Ectogamy # 5: A machine to soften your brain

Or like the cravings to be an intel hipster·lectualoide took me to one of the greatest artists that the perfidious Albion has given birth to.

It was a time when all left-wing cultural supplements, progressive music magazine and pamphlet with subculture infusions constantly quoted Allen Ginsberg, en William Burroughs, en Jack Kerouac i altres patums de la generació beat, el moviment que consideraven com el gran esdeveniment literari i cultural del segle passat. No puc dir que no ho vaig intentar, començant per Kerouac i la seva obra magna «A la carretera», que vaig abandonar després d’unes desenes de pàgines de pur avorriment, i després «Els Subterranis», que sí que em va agradar però, com la majoria de la literatura estatudinenca de mitjans del segle XX, no recordo ni l’argument ni cap moment estel·lar. Molta lletra, molt ben escrit, molt ben estructurat però em sentia, i em sento, incapaç de retenir res, com si tota lectura es quedés embussada al meu còrtex cerebral.

Aleshores va arribar l’hora d’en William Burroughs, with "The New Trilogy", absolutely unnecessary and incomprehensible book, i «The Soft Machine», just like the previous one with the addition of being nasty and uncomfortable. They stayed there, half read, concerned, a few days later, shuffling CDs in the La Caixa media library (when the Caixa had a real Welfare Project), which then occupied a large space within the Macaya Palace, I came across the first two Soft Machine records. I came to these records by a coincidence that it wasn’t, as they took their name from Burroughs ’book, and especially for an immediate attraction to the cover design of the first album, where the machinery of a clock is mixed and, from what I understand, photos of the band members, in a set of moving circles that surely had a lot more grace in the original vinyl version, as with Led Zeppelin’s “III”.

During the one-week loan, i literally melted the disc. He wasn’t new to that progressive rock thing (unfortunate label like virtually all labels) but this group was different, it was another story: el so, with Robert Wyatt performing drums and singing, the absolute predominance of keyboards, the compositions, structures that burst prejudices, it was all completely new to me, despite having been published on 1968 i 1969. New and old at the same time. Although they were never very happy with the result of these recordings, which they considered did not reflect the sound they offered live, and that they have amended with different live recordings of the time, I consider them to be, or is it because for me both discs are not understood separately, one of the high points of twentieth century music. From then on, I became an absolute fan of Wyatt, especially after learning of his tragic story, but also for his ability to transform, adapt, col·work with other artists and never, never lose its charm, its quality signature. Just take a look at the magnificent and delicious compilation "Different Every Time" (2014, Domino) per adonar-se de l’impacte d’aquest artista amb majúscules.

Podeu llegir milers de pàgines on gent molt entesa racionalitzen un moviment boig com va ser el so Canterbury (dels quals es considera a Soft Machine com un dels màxims exponents), i us marejaran amb referències a milers d’artistes, grups i bandes i recombinacions múltiples entre tots ells. Però penso que és millor que primer escolteu, si no coneixeu aquesta música, i, després, ja us explicaré més històries d’aquest moviment que va sacsejar els fonaments de la música popular del segle passat

I no us creieu que l’entenc gaire més que la generació beat

YOUTUBE MUSIC: Primer àlbum de Soft Machine

escrit per Jordi Mo.

Posted in General.

Leave a Reply

Your email address will not be published. Required fields are marked *