"Y", The Pop Group, 1979
Dia: 9
Mês: Maio
Ano: 2013
Ano: 2013
Ouvir: http://youtu.be/viqOIqGLLgI
Uma parceria com José Carlos Soares.
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): These abrasive, militant British punks rage against racism, oppression, hunger and anything else that's a world problem; as usual, there's no solution, only anger. The seminal Bristol band synthsizes Beefheartian structures and tribal dance beats to create a didactic soundtrack that barely lets you breathe. Their two primary albums are alternately brilliant and intolerable.
The A to X of Alternative Music (Continuum, 2004): The single "She Is Beyond Good And Evil" is equal parts funk, dub and rock, and it sounds magnificent. The effects-laden guitar crashes in over the funk stabs, echoed drums and busy bass while Stewart puts in an intense falsetto off-key vocal performance (...). The first album, Y, addressed issues of general exploitation and veered between the plaintively pretty and the intensely ugly in terms of the music. Mark Stewart screams throughout most of it, only calming down for the closing track. The music sometimes seems all over the place but then the album's standout track "We Are Time" is the tightest seven minutes of punk-funk ever laid down.
The Virgin Encyclopedia of Indie & New Wave (Virgin Books and Muze, 1998): Their records are by turns inspirational and intolerable, some of the most extreme music to have been pressed onto vinyl. ★★
AllMusic: Abrasive, but interesting, the Pop Group's debut is perhaps the most succinct summation of their angry and defiant approach to rock & roll. Although at times resembling the discordant funk of fellow post-punk radicals Gang of Four, the Pop Group leave rhythm behind almost as quickly as they find it, and the result is a clattering din of sound resembling an aural collage. ★★★★1/2
Punknews: Is is Y actually that good of an album? Honestly, it's the sort of record that's incredibly vexing to rate. It's an extremely important achievement, a record which truly sounds like nothing else, and yet it has several major flaws. The largest of these is that it's simply inconsistent. While several of the songs are truly mind-blowing, others fall rather flat once the novelty of the Pop Group's approach wears off. If Y were an EP containing "She Is Beyond Good and Evil", "Thief of Fire", "Snowgirl", "We Are Time" and "Don't Call Me Pain", I would likely rate it a 9 or 10. But as is, half of the album is rather mediocre. The other important issue is that, honestly, Y can be very difficult to listen to. Especially the first few listens, it can truly be a chore to try to get what's going on. But the challenge Stewart and company present is well worth tackling. Y presents a real experience, an outlook on music that can be found in few other places. If you can handle it, I highly recommend giving Y a few spins – if only to broaden your horizons. ★★★1/2
Piero Scaruffi – Best Rock Albums of all Times: Y (1979), one of the most intense, touching and vibrant albums in the history of rock music, was the outcome of the Pop Group's quest for a catastrophic balance between primitivism and futurism: the new wave's futuristic ambitions got transformed into a regression to prehistoric barbarism. At the same time, the band's furious stylistic fusion led to a a nuclear magma of violent funk syncopation, monster dub lines, savage African rhythms (Bruce Smith), dissonant saxophone (Gareth Sager), and visceral shouts and cries (Mark Stewart). [9]
Pitchfork – 100 Best Albums of the 1970s [N.35: 'Y']: Unlike most of the late-’70s no-wave types (and perennial imitators), the Pop Group were less concerned with eschewing convention than with vehemently eviscerating it. Listen to how they tear apart a boxy, reverb-laden surf riff on “We Are Time” with Dadaist malice and contempt. It’s impossible to ignore Mark Stewart’s incessant Thatcher-bashing, but Y is so convincing in its hectoring that one can easily imagine it arising from even more amicable circumstances. This is a record of dire necessity, armed for combat against a long litany of ills—none more than typicality.
Rolling Stone – The Oral History of the Pop Group: The Noisy Brits Who Were Too Punk for the Punks: You get a visceral feeling about whether this is fucking working or isn’t. what we were playing was so outlandish to some people they were stunned into silence.
PopMatters – The 50 Best Post-Punk Albums Ever [N.11: 'Y']: Improvisational and spontaneous but not assembled at random, Y may be the closest the mutant disco brand of post-punk ever came to the jazz ethos. The Pop Group was unquestionably one of the broadest-reaching and noisiest acts during the post-punk era. At the same time, their philosophy boiled down to an erratic, adventurous, danceable vision unrivaled by most in either category. For as radical as Y seemed, it hardly sounded like the product of a band yearning for success. Instead, they aimed only to be visceral and provocative – true to the core of post-punk.
The Guardian – March 1979 Sounds interview with Peter Silverton, first published before the release of their debut album, Y: When I walked in the room, they were all dancing. Eric Dolphy wheezed from the speakers like an asthmatic who’d just snorted up five Benzedrex inhalers in one go. And the horde danced on, half a dozen or so bodies flicking their limbs around in a late-’70s variant of zoot suit be-bopping. The ghost of Charlie Parker’s exhausted frame lives on in Bristol, carefully tended by the Pop Group and their Saturday morning constitutional. Two weeks later, the photographer arrives in the same room and the same dance is being performed. Is this how they spend all their spare time or is it an initiation ritual for the first-time visitor to their communal meeting-place-cum-informal-office, this shabby but chic ground floor flat in a not very well preserved monument to the solidity of Victorian house building?.
Fact Magazine: Joy Division’s Closer is often considered the crown jewel of post-punk, but Y – inchoate with potential, the fire to Joy Division’s ice – has an equal claim. The album was sui generis.
Nick Cave on The Pop Group: "It was just this unholy, manic, violent, paranoid, painful music."
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