“The Next Day”, the much anticipated and publicised new album by David Bowie is out this week worldwide. It all began with the release of the first single “Where are we now” that brings us to Berlin, to the city where he once lived and recorded three of his best albums and where his creativity was at its peak.
Launched on his 66th birthday, this sad longing song has set the music world on fire, particularly hardcore Bowie fans. The man was back in force with and the album would come out in two months.
All the media buzz is perfectly understandable. After all, this is the man who shaped modern music, the master of style, a multi-instrumentalist, a total artiste, the man who touched nearly all areas of artistic creation, who anticipated music trends, who influenced whole generations and the first pop star to have explored the full potential of the Internet.
Two months after this marketing stunt, the second week of March is here and with it “The Next Day”. It is not an easy album, and surely not the one most fans had expected. The guitars are closer to what he did with Tin Machine, the band he formed in the nineties, or to the atmosphere of “Station to Station” and there seems to be no traces of Berlin in the album, aside from the references in “Where are we now”.
The album seems to go through his career, but rather through what he did after his last brilliant album which was “Scary Monsters”. The two most remarkable songs in the album are curiously the ones with clearer references to what he did in his best days. “You feel so lonely you could die”, both emotional and powerful, brings us closer to what he did between “Space Oddity” and “The man who sold the world”, with traces of soul reminiscent to the “Young Americans” phase. “Where are we now”, on the other hand, is one the most beautiful songs to be released in the first three months of this year, the song which generated the expectation that we might have another “Heroes”.
Where are we now is the question asked in this track. Where is Bowie now is the question many people may ask. This is not surely the review Trendenz wanted to write. We love the man unconditionally but we wanted another Bowie, we wanted more “Low”, “Hunky Dory”,”Diamond Dogs” or “Scary Monsters”. We do not dare to ask for another “Ziggy Stardust and the Spiders from Mars” as Bowie killed Ziggy back in the 70’s, but we wanted a different Bowie.
This review was written after some auditions the day the album was launched. Should we repent after further listening to this album, we will confess our sin.
Trendenz gives you the top tracks of the year, ten songs we played relentlessly in 2016.
2016 was probably one of the saddest years on record as regards music, from the disturbing farewell record of David Bowie who seems to have started the trend of singing goodbye, a trend witnessed also with Leonard Cohen who sang goodbye in his own way or Nick Cave who released a record with a bunch of sad songs after his son passed away. Trendenz playlist of the 10 best songs in 2016 reflects this. But there is also room for hope, you just need to hold on as better days will come in 2017. Happy New Year!!
A tradição ainda é o que era e nos tempos que correm ainda se vai ao barbeiro… e ainda se oferecem calendários.
A marca Antiga Barbearia de Bairro, a agência de modelos Central Models e o estúdio Flying Studios juntaram esforços e lançaram um calendário que reproduz o imaginário das barbearias com a ajuda de alguns actores e modelos mais conhecidos do País. O resultado são doze fotos brilhantes, uma para cada mês. Este calendário foi apresentado no dia 12 de Dezembro no Purista Barbiére em Lisboa e contou com a presença de grande parte dos intervenientes nesta grande produção, nomes como Raquel Prates, Virgílio Castelo, Paulo Pires, Adelaide Sousa, Francisco Cipriano, Astrid Werding, Fernando Luis e Joana Aguiar entre outros. A ideia de lançar um calendário deste tipo surgiu à mesa de um café numa conversa entre três amigos que se juntaram e cujos percursos profissionais acabariam por agilizar a produção deste calendário. “O olhar atento para as antigas barbearias nos bairros típicos portugueses, tem sido o mote de inspiração para o recuperar de hábitos e produtos meio adormecidos no tempo”, afirma Luis Pereira, fundador da Antiga Barbearia de Bairro, marca 100% portuguesa que há uma década vem lançado toda uma serie de produtos em Portugal e no estrangeiro, que remetem para os aromas das barbearias e cujo packaging se inspirou nas formas e cores dos bairros típicos de Lisboa e do Porto. “Depois do pincel, creme e sabão de barba chegou a vez do Calendário, que sempre vimos pendurado nas nossas barbearias, ter também o nosso olhar”, afirma. São várias as barbearias representadas nestes calendários, escolhidas a dedo como o cenário para as produções que ilustram cada mês. Tó Romano, director da Central Models, a mais antiga agência de modelos do país e um homem dado a estas coisas que recuperar o que é bonito e tradicional sem desviar os olhos do futuro, é outra das caras à frente deste projecto que retoma a tradição dos Calendários da Central. “Este projeto primou pelo entusiasmo geral de todos quantos nele participaram, pelo sentir da relação entre Imagem / Tempo / Beleza e pela importância que a esta atribuo de sabermos caminhar para o futuro com o melhor do nosso passado”, disse. Tudo isto não seria possível sem a preciosa colaboração dos modelos e actores que aceitaram prontamente o convite para darem a sua cara e corpo a este verdadeiro manifesto, ajudados por uma equipa liderada por Ricardo Santos dos Flying Studios, para o qual “este projecto está cheio de desafios que, com uma linguagem despretensiosa, ajudámos a realizar. Uma experiência única, que transformámos em oportunidade.”
Charo Izquierdo with her background in communication and a large experience working in the fashion media is the new director of Mercedes-Benz Fashion Week Madrid.
IFEMA, the institution behind Mercedes-Benz Fashion Week Madrid appointed recently Charo Izquierdo new director of this event showcasing the best in Spanish Fashion. This appointment comes as no surprise if we consider this vibrant woman’s experience in the area of communication and fashion. Holding a degree in Information Sciences by the Complutense Univeristy of Madrid she started working as journalist in 1980 at Junia GyJ magazine and four years after took on the role of chief editor of this magazine. After the turn of the 1980’s and until now she took a number of positions in renowned fashion magazines in Spain, having been in charge of launching the first fashion supplement ever distributed in Spain with a magazine: Yo Dona for the newspaper el Mundo. Yo Dona has close ties with Madrid Fashion Week: this event kicks off and is usually preceded by a big Yo Dona party attended by the organisation of the event, designers and journalists and covers the event via a daily free magazine providing insights and helpful information for both the audience and the media. Grazia, the first weekly fashion magazine to be launched in Spain, and Elle Spain relied also on the work of Charo at the helm, along with a number of publications where the new head of Madrid Fashion Week played a relevant role. Charo Izquierdo replaces Leonor Pérez-Pita, better known as Cuca Solana, the woman who was the head of this event since its creation back in 1985. This event previously known as Pasarela Cibeles relied on this woman’s guidance since the beginning and those who are familiar with the event surely retain the image of this woman with the quiet look and gentle walk attending each and every show and walking each designer afterwards to the social area. She had obviously also her word as regards new designers that would later show their work at Madrid Fashion Week. Her work in fashion dates back to the 1980’s when she held a position of deputy director of the New Designers department at the Galerias Preciados, a huge department store that was located right in the centre of Madrid. Cuca Solana will remain linked to Mercedes Benz Fashion Week Madrid as president of its Fashion Committee, a body formed by a group of experts providing advice in a number of management issues. As for Charo Izquierdo she is already preparing the coming edition scheduled for 17 to 21 February 2017 as new director. It will be her task to keep the show running in an event showing on average collections by 42 Spanish designers. We are curious to see what changes will be operated in an event that has often been criticised for both the location away from the city centre and for not having a bigger international projection and whether she will fight a certain tendency in Spain, a large country that often and because of it keeps too much to itself.
Should you buy these days a ticket for the upcoming Sónar festival in June you will receive an entrance for the “Bowie Is” exhibition in Barcelona.
Sónar is undoubtedly one of the best electronic music festivals in the world and a good reason to take to Barcelona every year in mid-June. Tickets for the coming 2017 edition are already on sale and come with an added bonus for a limited period: a full Sónar ticket and a free entrance to the Exhibition “Bowie Is” starting in Barcelona on May 25. The association between this festival and the exhibition makes perfect sense, considering the pioneering role of David Bowie in music and the arts and the equally pioneering role of Sónar as one of leading events of advanced music and arts. Like Sónar, “Bowie Is” offers also a major sensorial experience, a true journey through Bowie sound and vision. Justice, Moderat, Nicolas Jaar and De La Soul are among the 22 artists already confirmed for the Sónar 2017 edition. The importance of Bowie for modern music is undeniable along with his pioneering role in electronic and avant-garde music, from “Low” and “Heroes” to his final work “Blackstar” and events around Bowie will probably sprout in and around the Barcelona Design Museum, located near L’Auditori, where some Sónar events usually take place (e.g. the concert by Riuchy Sakamonto and Alva Noto at this audiorium during Sónar 2006) and in and around Sónar Day and Sónar Night. Please refer to this post as we will bring you updates on this perfect combination between Bowie and Sónar as we receive them.
Brian Eno and David Byrne created some 35 years ago the best record in the history of modern music.
“My Life in the bush of ghosts” tells the story of a boy entering a forest inhabited by ghosts and spirits written Nigerian author Amos Tutuola. Published in 1954, this very same book was the source of inspiration for an eponymous record by Brian Eno and David Byrne. This record follows “Fourth World, Vol. 1: Possible Musics”, an album Brian Eno recorded with Jon Hassel. By combining the extra-terrestrial trumpet of Hassel with the soundscapes of Brian Eno these two musicians opened the door to what could be the music of a fourth world, one as mysterious as the one we know as third world. The whole record invites us on a journey through a world unknown flying over green landscapes, deserts, crossing small villages and bathing in soothing lakes. It was released in 1980 and is considered by many as one the best by Brian Eno, the avant-garde master of ambient music. Vol. 2 was never released but one year after Brian Eno launched what could be its rightful successor, “My Life in the Bush of Ghosts”, a record of possible musics for the world we think we know but which still holds numerous mysteries, hidden in bushes and forests we do not dare to enter for fear of succumbing to its enchantment. Released in 1981 it is the most beautiful, disturbing, complex and intense album of all times. Eno and Byrne lead us on a voyage through enchanted bushes. The combination of the mastery of Brian Eno in designing soundscapes with David Byrne’s sense of rhythm, assisted by the natural curiosity of both musicians for world sounds and rhythm, along with their mastery of the techniques of cut, paste, mix and match of sounds and samples delivered a record that results in the perfect soundtrack for the life in hectic cities, in faraway lands or in the heart of lively jungles. In summary the perfect soundtrack for the global village.
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