais pesadas, gosto do original e minúsculo Debaser em Slussen. Eles têm um Debaser maior em medborgarplatsen.

Expectativas para o show no Brasil?
Pessoas felizes e bonitas, comida boa e tempo ensolarado. Minha namorada vem junto então vai ser tipo férias, que é ótimo.

Você conhece bandas brasileiras pós anos 70?
Adoro coisas brasileira. Veloso, Nascimento, Jobin, etc. Mas eu não conheço muita coisa nova. Só o CSS - que todos adoramos. Então talvez você me dê algumas dicas de coisas boas após os anos 70.

O que vocês tem contra a vírgula? Não está faltando uma no nome da banda?
(Risos) Absolutamente nada. Mas enquanto trabalhávamos na capa de nosso primeiro EP, ficava tão feio graficamente no nome da banda, então tiramos.

PS. Esse post vai para a amiga Patrícia H., que me ensinou que era possível assoviar com os pés.

]]> http://vegansofcolor.wordpress.com/?p=187 Sat, 23 Aug 2008 23:53:11 +0000 Royce Drake http://vegansofcolor.pt-br.wordpress.com/2008/08/23/young-folks-and-intersectionality/ Josh over at Vegan Metal Bike Dad Punk Blog has posted two posts detailing his frustrations with this "I Hate Kids" mentality that is pervasive in the vegan community. Some people have responded harshly (sort of an understatement) to his assertation that it is a form of bigotry, and people disagree (saying that is a personal preference). And some dislike his comparison of saying "I hate kids" is like saying "I hate people of color." I personally think that it was a valid comparison-- as much as one can compare such things, after all both bigotries have different histories.

What I found interesting was the way the arguments against giving a shit about ageism (or not acknowledging that they are ageist) are damn near identical to the arguments white vegans give about not caring about racism.

To me, being a vegan entails compassion and non-abuse towards animals. Not people, big or small, but animals. “Don’t have choices, don’t have conscience”, proliferated for use and gain animals. En masse.

People require, and receive, a completely different approach from me, on the basis of their personal merit.     --monia, leaving a comment @ ppk

Fuck worrying about other systems of oppression, lets worry about individuals. Despite the fact that this same person, and others, grouped all children together and cast judgement. People will fight for their right to hate children. Also, the thing that really put me on edge was how somehow these same sorts of folks will make connections between their veganism and their childlessness due to some idea of the world being overpopulated. See I know the overpopulation argument is steeped in racist, malthusian logic.

But even some of thew ones who were pro-children made an argument that I hear vegans use for other oppressed groups. The [insert group of people here] are animals too-- so I care argument. Maybe I just don't understand why some vegans have to spin it that way-- instead of just caring because other people are beings with desires and interests who deserve respect.

What are your thoughts?

Stiti ce ma enerveaza mai mult decat furatul? Furatul care nu e furat. Sa va explic: ma frustreaza groaznic atunci cand aud intr-o reclama o melodie care mi se pare cunoscuta, dar pe care am senzatia ca nu am ascultat-o de fapt niciodata. Mi-am dat seama ca nu sunt paranoic - exista o tendinta (ingrijoratoare dupa parerea mea) de a folosi in reclame cantece care sunt aproape identice cu unele celebre, cuvantul-cheie aici fiind "aproape". Cantecele sunt practic 90% identice cu originalul, diferind doar prin versuri (doar nu erau nebuni sa le plagieze si pe astea) si prin cateva note/acorduri. In rest insa, melodiile seamana ca doua picaturi de apa. Sa exemplific...

Cea mai recenta reclama care adera la "miscarea" asta ar fi cea de la noua bautura Danone (puteti vedea reclama aici). Ori sunt eu nebun (nu ar fi exclus!), ori piesa din reclama seamana mult prea mult cu refrenul de la Crazy de Gnarls Barkley. Priviti videoclipul de mai jos (dati la 0:35 ca sa treceti direct la refren) si comparati cu reclama.

Ceea ce e si mai ciudat e ca in prima saptamana in care s-a difuzat reclama (cam pe la sfarsitul lui iunie, daca nu ma insel), vocea din cantec era mai inalta, fapt care o facea sa semene si mai mult cu vocea din Crazy. Dupa ceva timp, vocea mai groasa folosita intial pentru armonie a fost adusa in "prim-plan", ducand la o oarecare departare de original.

O alta reclama concludenta este cea la Pepsi Light (o puteti vedea aici). Cantecul de data asta se aseamana cu unul mai putin cunoscut pe la noi, dar foarte apreciat mai ales in Marea Britanie - Young Folks de Peter Bjorn and John (videoclip mai jos).

Astea ar fi doar doua exemple recente ale fenomenului. Sunt eu prea atent la detalii? E asemanarea pur intamplatoare? Au companiile care au facut reclamele drepturi limitate de difuzare a melodiilor originale? Tot ce e posibil. Dar pe mine sincer ma enerveaza chestia asta...

Reclamele sunt de pe minunatul site IQads, unde, chiar daca nu aveti nicio tangenta cu advertisingul, va puteti delecta cu o galerie foarte consistenta de reclame romanesti si internationale.

I was rather pleased with the electronic/dance mix that I recently made for Steel Away. (It evolved from a rather ill-favored horror/trance mix called "Twitch of the Dance Nerve".) As I couldn't really post all the info on the rockin' dustcover (second only to my "Tales to Astonish!" mix cover for Liz) I am going to reproduce it here. Enjoy!

1. You'll Find A Way (Switch & Sinden Remix) - Santogold
2. Shut the Club Down - Girl Talk
3. Bump - Spank Rock
4. Solid Gold - The Golden Filter
5. Go Back (Le Castle Vania Remix) - GRUM
6. Weekend - Ladytron
7. Me vs. Heidi - I Am Robot and Proud
8. Young Folks (Punks Jump Up Special Disco Mix) - Peter Bjorn & John
9. Flashing Lights (ft. Dwele) - Kanye West
10. Dame de Lotus - Emilie Simon
11. Danse Sur la Merde - Prototypes
12. I Know Ur Girlfriend Hates Me (Get Shakes Remix) - Annie
13. Danger! - The Sound of Arrows

:: Bibliography ::

• NASA, ESA, and L. Bedin. NGC 6791: Full Hubble ACS Field. HubbleSite.org. http://hubblesite.org/newscenter/archive/releases/2008/25/image/c/ (28 July 2008).

Konnichiwa, at last Danielsan, the Video for Forbidden Young Folks...
Hope Yu Love it Longgggtime! ARIGATUO, MUSHI MASHI!

click here for FORBIDDEN YOUNG FOLKS if you missed it first time around.

And then there's his music.

Don't even try to define that.

House?...Soul?... Spoof?...Funk?

Electro?...Disco?...Religious?...Pop?

Electro-soul spoof-disco-pop mixed with religious- funk-house??? It's enough to make you crazy.

Or maybe it's just plain fun. Because when you get past Sam Sparro the man, and instead just focus on his music, things can get extremely enjoyable. But whether or not Sparro wants his listeners to ignore his upbringing, lifestyle, and motivations in order to just hear his music is up for debate. Though I think he'd like us to be able to understand him, I'd still love the chance to ask him how he feels. But there is one thing about Sam Sparro that is neither mysterious nor cloudy, complex nor confused. In fact it's not even remotely questionable:

"Black and Gold," the first single off Sparro's just-released eponymous first album (Island 2008), is absolutely and completely undeniable. It is currently sitting at Number Two on the UK Singles Chart, bested only by the musical atrocity that is "4 Minutes" from Madonna and Justin Timberlake. (What? Bitter? Who, me? Nahhhhhh.) Sparro's voice is remarkably dark and soulful, especially for a young, white, hipster-looking kid. He sings with a tinge of yearning and palpable sense of urgency -- when Chaka Khan first heard Sparro sing years ago she's said to have exclaimed, "Damn! That white boy can sing." -- and the accompanying beat is utterly infectious. It seeps slowly into you, and doesn't leave easily.

Now I'm not claiming "Black and Gold" is a great song, or even a good one, though I happen to think highly of it. It's just that you can't deny it. It's insistent. Kind of like "Young Folks" by Peter Bjorn and John -- you may not even like their music (I don't) or the song itself (meh), but there's just something about it that ropes you in a little bit no matter what you do. The same is true of Sparro's "Black and Gold." You don't have to be a loyal customer of whatever kind of music it is that Sparro is selling, you just can't help but buy in, even if only for a second.

Listen to "Black and Gold" @ Last.fm (Oh, and don't forget to crank the volume)

Watch the video for "Black and Gold"

Okay, now that I've just done the literary version of passing Go without collecting $200 dollars.....let's back up to the very beginning and try to clear up some of the aforementioned cloudiness surrounding this interesting new artist. First of all, Sam Sparro's not his real name. It's Sam Falson. Second, though his birth date is listed as November 8th, 1984 (making him 23), Sparro's website lists him as 25. Third, despite having the Number Two single in the UK, Sparro is not English, but Australian, born in Sydney. And despite being born Sydney, Sparro was raised in Los Angeles. But then he moved back to Sydney briefly. And then to London. Oh, and then back to Los Angeles. Right...

And then things start to get interesting. Sparro's father, Chris Falson, is a gospel minister/singer/songwriter -- he writes and produces mostly gospel music -- who, it has been written, "sounds like Bob Dylan on a gospel tip." (Wow. Nope, not going there. But you can find his music on fine sites such as WorshipMusic.com). Mr. Falson also worked with Maranatha! Music ("Serving the Church with the Song of Faith") for five years while Sparro was growing up in Los Angeles, and according to M!M's website, there are over 120,000 church "gate-keepers" that have attended their workshops. I don't know what that means, but it sure sounds scary. (Maybe that's just because I've seen Jesus Camp).

Now, why do I bother you with this useless information? Good question.

The first reason is simple: Intrigue. Right up until the day Sam Sparro's self-titled album dropped (April 28th) his Wikipedia page listed him as being "openly gay," and cited a recent magazine article as the source of the information. Yesterday, however, this claim, and the citation that came with it, was removed entirely. (Hmmm...cloudy indeed). Thus, I couldn't help but wonder if Sparro was actually gay or not, and whether his (allegedly) being gay clashed at all with his "gate-keeping" father's Church-driven ideals.

So I went digging, and in short order found the magazine article in question. It's from the March 27th, 2008 issue of Boyz: Passionate About Gay Life. And Sam Sparro is on the cover. In the interview, Sparro refers repeatedly to his "boyfriend" of two years, a stylist and artist, saying, "Oh, we're a couple of gays." And when asked if his record label, Island Records, discussed "the gay thing" with him, Sparro responded, "My stance on the whole thing was, this is me! I was already pretty set up with the direction, the music, and how I was presenting myself, so it was kind of like, take it or leave it."

So I guess that about settles it.

But the second reason I bothered looking into Sparro's father is that after numerous listens to Sparro's album, I started to hear references (I thought) to religion, God, faith, spirituality, and evolution in his music -- even on the song I feel is so universal it gets everyone somewhere, "Black and Gold." So when I confirmed the "openly gay" claim, a hundred questions flooded my head.

I wanted to know -- needed to know -- was I listening to a religious album? If so, do I want to be? Have I been duped? Is this some kind of neo-gospel music that no one told me about? How does Sparro reconcile his homosexuality with his Christian beliefs, if indeed he has any? Is his father, the minister, okay with Sparro being gay? Does his father know? (Or is he about to find out?) And what about the other set of lyrics on the album that I could swear are either drug references or sexual references? Or the songs that just seem like pure jokes or total spoofs? (More on Sparro's other songs in Part II). Do those void the idea that Sparro might actually be singing about God and Christianity?

My confusion only deepened when I saw the Maranatha! Music (the company Sparro's father worked for) logo, an outline of a "Dove," which M!M's website proudly proclaims is, "One of the most widely recognized logos in the world." Why? Scroll back up to the beginning of this article and look at the upper right-hand corner of Sam Sparro's album cover. Though it's clearly a different design, the coincidence is kind of freaky. And I couldn't help but wonder if that connection is, at least in part, how Sam Falson the unknown L.A. barista, became Sam Sparro(w) the international gay popstar. But if it isn't merely a meaningless coincidence, which it could well be, is it an homage to his father's work, or a "fuck you" to it? And more deeply, is it an homage to the Church, or a "fuck you" to it?

Maybe cloudy was an understatement for this kid.

More Internet digging was done (Warning: digging was deeper this time), but to little avail when it came to finding instances of Sparro clarifying any of my myriad questions. Except (of course) in regards to his insta-hit, "Black and Gold." In a March 2008 interview with British music website Noise Makes Enemies, Sparro talked about the inspiration behind the song: "Well, I was looking up at the sky one night, feeling a bit tiny and alone, and all I saw was black sky and gold stars -- so that inspired the song. It's really about trying to find God." (Italics mine). Though it certainly doesn't make me like the song any less -- I still can't stop listening to it -- just as I thought he might be, Sparro is indeed referring to God in the chorus of "Black and Gold:"

'Cause if you're not really here, then the stars don't even matter / Now I'm filled to the top with fear, that it's all just a bunch of matter / 'Cause if you're not really here, then I don't wanna be either / I wanna be next to you...Black and Gold, Black and Gold, Black and Gold.

But it seems clear that Sparro is more than just "trying to find God." He's terrified that God might not be here, and is directly connecting the value or worth of his own life to God's very existence. Perhaps a bit dramatic for my taste, but quite obviously a rather darkly looming question for Sparro.

Armed with Sparro's confirmation from the interview, even the opening lyrics of "Black and Gold" suddenly sounded more like an Evolution/Creationism reference to me: If the fish swam out of the ocean, and grew legs and they started walking / And the apes climbed down from the trees, and grew tall and they started talking / And the stars fell out of the sky, and my tears rolled into the ocean / And now I'm looking for a reason why, you even set my world into motion. Interesting.

And then of course there's the line that hangs in the air like a giant white question-mark-shaped cloud: If vision is the only validation, then most of my life isn't real. Yikes. Does this mean that because Sparro is unable to see God himself, he is unable to validate his beliefs? And that he considers God, or the idea of God, to be most of his life? Sparro seems like a young man desperately searching for answers, and obviously visual validation of God's existence may prove to be...problematic?

Still, it sounds to me as if Sparro is not exactly a "believer" per se, and therefore not intentionally making "religious music" like his father. But rather that he's grasping at or grappling with the religious ideals around which he was raised: God, Christianity etc. Whether or not the fact that Sparro is openly gay is contributing to his confusion in accepting a religion and/or a God that frowns upon homosexuality is something only Sparro can know, and I can't speculate about. But something strong is compelling him to question his faith. And we're watching it happen. Either way, this is heavy stuff for a hit pop song.

To be continued.....

(Check back tomorrow for Part II of "Sam Sparro - Complex or Confused," where we'll talk more about the music off Sparro's brand new album, and less about the man behind it.....Hint: He's not a one-hit wonder).

- Jonathan

Sam Sparro's Official MySpace

Sam Sparro's Official Website

Years Active: 1999-Present

Line-Up:
Peter Moren (Vocals/Guitar)
Bjorn Yttling (Bass/Keyboard)
John Eriksson (Drums)

Label:Wichita Recordings

Genre: Independent Foreign Rock

Musical Style: Urgent, Tense/Anxious, Passionate, Intense, Rousing

Best Album: Writer's Block (2006)

Top Songs:
"Amsterdam"
"The Chills"
"Does It Matter Now?"
"Start Making Sense"
"Young Folks"

Influences: The Stone Roses; Ride

Influenced: Unknown

[audio http://file.troni.ca/files/3/young%20folks.mp3]

Pfeifen in Schriftform ist sehr schwer darzustellen. Aber wer im Herbst 2006 mal ein bisschen indie unterwegs war, der hat den kleinen Hype um „Young Folks" von Peter, Bjorn und John sicherlich zuerst im kleinen Kreis gefeiert, dann im großen Club als einziger mitgetanzt und die ganze Chause spätestens nach der „Ich kann nix dafür“-Verballhornung von Nena (!),  Peter (danke an Florian) Stephan Remmler (!!) und Oliver Pocher (!!!) verflucht. Trotz der Airplayvergewaltigung war das Ganze musikalisch sehr schön. Umso schöner ist es, dass ein Drittel von Peter, Bjorn and John dort anknüpft, wo das Stockholmer Trio 2007 mit „Objects of My Affection“ aufgehört hat. Denn der exekutive Produzent von „Youth Novels“, dem Erstlingswerk von Lykke Li, ist niemand geringerer als Björn Yttling.

Beim ersten Durchören erwischen einen immer wieder diese ganz bestimmen Vaterschaftsmomente, in denen man sich ins letzte Jahr zurückversetzt fühlt. Eine naive Schwedin klammert sich als Vorgruppe der Shout Out Louds zaghaft ans Mikrofon und haucht biertrinkenden Ringelshirtträgern triviale Liasonsprobleme um die Ohren. „Es war harte Arbeit, aber eine gute Lehrstunde für mich“, resümiert das Indieküken nach dieser Erfahrung. Und das nimmt man ihr auch gerne ab. Denn so selbstbewusst wie bespielsweise auf dem so eben als Single releasten „I'm Good, I'm Gone“ hätte sie sich sonst beileibe nicht geben können.

Das Motto lautet stets „Arrogant, aber nicht überheblich“. Denn auf dem in New York produzierten Langspieler „Youth Novels“ liefern Björn Yttling und Lykke Li Timotej Zachrisson eine kleine aber feine Gegenskizze zu pompösen 60er-Jahre-Huldigungen der Damen Winehouse, Duffy und Adele. Statt bombastischen Blaskapellen dudelt das verstimmte Saxophon verspielt im Hintergrund („Dance Dance Dance“). Countrygitarren paaren sich mit Plastikdrums („Let It Fall) und kastrierte Acidbässe mit blauäugigem Leichtigkeits-Sing-Sang („Complainted Department“). Nicht zu vergessen die bereits auf der EP veröffentlichte Single „A Little Bit“ - Lykke's minimalistisches Liebespamphlet mit Ukelelecharme und Fisher-Price-Drumcomputer-Reminiszenzen. Ganz groß.

Die 12 Tracks des Debutalbums von Lykke Li zeichnen das überzeugende und reife Bild einer mit 22 Lenzen eigentlich gerade mal semi-erwachsenen Chansonette. Lykke weiß, wo es langgeht. Nämlich aus Schweden nach ganz Europa. Ein bisschen wie IKEA. Und ehe man sich versieht, möchte am liebsten nur noch zum blau-gelben Möbelhersteller fahren, um dort Spülbürsten oder Beistelltische mit dem Namen der zierlichen Superschwedin zu kaufen. Smörebröd für alle!

www.myspace.com/lykkeli

Text: Jan Wehn

Eu bem disse que a Vodafone iria responder :) ... Neste caso responde a dobrar!!!

- Primeiro da-nos o "YORN Power Extravaganza é o plano que te dá chamadas, SMS, MMS e Videochamadas À BORLA para todos os YORN Power Extravaganza e ainda acesso gratuito ao Messenger. "
- E depois através do "Vita 91 Extreme que lhe dá chamadas, SMS, MMS e Videochamadas a 0 Cêntimos para todos os Vita 91 Extreme e ainda acesso gratuito ao Messenger. "
São dois tarifários muito semelhantes mas o Yorn Power Estravaganza tem vantagens no preço :)

Já não vou mudar de rede. Optimus Tag? Fraquinho :P

PS - Ambos tarifários disponíveis a partir do dia 01/05/08

if i told you things i did before
told you how i used to be
would you go along with someone like me
if you knew my story word for word
had all of my history
would you go along with someone like me

i did before and had my share
it didn't lead nowhere
i would go along with someone like you
it doesn't matter what you did
who you were hanging with
we could stick around and see this night through

and we don't care about the young folks
talkin' bout the young style
and we don't care about the old folks
talkin' 'bout the old style too
and we don't care about our own folks
talkin' 'bout our own stuff
all we care about is talking
talking only me and you

usually when things has gone this far
people tend to disappear
no one would surprise me unless you do

i can tell there's something goin' on
hours seem to disappear
everyone is leaving i'm still with you

it doesn't matter what we do
where we are going to
we can stick around and see this night through

and we don't care about the young folks
talkin' bout the young style
and we don't care about the old folks
talkin' 'bout the old style too
and we don't care about our own folks
talkin' 'bout our own stuff
all we care about is talking
talking only me and you

and we don't care about the young folks
talkin' bout the young style
and we don't care about the old folks
talkin' 'bout the old style too
and we don't care about our own folks
talkin' 'bout our own stuff
all we care about is talking
talking only me and you
(repeat)
talking only me and you

talking only me and you
talking only me and you

One of 21 OST. I love the song... esp. the lyrics... esp the chorus...

Dica do Phil Retro Spector, do blog Le Retro.

Young Folks, by Ryuichi Sakamoto