{"id":7889,"date":"2023-02-23T17:44:36","date_gmt":"2023-02-23T14:44:36","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=7889"},"modified":"2023-07-23T13:01:27","modified_gmt":"2023-07-23T10:01:27","slug":"boreal-blues","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=7889","title":{"rendered":"Boreal Blues"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristine-3.png\" alt=\"\" class=\"wp-image-7893\" width=\"617\" height=\"507\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristine-3.png 822w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristine-3-300x247.png 300w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristine-3-768x632.png 768w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristine-3-480x395.png 480w\" sizes=\"auto, (max-width: 617px) 100vw, 617px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><em>Discografic<\/em>-ul actual nu are \u00een vedere o trup\u0103 progresiv\u0103. El exploreaz\u0103 dou\u0103 chei de bolt\u0103 fundamentale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Prima vine din excelentul volum <em>Jazzul \u2013 o estetic\u0103 a secolului XX<\/em> de Gilles Mou\u00ebllic<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a>. Referindu-se la rela\u021bia bluesului cu parcursul muzicii de jazz, profesorul de studii cinematografice precizeaz\u0103: \u201eDar bluesul intervine \u0219i la alte niveluri. Mai \u00eent\u00e2i \u00een form\u0103, unde sistemul \u00eentrebare\/r\u0103spuns nu va \u00eenceta s\u0103 fie o component\u0103 major\u0103 \u00een scriitura jazzistic\u0103. Apoi \u00een sunet: instrumentele jazzului vor lua ca model vocea, c\u00e2ntecul plin de fervoare al bluesmanilor. Toate efectele <em>dirty<a href=\"#_ftn2\" id=\"_ftnref2\"><strong>[2]<\/strong><\/a><\/em> caracteristice acestui c\u00e2ntec vor fi omniprezente \u00een maniera de interpretare a muzicienilor de jazz: groh\u0103it, pl\u00e2nsete, \u021bipete, gemete.\u201d (p. 39)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Al doilea tip de abordare se activeaz\u0103 dinspre numele forma\u021biei despre care vorbim ast\u0103zi. Pristine este un <em>band<\/em> originar din Troms\u00f8 (ora\u0219 cu 64.000 de locuitori), Norvegia, \u00eenfiin\u021bat \u00een 2006. Cuv\u00e2ntul <em>pristine<\/em> din limba englez\u0103 se traduce ca \u201eimpecabil\u201d, \u201e\u00een stare perfecta\u201d, \u201ecurat\u201d, \u201eprimar\u201d, \u201enealterat\u201d. De\u0219i doar par\u021bial, Pristine se racordeaz\u0103 la cuget\u0103rile lui Gilles Mou\u00ebllic. Demersul scandinavilor transcende harta blues-rock \u0219i blues-jazz, ad\u0103ug\u00e2nd elemente psihedelice, mulate perfect pe o structur\u0103 de rock clasic.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dac\u0103 ar fi s\u0103 vorbim despre o decad\u0103 \u00een care muzica Pristine s-ar sim\u021bi ca pe\u0219tele \u00een ap\u0103, aceea ar fi cu siguran\u021b\u0103 perioada anilor \u201970. Dac\u0103 ar fi s\u0103 alegem un ascult\u0103tor ideal, un \u201epacient zero\u201d pentru muzica Pristine, acesta ar fi \u00een mod sigur unchiul sau m\u0103tu\u0219a de 60 ani, mult umblat(\u0103) prin lume, care i-a v\u0103zut \u00een concert \u0219i pe King Crimson, dar \u0219i pe Tangerine Dream sau pe B.B. King. Acest personaj ar spune c\u0103 soundul Pristine e bun, dar c\u0103 nu e impresionat. Tot acest unchi sau m\u0103tu\u0219\u0103 din imagina\u021bie ar r\u0103spunde cu \u201eSyd Barrett\u201d la \u00eentrebarea \u201eGilmour sau Waters?\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">De altfel, nu l-am numit \u00eent\u00e2mpl\u0103tor pe B.B. King, acest monstru sacru al istoriei muzicii. Cariera lui a \u00eencetinit motoarele \u00een momentul \u00een care ace\u0219ti oameni din Troms\u00f8, dirija\u021bi magistral de solista Heidi Solheim, puneau pe hart\u0103 poate cel mai nordic blues din toate timpurile. Inversarea polilor magnetici muzicali de la Berclair, Mississippi, locul de ba\u0219tin\u0103 al lui B.B. King, la Troms\u00f8 e poate cea mai frumoas\u0103 declara\u021bie de dragoste a globaliz\u0103rii tuturor formelor de art\u0103.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cvartetul de adjective <em>unaltered, impeccable, pure, unspoiled<\/em><a href=\"#_ftn3\" id=\"_ftnref3\">[3]<\/a>, cules de pe site-ul Nuclear Blast (label care a \u00eenregistrat primele materiale ale norvegienilor), pare s\u0103 r\u0103m\u00e2n\u0103 \u00een picioare \u0219i \u00een cazul albumului \u201eThe Lines We Crossed\u201d (Pristine Music Production, 2023). Blues amestecat cu psihedelic peste care vocea solistei Heidi Solheim coboar\u0103 cu gentile\u021bea aurorei boreale doar pentru <s>ochii<\/s> urechile care sunt capabile s\u0103 disting\u0103 \u00eentre o pies\u0103 comercial\u0103 de radio \u0219i melosul unui album hard\/classic rock din 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La prima vedere nimic nou sub soare, nicio urm\u0103 de evolu\u021bie spre <em>altceva<\/em>, niciun pas lateral \u00een compara\u021bie cu \u201eFireball\u201d (2020) sau cu \u201eRoad Back to Ruin\u201d (2019), albume Pristine foarte recente. \u00cens\u0103 c\u00e2nd un timbru, precum cel al lui Heidi Solheim, con\u021bine praful de stele din esen\u021ba islandezei Bj\u00f6rk, factorul progresului \u0219i al progresiei va fi implicit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Piesa cu care \u00eencepe albumul Pristine, \u201eActions, Deeds, &amp; Suffering\u201d,<strong> &nbsp;<\/strong>neaduce aminte de un hit de radio din epoca \u00een care rockul classic \u00ee\u0219i f\u0103cea loc \u00een playlisturile realizatorilor din eter. Este vorba de \u201eStargazer\u201d de la Rainbow (1976). Ritmul ne trimite acolo, iar vocea lui Ronnie James Dio e mai degrab\u0103 tributar\u0103 anilor \u201980. Riveranii din Troms\u00f8 for\u021beaz\u0103 limitele acestei decade, \u00eempin\u0219i magistral de la spate de vocea lui Heidi Solheim. \u201eGhost With A Gun\u201d ne arat\u0103 calea prin cabinetul de hituri \u0219i \u00eembl\u00e2nze\u0219te pu\u021bin av\u00e2ntul <em>heavy<\/em>, cu c\u00e2teva contrapuncte ce marcheaz\u0103 cel mai boreal blues. E una dintre piesele \u00een care tobo\u0219arul Kim Karlsen se simte \u00een elementul s\u0103u, fiind locomotiva Pristine spre teritoriile groove.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201eThe Loneliest Fortune Pt 1 &amp; 2\u201d aduce mult a\u0219teptata alunecare \u00een melancolie, \u00een care sufletul Pristine nu mai produce lucru mecanic. Aduce \u00een schimb la suprafa\u021b\u0103 poezie, ca \u00een versurile urm\u0103toare: \u201eI hope that no one heard me\/ I hope that none of you were listening\/ I felt\u2005the\u2005dark explode\/ Like a\u2005full somatic show\u201d<a href=\"#_ftn4\" id=\"_ftnref4\">[4]<\/a>. Bluesul merge aici m\u00e2n\u0103 \u00een m\u00e2n\u0103 cu folkul, care g\u0103se\u0219te variante de reinventare \u0219i-n 2023. Vom vorbi alt\u0103 data despre reprezentan\u021bii folkului contemporan.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Revenirea la rockul clasic se face printr-o pies\u0103 pe c\u00e2t de ne\u0219lefuit\u0103, pe at\u00e2t de percutant\u0103. \u201eStepping Into The Breach\u201d e dovada vie c\u0103 garage-rockul nu a murit \u0219i c\u0103 exist\u0103 oric\u00e2nd posibilitatea s\u0103 revin\u0103 la mod\u0103. \u201eValencia\u201de o nou\u0103 cobor\u00e2re \u00een abis, o pauz\u0103 de respira\u021bie, care-\u021bi arat\u0103 c\u0103 fiordurile vor fi la locul lor \u0219i dac\u0103 e\u0219ti 100% prezent \u00eentr-o conversa\u021bie. Cu versul \u201eTo be alone, but only with you\u201d<a href=\"#_ftn5\" id=\"_ftnref5\">[5]<\/a>, Heidi parcurge orice distan\u021b\u0103 muzical\u0103 inimaginabil\u0103.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201eCarnival\u201d, piesa \u00eenregistrat\u0103 cu Norwegian Arctic Philharmonic Orchestra din Troms\u00f8 \u0219i Bod\u00f8, e basmul pe care Pristine ni-l \u00eempacheteaz\u0103 \u00een 2023 \u0219i ni-l livreaz\u0103 cu voce de cr\u0103ias\u0103. P\u00e2n\u0103 la un moment dat, c\u00e2nd carnavalul heavy-rock nu mai poate fi oprit. Este probabil cea mai consistent\u0103 melodie de pe disc \u0219i motivul principal pentru care acesta merit\u0103 pus pe <em>repeat<\/em>. A\u0219a \u00eemi imaginez eu sunetul trenului dinspre, s\u0103 zicem, Bergen spre Oslo. \u201eCarnival\u201d e deschiz\u0103toare de pori, totodat\u0103 un risc pe care Pristine \u0219i-l asum\u0103 p\u00e2n\u0103 la cap\u0103t. Asta \u00een condi\u021biile \u00een care albumul nu e nivelat stilistic.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201eSad Sack In A Cadillac\u201de singura conectare electro a norvegienilor cu prezentul tehnologizat. E cea mai scurt\u0103 compozi\u021bie \u0219i o form\u0103 de a \u021bine \u00een via\u021b\u0103 carnavalul prin axoni indie-pop. Cu \u201eThe Devil You Know\u201d \u0219tii sigur c\u0103 petrecerea nu s-a \u00eencheiat. Acest imn rock <em>hard \u2019n\u2019 heavy<\/em> ar fi func\u021bionat, poate, \u0219i la Eurovision acum 15-20 de ani. Iarna norvegian\u0103 e resim\u021bit\u0103 prin toate riffurile. Iat\u0103 cum nordul \u0219tie cum s\u0103 metamorfozeze p\u00e2n\u0103 \u0219i bluesul.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">C\u00e2nd credeam c\u0103 factorul psihedelic e trecut la obiecte pierdute, Pristine \u021bine s\u0103 ne contrazic\u0103. Piesa care d\u0103 titlul albumului, \u201eThe Lines We Cross\u201d, are ceva din magia unei alte capodopere a rockului anilor \u201970 (ce coinciden\u021b\u0103, nu?). M\u0103 refer la \u201eKashmir\u201d de la Led Zep (1975). \u201eToate-s vechi \u0219i nou\u0103 toate\u201d, vorba poetului. \u00cens\u0103 prospe\u021bimea r\u0103m\u00e2ne nealterat\u0103, neatins\u0103 de praful redundan\u021bei \u0219i al vetuste\u021bii. Visarea \u00eenchide ciclul albumului Pristine, \u201eInstant Conclusions Decade\u201d nel\u0103s\u00e2nd la vedere drumul pe care o vor apuca de acum \u00eenainte Pristine. Mai blues? Mai heavy? Garage-rock de anii \u201970 sau un plonjeu direct \u00een contemporaneitate?<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristien-2.jpg\" alt=\"\" class=\"wp-image-7892\" width=\"525\" height=\"525\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristien-2.jpg 700w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristien-2-300x300.jpg 300w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristien-2-150x150.jpg 150w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristien-2-480x480.jpg 480w\" sizes=\"auto, (max-width: 525px) 100vw, 525px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>The Lines We Cross<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">(<em>Pristine Music Production<\/em>, 2023)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">1. Actions, Deeds, &amp; Suffering<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2. Ghost With A Gun<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3. The Loneliest Fortune Pt 1 &amp; 2<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">4. Stepping Into The Breach<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">5. Valencia<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">6. Carnival<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">7. Sad Sack In A Cadillac<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">8. The Devil You Know<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">9. The Lines We Cross<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">10. Instant Conclusions Decade<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Editura Ratio et Revelatio, 2015, traducere de Roland Sz\u00e9kely.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref2\" id=\"_ftn2\">[2]<\/a> \u00cen explica\u021bia autorului, acel tratament neortodox al sonorit\u0103\u021bii interpretat dup\u0103 criteriile estetice occidentale. Groh\u0103it, gui\u021bat, \u0219uier\u0103turi \u2013 acestea sunt cele trei dimensiuni avute \u00een vedere.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref3\" id=\"_ftn3\">[3]<\/a> nealterat, impecabil, pur, \u00een stare primordial\u0103.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref4\" id=\"_ftn4\">[4]<\/a> Sper c\u0103 nimeni nu m-a auzit\/ Sper c\u0103 nimeni dintre voi nu asculta\/ Am sim\u021bit \u00eentunericul explod\u00e2nd\/ Ca un spectacol somatic \u00een toat\u0103 splendoarea sa. (trad. A.Z.)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref5\" id=\"_ftn5\">[5]<\/a> S\u0103 fiu singur\u0103, dar numai cu tine (trad. A.Z.)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Discografic-ul actual nu are \u00een vedere o trup\u0103 progresiv\u0103. El exploreaz\u0103 dou\u0103 chei de bolt\u0103 fundamentale. Prima vine din excelentul volum Jazzul \u2013 o estetic\u0103 a secolului XX de Gilles Mou\u00ebllic[1]. Referindu-se la rela\u021bia bluesului cu parcursul muzicii de jazz, profesorul de studii cinematografice precizeaz\u0103: \u201eDar bluesul intervine \u0219i la alte niveluri. Mai \u00eent\u00e2i \u00een form\u0103, unde sistemul \u00eentrebare\/r\u0103spuns nu va \u00eenceta s\u0103 fie o component\u0103 major\u0103 \u00een scriitura jazzistic\u0103. Apoi \u00een sunet: instrumentele jazzului vor lua ca model vocea, c\u00e2ntecul plin de fervoare al bluesmanilor. Toate efectele dirty[2] caracteristice acestui c\u00e2ntec vor fi omniprezente \u00een maniera de interpretare a<\/p>\n","protected":false},"author":179,"featured_media":7893,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,1405],"tags":[1048,1406,1579,1733],"coauthors":[1291],"class_list":["post-7889","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-discografic","tag-andrei-zbarnea","tag-discografic","tag-nr-1-2023","tag-pristine"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/pristine-3.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7889","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/179"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7889"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7889\/revisions"}],"predecessor-version":[{"id":7895,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7889\/revisions\/7895"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/7893"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7889"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7889"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7889"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=7889"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}