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El Guincho Pop Negro
Take a little bit of Beck, add some Empire
of the Sun, subtract the industrial aggression
and techno repetition and you might wind up
with something resembling El Guincho.
I’m sure there’s a lot I’m missing about the
kaleidoscopic "Pop Negro,” the 25-year-old
artist’s infectiously fun fourth release.
Take the name for instance. I didn’t realize
“el guincho" was the Catalan word for an
endangered species of bird from El Guincho’s
native Canary Islands.
That a control freak like me was able to
enjoy this album so immensely is a testament
to how good it really is.
I don’t care that there is a hurricane of
wordplay at work that I still don’t entirely
grasp. Case in point: There is a picture of an
octopus on the album cover. According to an
interview with the New York Times, El
Guincho reveals “pop” is Catalan for octopus.
The album is Just too good a listen for me
to get hung up on ethnocentric bellyaching
about how I can’t understand half of the
almost exclusively Spanish lyrics.
The man, whose actual name is Pablo
Diaz-Reixa, has an incredible gift for rhythms
and tunes, which allowed the songs to suck in
even my purely English-speaking friends on
the strength of their composition alone.
I almost referred to El Guincho as a techno
artist for how much his brisk nine-song run
made me want to get up and dance. Don’t let
that turn you away, though. Diaz-Reixa knows
better than to get lost in the electric grind of
that genre or any other genre, for that matter.
The songs move and float with a palpable
energy that manages not to be manic, recy
cled or pretentious. I heard what has to be
steel drums in the opening track "Bombay”
alongside sounds that are a little too manu
factured to be anything but. It would have
been easy to fall into the niche of the self
righteous artist who uses only obscure instru
ments to prove his musical purity or lazily
lean on a purely synthesized sound, but El
Guincho suffuses his sound with an organic
mixture that keeps my toes tapping.
It’s difficult to put Diaz-Reixa in a particu
lar genre, but I really don’t have to.
As he explains in the opening of the
“Bombay” video, Diaz-Reixa uses "Pop
Negro” to explore the human condition with
imagination, and the chaotic video reflects
that. It’s a jumble of images such as a man
threatening a panda doll at gunpoint. His
cousins also contribute a short beach surfing
video set to their mutual favorite “FM Tan
Sexy.”
I could stop and ask what any of this has
to do with the music, but that defeats the
purpose. It doesn't have to make sense
because the world is so often nonsensical.
El Guincho asks us to kick off our shoes
and let down our hair in the name of enjoying
the world around us, even if it’s not exactly
clear what that means.
Finding out is half the fun, and if El
Guincho is going to score our romp through
reality. I’ll be leading the charge.
Patrick Hooper
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Lyrics help motivate eclectic sound
By ADAM CARLSON
The Ru> & Black
There is really only one
thing you’ve got to know
about Tristen.
“I think lyrics." said
Tristen Gaapadarek, who
performs under her first
name-only moniker "I think
words.”
The Chicago-bom,
Nashville-based singer-song
writer has made it her prac
tice to focus on people and
the lives they lead, and her
penchant for narrative has
become something of a call
ing card.
“At the end of the day, I’m
down with a good story,” she
said.
But careers are more than
preferehees there are ups
and downs and strange
turns. One up for Tristen
was moving to Nashville
after graduating from
DePaul University in 2007.
“It’s a really great place to
live and make records,” she
said, adding that the local
community of musicians she
discovered became integral
to her work and success.
But there were downs
having to make her own
music, an act of self-determi
nation bred in part from her
long history with self-moti
vated musicianship.
“I didn’t really have any
expectations of myself as an
artist,” Gaspadarek said. “I
just knew I could write
songs.”
Moving to Nashville on
her own didn’t mean she was
without resources.
Gaspadarek had previous
experience cutting demos, so
now showing
127 Hours
Spoiler: the DIY amputation that is
the heart and climax of Danny Boyle's
rhapsody-in-blitz “127 Hours” isn’t
all that gross.
Sure, bones break and cartilage
creaks, but in the whole seesawing, 60
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she got the necessary equip
ment together.
“I Just started recording
by myself,” she said.
This led to the strange lit
tle turn in the recent years of
Trlsten’B band-life: the songs
she’d recorded were then
posted to MySpace, which
helped to generate notice.
With the help of producer
Jeremy Ferguson and his
Battle Tape Btudios, she
began making an EP
“Deceivers Are Achievers”
and then a full-length debut
“Charlatans at the Garden
Gate” to be released Feb. 1.
“I don’t have specific
influences,” Gaspadarek
said. “But as I’m going along
I definitely think, ‘God,
wouldn’t that be fun?’” •
Thus, her self-labeled
genre of “neo-traditionalist
pop.”
“You know, you’re just a
product of the things you
consume,” Gaspadarek said.
And a list of what she's
recently been consuming
includes classic country
music, Arcade Fire and the
music of Bob Dylan.
Eclecticism is elsewhere
as well: in her choice of
recording session musicians.
Sometimes she’ll use her
Nashville colleagues; others
she’ll pick up players and
sounds by accident, over-
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TRISTEN
seconds-and-change sequence there
are two, perhaps three, I-can’t-believe
this-is-happening moments.
And really, that’s for the best. By the
end of the film, and to its credit, you
want trapped amateur canyoneer Aron
Ralston (James Franco) to hack off his
own arm and go crawling, bleeding,
into the light.
The film, ostensibly bound by geog
raphy and time, never stagnates: it
leaps, bounding, from flashbacks to
visions to crammed-ln comer-views of
Ralston’s deep-crevice despair.
At its best, and for most of it, “127
Hours” pulls you right along: a whirl of
multimedia that’s emotionally muscu
lar, as well as visual —and that’s
because Ralston, locked alone for the
whole titular, agonizing sum of sec
onds, is classic Boyle (like Alex Etel’s
Damian and Ewan McGregor’s Renton
before him). He doesn’t waste or wilt.
He’s resourceful, eager, hungry;
trapped but not forgotten.
Intermittently exhausted in his
attempts to escape, Ralston takes to
livening things, with a video diary or
(more often) hallucination.
Boyle presents his struggles spot-on
—with a canny feel for the physical
and physic dimensions of entrapment.
The best moments occur in the
back-and-forth “interview” between
Ralston, the mock television host of his
own canyon-set morning show and
Ralston, the pinned, unfortunate
schmuck man-made spirit and man
made technology combust together,
amplifying both.
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The Red a Black | Monday, November 89, aoio
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Proto Couartfir or Ttorri*
A Nashville-based “neo-traditionalist pop” artist
THsten thinks in lyrics and words before melody.
hearing a pianist perform
and then liking what she
hears, or deciding to incor
porate a ukulele she received
for her birthday years earlier.
“A lot of it’s the toys you
have around you,” she said.
But if there’s one thing
that ties Tristen together,
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it’s the act and art of story
telling; and when it comes to
performing live, connecting
those stories to everyone in
the audience could not be
more crucial.
“We’re all just a bunch of
people in the same room,”
Gaspadarek said.
But in all the hours that unraveled
for the real-life pinned, unfortunate
schmuck Aron Ralston during his
ordeal —and, more importantly, in all
the minutes that make up Boyle’s ver
sion there was time for reflection
and recrimination.
See, it turns out Ralston’s real prob
lem was not knowing how to best con
nect with people; that’s why no one
knows where he is; that’s why he’s
trapped.
And this altogether decent and obvi
ous conclusion is at the very center of
“127 Hours,” and the altogether obvi
ous and synthetic soul-searching it
breeds are at the very center of the
film’s worst moments.
In between Boyle’s far more prag
matic conceptions and execution of the
toll and presence of claustrophobia and
struggle to survive are sun-streaked
prophecies and rain-drenched
“Christmas Carol”-lite mini-parables.
“No man is an island” —and yada
yada yada. We got it.
Still, there are moments —and
there is still the power of that amputa
tion —as spectacle, endurance test,
denouement and visual metaphor.
Forget the spare moments of dithering
about not better appreciating people.
It’s these moments of Ralston,
alone, stuck but not stifled, that stick
as he wriggles first and then finally
walks, stumbling, arm-less, mouth
streaked with blood having cannibal
ized himself: an old arm for anew soul.
Adam Carlson
Red&Black
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THE RED A BLACK
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