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The appropriate distance (Nacho Vegas Christina Rosenvinge)

Asked why normally choose to write songs that depict the moment when a relationship breaks down and not what makes it special ( Rockdelux 268), Nacho Vegas -undoubtedly the most charismatic figure in English singer-songwriter movement (along with Antonio Luque, alias Sr.Chinarro) - answers in maniera vera and sincere artistic spiegando sorge che la creazione e dal dal mistero contrast, Mentre i momenti felici non sono fatti per essere raccontati, ma per essere single vissuti:

" When you are in a good moment in a relationship, what you enjoy is a certain harmony, it seems that finally things fit. And I is what I want, like anybody else, but that causes me the urge to write a song. The songs are born from chaos, disorder, extreme feelings of all that you do not quite understand . " Questa

poetic Malinconico piena confermativo nell'ultimo trova, beautiful record of the rocker Asturias, "El Manifiesto desastre", where we focus on what we leave behind rather than on what you want, on what is lost rather than what they encountered. Even the intense darkness of the cover-lay thoughtful, enlightened bunch, a cigarette dangling from his lips, seems to suggest that in the past to use a song you need a certain distance, and this record is not in chiaroscuro is simply a journey back in time, a way to stop licking their wounds and finally being able to look ahead, or at least to the present. Nacho Vegas And this is radiant in the midst of a relationship with the most charming and curious of the protagonists of scena indie spagnola, quella che ogni anno Christina Rosenvinge e ogni album che passa if fa più affascinante semper. D'

altronde is Avessadas parlare di lei scroll, il Biondo di Gijon inaugurate non avrebbe il drive-in "Dry Martini , SA " - with the mite rassegnazione di queste parole:

" speak alone, drink tea, take notes to make my life without you something habitable.

The whole Leo why today disarmament television, humming a song unbearable.

So, when you have nothing to do and I pass by your head,

nadie podra OIRT, Asi Piensa en mi como que me quisieras you.

But then, if you can live, there is no need to think in a song special moment through a relationship. There will be time to turn it into a painful memory.

A few months later, he meets, and not coincidentally, the same emotional chiaroscuro of the final work Christina Rosenvinge " Tu labio superior "perhaps the album most courageous, intelligent and visceral throughout the career of the blonde Madrid's Danish family - which now has also shrugged off the latest suspicions that he brought with him from his soft pop debuts of the late eighties. The interpreter is now ripe Rosenvinge, embellished with a disarming beauty, the daughter of the contradictions in her live, which makes it unique in its own way, at least in Spain. A musical level, back to English after calling more avant-garde of the last works (the so-called New York Trilogy, dry and dark), the Rosenvinge wrote more simple, direct, effective, without giving up the mystery, sensuality and the disturbance that have always distinguished his productions. Also, if possible, rather than impoverish his narrative, the naive imperfection of his English accent increases even more the degree of her womanhood, as well as a small scar on his chin, an irregular fringe orphan or a dimple on one cheek make it more attractive a woman's face.

The disc opens with a whispered song ("La distancia adecuado "), who hides behind a sweet melody deliberately murky gloom of waiting, the remoteness, the restlessness that is despite evidence to the one you love its volatility (also because of "esa señorita / conmigo que rhyme / you ronda que siempre alrededor. / Es you favorite / t y llevar CounciI you cancion me gusta mas que"). Without indulging in any teenage wasteland, è anche come is the Avessadas Rosenvinge deciso di guardarsi alle Spall, di liberarsi del passato, di svuotare tasche you the sul tavolo dell'ingresso cappotto prima di andare al cinema with Nacho Vegas, e mette quasi i brividi the simmetria a distanza dei loro version iniziali:

" for you is perhaps never

I'm not mistaken

uneasiness is going to take

this season

maybe I should not leave

you to play with my skirt

how hard it is to save

the distancia adecuado.

After all, it's like "El desastre Manifiesto" and "Tu labio superior" had the same record, the story of that past seen with two different views, or perhaps two of the past different view with the same look. For both, the hardest thing is knowing how to maintain the appropriate distance, the distance separating the elusive past and present, reason and desire, freedom and vulnerability. To love and to love too. The distance between them.

that are capable of succeeding, and thus prevent their relationship reaches that point after which it can only begin to dissolve, I care very little. What I mind is that they continue to write these songs, and that I, perhaps, I can listen in the car while I reach Asturias, its cliffs, its sea urchins, with the map open on the passenger seat and a folded letter on dashboard.

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You do not know what punk (Bettina Koster, however, yes)

In a society rather depressing as the current one, in which even the most youth subcultures and scenes seem to spring spontaneously from the anxieties of working-class boys (however, which seem nebulous category, especially in Italy), but are induced by the marketing departments of culture and clothing industries (Which, right now, are the same thing), it is hard to perceive in the actions and choices of some other, real, hard intellectual independence. Everyone wants to be free, but no one really knows what freedom is, and then there is content of harmlessness as opposed to the freedom of someone else, or to his tired playing. An empty hall of mirrors, often twice, when it comes to pure and simple revival. Moreover, he noted that even if a friend Basque those conventionally define as punk, or the supposed custodians of a freedom that should be radical and blunt as a punch in the face to bourgeois convention, are in fact all the same folk look like if were baked in a series of H & M to punk, then it means that the approval is complete, the order as chaos.

In this sense, we should have the courage to simply deal only with yourself. Follow a trajectory that is justified by itself, and not in relationship with others. Wanting to avoid triviality, we can say that freedom or is (a victory) or is not personal. Better yet, that freedom is an attitude, half, empiricism daily lifestyle and you do not care about all that is induced, proposed, imposed from outside. It 's a non-narrative and abstract approach to life. In short, freedom is not the things you do but how you do.

In an article in the December issue of the British music magazine The Wire, proudly points out that vision of his self-taught education is a curious character by the name of Bettina Koster , which responds well to a question ("Does punk really belong in a museum?") that is given with reference to a recent exposure Viennese showed off the punk scene in Berlin, London and New York (" Punk: No One is Innocent "):

" Punk, to me, at least, means- you find your own way. You want to educate yourself, you find your way how to do it, educate yourself through time ".

The Koster knows what he says, because he has lived the leading post-punk scene of Berlin at the turn of the seventies and eighties, making himself a name as a singer and saxophonist in two wonderful groups, Mania D and Malaria! particularly significant as composed of women only (pissed, and potentially with short hair.) Blown, or overwhelmed , the ideals of punk kids of the moment, avant-garde groups such as Malaria and D Mania! did what was right to do in an era of rebellion lay havoc, breaking the rules and disregard the rest. Groups of women only in a scene dominated by men (just think of Kraftwerk, Einsturzende Neubaten, DAF), created their very own world, mixing a provocatively bold sexuality with the rigorous aesthetic of the Weimar Republic and the military.

The trajectory of the personal Koster, however, as-told-curious. After moving to New York in 1983, the disillusionment with the music industry door even working as an analyst on Wall Street. A radical change, and, yes, very punk - at least with respect to the plate to stay to do the bohemian Kreuzberg. As if this were not enough, Koster now lives in the are, an abandoned village dell'entoterra Salerno, where he has taken shape-that 's-next year will be his first solo album (Queen Of Noise, played back on the myspace artist ). Songs that pulse electronics mininale, left, directly, that were it not for his baritone voice, rougher, more masculine a male voice could be part of any record of DAF (perhaps the one "who always jumped in Der Mussolini . Listen "Via Pasolini" to believe).

If the disc has now arrived, with thirty years of delay, it's because deep down, according to Koster, not much has changed, and ideals dell'epoca sono ancora attuali. Questo vale tanto per la musica:

" You can see the waves in music, like the late 70s to early 80s, then came the trough of late 80s, then in picked up a little bit in the 90s - it got a little bit more interesting again. Now we are, I think, in a very similar time to the late 70s, when the whole punk thing came out. Because what did we have then? A disgusting music industry, bands that were horrible. The record industry was not doing well at that time. Same as now ",

come per la società:

" We are in front of total mayhem and chaos. Which...[she Pauses and smiles] I love. Because it's time to get things more interesting again WHERE .

hope.

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Almost a year ago I read an interview with Darren Hayman, titled "5 Tunes You Should Have But Probably Have not Heard ", in which-just-asked him who made the unforgettable great Hefner to illustrate his musical tastes through five musical quotations. Before you rattle off a series of obscure object names the large and small audiences, Hayman made a reflection that at the time I hit a lot, in a few lines ciò a cui io erano anni che giravo intorno:

" I find it easy to like tunes that other people haven’t heard of. In some ways it almost defines my taste. I don’t really see the point in owning music that you are likely to hear every day on the radio or TV or in a shop. The other day I bought the Kate Nash album, I quite like it, its OK, but I don’t listen to it because every time I go out all I hear everywhere I go is bloody Kate Nash.

I know it’s elitist and snobbish to go to extreme lengths to listen to music that no body else knows, but I’m really surprised that more people don’t do it. I suppose for many people music is a group bonding thing, Being part of a collective and singing along to Angels by Robbie Williams in a field (I'm not down on Angels That by the way is the end song) But for many of my favorite gigs I Have Been Less Than in audiences of 20 people .

While recognizing the importance of knowing how to be even national-popular, I am especially pleased to be in agreement with the initial intuition ("I find it easy to like tunes That Have not heard of other people. in Some Ways it Almost DEFINEs my taste ") that the disk be a niche is something that affects on the listener like no-one can think bitterly at-surface image of saying that we wants to build and want to give to others, but to the quality and style of his own taste, which is modeled after the thin red line that links a certain type of production, perhaps musically diverse, under the banner of independence, the naivete of distance oxymoron "cultural industry". This is not to deny that, objectively, for some, the show forced a musical elitism is no more than a little seedy and sophisticated attempt to appear credible in the eyes of others and especially themselves. In the end, reminds me 'the distinction that existed in English society between the snob and dandy: while the first part of the mass by nature and tries desperately through its eccentricity, look different, the latter is inherently free from any social etiquette and do not care, in a discreet and ironic that its individualissimo pleasure.

In an interview published last week and granted on the occasion of promoting his upcoming new album, the dandy-I do not want-Hayman returned to the topic by adding a significant gradient:

" I think of it as my duty as a songwriter to listen to as much off-beat music and obscure as possible. Nobody has ANY USE for Another songwriter inspired by the Beatles and the Velvet Underground .

Basically the idea is the same and just replace the word "singer" with "curious listener" to be back in full agreement. Much remains hidden music simply because it is rare and precious as are the truffles blacks or obscure work of Matteo Brighi, and then, if you do not want to limit the ephemeral pleasure of mixed songs ready for the spot of a car, that is worth dirtying your hands to go and look where others are perhaps too insecure to venture. The reward is the pleasure discreet, intimate, private, even some 'futile-and why not? - Vain to enjoy something that the abuse and the recovery have not yet emptied of meaning.

All right, if not for a curious heterogenesis ends. Darren Hayman played Friday night at a festival in Madrid and I'm not going to see it. I heard about the concert too late, tickets, or better, subscriptions were sold out. Among other things, it was not a show anyone, but at last his words-to-listen live footage of the Hefner (a past which, for him, is almost a foreign land). That is to say an event whose historical evidence, as well as a unique opportunity to make peace with his life. To make sense of everything else. Yet, I once I took the train and another even though the plane to go see him play, Yesterday I did not take even a metro (to say the truth, metaphorically, I took the subway and I also tried to enter, but the two assholes on the door, and with their indie-rimmed black glasses and their badges we thought had a lot of fucking cool, they have ignored my existential drama).

way home I tried to do with a reason, and I told myself to blame, after all, was not mine, but what I had just taught him. Even Darren Hayman would go to one of their sold-out concert. But this did not make me feel better, even a bit '.

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Darren Hayman rubio de Barakaldo

In his book dedicated to the glorious history Athletic Bilbao ( "The last bastion. Football Athletic Bilbao frank," Limina Editions, 2006 ), Simone Bertelegni dedicated to the short and unfortunate parenthesis footballer Javier Clemente looked soft and comforting for those who can indulge in hindsight and see the terrible accident that crushed in the bud a bright career in the middle of the field is not an end but the beginning of a new and successful season as coach, ending with the triumph in the championship in eighty-three and eighty-four years.

To understand Barakaldo, should bear the words of the story, stopping there, where everything seems to be lost, and yet it is not:

"What Athletic had always relied massively on the shoots of the Basque lands has been amply demonstrated in the previous pages. Basically, however, has always spoken of young people who once dressed in red and white shirt, had several seasons available to confirm the confidence of observers and coaches who had promoted the first team. Fate wanted to Javier Clemente would not touch such a fortune.

Born nell'operaia Baracaldo, near Bilbao, Clemente as a child chose as a favorite toy ball. With a crystal clear talent, of genius that something more typical of the numbers that make 10 fall in love with the people, the small Javier burn up the track: at 15 he was already in the youth of Baracaldo, 16, along the eye of "Piru" Gainza him in the Spring Athletic. Shortly after he could sit on the bench as a reserve of the first team, while continuing to play with the youth team, in this case fixed by the owner. Finally, in 1968, an Athletic-Liverpool Fairs Cup, Clemente made his debut with the shirt of one of its two teams of the heart (the other was and is the Baracaldo), following an injury to an output of "Txetxu" Rojo: he was only 18 years. Clemente played badly, and ended up back on the bench. It was three months before seeing him again in the field, the opportunity was nothing less than a derby against Real Sociedad. The red and white won 3-0, Clemente played with charm and became unmovable. Excellent provider of balloons and many likened to Bobby Charlton, made the fans go crazy in love with her and decisive steps millimeter. On trunks of several cars, and not only in Bilbao, began to appear eloquent stickers: "Clement, the No. 10 Athletic" the deification was in place. Maybe we're talking about a player who would have won the hearts of many fans, even in Italy. Perhaps because it was impossible to determine. Clement was the star of a comet that passed very fast in the firmament of football.

November 23, 1969, Stadio Nova Creu Alta, Sabadell. The local team faced the Athletic. A few minutes from the whistle, the result of 2-1 for the Basques, a rude entry Marañón white and red on the director forced the latter to come out on a stretcher semisvenuto for pain. The diagnosis was terrible broken tibia, fibula and ankle. [..] Clement went under the knife five times in a vain, stubborn attempt to come back to do what he liked best: play football. Although he was seen again on the field for a few meetings, the pain did not forsake him, and eventually even his stubbornness was won. Backed by just about sixty lots, the boy left the Baracaldo football player. Not could not even take the field for the game of homage that was paid, an Athletic-Borussia Moechengladbach view from the sidelines with a leg in a cast following surgery to the nth.

addition to great promise, however, Clement was able to prove great person. After an injury that would break the morale of everyone, had the strength to show their skills, if not playing, learning and teaching football. [..] Had to spend a few year or so, but the Athletic would see that guy so unlucky. I would see at the helm of the team, not so much as a director, and then in the field, because as a coach. It would have been times of glory. "

I am convinced that "the glory days of" do not compete with the victories, but with people who live there. The spirit of the boy Barakaldo, Vizcaya's like the wind, he never ceased to inhabit the wet grass of the San Mames. It is no coincidence that twenty-three years after that terrible accident, made his first team debut in another boy destined to become the myth of an entire generation of red and white fans. Blond playmaker and almost Bilbaino like Clement, he never wears the colors of another camiseta , despite the lure of half of Europe.

His name is Julen Guerrero, for all the captain "Julentxu.

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One day, there we would like to see more

It seems paradoxical, but it's nice to start things they can one day end.

also end badly, of course. Without wishing to see more, leaving memories that fulfills its function - remember what it was.

The way you do not choose, if anything goes astray, but what is certain is that sooner or later there comes a time where there is no way to go. Better to know from the start that there is an end. Maybe we find a new way forward, but this is already another story.

A think about it, what harm does it do? It always travels to return home. Or in a sense, to bring home the journey.

This is good to remember always, when you are packing.

You do not need to tell me .

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