I try: Parts II & III

[Antonio-Pedro]

22/12
I haven't heard many albums for the last few days, so I decided to bring smething new to this table, not sure if this will repeat so take this as the first and maybe the last. So latley I've been listening to many singles, lost in my mobile library, and some of my most favorite that are also really hated ones over there and here. Anyways here some of my favorite

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Come on guys, how can you dislike a song about long distance teenage love in 2005-New York? The twilight landscape sure got you at least for once, do you remember how cool and melancholic this song looked in the radio? I miss this for sure

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Okay, so you passed hey there delilah because you also liked it huh? but my respect will be lost on this one for you in this one probably, but just look at these harmonies in the chorus, there was never something russia did better than this after, get your shit together putin.

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Wait... Is this considered a guilty pleasure? wwhhhaaat is wrong with humanity? It's such a gracious yet nostalgic song, and that chorus that can pull all that youth intensity that exists between those notes, plus I also always had a crush On williams, and she was so qt on this video :3

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Bonus point for Lily's record that contains this song also being a blast in the bland pop album sea. In this list The fear is probably the tune that hit me instantaneously as a great track, while others are mostly triggered by memory and past feelings, it says what the package says, a colored single with a mysterious and haunting still wonderful layer.

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That doop-wop part rocks, still gets me every time I listen to it, this is just a really really really fun tune. What the hell happened to this guy btw?

Man, this list is really getting more and more older, there was a time that no one else was bigger than avril in my condo, she was at every topic in the teenage conversation, and this song was playing non-stop every day, almost. And there is no mistake, play this at your 23 years party and people will surely rock to it, or not, only if you had an Avril lavigne fan-club in your street, than it really helps, what a hell of song.

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California, check. Sun, check. Beaches in the music video, check. Played in a melodramatic series, check. Chorus that has nothing but one word, check. Amazing song

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Is there anything that haven't been said about this song yet? Never a piano hook has been so instantly recognized as fast as this before, that's why Mozart never hit the top 40, take that for now!

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a bunch of clows and colored dancers begin to throw confetti and glitter in the middle of your workday, and everyone in the office starts to dance, doo do do! do do doo dood ood do doo!

comedy

there are really, many tunes I've missed, but I don't want to flood this thread with pictures of singles so I might come back to it sooner or later to embarrass myself, have a wonderful Christmas BEA ^-^
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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

27/12

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Closing Time by Tom Waits
Album contains my favorite semisonic song.

This record, this record, for some reason it has been stealing all my attention and emotions through the past few days, its songs are getting so closer to me that they are already attaching feelings and memories to their meaning, I know it must be really soon to say that I'm in love with this album, but love at first sight exists huh? Don't let me down. I listened to closing time for the first time last week, after seeing it in rocky's chart on his birthday, I was pretty hyped to listen to it from what I've read from the write-up for the record he has made on the album's page (love me some record to listen while taking a walk at the city at night), the cover that pictures Waits standing next to his piano in a dark bar, probably drunk and about to fall over the piano, while also arguing about his life, sure was a promise for good things to come. I had already a certain experience with Waits before closing time, but it was in his experimental rock phase more than his piano blues one. I listened to rain dogs two or three weeks ago, and (didn't know if I should give a separated review at the time, but I felt it wasn't worth spending another hour listening and describing it) it felt completely ridiculously monotonous, and one of the key factors I couldn't click with it was that I just couldn't connect, or stand, Waits' voice at first glance, but also while progressing through the album there wasn't a standout that could get me back into some spam of attention, sure I can see where the praise for it comes from (at the beginning I couldn't tbh), but I don't know, maybe the beefhart-like crafting isn't for me. But his debut was labeled as his most accessible record for first time visitors, and they got it right in the needle; there is nothing bold or unique that can print waits' signature in this record, this album is the sound of a young man trying to find the sound that fits in his characteristics and specialties.

I consider myself to be a night creature, there is something in the bright spectrum of the moon and the stars that has the ability to dissolve all my worries and emotions in such a mild breeze of fresh air, in a way that the strong shine of the sun can not. So as expected I let to listen to this record in a common night in my bedroom, and the album fits perfectly with the atmosphere that paints these walls with that lonely light that stands above me, it certainly can transmit such a lonely and abandoned energy, considering the times that Tom is let alone with his piano, like in "Lonely", which stands like the name says, the last person to leave that room, after everyone has gone home, and still has many stories to tell, but there is no one floating soul over there to stand a shoulder to this lonely sufferer. Looking through the instrumental side, Tom knows his cheese, his performance in the piano is completely phenomenal, and it sides symmetrically with his drunk and sombre vocal tone, and the instrumentation that follows him beside being very remarkable, doesn't add much tension to the album's essence, even in the most energetic songs like "Ice cream man", which can contain in its corner such a vibrating atmosphere, can yet keep it all wrapped up in the nocturnal bubble the album is made of, what means that, while the album progresses, the songs can yet be different of each other without losing the record's vector (direction to be more precise).

Not gonna lie, songwriting isn't a decisive factor in my enjoyment for some album, and one of the main reason is because English not being my natural language (thanks portugal for your colonization), it is so hard to keep an ear in the music and other in the lyrics, mostly for the first listens, while I create an affection with some record I let myself know more about the lyrical content that there exists. And what is the bad part in its is that some time the value that the songwriting could add up to my initial enjoyment, which has the potential to change my present and future interpretation of the record is relegated to second plan, sure good music that also lead up with creative or emotional lyrics have bonus points in my love-meter for any record, but I say I wouldn't worry at all with this. But Closing Time incredibly brought something new to my table, since the record wasn't filled or drowned with millimetric details to be noticed, there was time and space to keep up with what was going on in Tom's head, the lyrical content wasn't put aside for the bigger performance of the artist, but since he didn't have much to show, the spotlight could be shared, and it was a fantastic experience. There is not only an alcoholic sense of loneliness pressed in the lines, that can lie on by side with the unique instrumentation I've already mentioned before, but there is also an offbeat sense of humour and exoticism spilled all over some songs like "I hope that I don't fall in love with you" (an almost-Dylan ballad) surely the highlight of the record along with "Martha". Never I was so strangely in love with some old piece of music, there is some magic in this record I can't put my finger on, congrats tom, your songs has earned a place in my dreary heart.
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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

05/01
Happy new year folks,the best for music listening for all of you, hope BEA can bloom this year.
Had a terrible storm of headaches last week so I haven't kept with music (again), so I decided to get my ass in some movies I had to watch and since this is a music diary here are my favorite original soundtracks

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There Will Be Blood - Johnny Greenwood
There will be blood is such a fantastic movie, I think that one of the things that kept me in the edge of my seat was Greenwood's original score that blued all the movie with this tense atmosphere still vibrant. Wish he did more of this work (and if he didn't I really am not aware of that, but would good if someone pointed)

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Trainspotting - Various Artists
Trainspotting became one of my favorite movies very quickly, I've probably watched it 8 times this week probably, It's so addicting (hehehe). It feels so human yet so emotionally colored, and the soundtrack composed by various artists is surely not a let down, the underworld song is epic

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The Good, The Bad, The Ugly - Ennio Morricone
It's the freckin Morricone guys, The Morricone, can he go wrong?

Taxi Driver - Bernard Herrmann
I've already said this a lot of times, I am a night person, it's the perfect time for music to be played and to be created, and all this lonely and claustrophobic atmosphere of Taxi driver finds comfort in this night-chilling soundtrack, it blew my mind away throughout the movie.

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Drive - Cliff Martinez
S Y N T H W A V E F E E L
80s music for wannabe-80s kids like me

I was planning on making a post on the lounge about the movies themselves, maybe later.
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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

08/01

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Canções De Apartamento by Cícero
Okay, okay, I have a soft spot for this, (and most of you won't get this soft spot because you guys are not inside brazilian music jokes arround here) and I can't hide even when my friends tell it's teenage girly music. But this was what a person I met a long time ago used to listen to, a lot, she had a short flowered hair, a kilometrical smile and She was a year above me in school, so we could just listen to music and talk to each other when the classes were over and we were waiting for our bus to come. So we used to sit in a stair close to the school's exit and chat about life and stuff like that, but it wasn't just a simple conversation, there was something magic, something really mystical and colorful in the way we analyzed even the simplest things on our lives, there was always this child instinct that used to bloom through our lungs while we threw conversations away, we felt that was really good to be alive, breathing and where we were indeed, she really meaned something that wasn't catalogued for me at the time, and even now I don't know what kept that time so magical, she was really special. This was like 1 and half years ago, I had a crush in this amazing person, it was probably the closest I got from really loving someone (haha school teenage love huh antonio? Where are your cliches right now?), but I just couldn't create enough courage to talk to her how much she used to color my days. She moved away last year, and I had a really hard time dealing with her departure and all the things that were left behind, there was this gray entity that kept pulling this guilt over me for not talking about it to her, these were really though times. So in the end of this little story about love that Mr Antonio told you guys, where does canções de apartamento fits? well... let's see

Cicero is a famous artist into the underground scene principally for mixing some roots of MPB along with new indie influences, his lyrics are a poetic description about things that compose our daily life, and the album is really rich instrumentally (and to think this was mostly made in his basement in Rio if I'm not wrong). See for Antonio it's really hard to deal with the NEO-MPB scene that has been growing throughout the last decade, it feels completely lacking the substance that makes the genre so good, and is it weird that I sometimes feel kinda sick when listening to some accents in our language I can't stand? Anyways, Incredibly I can't feel this problem while listening to cicero's music, I feel like he talks in such a smooth way that I don't even notice he is singing and talking in a way I can capt all the words instantly, it flows so subtly, it flows in such a melancholic sea, I feel like a tree with leaves falling whenever the first line comes on. There is this photographic atmosphere that surrounds this album, like it could take on a single picture all this bucolic and monotonous feeling that surround this lonely man, it is soft, at times taking care to not step and wake up all the neighborhood, but still the instrumentation can still explode to explore the intensity of his emotional pulsation. And along with all the backstory I've already (kinda) explained to you, it acquires such a special factor to itself I can't explain. I remember that last year I used to listen to this in a daily basis and this was the official album for the friday nights that I used to eat a half baked noodles and lay there in my bedroom wondering what's the meaning of the universe. Canções represents for me this esoteric presence that I can't explain, it feels bittersweet, I can't put my finger in what attracts me to it so much, and I think this unknown satisfaction that it provides to me is what keeps me hanging onto its lines so much through the years.

Firstly it feels magic, and there are few album I can say that Indeed carry all this mystical spectrum in its essence, I think that a big part of the meaning of this record from nostalgia, and I am a very nostalgic person. Canções is for me an album that bring back so many memories and images from my past, mostly good ones, that I can no longer distance the music from the feeling of happiness in contrast with this blurry emptiness that corrupts my daily routine. It's really refreshing to feel like there is a gate to feel all that youth atmosphere, all that innocence bursting somewhere inside me whenever "Tempo de pipa" comes in. As you may have already noticed before I am really hard dealing with changes and departures (I think I mentioned something about this in the "A winged victory for sullen" write-up), I feel uncomfortable and really worried with what route will my life take after leaving that comfort zone I am in at the time, it's like looking for some meaning for my existence, and that's when nostalgia takes its space. Providing some light to show there is still things that make everything that I live in worth it, and that's one of the most rewarding sensations ever, feeling the worth of something you've passed, how good it was. And that's how Canções strikes once again, I attached already so many experiences and emotions of it, singular and unique ones, that will probably never be reached again, or never experienced anymore, and the album is not only a reminder but also a good hope for the future, or at least for the day to end beautifully, it's like a box that you've left inside your locker for years, there are your dreams there, there is this weird inner glow you've forgot that even existed. The pleasure that canções gives to me is immeasurable, but I feel that I can achieve all of this once I open this box, I close my eyes once again and in a dream I am once again sitting there in that blue stair at her side, and there is nothing better than that.

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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

Friday the 13th/01

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Crystal Castles (2010) by Crystal Castles
Fuck the "Tumblr Musique-core". This is futuristic Synthpunk done in the gloomiest way possible, music to be a dismal cold teenage witch to, don't destroy my dark fairy dreams BEA u.u. Crystal Castles is one of these groups that I usually don't enjoy listening to the whole thing, but I keep coming back to the albums because there all this ekstasis when the highs hit between the mediocre walls that are built between the tracks, the singles are fantastic and make all it worth. There is something that keeps pulling me back to this record times to time, I don't know if I'm trying to reject something that I indeed enjoy and I just can't notice or if there is some addiction for this that has been hidden inside me all this time. I play this really loud every time fainting spells comes on, there is no better way to enjoy this record than suffocating your own ears and taking them to their threshold, the rhythm takes control of your muscles. I don't really like to say it's a dark album, as it's portrayed as many out there, but I feel like there is this glittering somber spark that flies in every song, like the whole album is hidden inside this shiny cyberpunk velvet, moving from the excessive thick and intense sound to more cleaner and dreamy tracks, and all of this is summed up In Ms. Glass odd performances. And she is also what makes the record still pump and standout in the noisy universe it's immerse into, She is the main character of this horror film, and she's not afraid of it, I love how energetic she is in songs like baptism, in which there is all this delaying synth that involve your mind into numerous musical waves, she seems like locked in some kind of room screaming thoughts of her own paranoia to everyone somewhere listens, but there is also songs in which her voice is more like a heavenly gift to the song progression like in the wonderful celestica that I've already mentioned before (and Will probably take a big part of this write up later).

Noise annoys, as the buzzcocks once said, but how much all of this excessive exposure to synth starts to being enjoyable as a piece of art? That's one of the things that I most get asked (by my own self) while listening to some records, is this electroclash atmosphere of Crystal Castles II just a bunch of violent flashes glued together and played really loud so we can ignore the most simplest factor that these music was supposed to dress us with and get us surrounded with a some distorted and noisy ritual? Or is this cryptic foggy experimentation a really well programmed and performed form of art? Well, analyzing all the musical tornado that the album is spilled into, it was supposed to collapse into boredom because of its own spiderwebs, on this way, CC displays a singularity that is not only its highlight but also its doom. But how the album avoids clashing into its walls and becoming a musical mess? (I mean in the first listens it really sounded something like this, haha). Crystal Castles is still dressed with dozens of pop progressions behind all of this epileptic wall of sound, If you get how songs like "Not in love", in which they got Robert fucking Smith to sing with (also I'm on the line waiting for a collab album with CC and Robert smith and other 80s new wave celebrities) are shaped you will see that there is this really simple melody (hell I could compose something like that), that gets transformed into a sharp-edgy and heavy layered synthpop tune. So in thesis we have the formula that branches into dozens of other songs here allows the record to not fall into a simple experimental electronic project. But wouldn't something here be missing? Would the whole record be based in this formula? As you may have already listened to (why would anyone, they are so forgotten Right now) the newest singles of theirs, CC is nothing without Glass unique charm over the songs.

And how she flourishes the songs, let's take for example the exciting "Doe Deer", it's this druggy and agressive song, in which she puts more wood into the fire, I find it really interesting how her screaming style gets distorted and thrown over my ears, this spontaneity gives the song not only a boost but also adds some macabre landscape to its progression. Believe all the gifs, she is really a goddess in this nightmare. What I really like through the development of Crystal Castles II, is that she is not bound to one single personality, she shapeshifts into various types of characters in which she really knows how to express with all this raw emotion that gets layered with all this distortion and reverb. There are moments Like "Empathy" in which we have both sides of the same coin acting together, the result is rather satisfying, the song coordinates the listener into its essence, it knows how to involve you in all this soothing atmosphere. And there is Celestica.. what a song ladies and gentlemen. I remember listening to it back in my days playing pes 2012, but I didn't give a single damn to it. When I listened to it again one of these days... wow... there is this ethereal and extra-corporeal feeling that took every sensation to the surface and then fed it, it took control of me while going through it. It's a dream, a bad dream, not bad in the meaning of evil, but it's out of common, there is this pale sensation on everyone, like everything is dead inside, and you don't want to stop dreaming, a nightmare for those who have never experienced what a real dream is. Celestica is definitively the thing I would pay the most to hear playing in the parties I Go, It feels like there is no tomorrow, there is this epic and flashing moment in celestica that ressembles so much another dimension, and Alice's angelical voice is on top here, she smoothly kisses your ears with her voice, and let the song flows slowly through your mind, lift your arms, hop around like there is not tomorrow, don't wake me up.

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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

20/01

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98.12.28 Otokotachi No Wakare by Fishmans
Wow... just... wow

I was trying to create enough courage to write about this album for a week, there is so much things that will be missed here, but I guess this is my best shot.

I was never a fan of live albums, for some reason I find the compilation of great songs, along with the performance kinda unsettling, except for records that indeed present a new material and is recorded only for that purpose like MC5's Kick out the jams. Besides this, I have or had no attraction to recordings that shows the artists in probably their peak, but I think I might change my concepts after listening to this record. If you told me 3 years ago, that the high point of the 90s would be some japanese dudes playing a 41-minute song, I would say this bullshit, that this is trying way too hard to be cool, but since I began to get more and more into the experimental side of music, I began to notice the beauty of these epic pieces, this neverending adventures, and after finishing this giant session of "Long Season", I can say, I was so mistaken about that. 98.12.28 is according to many sources the last (or last recorder) show of the fishmans before the front man Shinji Sato died in 1999, and I think this added a lot to my experience with the record, as if this was their swan song, and probably their best effort as a band. And you might wonder, well, how did you get into this album in the first place? Unfortunately, fishmans are a very underappreciated band on BEA, I have seen my favorite record (and their most famous work) Long Season in just some few charts, which is a shame saying that it's such a unique record in the dream pop universe (actually it's so peculiar I wouldn't say with all my lungs that it's dream pop at all, I would say dream pop it's only its red carpet clothes). And while looking in RYM last year I found this album to be so high rated, and yet so unknown that I decided to give them a go, actually, in /mu/ it's almost an essential record by now but whatever

98.12.28 is a giant record (c'mon take it easy with me BEA, I am very weak for big pieces like this) if you're looking for something pretty sweet and light, for the most part you will find it (talking about the opening songs), but as we move further into the record the record gets each time more dense and profound, presenting more the performance side than the setlist one. Divided in 14 songs, the first side is compiled with their earlier songs, pretty catchy dream pop tunes, as they are japanese, I can't understand shit of what they are talking about, but I feel that somewhere inside the melody, I can almost get the image they are trying to portray over here. Oh Slime for example, opens in a simple melody until its minimalist details began to appear, and in a live show if you can capt many of these details, along with their energetic performance to cheer up the audience (THE FIIIISHMANS!), the album transforms into something very pleasurable, just a like a monday morning opening all the windows of your house, it's a real sunny day outside and the clouds smile for you. Of course I would not recommend to anyone listen to this while cleaning the dishes or hunting lost objects inside your stuff, because it would certainly ruin the experience of absorbing all these breathtaking moments that this record provides, but if you put this to play inside your earbuddies and immerse yourself into the music, the magic just gets each times more closer and closer to you. One of the things I had a hard time dealing with this record are the length of the first songs, since most of them are lighter and more poppy like tunes than I expected them to really be (some post-rocky and dream pop pot of soup with pints of dub), Their improvisations on the stage was something I really couldn't connect with in the first listening, it felt really tiring, principally for someone inexperienced as me with live performances, and I used to get distracted really quickly. But as the album unrolls into your brain through all this time, all the work and all the journey You have been caught into makes all the sacrifice worthy, I'm not saying that the longer the better (hehehe), but in pieces like this there all this lush atmosphere that involve the listener into the record that you can later realize all that you've guys passed with, and in the last seconds of long season, when all this magic world they have created begins to fall apart over your shoulder, you notice how satisfying and warm it was.

There are also many moments in the record that are pauses between songs in which these guys spend 2 minutes talking with the audience, and even not getting what the topic that the laughs are about, there is this human presence between the dialogues that cherish this space of time they have to rest a little bit before coming back rocking, and besides many records of famous artists screaming to a uncountable audience of thousands of fans, this show is almost like in a bar, I mean, the fishmans were never big in japan (pun intended), so they probably wouldn't sold out a whole stadium, this feels more like a friendship encounter that is almost part of the routine of these guys, and I like to think there was this optimistic and uplifting climate inside this little place, mostly that's what all this space between songs and all the performances filled with heart and soul. One of the highlights of this is ゆらめき in the Air, a 16 minute piece that suffocates the listener putting him in space with all this ethereal and dreamy cloud that rains over the listener, pretty impressive for a live show to be honest. But then it begins to crawl slowly, and I mean with all the calm possible until the orgasmic explosion in the song's breakdown, which is constructed so perfectly you almost know it's coming, you know this blissful moment was about to hit right in your face. The instrumentation through the whole record is fantastically well diverse, considering most of these pieces were written and performed previously by only 3 guys. There is that unmistakable japanese jazz fusion influence in some of the songs here, but there is also a big role played by the ambient part, principally in the high point of the record Long Season

This will probably be the hardest part to describe of the record and at the same time the easiest one, I have so many things to say about this song. When I got into the fishmans a year ago, this was the first song of theirs that I've put my ears onto, and surely I was not expecting it to be so long, but most surprisingly I was not expecting it to throw many diverse feelings into me. See, long season is built over a single melody that variate into 5 parts shaping inside a 43 minute puzzle, minimalistic dream pop made correctly, the way the harmonies lay beside the guitars and that looping piano track it's hysterical, and there is also space for a 6 minutes drum solo. While listening to this live album I was so excited for this song to come on, because it's indeed the epitome of everything they have played through this record, it's filled with too many details, more than the recorded version, that the reward for the risk of going through this monumental musical piece is as big as the effort to immerse yourself into it. Long season is a song that would be the musical equivalent of a photography book, the phase of growing up and realizing how weird the world is, all of this in just a long winter. Knowing that this would be shinji last song, someway puts me in his position, in a way that the song feels like an enormous flashback through the life of this little boy, all the happiness all the sadness, a bittersweet taste of having the life passing through this melody, its ups and downs. I know that I am very paranoid about keeping old stuff with me, avoiding everything that built myself as a man, blow away like dust, keeping every single human and moment someway next to me, so I don't find myself lost in oblivion sometime, so I can someway find a existential meaning in these little pieces of my memory I've brought with me, and I guess this might be long season. There is this moment in the song where everybody in the crowd is swallowed by this immense amount of high and sweetly sharp sounds, that almost feel like a purifying moment, I could say that it's kinda spiritual for those who believe in it, and for those who even don't, everyone (from the band to the last person standing on the crowd) is tune with this animistic and outer-dimensional spiritual body. Some people keep photographs, some other videos, I like to think that this was shinji's way to remember all that the universe meant to him, and they played it like never before. after these 43 minutes there is a taste in my mouth (or ears) that wants more. This song means a lot to me, It's so gorgeous and mystic and even if I wrote 2 pages about this song it wouldn't still capture how it makes me feel inside. Winter has never been so cold and still so warm as this one is.

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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

26/01

Link

Science has reached a new level, TIME: a gay inception odyssey by neil cicerega.
I've been replaying this the whole week, it's so strange it's beautiful.
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Top 100 Hits you must hear before the u... of beauty

[Antonio-Pedro]

Hello Peepos and Peepas, welcome to our Friday show, I am Antonio Pedro, and I'm your Guide. That's It.

Discographies: Episode 2 - Part 1

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well, well, well, Why Radiohead I ask myself before begin writting all of the balonni that there is to come... I was never a massive fan of Radiohead, when I got into this site some years ago, it was so weird to see all their records in our top 100, and I wondered what was so special about this band that had only hit me with "creep" and "Fake Plastic Trees" at the time? So to feel "cool" through these first moments in touch with music, I decided to not listen to all their records because it was too... peculiar for my white belt musical taste let's say. But Since I did it I begin to find that abstract value on their songs, and listening to their discography it's so fun and intriguing to see how they have changed through their career. OK computer still surprises me as number one in many sites, but I guess, someday I will finally understand it So... let's do this huh? Take a seat and enjoy the horror show

The Bends (1995)

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We are off to a good start by now, this record might is the one you put to play in your car after work with your friends in the backseat, heading to the nearest bar, and they say like, "yeah I've heard some songs from this album sometime", and you all sing "High and Dry" together. This situation only happens because The Bends is Radiohead's most inoffensive record, the one that even your angry parrot can sing to, I used to say it's their coldplay era haha (or STP era). It's something your ears don't lie that was made in the 90s, there is all this nostalgic landscape and production value that denounces its time, and it dated like an apple inside a closed jar, it's great to eat, but you know since when it's been there, although it's just an apple. But differently from the blandness sea that is "Pablo Honey" inside all the alternative rock scene of the 90s, The Bends is composed by beautifully arranged pop-rock melodies by Greenwood and Yorke with less sharpy and edgy tones to many songs and adjusting to a softer and melancholic tone. Of Course that with all the britpop and Post-Grunge scene that was surrounding the news and overcrowding MTV, they would be undeservedly placed in shelves along with many mediocre bands at the time, being in some way influenced externally in the work of composing this album. In the bends although, there is not a plan to deliver a record based its pillows into the singles, instead the record shows a successful blend of tense and warmth poles, provided that even the lighter songs has this tendency to grow until it bursts in a colossal instrumented chorus, and even the hardest and heavier songs (with the exception of "Bones") are constructed around leisurely melodies, like sketches on a teenage notebook in high school, all made between history classes.

Another thing I would like to point in The bends is that it feels like a dream sometimes, the opening of "My Iron Lung" for example, has Greenwood sliding all this lullaby-like progression that feels introspectively sad and anxious, like it was being played inside a ballerina box. And in some songs like "Street Spirit", you can begin to notice they are about to head into a more existential and cryptographic sound, which adds points of love for this album, but there is something in the bends that doesn't click with me. For a long time I had it in my chart, and already had it as my favorite Radiohead record, but after diving into their (moon shaped) musical pool of futuristic and experimental sound, it just began to sound like it was actually not made by radiohead, it became something so simple and boring until its end, yeah, sure, the singles still hit me as amazing songs, and I still hold such a nostalgic value to it, but the whole album as a whole doesn't attract me with the power it once had, and it's kinda boring because I know it's something made up in my mind and that this is indeed a really interesting record, but I am so used to see one picture that suddenly change it a simple drawing of a band playing alt-rock music doesn't attract me as much as it did once. By no means The bends is a bad record, and I recommend it to everyone that wants to begin to get into their stuff, it's just so unoffensive and I want to get all this boldness from their, still a enjoyable listen from times to times. Then I turn my sound into some coldplay and get their wave.

Pablo Honey (1993)

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...Do we really need to do this?
*sigh*
Pablo honey, the record everybody plays just to remind that they have listened to the entire radiohead discography, it's just some kids from England making music inside their garage and surfing in the wave of their gigantic success with "Creep" (something that even Yorke hated after the massive reception). This is their STP era, forget what I said about the bends. There are some good tunes here and there, but this seems clearly rushed and out of place, and all the songwriting and composing department seems flawed as fawkes. he..here.. just have this picture of thom yorke whenever he is about to sign to the mess he has done.

OK Computer (1997)

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I knew this was coming, the day that I would try to sit my ass down in a chair and manage to dissolve my thoughts about what is considered the most complete musical work of all times, feels like a responsibility I knew I would have someday when I began writing about music, congrats on dooming yourself Antonio Pedro. Well here we are, their magnum opus (come fight me irl, me vs KidA cocksuckers in the abandoned place behind the bar), OK Computer, the embodiment of our musical generation, the mass hysteria, the new world order, the machine soul and all the stuff they tell you about when you put your foil hat (haha, kidding). There are so many things already said about this album that is almost impossible to not fall in a certain redundancy in this review, there is something magnificent about this album that brought all this increasingly popularity as "The best record ever made". Maybe it's the way that Ok computer still sounds until today, Radiohead created a fluid record, and Like Marquee Moon it feels like it could have been done yesterday. Now why is this so important? Revolver is one of my favorite records of all time and we know that both lennon and paul where pretty high in 60s while I listen to it, it doesn't affect me any way, so why is it so good to it feeling new? Well, by one side there is the hidden influence that we all can capt that this record is in, what means, like most modern music, it presents such a modern structure and yet with all the deconstructed melodies, it's pretty hard to catch and date a certain era to that musical trend. It's the good part of the said artmusic, most of the album that fall in this category doesn't feel old at all because there is something new that they brought to the table, which like a snakeskin keeps changing every time you listen to it, even you already marking every note in every song. This is why it's so hard to say something about this record that will be my final vision of it, it has changed a lot through the years, and will probably at the future, I think this is one of the reason I appreciate this record so much. Well, Let's take a look about what younger Antonio wrote about this and then let's evolve into a description to how the album aged like wine to listeners like me.

[Antonio-Pedro]

I don't really know what happened.. I suddenly lost interest in this, maybe because it was something like a scheduled job or a chain that was kinda locking me up, but I didn't feel the will to write something in this, maybe all the radiohead log and pressure inside my head made me quit it, but I just didn't feel comfortable doing this. I might return to write here, Because I like the feeling of reading all the stuff that I've listened to, I feel complete and realized. Sorry kids, no part 2, at least for now.
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Top 100 Hits you must hear before the u... of beauty

[HazeyTwilight]

I've been in this situation way too many times as well, and it really sucks. I hope you find inspiration to do this again, because I loved reading these, though it does take a long time for that to happen.
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