{"id":5617,"date":"2017-03-25T11:34:02","date_gmt":"2017-03-25T18:34:02","guid":{"rendered":"http:\/\/www.profelectro.info\/fm\/?p=5617"},"modified":"2017-03-25T11:34:02","modified_gmt":"2017-03-25T18:34:02","slug":"conversas-no-forum-sons-fernando-magalhaes-vs-listas","status":"publish","type":"post","link":"https:\/\/www.profelectro.info\/fm\/2017\/03\/25\/conversas-no-forum-sons-fernando-magalhaes-vs-listas\/","title":{"rendered":"Conversas no F\u00f3rum Sons: Fernando Magalh\u00e3es vs. &#8230; + Listas"},"content":{"rendered":"<p>uma conversa, em tr\u00eas tempos, sobre nomes da electr\u00f3nica contempor\u00e2nea que o FM teve com algu\u00e9m do f\u00f3rum.<\/p>\n<p>os coment\u00e1rios certeiros s\u00e3o inconfund\u00edveis.<\/p>\n<div style=\"text-align: center;margin: 12px;\"><script type=\"text\/javascript\"><!--\ngoogle_ad_client = \"pub-9853707030319137\";\ngoogle_alternate_color = \"FFFFFF\";\ngoogle_ad_width = 300;\ngoogle_ad_height = 250;\ngoogle_ad_format = \"300x250_as\";\ngoogle_ad_type = \"text_image\";\ngoogle_ad_channel =\"\";\ngoogle_color_border = \"#FFFFFF\";\ngoogle_color_link = \"\";\ngoogle_color_bg = \"#FFFFFF\";\ngoogle_color_text = \"\";\ngoogle_color_url = \"\";\ngoogle_ui_features = \"rc:0\";\n\/\/--><\/script>\n<script type=\"text\/javascript\"\n  src=\"http:\/\/pagead2.googlesyndication.com\/pagead\/show_ads.js\">\n<\/script><\/div><p>&#8230;<\/p>\n<p>ANDREI SAMSONOV : Void in (Mute) &#8211; J\u00e1 falei sobre este disco, recentemente. &#8211; 8,5\/10 <\/p>\n<p>ANDREW POPPY &#8211; The Beating of Wings (ZTT, 1985) \u2013 Minimalismo. Original. O 1\u00ba (longo) tema tem um crescendo que \u00e9 o mais pr\u00f3ximo do c\u00e2ntico dos anjos que consigo imaginar, antes da queda. &#8220;Do outro lado&#8221; h\u00e1 percuss\u00f5es obsessivas que s\u00f3 obliquamente evocam pe\u00e7as de S. Reich tamb\u00e9m p\/percuss\u00e3o. Digamos que A. Poppy \u00e9 um minimalista desalinhado (chegou a colaborar com os COIL&#8230;) &#8211; 8\/10 <\/p>\n<p>ANTHONY MANNING &#8211; Chromium Nebulae (Irdial, 1995) &#8211; Compra recente. Vou ter que ouvir com mais calma. <\/p>\n<p>ARNE NORDHEIM &#8211; Electric (Rune Grammofon, 1974) &#8211; um mundo de sons particular que seduziu Geir Jenssen &#8211; cr\u00edtica no Y &#8211; 8\/10 <\/p>\n<p>BERNARD PARMEGIANI &#8211; Pop\u2019Eclectic (Plate Lunch, 1966 -1973, 1999) &#8211; Colagens, m\u00fasica concreta, um sentido l\u00fadico \u00edmpar. Cr\u00edtica no Y &#8211; 9\/10 <\/p>\n<p>Do mesmo compositor &#8211; o monumental \u201cDe Natura Sonorum\u201d, &#8220;pai&#8221; de toda a electr\u00f3nica actual, cuja edi\u00e7\u00e3o definitiva bou buscar na pr\u00f3xima 4\u00aafeira, \u00e0 VGM!&#8230; O nascimento da m\u00fasica &#8211; 10\/10 <\/p>\n<p>CHRISTIAN ZAN\u00c9SI &#8211; Stop! L\u2019Horizon . Profil-D\u00e9sir . Courir (Ina.grm, 1990) \u2013 manipula\u00e7\u00f5es em computador e tape t\u00edpicas da ina.GRM. Abstrac\u00e7\u00e3o pura. O prazer do som. Espa\u00e7o. Exige boas aparelhagens de reprodu\u00e7\u00e3o para tirar todo o partido do jogo de pormenores&#8230; &#8211; 8;5\/10<br \/>\n&#8211; Arkheion (Ina.grm, 1996) \u2013 Menos conseguido. As colagens insistem na utiliza\u00e7\u00e3o de vozes (de Stockausen e Pierre Schaeffer), tratadas. &#8211; 7,5\/10 <\/p>\n<p>CONRAD SCHNITZLER &#038; J\u00d6RG THOMASIUS &#8211; Tolling Toggle (F\u00fcnf und Vierzig, 1991) \u2013 Um cl\u00e1ssico da m\u00fasica industrial\/contempor\u00e2nea. Dois alem\u00e3es de cenho cerrado, armados de maquinaria pesada que aligeiram de quando em quando com interl\u00fadios ac\u00fasticos (cordas, sopros, etc). Schnitzler \u00e9 um dos nomes mais importantes da electr\u00f3nica alem\u00e3 de sempre. Fez parte dos KLUSTER e dos primeiros TANGERINE DREAM, antes de encetar uma vast\u00edssima carreira a solo que o levou at\u00e9 \u00e0 tal electr\u00f3nica erudita&#8230; &#8211; 8,5\/10 <\/p>\n<p>DANIEL TERUGGI &#8211; Syrcus\/Sphaera (Ina.grm, 1993) \u2013 Mais abstrac\u00e7\u00f5es made in ina.GRM. Neste caso com \u00eanfase nas percuss\u00f5es electr\u00f3nicas elaboradas num sistema especialmente criado para o efeito. &#8211; 8\/10 <\/p>\n<p>DAVID BEHRMAN &#8211; Leapday Night (Lovely Music, 1991) \u2013 Inclassific\u00e1vel. Loops digitais. Deforma\u00e7\u00f5es progressivas. Ondas de frequ\u00eancias em permanante muta\u00e7\u00e3o. &#8211; 8,5\/10 <\/p>\n<p>EXPERIMENTAL AUDIO RESEARCH &#8211; The K\u00f6ner Experiment (Mille Plateaux, 1997) \u2013 com Thomas Koner, o homem dos &#8220;sil\u00eancios polares&#8221; de &#8220;Nunatak Gongamur&#8221;<br \/>\n&#8211; Millenium Music, a Meta-Musical Portrait (Atavistic, 1997) \u2013 O som comest\u00edvel, cru, brutal, carnal, apelativo . o mundo da pr\u00e9-hist\u00f3ria traduzido em massas sonoras igualmente primitivas. Os EAR s\u00e3o uma das bandas mais importantes da electr\u00f3nica actual. &#8211; 9\/10 <\/p>\n<p>HARALD WEISS <\/p>\n<p>1794 &#8211; Die Anders Paradies (Gingko, 1995) \u2013 Imaginem o universo dos POPOL VUH num conetxto contempor\u00e2neo. A magia das civiliza\u00e7\u00f5es ancestrais contida em sinfonias para percuss\u00e3o e electr\u00f3nica. &#8211; 8,5\/10 <\/p>\n<p>INGRAM MARSHALL <\/p>\n<p>0926 &#8211; Three Penitential Visions\/Hidden Voices (Elektra Nonesuch, 1990) &#8211; 8\/10<br \/>\n&#8211; Alkatraz (New Albion, 1991) \u2013 8\/10<br \/>\nPiano e electr\u00f3nica austera. Sombria. Marshall \u00e9 obsecado pelo ambiente das pris\u00f5es. H\u00e1 pormenores e sons assustadores, como a grava\u00e7\u00e3o do ru\u00eddo da porta principal de Alkatraz a fechar-se&#8230; <\/p>\n<p>ISTV\u00c1N M\u00c1RTA &#8211; T\u00e1mad Asz\u00e9l (The Wind Rises) (Recommended, 1987) \u2013 Compositor h\u00fangaro importante. Outro mundo \u00e0 parte. Refer\u00eancias \u00e9tnicas, c\u00e2nticos obscuros, electr\u00f3nica ora &#8220;naif&#8221; ora rebuscada. 8,5\/10 <\/p>\n<p>JOCELYN ROBERT <\/p>\n<p>1051 &#8211; Folie\/Culture (Recommended, 1991) \u2013 Quase sil\u00eancio. Ar puro. Muita luz. Electr\u00f3nica como p\u00e1ssaros ou insectos. Longos intervalos sem qualquer som, interrompidos por &#8220;found sounds&#8221; da rua, de uma floresta, de uma janela aberta&#8230; &#8211; 8\/10<br \/>\n&#8211; La Th\u00e9orie des Nerfs Creux (Ohm\/Avatar, 1993) &#8211; o oposto. Corrente el\u00e9ctrica a passar. Zumbidos e curto-circuitos. Infatig\u00e1vel. Pode constituir uma experi\u00eancia auditiva algo dolorosa&#8230; <\/p>\n<p>KLANKRIEG <\/p>\n<p>&#8211; Radionik (Cling Film, 1999) \u2013 Cr\u00edtica recente no Y &#8211; 8\/10 <\/p>\n<p>KONRAD KRAFT <\/p>\n<p>&#8211; Alien Atmospheres (Elektro-Smog, 1996) \u2013 Outro cl\u00e1ssico &#8211; desconhecido. Programa\u00e7\u00f5es de arame farpado, cimento e metal. Computa\u00e7\u00f5es abrasivas, esmagadoras. na linha de uns L@N, mas mais &#8220;composto&#8221; e trabalhado. &#8211; 9\/10 <\/p>\n<p>MANUEL G\u00d6TTSCHING <\/p>\n<p>&#8211; E2-E4 (Racket, 1984) \u2013 Um \u00fanico tema de 50 min que leva o termo minimalismo ao absurdo. Manuel Gottsching constr\u00f3i com a guitarra e electr\u00f3nica &#8220;schulziana&#8221; um mantra infinito onde, sem o devido cuidado, nos podemos perder. Clao que, se ouvido de \u00e2nimo leve, pde soar apenas repetitivo&#8230; &#8211; 8\/10 <\/p>\n<p>MICHAEL WINNERHOLT <\/p>\n<p>&#8211; Tjugofyra (Multimood, 1995) \u2013 Pequenas e saborosas vinhetas em sintetizadores anal\u00f3gicos, algures entre uns Cluster n\u00f3rdicos (Winnerholt \u00e9 sueco&#8230;) e uma pesquisa de contrastes &#8211; gotas, pequenas sirenes, placas em colis\u00e3o, falsos loops em carrocel&#8230; &#8211; 8\/10 <\/p>\n<p>MICHEL REDOLFI <\/p>\n<p>&#8211; Desert Tracks (Ina.grm, 1988) &#8211; 8,5\/10<br \/>\n&#8211; Appel d&#8217;Air (Ina.grm, 1993) \u2013 9\/10<br \/>\nA m\u00fasica de Redolfi captura a Natureza. &#8220;Appel D&#8217;Air&#8221; leva-nos numa viagem sobre o planeta ensinado-nos a ouvir o vento e o segredo dos \u00e1tomos. Outro cl\u00e1ssico. &#8211; 9\/10<\/p>\n<p>&#8230;<\/p>\n<p>Outside the Dream Syndicate&#8221; (e n\u00e3o &#8220;Beyond&#8221;) \u00e9 um disco de TONY CONRAD (disc\u00edpulo de LaMonte Young), e n\u00e3o Terry Riley, com os FAUST.<br \/>\n\u00c9 considerado um cl\u00e1ssico do que eu chamo &#8220;minimalismo do martelo&#8221; <!--[if !vml]--> <!--[endif]-->J\u00e1 vi o sr. Conrad ao vivo, recentemente, em Serralves, \u00e9 um verdadeiro cromo!<br \/>\nA audi\u00e7\u00e3o de &#8220;Outside the Dream Syndicate&#8221; (TC gravou, j\u00e1 nos anos 90, v\u00e1rias &#8220;sequelas&#8221; desta obra&#8230;pitag\u00f3rica) pode ser massacrante, da mesma forma que \u00e9 massacrante o &#8220;Metal Machine Music&#8221; do Lou Reed.<br \/>\nNo caso \u00e9 um massacre de violino mal tocado (ainda pior do que outro ex.colaborador e LMYoung, John cale, de quem Conrad \u00e9, ali\u00e1s, amigo) acompanhado pela sec\u00e7\u00e3o rock ultra-repetitiva dos Faust! Mas provoca os seus efeitos&#8230; <\/p>\n<p>Do MORTON SUBTNIK vendi, desgra\u00e7adamente, h\u00e1 anos (na esperan\u00e7a, v\u00e3, de que o CD seria rapidamente editado&#8230;) um \u00e1lbum intitulado &#8220;Return of the Comet&#8221; (creio que era este o t\u00edtulo&#8230;).<br \/>\nMas o cl\u00e1ssico dele \u00e9 mesmo &#8220;Silver Apples of the Moon&#8221; (onde \u00e9 que pensam que os SILVER APPLES se inpiraram para o nome?) que tenciono adquirir em breve na Ananana. <\/p>\n<p>O &#8220;Beaubourg&#8221;, do VANGELIS, \u00e9, de facto, um dos meus preferidos deste compositor grego capaz do melhor e do pior.<br \/>\nTamb\u00e9m gosto &#8211; bastante mesmo &#8211; do &#8220;China&#8221; e acho piada \u00e0 pomposidade (apesar de tudo bem conseguida) de &#8220;Heaven and Hell&#8221;, com a voz bel\u00edssima da soprano l\u00edrico Vera Veroutis. <\/p>\n<p>MICHEL REDOLFI: Esse espect\u00e1culo subaqu\u00e1tico j\u00e1 foi montado em Portugal.<br \/>\nEu vi outro concerto multim\u00e9dia dele, na Estufa Fria, com o percussionista (e multinstrumentista&#8230;) STEVE SHEHAN, outro compositor a merecer refer\u00eancia (tenho 4 ou 5 CDs dele bel\u00edssimos, come\u00e7ando pela estreia na Made to Measure, &#8220;Arrows&#8221;)<\/p>\n<p>&#8230;<\/p>\n<p>AMOND D\u00dc\u00dcL<br \/>\n[FM, eles chamam a aten\u00e7\u00e3o para a primeira encarna\u00e7\u00e3o dos Amon D\u00fc\u00fcl, embora depois tb refiram o Phallus Dei e o Yeti, dos AD II] &#8211; Mas os Amon Duul I s\u00e3o uma freakalhada infernal. Os tipos n\u00e3o sabiam tocar, passavam o tempo a charrar a tocar bongos e a fornicar indiscriminadamente e os \u00e1lbuns reflectem tudo isto. Claro, h\u00e1 quem ache o som muito &#8220;free&#8221; e anarca e tudo isso mas eu passo. Apenas tenho um \u00e1lbum deles. <\/p>\n<p>\u2022ASH RA TEMPEL &#8211; a banda de space rock alem\u00e3 por excel\u00eancia, com o guitarrista e sintetista MANUEL GOTTSCHING aos comandos. Gravaram com o pr\u00f3prio Timothy Leary (&#8220;Seven-Up&#8221;), as suas desbundas de \u00e1cido + grava\u00e7\u00e3o de discos em simult\u00e3neo fizeram hist\u00f3ria em Berlim, na primeira metade dos anos 70.<br \/>\nAinda mais &#8220;out&#8221; eram as sess\u00f5es com os COSMIC JOKERS, do qual faziam parte tamb\u00e9m o Klaus Schulze e o Harald Grosskopf, dos Wallenstein&#8230; Tamb\u00e9m gravaram com um m\u00edstico su\u00ed\u00e7o que vivia nas montanhas (sempre tudo alimentado a LSD&#8230;), chamado SERGIUS GLOWIN e com um cigano\/poeta\/designer de um tarot, o WALTER WEGMULLER. \u00c1lbuns cl\u00e1ssicos (mas altamente desbundantes e desconcertantes onde se misturava tudo, rock &#038; roll, kosmischmuzik, improvisa\u00e7\u00e3o, spoken word&#8230;) do krautrock. <\/p>\n<p>\u2022HARMONIA<br \/>\n[Caramba&#8230; destes gajos \u00e9 que tenho de arranjar coisas&#8230;] &#8211; Eram os CLUSTER + o MICHAEL ROTHER, dos primeiros NEU!. Gravaram dis cl\u00e1ssicos (10\/10): &#8220;Muzik von Harmonia&#8221; e &#8220;DeLuxe&#8221;. recentemente saiu &#8220;Tracks &#038; Traces&#8221; que recupera sess\u00f5es originais com o BRIAN ENO. <\/p>\n<p>\u2022LA D\u00dcSSELDORF &#8211; motorikamotorikamotorika + &#8230;m\u00fasica rom\u00e2ntica alpina (Richard Clayderman!!!) &#8211; ou se ama ou se detesta. O 1\u00ba \u00e1lbum \u00e9 o melhor. O projecto &#8211; de Klaus Dinger e Thomas Dinger, os dois irm\u00e3os dos NEU!, estendeu-se pelos anos 90 com a nova designa\u00e7\u00e3o de La! Neu? <\/p>\n<p>\u2022POPOL VUH &#8211; o grupo do pianista FLORIAN FRICKE. os primeiros \u00e1lbuns, sobretudo a estreia, &#8220;Affenstunde&#8221;, \u00e9 electr\u00f3nica pura e bruta, um marco da m\u00fasica c\u00f3smica alem\u00e3. A partir da\u00ed o tipo enveredou por um misticismo de raiz eg\u00edpcia\/crist\u00e3 (!!!), abandonou os sintetizadores e passou a tocar exclusivamente piano, de uma forma despojada mas sem d\u00favida de onde se despreende uma religiosidade indiscut\u00edvel.<br \/>\n&#8220;In den Garten Pharaos&#8221;, o 2&#8242; \u00e1lbum ainda tem electr\u00f3nica e \u00e9 um \u00e1lbum tamb\u00e9m tido como cl\u00e1ssico. A trip proporcionada por esta combina\u00e7\u00e3o de Moog + gongos m\u00e1gicos + piano el\u00e9ctrico + org\u00e3o de igreja pode ser perigosa. Dos \u00e1lbuns m\u00edsticos h\u00e1 muito por onde escolher mas s\u00e3o um bocado um &#8220;acquired taste&#8221;. &#8220;Hosianna Mantra&#8221; pode soar sublime&#8230; <\/p>\n<p>\u2022XHOL CARAVAN<br \/>\n[estes n\u00e3o conhecia&#8230; free jazz? rock c\u00f3smico?] &#8211; Desbunda jazz etno-c\u00f3smica. E psicadelismo, claro, sobretudo no primeiro \u00e1lbum. <\/p>\n<p>\u2022YATHA SIDHRA &#8211; Gravaram apenas &#8220;A Meditation Mass&#8221;, um dos \u00e1lbuns mais planantes e Zen do krautrock. \u00c9 uma longa suite em movimentso, de amplas ondas c\u00f3smicas, nem sempre muito bem tocado mas com uma aura \u00fanica. Sintetizadores o mais c\u00f3smico poss\u00edvel, guitarras e piano el\u00e9ctrico, mellotron, percuss\u00f5es, c\u00e2nticos Ohm pedrados e vibrafone em estado de suspens\u00e3o m\u00e1gica.<br \/>\n<!--[if !supportEmptyParas]--> <!--[endif]--><br \/>\nUma racha no cr\u00e2neo<\/p>\n<p>Os discos importados e as interfer\u00eancias da r\u00e1dio, a bizarria progressiva, o krautrock e o \u00f3dio ao punk. Mas o que realmente fica \u00e9 a revela\u00e7\u00e3o de que os perigos que o consumo e audi\u00e7\u00e3o desenfreados de \u00e1lbuns podem n\u00e3o ser psicol\u00f3gicos. \u00c9 o que acontece quando um disco dos Public Image Ltd nos acerta em cheio no cr\u00e2neo.<\/p>\n<p>O disco que mais me marcou em toda a minha vida foi, sem d\u00favida, \u201cMetal Box\u201d, dos Public Image Lda. Vinha embalado numa caixa circular em metal. Calhou, numa certa data fat\u00eddica, cair da estante em que se encontrava, atingindo-me em cheio no cr\u00e2neo. Fiquei marcado para sempre. Cinco pontos no occipital mais um trauma profundo que me fez odiar para sempre John Lydon e a m\u00fasica dos PIL. Foi, de qualquer forma, o contacto mais f\u00edsico que alguma vez tive com um disco.<\/p>\n<p>Mas a minha rela\u00e7\u00e3o com a m\u00fasica popular e com os discos come\u00e7ara muitos anos antes do acidente. Carregando na tecla \u201crewind\u201d, chego a 1968, aos 13 anos de idade. Como ainda n\u00e3o possu\u00eda gira-discos, ouvia r\u00e1dio. Ali\u00e1s, como toda a gente interessada pela m\u00fasica nessa \u00e9poca. S\u00f3 mais tarde me apercebi dos perigos, n\u00e3o s\u00f3 lesivos da integridade f\u00edsica, como, sobretudo, psicol\u00f3gicos, que o consumo e audi\u00e7\u00e3o desenfreados de \u00e1lbuns de m\u00fasica pop\/rock implicava.<\/p>\n<p>No in\u00edcio, ouvir m\u00fasica era uma actividade inocente. Fixava o nome de can\u00e7\u00f5es, por vezes tomava notas ou elaborava as minhas pr\u00f3prias listas de prefer\u00eancias. Lembro-me de escutar at\u00e9 ao enjoo, quer obras-primas como \u201cThe Dock Of The Bay\u201d, de Otis Redding, quer coisas t\u00e3o prosaicas como \u201cThe Legend Of Xanadu\u201d, de Dave Dee, Dozy, Beaky, Mick and Tich ou \u201cBonnie &#038; Clide\u201d, de George Fame. \u201cLight My Fire\u201d, escutei-a pela primeira vez na voz de Jos\u00e9 Feliciano. Quando ouvi o original, dos Doors, senti-me chocado. A voz de Jim Morrison n\u00e3o tremia o suficiente&#8230;<\/p>\n<p>Fui passando o tempo desta maneira at\u00e9 que, na transi\u00e7\u00e3o para a d\u00e9cada de 70, a loucura explodiu, tornando-se galopante como o passar dos anos. Um programa da R\u00e1dio Renascen\u00e7a fez nascer em mim o gosto pelas m\u00fasicas bizarras e pelas sonoridades mais retorcidas da ent\u00e3o emergente \u201cm\u00fasica progressiva\u201d, esse pap\u00e3o das d\u00e9cadas seguintes. Chamava-se o programa P\u00e1gina Um, com locu\u00e7\u00e3o e realiza\u00e7\u00e3o de Jos\u00e9 Manuel Nunes. Abriram-se mundos. Cada audi\u00e7\u00e3o de \u00e1buns com o selo de editoras, como a Vertigo, Island, Harvest ou Neon constitu\u00eda uma descoberta: Trees, Savoy Brown, Jethro Tull, Forest, Incredible String Band, Gracious, The Greatest Show on Earth, Warm Dust, Quatermass eram nomes que se me iluminavam na imagina\u00e7\u00e3o envolvidos numa m\u00edstica pr\u00f3pria. A m\u00fasica tinha cor e sabor. Nas discotecas (por vezes min\u00fasculas lojas de electrodom\u00e9sticos) encontravam-se muitos desses discos (invariavelmente com capas de abrir) que hoje s\u00e3o preciosidades para o coleccionador. Comprei uns tantos e desdenhei uma quantidade de outros. \u201cIt&#8217;s All Work Out In Boomland\u201d, dos T2, \u201cBen\u201d, dos Ben, \u201cPre-Flight\u201d, dos Room, \u201cThree Parts Of My Soul\u201d, dos Dr. Z, \u201cThe Polite Force\u201d, dos Egg, \u201cSorcerers\u201d dos Jan Dukes de Grey, entre outras raridades, passaram-me pelas m\u00e3os&#8230;<\/p>\n<p>Tamb\u00e9m ganhei o h\u00e1bito de escutar \u2013 em p\u00e9ssimas condi\u00e7\u00f5es, diga-se de passagem, tal a quantidade de interfer\u00eancias \u2013 a R\u00e1dio Luxembourg, s\u00f3 por causa de um programa chamado Dimensions. A locu\u00e7\u00e3o estava a cargo de Kid Jensen, que hoje ganha a vida a fazer an\u00fancios de colect\u00e2neas saudosistas no Quantum Channel, mas nessa altura era um guru, concorrente de John Peel. Por vezes passava faixas inteiras, interessant\u00edssimas, de 20 minutos, de bandas desconhecidas. Quem seriam? Terr\u00edvel expectativa. Quando, finalmente, o Kid se prestava a revelar o segredo, l\u00e1 vinha a onda de ru\u00eddo tapar a audi\u00e7\u00e3o do nome do int\u00e9rprete. Mas l\u00e1 fui apanhando uns quantos nomes: Focus, Clarck Hutchinson, Dando Shaft, Mogul Trash, entre dezenas de outros que hoje preenchem o cat\u00e1logo de reedi\u00e7\u00f5es em compacto da Repertoire.<\/p>\n<p>Claro que, entretanto, a compra de \u00e1lbuns j\u00e1 se tornara um imperativo est\u00e9tico e moral (h\u00e1 quem lhe chame v\u00edcio). Com o \u201cpequeno\u201d sen\u00e3o da mais do que frequente falta de liquidez obstar a aquisi\u00e7\u00e3o de todos os objectos de desejo. Acabei por descobrir que sa\u00eda mais barato mandar vir os discos de fora. Atrav\u00e9s de firmas exportadoras como a Tandy&#8217;s e, mais tarde, a COB. Horas e horas de ang\u00fastia, com as semanas a passar devagar, at\u00e9 a campainha da porta tocar, por fim, de uma forma especial, e aparecer-me pela frente o carteiro segurando nas m\u00e3os o m\u00e1gico embrulho de cart\u00e3o. Rasgado furiosamente o pacote, seguia-se o prazer da revela\u00e7\u00e3o, o manuseamento da capa, terminando na audi\u00e7\u00e3o de \u00e1lbuns que muitas vezes encomendava sem nunca os ter ouvido antes, apenas pela foto da capa ou pela leitura de uma cr\u00edtica mais sugestiva no \u201cMelody Maker\u201d, no \u201cNew Musical Express\u201d ou nas revistas francesas \u201cRock &#038; Folk\u201d e \u201cBest\u201d. Muitas vezes por simples intui\u00e7\u00e3o.<\/p>\n<p>Anos de magia, em que parecia dispor de todo o tempo para ouvir um disco, as vezes que quisesse, at\u00e9 conhecer de cor as letras e as melodias. Um, dois por m\u00eas, chegavam, a princ\u00edpio, para me ocupar at\u00e9 \u00e0 encomenda seguinte. Depois, \u00e0 medida que as posses iam aumentando, aumentava proporcionalmente o ritmo de compra com o consequente descalabro econ\u00f3mico. Era o v\u00edcio a ditar as suas leis.<\/p>\n<p>Foram esses os anos do deslumbramento, da procura inflamada da criatividade e da diferen\u00e7a que determinariam a partir da\u00ed a minha forma de ouvir m\u00fasica.<\/p>\n<p>A aventura continuou por outras descobertas e latitudes. Do \u201ckrautrock\u201d (Tangerine Dream, Harmonia, Cluster, Kraftwerk, Neu!, Yatha Sidhra, Release Music Orchestra, Parzival, Klaus Schulze, Eroc, Wallenstein, as edi\u00e7\u00f5es originais encontravam-se com facilidade&#8230;), dos tesouros de Canterbury (Soft Machine, Hatfield and the North, Caravan, Khan, Gong, Gilgamesh, National Health, Kevin Ayers&#8230;) das p\u00e9rolas da Virgin (David Vorhaus, Comus, Henry Cow, Faust&#8230;). E ouvia os programas de r\u00e1dio do Ant\u00f3nio S\u00e9rgio. At\u00e9 ao ano da grande desilus\u00e3o: 1976. Confesso: odiei o \u201cpunk\u201d desde o primeiro momento. Curiosamente, foi o mesmo Ant\u00f3nio S\u00e9rgio o primeiro a divulgar a praga em Portugal. Ouvia e amaldi\u00e7oava os Sex Pistols, Sham 69, X-Ray Spex, 999, The Damned (apesar de Lol Coxhill tocar num dos seus discos&#8230;). A salva\u00e7\u00e3o chegou dos Estados Unidos, com os Suicide, Devo, Talking Heads, Pere Ubu. A Inglaterra contribuiu com os Cabaret Voltaire e os Human League, de \u201cReproduction\u201d, \u201cTravelogue\u201d e do EP \u201cThe Dignity Of Labour\u201d.<\/p>\n<p>O passo seguinte foi o mergulho insano nos \u201cindustriais\u201d (o que prejudicou grandemente a minha sa\u00fade mental). O lema era Einst\u00fcrzende Neubauten, Test Department e SPK; bid\u00f5es, Black &#038; Decker e martelos pneum\u00e1ticos. Mas antes o fogo e metal das f\u00e1bricas do apocalipse que o pontap\u00e9 na av\u00f3 da punkalhada.<\/p>\n<p>Com a chegada dos anos 80, ap\u00f3s um flirt com a Made To Measure (Hector Zazou, Daniel Schell, Benjamin Lew &#038; Steven Brown) transferi-me com armas e bagagem para o universo da Recommended Records, onde o esp\u00edrito do Progressivo adquirira novas formas de beleza e esquizofrenia criativa: Roberto Musci &#038; Giovanni Venosta, Doctor Nerve, Jocelyn Robert, Biota, Steve Moore, Wha Ha Ha, Boris Kovac, Non Credo, Wondeur Brass&#8230; Algu\u00e9m se deve lembrar de uma certa lista dos melhores \u00e1lbuns dos anos 80 que apareceu publicada, em duas semanas, consecutivas, no jornal \u201cBlitz\u201d&#8230; Quando, por fim, j\u00e1 nos anos 90, comecei a escrever sobre m\u00fasica, a raz\u00e3o deu in\u00edcio \u00e0 sua actividade de m\u00e9dico legista. Mas as aut\u00f3psias n\u00e3o conseguiram arrefecer a paix\u00e3o. Foram milhares e milhares de sons sulcados pela agulha do gira-discos e pelo laser do CD que sulcaram igualmente a minha alma.<\/p>\n<p>Discos da minha vida, h\u00e1 v\u00e1rios. Contudo, apenas um me fez chorar, quando o ouvi pela primeira vez: \u201cPawn Hearts\u201d dos Van der Graaf Generator, onde percebi que a santidade e a loucura podiam ser s\u00f3 uma e a mesma coisa e coexistir num homem s\u00f3. Fui conferindo a minha pr\u00f3pria loucura pelos poemas e pela m\u00fasica de Peter Hammill. Estremeci com \u201cIn Camera\u201d, que me fez compreender onde termina uma can\u00e7\u00e3o e come\u00e7a o inferno.<\/p>\n<p>\u00c9 verdade, e a folk? Essa \u00e9 outra hist\u00f3ria. Uma hist\u00f3ria de amor sem o reverso da medalha. Encetou-se em 1969 quando uma amiga me ofereceu \u201cLiege &#038; Lief\u201d dos Fairport Convention. A partir da\u00ed fluiu como um rio com o caudal cada vez mais forte. At\u00e9 hoje.<\/p>\n<p>Termino com uma lista (n\u00e3o h\u00e1 quem lhes resista) de dez discos cujas primeiras audi\u00e7\u00f5es, no m\u00ednimo, me fizeram acreditar que a m\u00fasica popular pode ser algo mais do que uma maquina\u00e7\u00e3o da ind\u00fastria. Discos que me fizeram sentir o mesmo fr\u00e9mito da \u201cprimeira vez\u201d:<\/p>\n<p>\u201cUmmagumma\u201d (o disco de est\u00fadio) (Pink Floyd, 69)<br \/>\n\u201dAcquiring the Taste\u201d (Gentle Giant, 70)<br \/>\n\u201cMagma\u201d (Magma, 70)<br \/>\n\u201cFaust\u201d (Faust, 71)<br \/>\n\u201cEge Bamyasi\u201d (Can, 72)<br \/>\n\u201cThe Henry Cow Leg End\u201d (Henry Cow, 73)<br \/>\n\u201cRock Bottom\u201d (Robert Wyatt, 74)<br \/>\n\u201cAutobahn\u201d (Kraftwerk, 74)<br \/>\n\u201cSuicide\u201d (Suicide, 77)<br \/>\n\u201cLow\u201d (David Bowie, 77)<br \/>\n\u201cBerlin\u201d (Art Zoyd, 87)<\/p>\n<p>Fernando Magalh\u00e3es<br \/>\nSupl. Sons, P\u00fablico<br \/>\n08\/01\/99<br \/>\n<!--[if !supportEmptyParas]--> <!--[endif]--><br \/>\nN\u00e3o sei se algu\u00e9m j\u00e1 aqui deixou isto&#8230;<\/p>\n<p>1963 <\/p>\n<p>BEACH BOYS (THE) &#8211; Surfer Girl <\/p>\n<p>1964 <\/p>\n<p>BEACH BOYS (THE) &#8211; Shut down, vol. 2<br \/>\nBEATLES (THE) &#8211; A Hard Day\u2019s Night<br \/>\nMANFRED MANN &#8211; The Five Faces of Manfred Mann<br \/>\nSTAN GETZ &#038; JO\u00c3O GILBERTO &#8211; Stan Getz\/Jo\u00e3o Gilberto <\/p>\n<p>1965 <\/p>\n<p>BEATLES (THE) &#8211; Help!<br \/>\nBEATLES (THE) &#8211; Rubber Soul<br \/>\nBYRDS (THE) \u2013 Mr. Tambourine Man<br \/>\nBYRDS (THE) \u2013 Turn! Turn! Turn!<br \/>\nFRANK ZAPPA &#8211; Freak Out <\/p>\n<p>1966 <\/p>\n<p>BEATLES (THE) &#8211; Revolver<br \/>\nBYRDS (THE) &#8211; Fifth Dimension<br \/>\nJOHN MAYALL -John Mayall &#038; The Bluesbreakers<br \/>\nKINKS (THE) &#8211; Face to Face<br \/>\nMONKS \u2013 Black Monk Time<br \/>\nMUSIC MACHINE (THE) \u2013 Turn on<br \/>\nSIMON &#038; GARFUNKEL &#8211; Sounds of Silence<br \/>\nSIMON &#038; GARFUNKEL &#8211; Parsley, Sage, Rosemary and Thyme <\/p>\n<p>1967 <\/p>\n<p>BEACH BOYS (THE) &#8211; Pet Sounds<br \/>\nBEACH BOYS (THE) &#8211; Smiley Smile<br \/>\nBEATLES (THE) &#8211; Sgt. Pepper&#8217;s Lonely Hearts Club Band<br \/>\nBEE GEES \u2013 First<br \/>\nBYRDS (THE) &#8211; Younger than Yesterday<br \/>\nCREAM \u2013 Disraeli Gears<br \/>\nDAVID BOWIE \u2013 David Bowie<br \/>\nDONOVAN &#8211; Sunshine Superman<br \/>\nDOORS (THE) \u2013 The Doors<br \/>\nDOORS (THE) \u2013 Strange Days<br \/>\nFRANK ZAPPA &#8211; Absolutely Free<br \/>\nFRANK ZAPPA &#8211; We&#8217;re only in it for the Money<br \/>\nHOLLIES (THE) &#8211; Evolution<br \/>\nHOLLIES (THE) &#8211; Butterfly<br \/>\nINCREDIBLE STRING BAND (THE) &#8211; 5000 Spirits or the Cayers of the Onion<br \/>\nJEFFERSON AIRPLANE &#8211; After Bathing at Baxter&#8217;s<br \/>\nJEFFERSON AIRPLANE &#8211; Surrealistic Pillow<br \/>\nJIMI HENDRIX &#8211; Are you Experienced?<br \/>\nJIMI HENDRIX &#8211; Axis: Bold as Love<br \/>\nJOHN MAYALL &#8211; A Hard Road<br \/>\nJOHN MAYALL &#8211; Crusade<br \/>\nKINKS (THE) &#8211; Something else<br \/>\nLAURA NYRO &#8211; Eli and the Thirteenth Confession<br \/>\nLOVE \u2013 Da Capo<br \/>\nLOVE \u2013 Forever Changes<br \/>\nMOODY BLUES (THE) &#8211; Days of Future Passed<br \/>\nNIRVANA \u2013 The Story of Simon Simopath<br \/>\nPINK FLOYD &#8211; The Piper at the Gates of Dawn<br \/>\nTIM BUCKLEY \u2013 Goodbye and Hello<br \/>\nVELVET UNDERGROUND (THE) \u2013 The Velvet Underground &#038; Nico<br \/>\nZOMBIES (THE) &#8211; Odessey &#038; Oracle<br \/>\n+<br \/>\nBEATLES (THE) &#8211; Magical Mystery Tour<br \/>\nBONZO DOG DOO DAH BAND \u2013 Gorilla<br \/>\nCRAZY WORLD OF ARTHUR BROWN (THE) &#8211; The Crazy World of Arthur Brown<br \/>\nCREAM \u2013 Fresh Cream<br \/>\nELMER GANTRY\u2019S VELVET OPERA &#8211; Elmer Gantry\u2019s Velvet Opera<br \/>\nJOHN MAYALL &#8211; The Blues alone<br \/>\nKALEIDOSCOPE \u2013 Tangerine Dream<br \/>\nLOVIN\u2019 SPOONFUL \u2013 Daydream<br \/>\nMONKEES (THE) &#8211; Pisces, Aquarius, Capricorn &#038; Jones Ltd.<br \/>\nMYSTIC ASTROLOGIC CRYSTAL BAND (THE) \u2013 The Mystic Astrologic Crystal Band<br \/>\nPROCOL HARUM \u2013 Procol Harum<br \/>\nRON GEESIN &#8211; As he Stands<br \/>\nSMALL FACES (THE) \u2013 From the Beginning<br \/>\nSTRAWBERRY ALARM CLOCK (THE) &#8211; Incense and Peppermints<br \/>\nSTRAWBS \u2013 All our own Work<br \/>\nTYRANNOSAURUS REX &#8211; My People were Fair and had Sky in their Hair\u2026but now they are Content to<br \/>\nWear Stars on their Brows<br \/>\nYARDBIRDS \u2013 Little Games <\/p>\n<p>1968 <\/p>\n<p>BEACH BOYS (THE) \u2013 Wild Honey<br \/>\nBEACH BOYS (THE) &#8211; Friends<br \/>\nBEATLES (THE) &#8211; The Beatles<br \/>\nBEE GEES \u2013 Horizontal<br \/>\nBYRDS (THE) &#8211; The Notorious Byrd Brothers<br \/>\nCOLLECTORS (THE) &#8211; Grass and Wild Strawberries<br \/>\nCREAM \u2013 Wheels of Fire<br \/>\nDONOVAN &#8211; A Gift from a Flower to a Garden<br \/>\nERIC BURDON &#038; THE ANIMALS \u2013 The Twain Shall Meet<br \/>\nFRANK ZAPPA &#8211; Lumpy Gravy<br \/>\nINCREDIBLE STRING BAND (THE) &#8211; The Hangman&#8217;s Beautiful Daughter<br \/>\nJEFFERSON AIRPLANE &#8211; Crown of Creation<br \/>\nJETHRO TULL \u2013 This was<br \/>\nJOHN MAYALL &#8211; Bare Wires<br \/>\nJOHN MAYALL &#8211; Blues from Laurel Canyon<br \/>\nKINKS (THE) &#8211; The Kinks are Village Green Preservation Society<br \/>\nMILLENIUM (THE) &#8211; Begin<br \/>\nMOODY BLUES (THE) &#8211; In Search of the Lost Chord<br \/>\nPINK FLOYD \u2013 A saucerful of Secrets<br \/>\nPRETTY THINGS \u2013 S. F. Sorrow<br \/>\nSMALL FACES (THE) &#8211; Ogden&#8217;s Nut gone Flake<br \/>\nSOFT MACHINE (THE) \u2013 The Soft Machine<br \/>\nTRAFFIC \u2013 Mr. Fantasy<br \/>\nVAN DYKE PARKS \u2013 Song Cycle<br \/>\n+<br \/>\nDOORS (THE) \u2013 Waiting for the Sun<br \/>\nFRANK ZAPPA &#8211; Cruising with Ruben and the Jets<br \/>\nGENESIS \u2013 From Genesis to Revelation<br \/>\nGEORGE HARRISON &#8211; Wonderwall Music<br \/>\nINCREDIBLE STRING BAND (THE) &#8211; Wee Tam &#038; The Big Huge<br \/>\nMIKE WESTBROOK CONCERT BAND (THE) &#8211; Release<br \/>\nMYSTIC ASTROLOGIC CRYSTAL BAND (THE) \u2013 Clip on Put on Book<br \/>\nNICE (THE) \u2013 Ars Longa Vita Brevis<br \/>\nSIMON &#038; GARFUNKEL &#8211; Bookends<br \/>\nSPOOKY TOOTH &#8211; It&#8217;s all about<br \/>\nSTATUS QUO &#8211; Picturesque Matchstickable Messages from the Status Quo<br \/>\nTYRANNOSAURUS REX &#8211; Prophets, Seers &#038; Sages, The Angels of the Ages <\/p>\n<p>1969 <\/p>\n<p>AMON D\u00dc\u00dcL II \u2013 Phallus Dei<br \/>\nBEATLES (THE) &#8211; Abbey Road<br \/>\nBLODWIN PIG &#8211; Ahead Rings out<br \/>\nCAN \u2013 Monster Movie<br \/>\nCAPTAIN BEEFHEART &#038; HIS MAGIC BAND \u2013 Trout Mask Replica<br \/>\nCARAVAN &#8211; Caravan<br \/>\nCOLOSSEUM &#8211; Those who are about to Die Salute you<br \/>\nCOLOSSEUM &#8211; Valentyne Suite<br \/>\nCROSBY, STILLS &#038; NASH &#8211; Crosby, Stills &#038; Nash<br \/>\nDAVID BOWIE \u2013 Space Oddity<br \/>\nDOORS (THE) \u2013 The Soft Parade<br \/>\nEAST OF EDEN &#8211; Mercator Projected<br \/>\nFRANK ZAPPA &#8211; Uncle Meat<br \/>\nFRANK ZAPPA &#8211; Burnt Weeny Sandwich<br \/>\nFRANK ZAPPA &#8211; Hot Rats<br \/>\nJIMI HENDRIX &#8211; Electric Ladyland<br \/>\nKING CRIMSON &#8211; In the Court of the Crimson King<br \/>\nKINKS (THE) &#8211; Arthur or the Decline and Fall of the British Empire<br \/>\nLED ZEPPELIN &#8211; Led Zeppelin<br \/>\nNICO &#8211; The Marble Index<br \/>\nPINK FLOYD &#8211; Ummagumma<br \/>\nSOFT MACHINE (THE) \u2013 Volume Two<br \/>\nSPIRIT &#8211; The Family that Plays together<br \/>\nVAN DER GRAAF GENERATOR &#8211; The Aerosol Grey Machine<br \/>\nWHITE NOISE- An Electric Storm<br \/>\n+<br \/>\nCLIMAX BLUES BAND (THE) \u2013 Plays on<br \/>\nERIC BURDON &#038; THE ANIMALS &#8211; Every one of us<br \/>\nGONG &#8211; Magick Brother, Mystic Sister<br \/>\nHOLGER CZUKAY &#8211; Canaxis<br \/>\nINCREDIBLE STRING BAND (THE) &#8211; Changing Horses<br \/>\nJETHRO TULL &#8211; Stand up<br \/>\nJULIE DRISCOLL, BRIAN AUGER &#038; THE TRINITY &#8211; Streetnoise<br \/>\nKALEIDOSCOPE \u2013 Faintly Blowing<br \/>\nLED ZEPPELIN &#8211; Led Zeppelin II<br \/>\nMAGNA CARTA &#8211; Magna Carta<br \/>\nMOODY BLUES (THE) &#8211; On the Threshold of a Dream<br \/>\nMOODY BLUES (THE) &#8211; To our Children&#8217;s Children&#8217;s Children<br \/>\nPINK FLOYD &#8211; More<br \/>\nRENAISSANCE &#8211; Renaissance<br \/>\nTOMMY JAMES &#038; THE SHONDELLS &#8211; Crimson &#038; Clover<br \/>\nTOMMY JAMES &#038; THE SHONDELLS &#8211; Cellophane Symphony<br \/>\nTYRANNOSAURUS REX &#8211; Unicorn<br \/>\nWIGWAM &#8211; Hard \u2018n\u2019 Horny <\/p>\n<p>NOTA: faltar\u00e3o, obviamente, a esta lista, alguns \u00e1lbuns importantes mas, como refiro no in\u00edcio, cingi-me aos que conhe\u00e7o bem e fazem parte da minha colec\u00e7\u00e3o.<br \/>\nAceitam-se sugest\u00f5es. <\/p>\n<p>FM<br \/>\n<!--[if !supportLineBreakNewLine]--><br \/>\n<!--[endif]--><br \/>\n1970<br \/>\nDAVID BOWIE \u2014 The Man who Sold the World<br \/>\nEGG \u2014 The Polite Force<br \/>\nGENTLE GIANT \u2014 Gentle Giant<br \/>\nKEVIN AYERS &#038; THE WHOLE WORLD \u2014 Shooting at the Moon<br \/>\nKRAFTWERK &#8211; Kraftwerk<br \/>\nKING CRIMSON \u2014 Lizard<br \/>\nMAGMA \u2014 Magma<br \/>\nPINK FLOYD \u2014 Atom Heart Mother<br \/>\nSOFT MACHINE \u2014 Third<br \/>\nVAN DER GRAAF GENERATOR \u2014 H to He, Who am the Only one<br \/>\n+<br \/>\nAmon D\u00fc\u00fcl II \u2014 Yeti<br \/>\nBlodwin Pig \u2014 Getting to This<br \/>\nCan \u2014 Soundtracks<br \/>\nCaravan \u2014 If I Could do it all over again I\u2019d do it all over you<br \/>\nCressida \u2014 Cressida<br \/>\nCurved Air \u2014 Air Condittioning<br \/>\nEast of Eden \u2014 Snafu<br \/>\nEmerson, Lake &#038; Palmer \u2014 Emerson, Lake &#038; Palmer<br \/>\nFairfield Parlour \u2014 From Home to Home<br \/>\nFairport Convention \u2014 Full House<br \/>\nFrank Zappa &#8211; Chunga\u2019s Revenge<br \/>\nGenesis \u2014 Trespass<br \/>\nGracious \u2014 Gracious<br \/>\nJohn &#038; Beverley Martyn \u2014 Stormbringer<br \/>\nKing Crimson \u2014 In the Wake of Poseidon<br \/>\nKinks (The) \u2014 Lola versus Powerman and the Moneygoround<br \/>\nMagna Carta \u2014 Seasons<br \/>\nNeil Young \u2014 After the Gold Rush<br \/>\nNick Drake \u2014 Bryter Layter<br \/>\nNucleus \u2014 Elastic Rock<br \/>\nSpirit &#8211; The Twelve Dreams of Dr. Sardonicus<br \/>\nStooges \u2014 Fun House<br \/>\nT.2 \u2014 It&#8217;ll all Work out in Boomland<br \/>\nTraffic \u2014 John Barleycorn must Die <\/p>\n<p>1971<br \/>\nCAN &#8211; Tago Mago<br \/>\nCARAVAN \u2014 In the Land of Grey and Pink<br \/>\nFAUST \u2014 Faust<br \/>\nGENESIS \u2014 Nursery Cryme<br \/>\nGENTLE GIANT \u2014 Acquiring the Taste<br \/>\nMAGMA \u2014 1001\u00ba Centigrades<br \/>\nNEU! \u2014 Neu!<br \/>\nSECOND HAND \u2014 Death May be your Santa Claus<br \/>\nTERRY RILEY \u2014 A Rainbow in Curved Air<br \/>\nVAN DER GRAAF GENERATOR \u2014 Pawn Hearts<br \/>\n+<br \/>\nAmazing Blondel \u2014 Fantasia Lindum<br \/>\nAmon D\u00fc\u00fcl II \u2014 Dance of the Lemmings<br \/>\nBeggars Opera \u2014 Waters of Change<br \/>\nBen &#8211; Ben<br \/>\nBurning Red Ivanhoe \u2014 W. W. W.<br \/>\nComus \u2014 First Utterance<br \/>\nCurved Air \u2014 Second Album<br \/>\nDaevid Allen \u2014 Banana Moon<br \/>\nDashiell Hedayat \u2014 Obsolete<br \/>\nDavid Bowie \u2014 Hunky Dory<br \/>\nEilliff \u2014 Eilliff<br \/>\nEmerson, Lake &#038; Palmer \u2014 Tarkus<br \/>\nFamily \u2014 Fearless<br \/>\nGila &#8211; Free Electric Sound<br \/>\nGong \u2014 Camembert Electrique<br \/>\nGuru Guru \u2014 Hinten<br \/>\nIncredible String Band \u2014 Liquid Acrobat as Regards the Air<br \/>\nJethro Tull \u2014 Aqualung<br \/>\nJohn Martyn &#8211; Bless the Weather<br \/>\nKing Crimson \u2014 Islands<br \/>\nKraftwerk \u2014 Kraftwerk 2<br \/>\nLed Zeppelin &#8211; IV (4 symbols)<br \/>\nMoving Gelatine Plates \u2014 The World of Genius Hans<br \/>\nNico \u2014 Desertshore<br \/>\nNucleus \u2014 We&#8217;ll Talk about it later<br \/>\nPaul McCartney \u2014 Ram<br \/>\nPeter Hammill \u2014 Fool\u2019s Mate<br \/>\nPink Floyd \u2014 Meddle<br \/>\nPopol Vuh &#8211; Affenstunde<br \/>\nRobert Wyatt \u2014 The End of an Ear<br \/>\nRoy Harper &#8211; Stormcock<br \/>\nSandy Denny \u2014 The North Star Grassman and the Ravens<br \/>\nStrawbs \u2014 From the Witchwood <\/p>\n<p>1972<br \/>\nAMON D\u00dc\u00dcL II \u2014 Wolf City<br \/>\nCAN \u2014 Ege Bamyasi<br \/>\nCLUSTER \u2014 Cluster II<br \/>\nCURVED AIR \u2014 Phantasmagoria<br \/>\nDAVID BOWIE \u2014 The Rise and Fall of Ziggy Stardust&#8230;<br \/>\nFAUST \u2014 So Far<br \/>\nGENTLE GIANT \u2014 Three Friends<br \/>\nHUGH HOPPER \u2014 1984<br \/>\nMATCHING MOLE \u2014 Little Red Record<br \/>\nROXY MUSIC \u2014 Roxy Music<br \/>\n+<br \/>\nBrainstorm &#8211; Smile a while<br \/>\nCaravan \u2014 Waterloo Lily<br \/>\nDom &#8211; Edge of Time<br \/>\nFrank Zappa \u2014 Whaka\/Jawaka<br \/>\nFrank Zappa &#8211; The Grand Wazoo<br \/>\nGenesis \u2014 Foxtrot<br \/>\nGentle Giant \u2014 Octopus<br \/>\nGnidrolog \u2014 Lady Lake<br \/>\nKevin Ayers \u2014 Whatevershebringsweesing<br \/>\nKhan \u2014 Space Shanty<br \/>\nKingdom Come &#8211; Kingdom Come<br \/>\nKlaus Schulze \u2014 Irrlicht<br \/>\nLou Reed \u2014 Transformer<br \/>\nMatching Mole \u2014 Matching Mole<br \/>\nPekka Pohjola \u2014 Pihksilm\u00e4 Kaarnakorva<br \/>\nStackridge \u2014 (Have no Fear) I only need your Friendliness<br \/>\nStomu Yamashta \u2014 Floating Music<br \/>\nStrawbs &#8211; Grave New World<br \/>\nTangerine Dream \u2014 Zeit<br \/>\nYes \u2014 Close to the Edge <\/p>\n<p>1973<br \/>\nCAN \u2014 Future Days<br \/>\nFAUST \u2014 The Faust Tapes<br \/>\nGONG \u2014 Radio Gnome Invisible, Part 2: Angel\u2019s Egg<br \/>\nHATFIELD AND THE NORTH \u2014 Hatfield and the North<br \/>\nHENRY COW \u2014 The Henry Cow Legend<br \/>\nKING CRIMSON \u2014 Larks\u2019 Tongues in Aspic<br \/>\nKRAFTWERK \u2014 Ralf and Florian<br \/>\nLOU REED \u2014 Berlin<br \/>\nPETER HAMMILL \u2014 Chameleon in the Shadow of the Night<br \/>\nROXY MUSIC \u2014 For Your Pleasure<br \/>\n+<br \/>\nAgitation Free \u2014 2nd<br \/>\nArea \u2014 Arbeit Macht Frei<br \/>\nBrian Eno \u2014 Here Come the Warm Jets<br \/>\nCMU \u2014 Space Cabaret<br \/>\nCornucopia \u2014 Full Horn<br \/>\nDavid Bowie \u2014 Alladin Sane<br \/>\nDzyan &#8211; Time Machine<br \/>\nFaust \u2014 Faust IV<br \/>\nFripp &#038; Eno \u2014 (No Pussyfootin\u2019)<br \/>\nGenesis \u2014 Selling England by the Pound<br \/>\nGentle Giant \u2014 In a Glass House<br \/>\nGong \u2014 Radio Gnome Invisible, Part 1: The Flying Teapot<br \/>\nG. Evans, N. Potter, D. Jackson, H. Banton \u2014 The Long Hello<br \/>\nJohn Martyn \u2014 Solid Air<br \/>\nJohn Martyn &#8211; Inside out<br \/>\nKingdom Come &#8211; Journey<br \/>\nKlaus Schulze \u2014 Cyborg<br \/>\nLard Free &#8211; Lard Free<br \/>\nMagma \u2014 Mekanik Destruktiw Kommandoh<br \/>\nNeu! \u2014 Neu!2<br \/>\nRoxy Music \u2014 Stranded<br \/>\nSandy Denny \u2014 Like an Old Fashioned Waltz<br \/>\nSoft Machine \u2014 Seven<br \/>\nWigwam &#8211; Being<br \/>\nYes \u2014 Tales from Topographic Oceans <\/p>\n<p>1974<br \/>\nCAN \u2014 Soon Over Babaluma<br \/>\nCLUSTER \u2014 Zuckerzeit<br \/>\nGENESIS \u2014 The Lamb Lies Down on Broadway<br \/>\nGONG \u2014 You<br \/>\nKRAFTWERK \u2014 Autobahn<br \/>\nMAGMA\u2014 Kohntarkosz<br \/>\nPETER HAMMILL \u2014 In Camera<br \/>\nRICHARD &#038; LINDA THOMPSON &#8211; I Want to See the Bright Lights tonight<br \/>\nROBERT WYATT \u2014 Rock Bottom<br \/>\nTANGERINE DREAM \u2014 Phaedra<br \/>\n+<br \/>\nAnge \u2014 Au-del\u00e0 du D\u00e9lire<br \/>\nArea \u2014 Caution Radiation Area<br \/>\nArne Nordheim &#8211; Electric<br \/>\nArti &#038; Mestieri \u2014 Tilt<br \/>\nBrian Eno \u2014 Taking Tiger Mountain (By Strategy)<br \/>\nManuel G\u00f6ttsching \u2014 Inventions for Electric Guitar<br \/>\nCarla Bley \u2014 Tropic Apettites<br \/>\nDavid Bowie \u2014 Diamond Dogs<br \/>\nGryphon \u2014 Midnight Mushrumps<br \/>\nGryphon \u2014 Red Queen to Gryphon Three<br \/>\nHarmonia \u2014 Musik von Harmonia<br \/>\nHenry Cow \u2014 Unrest<br \/>\nJethro Tull \u2014 War Child<br \/>\nJohn Cale \u2014 Fear<br \/>\nKevin Ayers \u2014 The Confessions of Dr. Dream<br \/>\nKing Crimson \u2014 Red<br \/>\nLady June &#8211; Linguistic Leprosy<br \/>\nMothers of Invention \u2014 Overnite Sensation<br \/>\nNico \u2014 The End<br \/>\nPehka Pohjola \u2014 Harakka Biailopokka<br \/>\nPeter Hammill \u2014 The Silent Corner and the Empty Stage<br \/>\nPremiata Forneria Marconi \u2014 L&#8217;Isola di Niente<br \/>\nRoxy Music \u2014 Country Life<br \/>\nRoy Harper &#8211; Valentine<br \/>\nSand &#8211; Golem<br \/>\nSlapp Happy &#8211; Slapp Happy<br \/>\nStackridge &#8211; The Man in the Bowler Hat<br \/>\nTasavallan Presidentti &#8211; Milky Way Moses<br \/>\nYes \u2014 Relayer <\/p>\n<p>1975<br \/>\nBRIAN ENO \u2014 Another Green World<br \/>\nCHIEFTAINS \u2014 The Chieftains 5<br \/>\nGILGAMESH \u2014 Gilgamesh<br \/>\nHARMONIA \u2014 DeLuxe<br \/>\nHENRY COW \u2014 In Praise of Learning<br \/>\nKLAUS SCHULZE \u2014 Timewind<br \/>\nMAGMA \u2014 Udu Wudu<br \/>\nSLAPP HAPPY HENRY COW \u2014 Desperate Straights<br \/>\nTANGERINE DREAM \u2014 Rubycon<br \/>\nVAN DER GRAAF GENERATOR \u2014 Godbluff<br \/>\n+<br \/>\nAmon D\u00fc\u00fcl II \u2014 Vive la Trance<br \/>\nArti &#038; Mestieri \u2014 Giro di Valzer per Domani<br \/>\nBrian Eno \u2014 Discreet Music<br \/>\nCan \u2014 Landed<br \/>\nClearlight \u2014 Clearlight Symphony<br \/>\nDavid Vorhaus \u2014 White Noise 2 \u2014 Concerto for Synthesizer<br \/>\nFripp &#038; Eno \u2014 Evening Star<br \/>\nGentle Giant \u2014 Free Hand<br \/>\nGong \u2014 Shamal<br \/>\nGryphon \u2014 Raindance<br \/>\nHatfield and the North \u2014 The Rotter\u2019s Club<br \/>\nHenry Cow Slapp Happy \u2014 In Praise of Learning<br \/>\nJohn Cale &#8211; Slow Dazzle<br \/>\nJoni Mitchell \u2014 The Hissing of Summer Lawns<br \/>\nMike Gibbs &#8211; The only Chrome-Waterfall Orchestra<br \/>\nMike Oldfield \u2014 Ommadawn<br \/>\nNeu! \u2014 Neu! 75<br \/>\nNed Lagin \u2014 Seastones<br \/>\nPeter Hammill \u2014 Nadir\u2019s Big Chance<br \/>\nPhil Manzanera \u2014 Diamond Head<br \/>\nRobert Calvert \u2014 Lucky Leif and the Long Ships<br \/>\nRobert Wyatt \u2014 Ruth is Stranger than Richard<br \/>\nSoft Machine \u2014 Bundles<br \/>\nSteve Hackett \u2014 Voyage of the Acolyte<br \/>\nZao &#8211; Shekina <\/p>\n<p>1976<br \/>\nCAN \u2014 Unlimited Edition<br \/>\nCLUSTER \u2014 Sowiesoso<br \/>\nLA D\u00dcSSELDORF \u2014 La D\u00fcsseldorf<br \/>\nHELDON- Un R\u00eave sans Cons\u00e9quence Sp\u00e9ciale<br \/>\nMUFFINS \u2014 Chronometers<br \/>\nNEIL ARDLEY \u2014 Kaleidoscope of Rainbows<br \/>\nPENGUIN CAFE ORCHESTRA \u2014 Music from the Penguin Cafe<br \/>\nPICCHIO DAL POZZO \u2014 Picchio Dal Pozzo<br \/>\nRESIDENTS \u2014 The Third Reich &#8216;n&#8217; Roll<br \/>\nVAN DER GRAAF GENERATOR \u2014 Still Life<br \/>\n+<br \/>\nCeleste &#8211; Principe di un Giorno<br \/>\nFrank Zappa &#8211; Zoot Allures<br \/>\nGregory Allan Fitzpatrick \u2014 Snorungarnas Symfoni<br \/>\nJon Anderson \u2014 Olias of Sunhillow<br \/>\nMagma &#8211; Attahk<br \/>\nSoft Machine \u2014 Softs<br \/>\nTomita \u2014 Firebird<br \/>\nTom Waits\u2014 Small Change<br \/>\nVan Der Graaf Generator \u2014 World Record<br \/>\nZao &#8211; Kawana <\/p>\n<p>1977<br \/>\nASHRA \u2014 New Age of Earth<br \/>\nBRIAN ENO \u2014 Before and After Science<br \/>\nDAVID BOWIE \u2014 Low<br \/>\nIGGY POP \u2014 The Idiot<br \/>\nKRAFTWERK \u2014 Trans Europe Express<br \/>\nMARC HOLLANDER \u2014 Onze Danses pour Combattre la Migraine<br \/>\nPETER HAMMILL \u2014 Over<br \/>\nPHIL MANZANERA\/801 \u2014 Listen Now<br \/>\nSUICIDE \u2014 Suicide<br \/>\nZNR \u2014 Barricade 3<br \/>\n+<br \/>\nCarpe Diem \u2014 Cueille le Jour<br \/>\nCluster &#038; Eno \u2014 Cluster &#038; Eno<br \/>\nConventum \u2014 A L&#8217;Afflut d&#8217;un Complot<br \/>\nDavid Bowie \u2014 Heroes<br \/>\nEtron Fou Leloublan \u2014 Batelages<br \/>\nJethro Tull \u2014 Songs from the Wood<br \/>\nJohn Greaves &#038; Peter Blegvad \u2014 Kew. Rhone<br \/>\nKlaus Schulze \u2014 Mirage<br \/>\nMichal Rother \u2014 Flammende Herzen<br \/>\nPeter Gabriel \u2014 Peter Gabriel<br \/>\nRichard Pinhas \u2014 Rhizosph\u00e8re<br \/>\nRoy Harper &#8211; Bullinamingvase<br \/>\nSpirit \u2014 Future Games<br \/>\nTerje Rypdal \u2014 After the Rain<br \/>\nTalking Heads \u2014 \u201877<br \/>\nUrban Sax \u2014 Urban Sax<br \/>\nVan Der Graaf \u2014 The Quiet Zone\/ the Pleasure Dome<br \/>\nZNR \u2014 Trait\u00e9 de Mecanique Populaire <\/p>\n<p>1978<br \/>\nART BEARS \u2014 Hopes and Fears<br \/>\nBRIAN ENO \u2014 Music for Films<br \/>\nDEVO \u2014 Q: Are We not Men? A: We Are Devo!<br \/>\nENO, MOEBIUS &#038; ROEDELIUS \u2014 After the Heat<br \/>\nNATIONAL HEALTH \u2014 Of Queues and Cures<br \/>\nPERE UBU \u2014 The Modern Dancing<br \/>\nPETER HAMMILL \u2014 The Future Now<br \/>\nRESIDENTS \u2014 Not Available<br \/>\nSTEVE REICH \u2014 Music for 18 Musicians<br \/>\nTALKING HEADS \u2014 More Songs about Buildings and Food<br \/>\n+<br \/>\nBrian Eno \u2014 Music for Airports<br \/>\nDaevid Allen \u2014 N&#8217;Existe pas<br \/>\nGregory Allan Fitzpatrick \u2014 Bildcircus<br \/>\nIldefonso Aguilar \u2014 Erosi\u00f3n<br \/>\nJon Hassell \u2014 Vernal Equinox<br \/>\nKlaus Schulze \u2014 X<br \/>\nKraftwerk \u2014 The Man Machine<br \/>\nPere Ubu \u2014 Dub Housing<br \/>\nPhilip Glass \u2014 Einstein on the Beach<br \/>\nRy Cooder \u2014 Jazz<br \/>\nSammla Mammas Manna \u2014 Schlagerns Mystik<br \/>\nTerje Rypdal \u2014 Waves<br \/>\nThis Heat \u2014 This Heat <\/p>\n<p>1979<br \/>\nAKSAK MABOUL \u2014 Un Peu de l\u2019Ame des Bandits<br \/>\nANTHONY MOORE \u2014 Flying doesn\u2019t Help<br \/>\nART BEARS \u2014 The World as it is Today<br \/>\nCARLA BLEY \u2014 Musique Mecanique<br \/>\nCONVENTUM \u2014 Le Bureau Central des Utopies<br \/>\nHENRY COW \u2014 Western Culture<br \/>\nHOLGER CZUKAY \u2014 Movies<br \/>\nPERE UBU \u2014 New Picnic Time<br \/>\nRICHARD PINHAS &#8211; Iceland<br \/>\nTALKING HEADS \u2014 Fear of Music<br \/>\n+<br \/>\nArt Zoyd \u2014 Musique pour l\u2019 Odyssee<br \/>\nCaptain Beefheart \u2014 Shiny Beast (Bat Chain Puller)<br \/>\nConrad Schnitzler \u2014 Blue Glow<br \/>\nDavid Bowie \u2014 Lodger<br \/>\nDevo \u2014 Duty now for the Future<br \/>\nHuman League \u2014 Reproduction<br \/>\nJohn Surman \u2014 Upon Reflection<br \/>\nJon Hassell \u2014 Earthquake Island<br \/>\nJoni Mitchell \u2014 Mingus<br \/>\nL Voag &#8211; The Way out<br \/>\nNew Yorg Gong \u2014 About Time<br \/>\nPeter Hammill \u2014 PH7<br \/>\nPink Floyd \u2014 The Wall<br \/>\nResidents \u2014 Eskimo<br \/>\nRobert Fripp \u2014 Exposure<br \/>\nRoxy Music \u2014 Manifesto<br \/>\nSnakefinger \u2014 Chewing Hides the Sound <\/p>\n<p>FM<br \/>\n<!--[if !supportLineBreakNewLine]--><br \/>\n<!--[endif]--><br \/>\nO melhor dos anos 80: POP, ROCK, JAZZ, ELECTR\u00d3NICA&#8230;<\/p>\n<p>AFTER DINNER &#8211; Paradise of Replica (Rec Rec, 1989)<br \/>\nANDRE DUCHESNES &#8211; Le Temps des Bombes (Ambiances Magn\u00e9tiques, 1984)<br \/>\nANDREW POPPY &#8211; The Beating of Wings (ZTT, 1985)<br \/>\nANNETTE PEACOCK &#8211; Sky-Skating (Ironic, 1982)<br \/>\nART BEARS &#8211; The World as it is Today (Ralph, 1980)<br \/>\nART ZOYD &#8211; G\u00e9n\u00e9ration sans Futur (Mantra, 1980)<br \/>\n&#8211; Symphonie pour le Jour ou Bruleront les Cit\u00e9s (1980)<br \/>\n&#8211; Les Espaces Inquiets (1983)<br \/>\n&#8211; Le Marriage du Ciel et de l&#8217; Enfer (Cryonic, 1985)<br \/>\n&#8211; Berlin (Cryonic, 1987)<br \/>\nBENJAMIN LEW &#038; STEVEN BROWN &#8211; Douzi\u00e8me Journ\u00e9e: Le Verbe, la Parure, l&#8217; Amour (Made to Measure, 1983)<br \/>\n&#8211; A Propos d&#8217;un Paysage (Made to Measure, 1985)<br \/>\nBIOTA \u2013 Vagabones &#038; Rackabones (1985)<br \/>\nBIRDSONGS OF THE MESOZOIC &#8211; Faultline (Cuneiform, 1989)<br \/>\nBORIS KOVAC &#8211; Ritual Nova (Recommended, 1986\/1989)<br \/>\nBOULEVARD OF BROKEN DREAMS &#8211; It&#8217;s the Talk of the Town and other Sad Stories (Hannibal, 1989)<br \/>\nBRIAN ENO &#8211; Ambient #4 On Land (Virgin EG, 1982)<br \/>\n&#8211; Apollo Atmospheres &#038; Soundtracks (Virgin EG, 1983)<br \/>\nBRIAN ENO &#038; DAVID BYRNE &#8211; My Life in the Bush of Ghosts (EG, 1981)<br \/>\nCABARET VOLTAIRE: Voice of America (1980)<br \/>\nCAPTAIN BEEFHEART &#038; HIS MAGIC BAND &#8211; Doc at the Radar Station (Virgin, 1980)<br \/>\nCARLA BLEY &#8211; Social Studies (Watt, 1981)<br \/>\nCASSIBER &#8211; Beauty and the Beast (Recommended, 1984)<br \/>\n&#8211; Perfect Worlds (Recommended, 1986)<br \/>\nCHARLES W. VRTACEK &#8211; Learning to be Silent (Cuneiform, 1986)<br \/>\n&#8211; When Heaven Comes to Town (1988)<br \/>\nCHRISTIAN MARCLAY &#8211; More Encores (Recommended, 1988)<br \/>\nCHROME \u2013 Red Exposure (1980)<br \/>\nCLUSTER &#8211; Curiosum (Sky, 1981)<br \/>\nCOLIN WALCOTT, DON CHERRY, NANA VASCONCELOS &#8211; Codona (ECM, 1981)<br \/>\nCONRAD SCHNITZLER &#038; MICHAEL OTTO \u2013 Micon in Italia (1986)<br \/>\nDANIEL SCHELL &#038; KARO &#8211; If Windows they Have (Made to Measure, 1986)<br \/>\nDAVID BOWIE &#8211; Scary Monsters (and Super Creeps) (EMI, 1980)<br \/>\nDAVID BYRNE &#8211; The Complete Score from &#8220;The Catherine Wheel&#8221; (Sire, 1981)<br \/>\n&#8211; Rei Momo (Luaka Bop\/Sire, 1989)<br \/>\nDAVID GARLAND &#8211; Control Songs (Review, 1986)<br \/>\nDAVID MURRAY &#8211; The Hill (Black Saint, 1988)<br \/>\nDEBILE MENTHOL &#8211; Emile au Jardin Patrologique (Rec Rec, 1981)<br \/>\n&#8211; Battre Campagne (1984)<br \/>\nDEPECHE MODE &#8211; Construction Time again (Mute, 1983)<br \/>\nDEROME\/LUSSIER- Soyer Vigilants, Restez Vivants (1986)<br \/>\n&#8211; Le Retour des Granules (1987)<br \/>\nDEVO &#8211; New Traditionalists (1981)<br \/>\nDOCTOR NERVE &#8211; Out to Bomb Fesh Kings (Cuneiform, 1985)<br \/>\n&#8211; Armed Observations (1987)<br \/>\nDOUBLE-X-PROJECT \u2013 Fallobst (1987)<br \/>\nEDWARD KA-SPEL \u2013 Perhaps we\u2019ll only See a Thin Blue Line (1989)<br \/>\nEDWARD VESALA &#8211; Lumi (ECM, 1987)<br \/>\nEINSTUERZENDE NEUBAUTEN &#8211; Zeischnungen des Patienten OT (1983)<br \/>\n&#8211; Halber Mensch (1985)<br \/>\n&#8211; Haus der Luge (1989)<br \/>\nELLIOTT SHARP &#8211; In the Land of the Yahoos (SST, 1987)<br \/>\n&#8211; Virtual Stance (1986)<br \/>\nETRON FOU LELOUBLAN &#8211; Les Poumons Gonfles (1982)<br \/>\nFELA ANIKULAPO KUTI &#8211; Beasts of no Nation (Shanachie, 1989)<br \/>\nTHE FLYING LIZARDS: The Flying Lizards (1980)<br \/>\nFOETUS &#8211; Hole (1984)<br \/>\n&#8211; Nail (1985)<br \/>\nFRANK ZAPPA &#8211; Them or Us (Ryko, 1984)<br \/>\nFRED FRITH &#8211; Gravity (Rec Rec, 1980)<br \/>\n&#8211; Speechless (Rec Rec, 1981)<br \/>\n&#8211; Cheap at Half the Price (Rec Rec, 1983)<br \/>\n&#8211; The Technology of Tears (Rec Rec, 1988)<br \/>\nFRENCH, FRITH, KAISER &#038; THOMPSON &#8211; Live, Love, Larf and Loaf (Demon, 1988)<br \/>\nGEORGE RUSSELL &#8211; New York Big Band (Soul Note, 1982)<br \/>\nGLENN BRANCA &#8211; The Ascension (Robi Droli, 198?)<br \/>\nGLEN VELEZ &#8211; Internal Combustion (CMP, 1985)<br \/>\nGRAEME REVELL \u2013 The Insect Musicians (1986)<br \/>\nHAROLD BUDD &#8211; Lovely Thunder (Editions EG, 1986)<br \/>\nHAROLD BUDD &#038; BRIAN ENO &#8211; Ambient #2 The Plateaux of Mirror (Editions EG, 1980)<br \/>\n&#8211; The Pearl (Editions EG, 1984)<br \/>\nHARRY PEPL, HERBERT JOOS, JON CHRISTENSEN &#8211; Cracked Mirrors (ECM, 1988)<br \/>\nHAWKWIND &#8211; Levitation (Castle Communications, 1980)<br \/>\nHECTOR ZAZOU\/BONI BIKAYE\/C Y 1 &#8211; Noir et Blanc (Crammed, 1983)<br \/>\nHECTOR ZAZOU &#8211; G\u00e9ographies (Made to Measure, 1984)<br \/>\n&#8211; Reivax au Bongo (Made to Measure, 1986)<br \/>\n&#8211; G\u00e9ologies (Made to Measure, 1989)<br \/>\nHENRI TEXIER &#8211; Izlaz (Label Bleu, 1988)<br \/>\nHOLGER CZUKAY &#8211; On the Way to the Peak of Normal (EMI-Electrola, 1980)<br \/>\n&#8211; Rome Remains Rome (Virgin, 1987)<br \/>\nHOLGER HILLER &#8211; Ein B\u00fcndel Faulnis in der Grube (Mute, 1984)<br \/>\n&#8211; Oben im Eck (1986)<br \/>\nHUBERT BOGNERMAYR &#038; HARALD ZUSCHRADER &#8211; Begpredigt (Erdenklang, 1983)<br \/>\nHUMAN LEAGUE (THE) &#8211; Travelogue (Virgin, 1980)<br \/>\nIGGY POP &#8211; Zombie Birdhouse (I.R.S., 1982)<br \/>\nISTV\u00c1N M\u00c1RTA &#8211; T\u00e1mad Asz\u00e9l (The Wind Rises) (Recommended, 1987)<br \/>\nJACK DeJOHNETTE\u2019S SPECIAL EDITION- Special Edition (ECM, 1980)<br \/>\n&#8211; Tin Can Alley (ECM, 1981)<br \/>\nJEFF GREINKE &#8211; Timbral Planes (Linden, 1987)<br \/>\nJOCELYN ROBERT \u2013 Stat \u2013Live-Moniteur (1987)<br \/>\nJOHN CALE &#8211; Honi Soit (A&#038;M, 1981)<br \/>\n&#8211; Music for a New Society (FNAC, 1982)<br \/>\nJOHN SURMAN &#8211; The Amazing Adventures of Simon Simon (ECM, 1981)<br \/>\n&#8211; Such Winters of Memory (ECM, 1983)<br \/>\n&#8211; Witholding Pattern (ECM, 1985)<br \/>\n&#8211; Private City (ECM, 1988)<br \/>\nJOHN ZORN &#8211; The Big Gundown (Icon, 1986)<br \/>\n&#8211; Spillane (Elektra Nonesuch, 1987)<br \/>\nJON HASSELL &#8211; Dream Theory in Malaya (Editions EG, 1981)<br \/>\n&#8211; Aka, Darbari, Java Magic Realism (Editions EG, 1983)<br \/>\n&#8211; Power Spot (ECM, 1986)<br \/>\nJON HASSELL &#038; BRIAN ENO &#8211; Fourth World, Vol. 1 Possible Musics (Editions EG, 1980)<br \/>\nJON HASSELL\/FARAFINA &#8211; Flash of the Spirit (Intuition, 1988)<br \/>\nJORGE REYES &#8211; Ek-Tunkul (Lejos del Paraiso, 1987)<br \/>\nKAHONDO STYLE \u2013 Green Tea &#038; Crocodiles (Nato, 1987)<br \/>\nKALAHARI SURFERS &#8211; Living in the Heart of the Beast (ReR, 1985)<br \/>\nKATE BUSH &#8211; The Dreaming (EMI, 1982)<br \/>\nKLAUS SCHULZE &#8211; Audentity 2xCD (Innovative Communication, 1983)<br \/>\nKRAFTWERK &#8211; Computer World (Elektra\/Asylum, 1981)<br \/>\n&#8211; Electric Caf\u00e9 (1986)<br \/>\nLACRYMOSA &#8211; Bugbear (SE, 1984)<br \/>\nLARAAJI &#8211; Day of Radiance (Editions EG, 1980)<br \/>\nLARS HOLLMER &#8211; XII Sibiriska Cyklar (Resource, 1981)<br \/>\n&#8211; Vill du H\u00f6ra Mer (1982)<br \/>\n&#8211; Ton\u00f6ga (Resource, 1985)<br \/>\n&#8211; Fran Natt Idag (1985)<br \/>\n&#8211; Vendeltid (1987)<br \/>\nLAURIE ANDERSON &#8211; Big Science (Warner Bros., 1982)<br \/>\n&#8211; Mr. Heartbreak (Warner Bros., 1984)<br \/>\n&#8211; Home of the Brave (Warner Bros., 1986)<br \/>\n&#8211; Strange Angels (Warner Bros., 1989)<br \/>\nLEGENDARY PINK DOTS (THE) &#8211; Asylum (Play it again Sam, 1985)<br \/>\n&#8211; Any Day now (Play it again Sam, 1987)<br \/>\n&#8211; The Golden Age (Play it again Sam, 1988)<br \/>\n&#8211; The Crushed Velvet Apocalypse (Play it again Sam, 1989)<br \/>\nLIGHTS IN A FAT CITY &#8211; Somewhere (City of Tribes, 1988)<br \/>\nLOUIS SCLAVIS &#8211; Chine (IDA, 1987)<br \/>\nLOUNGE LIZARDS (THE) &#8211; The Lounge Lizards (Editions EG, 1981)<br \/>\n&#8211; Voice of Chunk (Milan, 1989)<br \/>\n&#8211; LUCIANO MARGORANI \u2013 Home Recording is Killing Studios (1988)<br \/>\nMARC HOLLANDER: Onze Danses pour Combattre la Migraine (1981)<br \/>\nMARIANNE FAITHFULL &#8211; Strange Weather (Island, 1987)<br \/>\nMARKUS STOCKAUSEN &#038; GARY PEACOCK &#8211; Cosi Lontano Quasi Dentro (ECM, 1989)<br \/>\nMARTIN REV &#8211; Martin Rev (Daft, 1980)<br \/>\n&#8211; Clouds of Glory (Mau Mau, 1985)<br \/>\nMARTY EHRLICH &#8211; The Welcome (Sound Aspects, 1984)<br \/>\nMARY COUGHLAN &#8211; Tired and Emotional (Mystery, 1987)<br \/>\n&#8211; Under the Influence (WEA, 1987)<br \/>\nMATILDE SANTING &#8211; Water under the Bridge (Megadisc, 1985)<br \/>\nMEREDITH MONK &#8211; Dolmen Music (ECM, 1981)<br \/>\n&#8211; Turtle Dreams (ECM, 1983)<br \/>\n&#8211; Do you be (ECM, 1987)<br \/>\nMICHAEL BROOK &#8211; Hybrid (Editions EG, 1985)<br \/>\nMICHAEL NYMAN &#8211; The Draughtsman\u2019s Contract (Charisma, 1982)<br \/>\nMICHAEL ROTHER &#8211; Fernw\u00fcrme (Random, 1981)<br \/>\nMICHEL PORTAL &#8211; Dejarme Solo! (Dreyfus, 1980)<br \/>\n&#8211; Turbulence (Harmonia Mundi, 1987)<br \/>\nMICHEL REDOLFI &#8211; Desert Tracks (Ina.grm, 1988)<br \/>\nMIRIODOR &#8211; Miriodor (Cuneiform, 1988)<br \/>\nMIROSLAV VITOUS &#8211; Journey\u2019s End (ECM, 1983)<br \/>\nMOEBIUS &#8211; Tonspuren (Sky, 1983)<br \/>\nMOEBIUS &#038; BEERBOHM &#8211; Double Cut (Sky, 1983)<br \/>\nMOEBIUS &#038; PLANK &#8211; Rastakraut Pasta (Sky, 1980)<br \/>\n&#8211; Material (1981)<br \/>\n&#8211; En Route (No-CD, 1986)<br \/>\nMOEBIUS, PLANK, NEUMEIER &#8211; Zero Set (Sky, 1983)<br \/>\nMONOCHROME SET (THE) &#8211; Strange Boutique (Virgin, 1980)<br \/>\n&#8211; Love Zombies (1980)<br \/>\n&#8211; Eligible Bachelors (Cherry Red, 1982)<br \/>\nMOTHER GONG &#8211; Wild Child (Spalax, 1989)<br \/>\nMOTOR TOTEMIST GUILD &#8211; Infra Dig (No Man\u2019s Land, 1984)<br \/>\n&#8211; Contact with Veils (1986)<br \/>\n&#8211; Shapuno Zoo (No Man\u2019s Land, 1988)<br \/>\nNEGATIVLAND &#8211; Negativland (Seeland, 1980)<br \/>\n&#8211; Points (Seeland, 1981)<br \/>\n&#8211; A Big 10 &#8211; 8 Place (Seeland, 1983)<br \/>\n&#8211; Escape from Noise (Seeland, 1987)<br \/>\nNEWS FROM BABEL &#8211; Work Resumed from the Tower (Re, 1984)<br \/>\n&#8211; Letters Home (1986)<br \/>\nNICK MASON &#8211; Nick Mason&#8217;s Fictitious Sports (Harvest, 1981)<br \/>\nNICO &#8211; Drama of Exile (Buda, 1981)<br \/>\nNON CREDO &#8211; Reluctant Hosts (No Man\u2019s Land, 1988)<br \/>\nNURSE WITH WOUND &#8211; The Sylvie and Babs High-Thigh Companion (United Diaries, 1985)<br \/>\n&#8211; Spiral Insana (1986)<br \/>\nOFFICER: Ossification (1984)<br \/>\nO YUKI CONJUGATE &#8211; Into Dark Water\/Undercurrents (Final Image, 1986)<br \/>\nPAOLO CONTE &#8211; Paris Milonga (RCA, 1981)<br \/>\nPASCAL COMELADE \u2013 D\u00e9tail Monochrome (1984)<br \/>\n&#8211; El Primitivismo (Les Disques du Soleil et de l\u2019Acier, 1988)<br \/>\nPAT METHENY &#038; LYLE MAYS &#8211; As Falls Wichita, so Falls Wichita Falls (ECM, 1981)<br \/>\nPAT METHENY (GROUP) &#8211; 80\/81 2xCD (ECM, 1980)<br \/>\n&#8211; Offramp (ECM, 1982)<br \/>\nPAUL MOTIAN &#8211; It Should\u2019ve Happened a Long Time ago (ECM, 1985)<br \/>\nPENGUIN CAFE ORCHESTRA &#8211; Penguin Cafe Orchestra (Editions EG, 1981)<br \/>\n&#8211; Broadcasting from Home (Editions EG, 1984)<br \/>\nPERE UBU &#8211; The Art of Walking (Cooking Vinyl, 1980)<br \/>\n&#8211; Song of the Bailing Man (Cooking Vinyl, 1982)<br \/>\n&#8211; The Tenement Year (Fontana, 1988)<br \/>\n&#8211; Cloudland (Fontana, 1989)<br \/>\nPETER BLEGVAD &#8211; The Naked Shakespeare (Virgin, 1983)<br \/>\n&#8211; Downtime (Recommended, 1988)<br \/>\nPETER HAMMILL &#8211; A Black Box (Static, 1980)<br \/>\n&#8211; Sitting Targets (Virgin, 1981)<br \/>\n&#8211; Enter K (Fie!, 1982)<br \/>\n&#8211; Patience (Fie!, 1983)<br \/>\n&#8211; Skin (Line, 1986)<br \/>\nPFS \u2013 Illustrative Problems (1986)<br \/>\nPHANTOM BAND &#8211; Nowhere (Spoon, 1983)<br \/>\nPOPULAR MECHANICS \u2013 Insect Culture (1987)<br \/>\nPOULES (LES) \u2013 Contes de l\u2019Am\u00e8re-Loi (1986)<br \/>\nPRESENT &#8211; Triskadekaphobie (Cuneiform, 1989)<br \/>\n&#8211; Le Poison qui Rend Fou (1989)<br \/>\nPROPELLER ISLAND &#8211; Hermeneutic Music (Erdenklang, 1988)<br \/>\n&#8211; The Secret Convention (Badland, 1988)<br \/>\nPYROLATOR &#8211; Wunderland (Ata Tak, 1984)<br \/>\nRABIH ABOU-KHALIL &#8211; Between Dusk and Dawn (Enja, 1987)<br \/>\nRECOIL &#8211; 1+2 (Mute, 1986)<br \/>\n&#8211; Hydrology (1988)<br \/>\nRENALDO AND THE LOAF &#8211; The Elbow is Taboo (Some Bizarre, 1987)<br \/>\nREN\u00c9 LUSSIER &#8211; Fin du Travail (Version 1) (Ambiances Magn\u00e9tiques, 1983)<br \/>\n&#8211; Le Tr\u00e9sor de la Langue (Ambiances Magn\u00e9tiques, 1989)<br \/>\nRESIDENTS (THE) &#8211; Commercial Album (Euro Ralph, 1980)<br \/>\n&#8211; Mark of the Mole (East Side Digital, 1981)<br \/>\n&#8211; The Tunes of Two Cities (East Side Digital, 1982)<br \/>\n&#8211; The Big Bubble (Black Shroud, 1985)<br \/>\nRICHARD PINHAS &#8211; L&#8217;\u00c9thique (Cuneiform, 1981)<br \/>\nRICHARD THOMPSON &#8211; Strict Tempo (Topic, 1981)<br \/>\nROBERT-MARCEL LePAGE \u2013 La Travers\u00e9e de la M\u00e9moire Morte (1987)<br \/>\nROBERTO MUSCI &#8211; The Loa of Music (Lowlands, 1984)<br \/>\nROBERTO MUSCI &#038; GIOVANNI VENOSTA &#8211; Water Messages on Desert Sand (Recommended, 1987)<br \/>\n&#8211; Urban and Tribal Portraits (1988)<br \/>\nROBERT RICH &#8211; Trances\/Drones 2xCD (Extreme, 1983)<br \/>\n&#8211; Numena (Fathom, 1987)<br \/>\nROBERT WYATT &#8211; Old Rottenhat (Rough Trade, 1985)<br \/>\nROBIN WILLIAMSON &#8211; Winter&#8217;s Turning (Plant Life, 1986)<br \/>\nROGER ENO &#8211; Voices (Editions EG, 1985)<br \/>\nR. STEVIE MOORE \u2013 Everything you always Wanted to Know&#8230; (1984)<br \/>\nSAMMLA MAMMAS MANNA &#8211; FamilyCracks (Silence, 1980)<br \/>\n&#8211; Zamlaramanna (Resource, 1982)<br \/>\nSCOTT JOHNSON &#8211; John Somebody (Icon, 1986)<br \/>\nSEVERED HEADS &#8211; Since the Accident (Nettwerk, 1983)<br \/>\n&#8211; City Slab Horror (Nettwerk, 1985)<br \/>\nSHANKAR &#8211; Who&#8217;s to Know (ECM, 1981)<br \/>\nSHELLEY HIRSCH &#038; DAVID WEINSTEIN &#8211; Haiku Lingo (Review, 1989)<br \/>\nSKELETON CREW &#8211; Learn to Talk (Rec Rec, 1984)<br \/>\n&#8211; The Country of Blinds (1986)<br \/>\nSNAKEFINGER &#8211; Greener Postures (1980)<br \/>\n&#8211; Manual of Errors (Torso, 1982)<br \/>\nSPACEBOX &#8211; Kick up (Captain Trip, 1984)<br \/>\nSPK \u2013 Zamia Lehmani (1986)<br \/>\nSTEPHAN MICUS &#8211; Wings over Water (ECM, 1982)<br \/>\n&#8211; Ocean (ECM, 1986)<br \/>\n&#8211; The Music of Stones (ECM, 1989)<br \/>\nSTEVE BERESFORD, DAVID TOOP, JOHN ZORN, TONIE MARSHALL &#8211; Deadly Weapons (NATO, 1986)<br \/>\nSTEVE FISK- 448 Deathless Days (SST, 1987)<br \/>\nSTEVE MOORE \u2013 A Quiet Gathering (1988)<br \/>\nSTEVE REICH &#8211; Sextet\/Six Marimbas (Elektra Nonesuch, 1986)<br \/>\nSTEVE ROACH &#8211; Dreamtime Return 2xCD (Fortuna, 1988)<br \/>\nSTEVE ROACH &#038; KEVIN BRAHENY &#8211; Western Spaces (Fortuna, 1987)<br \/>\n&#8211; Desert Solitaire (Fortuna, 1989)<br \/>\nSTEVE TIBBETTS &#8211; Yr (ECM, 1980)<br \/>\nSUSSAN DEIHIM &#038; RICHARD HOROWITZ &#8211; Desert Equations: Azax Attra (Made to Measure, 1986)<br \/>\nSUZANNE VEGA &#8211; Solitude Standing (A&#038;M, 1987)<br \/>\nTALKING HEADS &#8211; Remain in Light (Sire, 1980)<br \/>\nTEARDROP EXPLODES (THE) &#8211; Wilder (Mercury, 1981)<br \/>\nTERJE RYPDAL &#8211; Blue (ECM, 1987)<br \/>\nTEST DEPT \u2013 Beating the Retreat (1984)<br \/>\n&#8211; The Unnaceptable Face of Freedom (1986)<br \/>\nTHINKING PLAGUE &#8211; \u2026A Thinking Plague (Cuneiform, 1984)<br \/>\n&#8211; Moonsongs (1986)<br \/>\n&#8211; In this Life (Recommended, 1989)<br \/>\nTHIS HEAT \u2013 Deceit (1981)<br \/>\nTHOMAS DINGER &#8211; F\u00fcr Mich (Captain Trip, 1982)<br \/>\nTOM RECCHION &#8211; Chaotica (Birdman, 1986)<br \/>\nTOM WAITS &#8211; Heartattack and Vine (Elektra, 1980)<br \/>\n&#8211; Swordfishtrombones (Island, 1983)<br \/>\n&#8211; Rain Dogs (Island, 1985)<br \/>\n&#8211; Frank&#8217;s Wild Years (Island, 1987)<br \/>\nTUXEDOMOON &#8211; Half-Mute (Cramboy, 1980)<br \/>\n&#8211; Desire (Cramboy, 1981)<br \/>\n&#8211; Suite en Sous-Sol (Cramboy, 1982)<br \/>\nUNDERTONES (THE) &#8211; Hypnotised (Dojo, 1980)<br \/>\nUNIVERS ZERO &#8211; Ceux du Dehors (Cuneiform, 1980)<br \/>\n&#8211; Heatwave (Cuneiform, 1987)<br \/>\n&#8211; Uzed (Cuneiform, 1988)<br \/>\nURBAN SAX &#8211; Fraction sur le Temps (EPM, 1985)<br \/>\n5 UU&#8217;S &#8211; Bel Marduk &#038; Tiamat (Cuneiform, 1984)<br \/>\n&#8211; Elements (1988)<br \/>\nVANGELIS &#8211; Invisible Connections (Deutsche Grammophon, 1985)<br \/>\nVIRGINIA ASTLEY &#8211; From Gardens where we Feel Secure (Happy Valley, 1983)<br \/>\nVLADIMIR ESTRAGON &#8211; Three Quarks for Muster Mark (Tip Toe, 1989)<br \/>\nVOG\u00cbL EUROPAS (DIE) &#8211; Best Before: (Creative Works, 1989)<br \/>\nWEATHER REPORT &#8211; Night Passage (Columbia, 1980)<br \/>\nWHA HA HA \u2013 Wha Ha Ha (1983)<br \/>\nWHEN \u2013 Death in the Blue Lake (1988)<br \/>\nWIM MERTENS\/SOFT VERDICT &#8211; Vergessen (Les Disques du Cr\u00e9puscule, 1982)<br \/>\n&#8211; For Amusement only (Les Disques du Cr\u00e9puscule, 1983)<br \/>\n&#8211; Struggle for Pleasure (Les Disques du Cr\u00e9puscule, 1983)<br \/>\n&#8211; Maximizing the Audience (Les Disques du Cr\u00e9puscule, 1984)<br \/>\nWONDEUR BRASS \u2013 Ravir (1985)<br \/>\nWORLDS OF LOVE (THE) &#8211; The Worlds of Love (Review, 1989)<br \/>\nX T C &#8211; Black Sea (Toshiba-Virgin, 1980)<br \/>\n&#8211; English Settlement (Toshiba-Virgin, 1982)<br \/>\n&#8211; Mummer (Toshiba-Virgin, 1983)<br \/>\n&#8211; Skylarking (Toshiba-Virgin, 1986)<br \/>\nYELLO &#8211; Claro que Si (Mercury, 1981)<br \/>\n&#8211; You Gotta Say Yes to another Excess (Mercury, 1983)<br \/>\nZERO POP &#8211; All the Big Mystics (Rec Rec, 1988)<br \/>\nZOVIET FRANCE \u2013 Gris (1985)<\/p>\n<p>Nas duas listas publicadas nas edi\u00e7\u00f5es do BLITZ de 16 e 23\/1\/90 (respectivamente \u201cO Balan\u00e7o Final\u201d e \u201cO Balan\u00e7o Inst\u00e1vel) constam ainda \u00e1lbuns dos seguintes artistas:<\/p>\n<p>ALAN STIVELL, HEAVEN 17, KING CRIMSON, SOFT CELL, ANDY SUMMERS\/ROBERT FRIPP, FAD GADGET, PETER GABRIEL, TERRY RILEY, D.A.F., GOLDEN PALOMINOS, MNEMONISTS, AL\u00c9SIA COSMOS, THE ART BARBEQUE, LAIBACH, PETER PRINCIPLE, REGULAR MUSIC, DAVID LINTON, GODARD FANS, BRUCE GILBERT, THE CAMBERWELL NOW, COLLECTIV NOX, MASAHIDE SAKUMA, NEO MUSEUM, ORTHOTONICS, SEMANTICS, THE THE, TOM VAN DER GELD, ARTHUR RUSSELL, SLAGERIJ VAN KAMPEN, STARTLED INSECTS, TEARGARDEN, WAYNE HORVITZ, BOURBONESE QUALK, JAZZ PASSENGERS, MARK STEWART, NIMAL, PHILIP PERKINS, STEVEN BROWN, YASUAKI SHIMIZU, BEM NEILL, BOBBY PREVITE, COIL, DAVID BORDEN\/MOTHER MALLARD, DAVID FULTON, DELERIUM, MIKEL ROUSE BROKEN CONSORT, HEINER GOEBBELS\/HEINER MULLER, JOCKE SODERQVIST, LAST EXIT, THE PRESIDENT, ULUDAG, AGNES BUEN GARNAS\/JAN GARBAREK, BARRY ADAMSON, INVADERS OF THE HEART, PHILIP GLASS, ROBERT MERDZO, SEIGEN ONO e STAN RIDGWAY.<\/p>\n<p>Um dos discos mencionados, por lapso, no BLITZ \u00e9 \u201cBarricade 3\u201d DOS ZNR. O \u00e1lbum \u00e9 de 1977.<\/p>\n<p>FM<br \/>\n<!--[if !supportEmptyParas]--> <!--[endif]--><br \/>\nO balan\u00e7o inst\u00e1vel<\/p>\n<p>Cabe-me a mim, finalmente, fazer o balan\u00e7o dos melhores discos da d\u00e9cada (Esta semana a lista dos quinze melhores dos anos de 1980 a 1984. A outra metade fica para a semana). Decerto reparar\u00e3o que desta lista constam muitos nomes estranhos e desconhecidos. A culpa n\u00e3o \u00e9 minha. Procurem-nos e talvez cheguem \u00e0 conclus\u00e3o que nem sempre a melhor m\u00fasica \u00e9 a mais badalada. Para n\u00e3o dizerem que invento, informo que todos os discos mencionados fazem parte da minha colec\u00e7\u00e3o particular. E agora podem come\u00e7ar a copiar e a lamentar o tempo perdido&#8230;<\/p>\n<p>1980<\/p>\n<p>Alan Stivell: \u201cSymphonie Celtique &#8211; Tir Na Nog\u201d (todas as m\u00fasicas e tradi\u00e7\u00f5es do mundo convergindo na Bretanha).<br \/>\nCabaret Voltaire: \u201cThe Voice Of America\u201d (quando ainda eram amea\u00e7adores).<br \/>\nCaptain Beefheart &#038; His Magic Band: \u201cDoc At The Radar Station\u201d (o esquizofr\u00e9nico genial de \u201cTrout Mask Replica\u201d).<br \/>\nChrome: \u201cRed Exposure\u201d (Americanos precursores de tudo o que \u00e9 industrial).<br \/>\nFlying Lizards: \u201cThe Flying Lizards\u201d (David Cunningham e a vanguarda como grande par\u00f3dia).<br \/>\nFred Frith: \u201cGravity\u201d (Frith \u00e9 um universo inteiro \u00e0 parte).<br \/>\nHarold Budd\/Brian Eno: \u201cAmbient 2 The Plateaux Of Mirror\u201d (o mundo cristalino).<br \/>\nJon Hassell\/Brian Eno: \u201cFourth World, Vol 1, Possible Musics\u201d (a selva electr\u00f3nica).<br \/>\nMonochrome Set: \u201cStrange Boutique\u201d (dandies dos eternos 60s. Tommy, can you hear me?).<br \/>\nNegativland: \u201cNegativland\u201d (a Am\u00e9rica do avesso pelos mestres da colagem).<br \/>\nPere Ubu: \u201cThe Art Of Walking\u201d (o rock \u00e0 beira do abismo, sem cair).<br \/>\nPeter Hammill: \u201cA Black Box\u201d (o \u00faltimo voo a grande altura do eterno rom\u00e2ntico).<br \/>\nTalking Heads: \u201cRemain In Light\u201d (com Eno desta vez luxuriante).<br \/>\nTuxedomoon: \u201cHalf-Mute\u201d (os americanos mais europeus do mundo).<br \/>\nUnivers Zero: \u201cCeux Du Dehors\u201d (a nova m\u00fasica da c\u00e2mara europeia passa por estes belgas apreciadores de Lovecraft).<\/p>\n<p>1981<\/p>\n<p>Art Bears: \u201cThe World As It Is Today\u201d (Fred Frith, Chris Cutler e Dagmar Krause anunciando o fim do mundo).<br \/>\nBrian Eno\/David Byrne: \u201cMy Life In The Bush Of Ghosts\u201d (sim, j\u00e1 se sabe, o primeiro a faz\u00ea-lo foi Holger Czukay, mas eles n\u00e3o se importam).<br \/>\nCarla Bley: \u201cSocial Studies\u201d (a sociologia da fanfarra pela senhora sempre bem acompanhada).<br \/>\nHeaven 17: \u201cPenthouse &#038; Pavement\u201d (os derradeiros estertores da Pop electr\u00f3nica inteligente).<br \/>\nKing Crimson: \u201cDiscipline\u201d (Robert Fripp e as t\u00e9cnicas m\u00e1gicas da J.G. Bennett).<br \/>\nKraftwerk: \u201cComputer World\u201d (o melhor disco do s\u00e9c. XXI).<br \/>\nMarc Hollander: \u201cOnze Danses Pour Combattre La Migraine\u201d (o homem dos Aksak Maboul e o \u201cvaudeville\u201d minimalista).<br \/>\nMeredith Monk: \u201cDolmen Music\u201d (o nascimento da voz humana).<br \/>\nNick Mason\/Carla Brey: \u201cFictitious Sports\u201d (Carla, outra vez, brincando ao Rock. Tomara este que houvesse mais brincadeiras assim. Mason \u00e9 s\u00f3 um pretexto).<br \/>\nPenguin Cafe Orchestra: \u201cPenguin Cafe Orchestra\u201d (a caixinha da m\u00fasica onde cabe tudo).<br \/>\nResidents: \u201cMark Of The Mole\u201d (os Beatles dos anos 80? Dos 90? Mas quem s\u00e3o eles afinal?)<br \/>\nSoft Cell: \u201cNon-Stop Erotic Cabaret\u201d (desculpam l\u00e1, mas muito antes de Momus j\u00e1 Marc Almond estava a agitar todos os fantasmas).<br \/>\nThis Heat: \u201cDeceit\u201d (o som do holocausto).<br \/>\nTuxedomoon: \u201cDesire\u201d (aqui j\u00e1 eram definitivamente europeus. At\u00e9 perderam a pron\u00fancia).<br \/>\nZNR: \u201cBarricades 3\u201d (Satie por Zazou ou vice-versa?).<\/p>\n<p>1982<\/p>\n<p>Andy Summers\/Robert Fripp: \u201cI Advance Masked\u201d (Frippertronics mais Police pelos mestres da guitarra).<br \/>\nAnnette Peacock: \u201cSky-Skating\u201d (a voz mais sensual em cetim aveludado).<br \/>\nD.A.F.: \u201cFur Immer\u201d(um, dois, esquerdo, direito).<br \/>\nEtron Fou Leloublan: \u201cLes Poumons Gonfl\u00e9s\u201d (Captain Beefheart + Henry Cow em tons parisienses).<br \/>\nFad Gadget: \u201cUnder The Sky\u201d (Frank Tovey \u00e9 uma esp\u00e9cie de Matt Johnson, s\u00f3 que ainda mais doentio).<br \/>\nJohn Cale: \u201cMusic For A New Society\u201d (a sociedade ainda n\u00e3o \u00e9 suficientemente nova. Ainda bem).<br \/>\nKate Bush: \u201cThe Dreaming\u201d (deixem a menina sonhar).<br \/>\nLaurie Anderson: \u201cBig Science\u201d (deixem a senhora falar).<br \/>\nMichel Nyman: \u201cThe Draughtsman&#8217;s Contract\u201d (m\u00fasicas das imagens do labirinto das imagens da m\u00fasica).<br \/>\nMonochrome Set: \u201cEligible Bachelors\u201d (ainda e sempre o ch\u00e1 das cinco).<br \/>\nPeter Gabriel: \u201cPeter Gabriel IV\u201d (\u00e9 o quarto, \u00e9 o melhor e n\u00e3o embirrem mais com o homem).<br \/>\nResidents: \u201cThe Tunes Of Two Cities\u201d (segunda parte da luta entre toupeiras e Hrtwxlks).<br \/>\nSnakefinger: \u201cManual Of Errors\u201d (costumava tocar guitarra com os senhores acima. Seria um novo Zappa se n\u00e3o tivesse entretanto morrido).<br \/>\nSoft Veredict: \u201cVergessen\u201d (Win Mertens antes de se tornar Merdens \u2013 obrigado Jorge).<br \/>\nTerry Riley: \u201cDescending Moonshire Dervishes\u201d (Riley antes de se tornar profeta).<\/p>\n<p>1983<\/p>\n<p>Art Zoyd: \u201cLes Espaces Inquiets\u201d (franceses. M\u00fasica total. S\u00f3 gravaram obras-primas).<br \/>\nBenjamin Lew\/Steven Brown: \u201cDouzi\u00e8me Journ\u00e9e: Le Verbe, La Parure, L&#8217;Amour\u201d (Precursores da Made To Measure. N\u00e3o sei porqu\u00ea lembram-me Duras).<br \/>\nEinst\u00fcrzende Neubauten: \u201cZeischnungen Des Patienten O.T.\u201d (queriam destruir a m\u00fasica e quase o conseguiram).<br \/>\nFred Frith: \u201cCheap At Half The Price\u201d (outra vez, agora em can\u00e7\u00f5es Pop. O qu\u00ea?).<br \/>\nGolden Palominos: \u201cThe Golden Palominos\u201d (primeira grande confer\u00eancia nova-iorquina. Est\u00e3o l\u00e1 todos. Fier, Lindsay, Laswell, Zorn, Frith tamb\u00e9m, claro).<br \/>\nMoebius, Plank, Neumeier: \u201cZero Set\u201d (alem\u00e3es, electr\u00f3nicos e \u00e0 procura de \u00c1frica).<br \/>\nPeter Blegvad: \u201cThe Naked Shakespeare\u201d (o exc\u00eantrico dos Slapp Happy em can\u00e7\u00f5es ainda mais exc\u00eantricas).<br \/>\nPhantom Band: \u201cNowhere\u201d (o percussionista Jaki Liebzeit continuando brilhantemente o esp\u00edrito dos Can).<br \/>\nRen\u00e9 Lussier: \u201cFin Du Travail\u201d (o Fred Frith canadiano).<br \/>\nSevered Heads: \u201cSince The Accident\u201d (os Throbbing Gristle australianos, mas com humor).<br \/>\nTom Waits: \u201cSwordfishtrombones\u201d (a Lua na sarjeta).<br \/>\nViginia Astley: \u201cFrom Gardens Where We Feel Secure\u201d (onde ficam esses jardins? Sil\u00eancio).<br \/>\nWha Ha Ha: \u201cWha Ha Ha\u201d (s\u00e3o japoneses. O Free-Jazz pode ser melodioso e dan\u00e7\u00e1vel).<br \/>\nYello: \u201cYou Gotta Say Yes To Another Excess\u201d (Dieter Meier \u00e9 sui\u00e7o, gosta da Europa dos casinos e de computadores).<br \/>\nZazou\/Bikaye: \u201cNoir Et Blanc\u201d (Europ\u00e1frica em ritmo da dan\u00e7a).<\/p>\n<p>1984<\/p>\n<p>After Dinner: \u201cAfter Dinner\u201d (mais japoneses. M\u00fasica de bonecas e cristais).<br \/>\nAndre Duchesnes: \u201cLe Temps Des Bombes\u201d (as can\u00e7\u00f5es de Andre \u00e9 que caem como bombas).<br \/>\nBrian Eno\/Harold Budd: \u201cThe Pearl\u201d (at\u00e9 onde \u00e9 aud\u00edvel o sil\u00eancio?).<br \/>\nD\u00e9bile Menthol: \u201cBattre Champagne\u201d (a boa velha m\u00fasica progressiva continua viva e de boa sa\u00fade).<br \/>\nFoetus: \u201cHole\u201d (gritos. Sofrimento. Auto-tortura).<br \/>\nFrank Zappa: \u201cThem Or Us\u201d (sempre genial. Continua a fazer rir).<br \/>\nHector Zazou: \u201cReivax Au Bongo\u201d (Zazou e Bikaye reicidentes, agora mais surrealistas).<br \/>\nHolger Czukay: \u201cDer Osten Ist Rot\u201d (o homem dos Can que fez tudo antes de Brian Eno e p\u00f4s o papa a cantar Blues).<br \/>\nHolger Miller: \u201cEin Bundel Faulnis In Der Grube\u201d (o mestre absoluto do sampler. Reinventou a m\u00fasica. N\u00e3o me voltem a falar nos De La Soul).<br \/>\nMnemonists: \u201cHorde\u201d (o ru\u00eddo da deformidade).<br \/>\nOfficer!: \u201cOssification\u201d (m\u00fasica medieval na \u00f3ptica de um bando de malucos).<br \/>\nPascal Comelade: \u201cD\u00e9tail Monochrome\u201d (m\u00fasica ambiental no quarto dos brinquedos).<br \/>\nPenguin Cafe Orchestra: \u201cBroadcasting From Home\u201d (basta sintonizar).<br \/>\nR. Stevie Moore: \u201cEverything You Always Wanted To Know About R. Stevie Moore But Were Afraid To Ask\u201d (ufa! Tem gravadas mais de cem cassetes. Inclassific\u00e1vel. Como \u00e9 poss\u00edvel ser Pop, experimentalista, doido varrido, s\u00e9rio, etc., etc., etc.?).<br \/>\nTest Department: \u201cBeating The Retreat\u201d (metal on metal).<\/p>\n<p>Fernando Magalh\u00e3es<br \/>\nBlitz<br \/>\n16\/01\/90<br \/>\n<!--[if !supportEmptyParas]--> <!--[endif]--><br \/>\nO balan\u00e7o final<\/p>\n<p>Depois dos primeiros cinco anos conclui-se nestes \u201cvalores\u201d o balan\u00e7o final dos melhores da d\u00e9cada. A partir de 85 houve ainda mais discos a merecerem toda a nossa aten\u00e7\u00e3o e aplauso. Poucos os ter\u00e3o notado. N\u00e3o faz mal, eles (os discos) continuam \u00e0 espera de quem os souber merecer. Muitos dos nomes citados permanecem num injusto quase anonimato. Mas s\u00e3o eles que fizeram e fazem o melhor da hist\u00f3ria da m\u00fasica dita popular.<\/p>\n<p>Novamente por ordem alfab\u00e9tica, eis a rela\u00e7\u00e3o dos vinte melhores para cada ano:<\/p>\n<p>1985<\/p>\n<p>Al\u00e9sia Cosmos: \u201cAeroproducts\u201d (Pop minimalista franc\u00eas).<br \/>\nAndrew Poppy: \u201cThe Beating Of Wings\u201d (minimalismo outra vez, desta vez do s\u00e9rio. Mais electr\u00f3nico do que a concorr\u00eancia).<br \/>\nArt Barbeque: \u201cFeet Hacked Rails\u201d (m\u00fasica industrial para sado-masoquistas).<br \/>\nBenjamin Lew &#038; Steven Brown: \u201c\u00c0 Propos D&#8217;un Paysage\u201d (paisagens ambientais em aguarela, cheias de pormenores).<br \/>\nBiota: \u201cVagabones &#038; Rockabones\u201d (comp\u00eandio definitivo da arte do ru\u00eddo).<br \/>\nEinst\u00fcrzende Neubauten: \u201cHalber Mensch\u201d (os martelos-pil\u00f5es finalmente domesticados).<br \/>\nFoetus: \u201cNail\u201d (viagem guiada ao Inferno).<br \/>\nKalahari Surfers: \u201cLiving In The Heart Of The Beast\u201d (sul-africanos vanguardistas e intervencionistas).<br \/>\nLaibach: \u201cNova Akropola\u201d (neo-nazis ou brincalh\u00f5es? Wagner, se fosse vivo, aprovaria).<br \/>\nLegendary Pink Dots: \u201cAsylum\u201d (hippies disfar\u00e7ados, cl\u00e1ssicos, bizarros, transtornados).<br \/>\nMathilde Santing: \u201cWater Under The Bridge\u201d (pura magia. Nunca mais fez nada igual).<br \/>\nMichael Nyman: \u201cA Zed &#038; Two Naughts\u201d (novos labirintos para a fita de Greenway).<br \/>\nNico &#038; The Fashion: \u201cCamera Obscura\u201d (requiem final pela senhora de negro).<br \/>\nNurse With Wound: \u201cThe Sylvie &#038; Babs High-Thigh Companion\u201d (Stephen Stapleton \u00e9 louco e gosta de misturar todos os sons, todas as m\u00fasicas, todas as manias. Stephen \u00e9 um g\u00e9nio, s\u00f3 que doutro lado do mundo).<br \/>\nPeter Principle: \u201cSedimental Journey\u201d (o lado mais experimental dos Tuxedomoon).<br \/>\nRegular Music: \u201cRegular Music\u201d (repetitivos e barrocos. Disc\u00edpulos de Nyman com Charles Hayward ao comando).<br \/>\nSevered Heads: \u201cClifford Darling, Please Don&#8217;t Live In The Past\u201d (obra mestra dos terroristas australianos. O terror pode ser engra\u00e7ado).<br \/>\nUrban Sax: \u201cFraction Sur Les Temps\u201d (os saxofones do Apocalipse).<br \/>\nWondeur Brass: \u201cRavir\u201d (tr\u00eas senhoras canadianas que aprenderam muito com Carla Bley).<br \/>\nZoviet France: \u201cGris\u201d (o cimento \u00e9 musical? Resposta: Neste caso \u00e9). <\/p>\n<p>1986<\/p>\n<p>Cassiber: \u201cPerfect Worlds\u201d (Free Jazz + Beethoven + ru\u00eddo, por Heiner Groebbels e Chris Cutler).<br \/>\nConrad Schnitzler &#038; Michael Otto: \u201cMicon In Italia\u201d (fus\u00e3o entre a electr\u00f3nica e instrumentos de orquestra).<br \/>\nDaniel Schell &#038; Karo: \u201cIf Windows They Have\u201d (expoente m\u00e1ximo da nova m\u00fasica de c\u00e2mara europeia).<br \/>\nDavid Garland: \u201cControl Songs\u201d (can\u00e7\u00f5es, sampling exaustivo, acorde\u00e3o, voz de \u201ccrooner\u201d, Zorn, C. Marclay e G. Klucevsek como convidados. Chega?).<br \/>\nDavid Linton: \u201cOrchesography\u201d (as t\u00e1cticas de Elliot Sharp aplicadas \u00e0 electr\u00f3nica).<br \/>\nElliot Sharp: \u201cVirtual Stance\u201d (as t\u00e1cticas dele pr\u00f3prio aplicadas ao computador).<br \/>\nGodard Fans: \u201cGodard, \u00c7a Vous Chante?\u201d (homenagem ao cineasta com interpreta\u00e7\u00f5es brilhantes de Zorn, Lindsay, Clint Ruin (Foetus) e Amati Ensemble, entre outras).<br \/>\nGraeme Revell: \u201cThe Insect Musicians\u201d (inteiramente realizado com samples e sons dos ditos, pelo mentor dos SPK. Brilhante).<br \/>\nHolger Hiller: \u201cOben Im Eck\u201d (Opus 2 da b\u00edblia do \u201csampling\u201d).<br \/>\nJohn Zorn: \u201cThe Big Gundown\u201d (obra-prima absoluta pelo mestre da rapidez. Tudo encaixa no lugar certo, como nos desenhos animados. S\u00f3 para ouvidos ultra-\u00e1geis).<br \/>\nKraftwerk: \u201cElectric Cafe\u201d (disco t\u00edpico do s\u00e9c. XXII).<br \/>\nLaurie Anderson: \u201cHome Of The Brave\u201d (Laurie antes do grande pecado).<br \/>\nNurse With Wound: \u201cSpiral Insana\u201d (mais contemplativo e perturbante que Sylvie).<br \/>\nO Yuri Conjugate: \u201cInto Dark Water\u201d (Electr\u00f3nicos e sombrios. Jon Hassell teve um pesadelo).<br \/>\nPoules (Les): \u201cContes de L&#8217;Am\u00e8re-Loi\u201d (as mesmas senhoras dos Wondeur Brass brincando aos computadores).<br \/>\nSPK: \u201cZamia Lehmani (Songs Of Byzantine Flowers)\u201d (a m\u00fasica religiosa dos disc\u00edpulos das trevas).<br \/>\nSteve Beresford, David Toop, John Zorn, Tonie Marshall: \u201cDeadly Weapons\u201d (quatro exc\u00eantricos unidos na produ\u00e7\u00e3o de um filme imagin\u00e1rio superinspirado. Ponto de fuga das mais recentes tend\u00eancias do Jazz (?) actual).<br \/>\nSteve Reich: \u201cSextet\/Six Marimbas\u201d (cristal minimal).<br \/>\nSussan Deihim &#038; Richard Horowitz: \u201cDesert Equations: Azax Attra\u201d (as vozes do deserto encontram os sintetizadores).<br \/>\nTest Department: \u201cThe Unacceptable Face Of Freedom\u201d (o ocidente infernal).<br \/>\ne ainda: Bruce Gilbert: \u201cThe Shivering Man\u201d; Camberwell Now: \u201cThe Ghost Trade\u201d; Collectif Nox: \u201cSessions 84\/86\u201d; Derome\/Lussier: \u201cSoyez Vigilants, Restez Vivants\u201d; Harold Budd: \u201cLovely-Dusks\u201d; Jon Hassell: \u201cPower Spot\u201d; Masahide Sakuma: \u201cLisa\u201d; Neo Museum: \u201cNouvelles Ethnologies de L&#8217;Obscure Museum\u201d; Orthotonics: \u201cLuminous Bipeds\u201d; Peter Hammill: \u201cSkin\u201d; PFS: \u201cIllustrative Problems\u201d; Semantics: \u201cRothenberg, Sharp, Bennett\u201d; Skeleton Crew: \u201cThe Country Of Blinds\u201d; Recoil: \u201c1+2\u201d; The The: \u201cInfected\u201d; Tom Van Der Geld: \u201cSmall Mountain\u201d.<\/p>\n<p>1987<\/p>\n<p>Arthur Russell: \u201cWorld Of Echo\u201d (com pouco se faz muito, uito, uito&#8230;).<br \/>\nArt Zoyd: \u201cBerlin\u201d(o disco da d\u00e9cada. A s\u00edntese perfeita. Encontro da Tradi\u00e7\u00e3o com o Futuro num disco perfeito).<br \/>\nDerome\/Lussier: \u201cLe Retour Des Granules\u201d (nova colabora\u00e7\u00e3o entre os sopros de Derome e a guitarra Frithiana de Lussier).<br \/>\nDouble-X-Project: \u201cFallobst\u201d (grupo alem\u00e3o feminino de Jazz electr\u00f3nico minimalista ou l\u00e1 o que isso \u00e9).<br \/>\nElliot Sharp: \u201cIn The Land Of The Yahoos\u201d (Sharp goes Electropop? Quase!&#8230; O seu disco mais acess\u00edvel, com a voz de Sussan Deihim).<br \/>\nJocelyn Robert: \u201cStat-Live-Moniteur\u201d (colagens. Ru\u00eddo. Ambiental. \u00c9tnico. Electr\u00f3nico. Lembram-se dos Faust?).<br \/>\nJohn Zorn: \u201cSpillane\u201d (banda sonora de filme negro a 78 rota\u00e7\u00f5es).<br \/>\nLounge Lizards: \u201cNo Pain For Cakes\u201d (John Lurie volta a atacar o Jazz com unhas e dentes. Os puristas n\u00e3o gostam).<br \/>\nNegativland: \u201cEscape From Noise\u201d (os rapazes da Contracosta americana voltam a baralhar tudo de novo. Paran\u00f3ico, diferente, divertido).<br \/>\nPopular Mechanics: \u201cInsect Culture\u201d (a vanguarda sovi\u00e9tica nos desvarios de Sergei Kuriokhin, ainda n\u00e3o se falava da Perestroika).<br \/>\nRenaldo &#038; The Loaf: \u201cThe Elbow Is Taboo\u201d (disc\u00edpulos dos Residents, como estes divertidos e esquisitos).<br \/>\nRobert LePage: \u201cLa Travers\u00e9e de La M\u00e9moire Morte\u201d (sintetizadores anal\u00f3gicos, manipula\u00e7\u00e3o de fitas \u00e0 antiga, sopros ora swingante ora fragmentados. Excelente e genuinamente original).<br \/>\nRobert Musci &#038; Giovanni Venosta: \u201cWater Music On Desert Sand\u201d (as m\u00fasica de todos os mundos. A s\u00edntese de todas as tradi\u00e7\u00f5es. A mistura de todos os sons. Genial).<br \/>\nScott Johnson: \u201cJohn Somebody\u201d (guitarra e colagens sem tesoura. Filho do casamento entre Steve Reich e Laurie Anderson antes do pecado).<br \/>\nSlagerij Van Kampen: \u201cOut Of The Doldrums\u201d (inteiramente realizado com samples de percuss\u00e3o).<br \/>\nStartled Insects: \u201cCurse Of The Pheromones\u201d (Funky para mentes muito, muito distorcidas).<br \/>\nSteve Fish: \u201c448 Deathless Days\u201d (entre Zappa e os Negativland).<br \/>\nTeargarden: \u201cTired Eyes Slowly Burning\u201d (projecto de E. Ka-Spel dos L.P. Dots e Cevin Key, dos Skinny Puppy).<br \/>\nWondeur Brass: \u201cSimoneda, Reine des Esclaves\u201d (das Canadianas apreciadoras de Jazz e \u201cChanson Fran\u00e7aise\u201d).<br \/>\nWayne Horovitz: \u201cThis New Generation\u201d (costuma toca com Zorn mas este disco n\u00e3o tem nada a ver. Pop-Jazz, talvez?&#8230;).<br \/>\ne ainda: Andrew Poppy: \u201cAlphabed (A Mystery Dance)\u201d; Bourbonese Qualk: \u201cBourbonese Qualk\u201d; French, Frith, Kaiser &#038; Thompson: \u201cLive, Love, Larf &#038; Loaf\u201d; Jazz Passengers: \u201cBroken Night\/Red Light\u201d; Kahondo Style: \u201cGreen Tea &#038; Crocodiles\u201d; Legendary Pink Dots: \u201cAny Day Now\u201d; Mark Stewart: \u201cMark Stewart\u201d; Meredith Monk: \u201cDo You Be\u201d; Nimal: \u201cNimal\u201d; Philip Perkins: \u201cHall Of Flowers\/The Flame Of Ambition\u201d; Steven Brown: \u201cSearching For Contact\u201d: Yasuaki Shimizu: \u201cMusic For Commercials\u201d.<\/p>\n<p>1988<\/p>\n<p>Ben Neill: \u201cMainspring\u201d (trompete traficado em fundo minimalista).<br \/>\nBobby Previte: \u201cClaude&#8217;s Late Morning\u201d (mais um m\u00fasico ligado a Elliot Sharp, desta vez o percussionista).<br \/>\nCoil: \u201cGold Is The Metal\u201d (as magias invertidas em tons classizantes).<br \/>\nDavid Borden\/Mother Mallard: \u201cMigration\u201d (um dos nomes fundamentais da nova escola minimalista americana).<br \/>\nDavid Fulton: \u201cMarcos &#038; Harry, pt 3 \u2013 Semi Triology\u201d (serrotes e computadores no novo tribalismo el\u00e9ctrico).<br \/>\nDelerium: \u201cFaces, Forms &#038; Illusions\u201d (arabizantes, ambientais e amea\u00e7adores).<br \/>\nElliot Sharp: \u201cLarynx\u201d (Nova Iorque hist\u00e9rica).<br \/>\nFred Frith: \u201cThe Technology Of Tears\u201d (a tecnologia da complexidade).<br \/>\nJon Hassell\/Farafina: \u201cFlash Of The Spirit\u201d (a m\u00fasica do Burkina Faso accionada por bot\u00f5es e enfeitada com trompete).<br \/>\nLights In A Fat City: \u201cSomewhere\u201d (didgeridoo digital em m\u00fasica para arbor\u00edgenas sofisticados).<br \/>\nMikel Rouse Broken Consort: \u201cA Lincoln Portrait\u201d (outro dos nomes importantes do minimalismo americano).<br \/>\nMotor Totemist Guild: \u201cShapuno Zoo\u201d (rebuscados, perfeccionistas, tocam tudo e mais alguma coisa. Inclassific\u00e1veis).<br \/>\nNon Credo: \u201cReluctant Hosts (os medos infantis. O pap\u00e3o. Estes alem\u00e3es parecem inocentes mas tocam-nos o c\u00e9rebro como se f\u00f4ssemos bonecos).<br \/>\nPere Ubu: \u201cThe Tenement Years\u201d (regresso em forma do gordo mais simp\u00e1tico do mundo em novos exerc\u00edcios de contorcionismo vocal).<br \/>\nRecoil: \u201cHidrology\u201d (Kraftwerk, vers\u00e3o esot\u00e9rica).<br \/>\nRobert Musci &#038; Giovanni Venosta: \u201cUrban &#038; Tribal Portraits (o t\u00edtulo diz tudo).<br \/>\nSteve Moore: \u201cA Quiet Gathering\u201d (o mist\u00e9rio das catedrais. Um dos lados \u00e9 apelidado de \u201cM\u00fasica de c\u00e2mara para sons ambientais\u201d).<br \/>\nTest Department: \u201cTerra Firma\u201d (depois do metal a Terra, os c\u00e2nticos guerreiros e a gaita-de-foles).<br \/>\nWhen: \u201cDeath In The Blue Lake\u201d (o l\u00edder dos Holy Toy inspira-se na obra do seu compatriota, o escritor Henrik Ibsen, agarra em samples do \u201cTrist\u00e3o e Isolda\u201d de Wagner e constr\u00f3i um disco estranh\u00edssimo e grandioso).<br \/>\ne ainda: Heiner Goebbels &#038; Heiner Muller: \u201cDer Mann Im Fahrstuhl\u201d; Jazz Passengers: \u201cDeranged &#038; Decomposed\u201d; Jocke Soderqvist: \u201cPerma Blue\u201d; Last Exit: \u201cIron Path\u201d; Luciano Margorani: \u201cHome Recording Is Killing Studios\u201d; John Surman: \u201cPrivate City\u201d; Peter Blegvad: \u201cDowntime\u201d; President: \u201cBring Yr Camera\u201d: Uludag: \u201cMau Mau\u201d; 5Uu&#8217;s: \u201cElements\u201d.<\/p>\n<p>1989<\/p>\n<p>Agnes Buen Garnas\/Jan Garbarek: \u201cRosensfole\u201d (a voz celestial de Agnes leva-nos direitinho ao C\u00e9u).<br \/>\nBarry Adamson: \u201cMoss Side Story\u201d (o ex-Magazine numa obra heterog\u00e9nea em tons de negro e sangue).<br \/>\nCharles W. Vrtacek: \u201cWhen Heaven Comes To Town\u201d (o que Eno poderia ter feito mas n\u00e3o fez. O que Satie faria se fosse vivo e utilizasse um sampler em vez do piano).<br \/>\nDavid Byrne: \u201cRei Momo\u201d (onde se prova que as boas saladas devem levar salsa).<br \/>\nEdward Ka-Spel: \u201cPerhaps We&#8217;ll Only See A Thin Blue Line\u201d (Edward mais experimentalista do que nos Legendary).<br \/>\nEinst\u00fcrzende Neubauten: \u201cHaus Der Luege\u201d (os niilistas berlienses mais virulentos do que nunca).<br \/>\nFred Frith. \u201cThe Top Of His Head\u201d (aproveito para dizer que, para mim, \u00e9 Frith e n\u00e3o Zorn, o m\u00fasico da d\u00e9cada. Zorn \u00e9 o segundo&#8230; Est\u00e1 feita a correc\u00e7\u00e3o).<br \/>\nGlenn Branca: \u201cSymphony N\u00ba 6 \u2013 Devil Choirs At The Gates Of Heaven\u201d (n\u00e3o sei quantas guitarras fazem a festa e o rugido do costume).<br \/>\nHector Zazou: \u201cG\u00e9ologies\u201d (m\u00fasica cl\u00e1ssica erudita que Zazou \u00e9 gente s\u00e9ria).<br \/>\nInvaders Of The Heart: \u201cWithout Judgement\u201d (Oriente vs Ocidente em guerra religiosa instigada por Jah Wobble).<br \/>\nLaurie Anderson: \u201cStrange Angels\u201d (Laurie Pop, a grande pecadora&#8230;).<br \/>\nLounge Lizards: \u201cVoice Of Chunk\u201d (o sax emblem\u00e1tico da Nova Iorque underground).<br \/>\nMichael Nyman: \u201cThe Cook, The Thief, His Wife &#038; Her Lover\u201d (de novo juntos, Nyman e Greenaway. Como sempre obcecados pela morte e desta vez pela comida).<br \/>\nPhilip Glass: \u201c1000 Aeroplanes On The Roof\u201d (ou mudava ele ou n\u00f3s. Felizmente, mudou ele. Ou ser\u00e1 que fomos n\u00f3s?&#8230;).<br \/>\nRobert Merdzo: \u201cDarwin Waltzes\u201d (da mesma escola que Branca).<br \/>\nSeigen Ono: \u201cCommes Des Gar\u00e7ons, vols. 1 &#038; 2\u201c (da New Age dos primeiros tempos passou para a companhia de Frith, Zorn, Frisell, Lindsay, Lurie e por a\u00ed for a. Sim, os referidos tocam todos neste disco).<br \/>\nStan Ridgway: \u201cMosquitos\u201d (o melhor contador de hist\u00f3rias da Am\u00e9rica, a par de Tom Waits. Como este tamb\u00e9m das vozes mais originais).<br \/>\nSteve Tibbetts: \u201cBig Map Idea\u201d (o misticismo ECM por um dos melhores guitarristas da casa).<br \/>\nWorlds Of Love: \u201cThe Worlds Of Love\u201d (depois de can\u00e7\u00f5es sobre o poder, David Garland regressa cantando o amor em todas as suas variantes. Apaixonado ou n\u00e3o, mant\u00e9m-se t\u00e3o exc\u00eantrico como nunca).<\/p>\n<p>Fernando Magalh\u00e3es<br \/>\nBlitz<br \/>\n23\/01\/90 <\/p>\n","protected":false},"excerpt":{"rendered":"<p>uma conversa, em tr\u00eas tempos, sobre nomes da electr\u00f3nica contempor\u00e2nea que o FM teve com algu\u00e9m do f\u00f3rum. os coment\u00e1rios certeiros s\u00e3o inconfund\u00edveis. &#8230; ANDREI SAMSONOV : Void in (Mute) &#8211; J\u00e1 falei sobre este disco, recentemente. &#8211; 8,5\/10 ANDREW POPPY &#8211; The Beating of Wings (ZTT, 1985) \u2013 Minimalismo. Original. O 1\u00ba (longo) tema [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[292,558],"tags":[1435,1436,853],"class_list":["post-5617","post","type-post","status-publish","format-standard","hentry","category-listas","category-polemicas","tag-fernando-magalhaes","tag-forum-sons","tag-listas"],"views":1806,"_links":{"self":[{"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/posts\/5617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/comments?post=5617"}],"version-history":[{"count":1,"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/posts\/5617\/revisions"}],"predecessor-version":[{"id":5618,"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/posts\/5617\/revisions\/5618"}],"wp:attachment":[{"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/media?parent=5617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/categories?post=5617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.profelectro.info\/fm\/wp-json\/wp\/v2\/tags?post=5617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}