"My Life in the Bush of Ghosts", Brian Eno–David Byrne, 1981
Dia: 8
Mês: Abril
Ano: 2013
Ano: 2013
Ouvir: http://youtu.be/5cVeRAiPcFc
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Mais uma colaboração Eno/Byrne.
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): My Life in the Bush of Ghosts, a continuation of David Byrne's collaboration with Brian Eno, blends found vocal tapes with electronic music centering on Third World (notably African) rhythms to interesting effect and uneven results. (After strenuous Islamic objections were raised, the record was reissued with "Very Very Hungry" in place of "Qu'ran".)
The Rolling Stone Album Guide – Third Edition (Random House, 1992): My Life in the Bush of Ghosts, which takes its title from Amos Tutuola's novel was recorded in collaboration with David Byrne, and offers some insight into the cut-and-paste approach to groove the two applied while making Talking Heads' Remain in Light. But its "found art" approach to vocals (however scrupulously the two document their sources) is an acquired taste. ★★★1/2
The Virgin Encyclopedia of Indie & New Wave (Virgin Books and Muze, 1998): My Life in the Bush of Ghosts, a collaboration with Brian Eno, was widely praised by critics for its adventurous blend of sound collages, ethnic influences and vibrant percussion. ★★★★
AllMusic: Heavy on the samples – from radio talk-show hosts, Lebanese mountain singers, preachers, exorcism ceremonies, Muslim chanting, and Egyptian pop, among others. (...) It's a tremendously prescient record for the future development of music during the 1980s and '90s. ★★★★★
Pitchfork: A record that's both a milestone of sampled music and a peace summit in the continual West-meets-rest struggle. (...) In the 80s, you could fairly make an argument that Byrne and Eno were the Western white men appropriating all kinds of Others, be they domestic and primitive, or foreign and exotic. Now the world can return the favor: Anyone can rip this work apart and use it any way they please, and you can bet that if some kid in the Third World sends a killer remix to the right blogger, it'll travel faster and farther than this carefully curated reissue. (...) And the strongest message they could send is not only that they've relinquished control, but that they admit they already lost it – whether they like it or not. [8.5]
The Guardian: When the album was released, in February 1981, it sounded like very little that had gone before. (...) Its fusion of the austerity of the new electronics with funky backbeats, of sprightly guitars with West African percussive rhythms, its pioneering use of sampling techniques and experiments with ambient soundscapes – all of this would, in time, come to seem merely routine (if not on one single album) but, back then, the effect was startling. What's more, you could even dance to some of it. ★★★★
PopMatters: Whereas oftentimes My Life in the Bush of Ghosts has been described as "influential", I think a better term would be prescient.
Miguel Esteves Cardoso, O Jornal, 27-3-81 (retirado de "Escrítica Pop", Assírio & Alvim, 2003): Era uma vez um cientista maluco chamado Brian Eno. Passava as noites fechado no seu estúdio-laboratório com estranhas bugigangas electrodomésticas, tentando inventar uma solução viável de não-Rock. Nos intervalos, compunha pequenas melodias electrónicas, ou semeava a discórdia sonora na produção de artistas de Rock, num acto calculado de subversão-com-fios... Entretanto, um rapaz nervoso e atilado chamado David Byrne, encafuado numas águas-furtadas de Nova Iorque, perdia as horas de sono a escutar velhos discos da etiqueta Tamla Motown e a ler novelas de aventuras de obscuros autores nigerianos... E, num belo dia de sol, encontraram-se: o cientista maluco e o poeta paranóico. (...)
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