El primer disco que aparece en esta lista (ningún orden por
cierto) contiene ocho canciones. Si entiende que “conocer” un disco es haberlo
escuchado, digamos unas diez veces, necesitaría al menos escuchar (sin volver a
repetir posteriormente) dos canciones ese número de veces cada día durante todo
el año para lograrlo. El segundo volumen se publica el año que viene. Ni
siquiera es la totalidad de lo publicado. En caso de sobrarle el tiempo, he
añadido otros recopilatorios, que sin ser tan monumentales, todavía siguen
siendo veintidós CDs llenos de música.
Este año he escuchado más de doscientos discos. He intentado
escuchar diferentes emisoras de radio, descargar podcasts, escuchar mixes,
horas y horas de videos en YouTube, streams en otras plataformas, leer libros,
ver cine,…
Si han hecho las matemáticas del primer párrafo se darán
cuenta de lo delirante que resulta este programa de actuación. Peor todavía:
las listas son más ensimismadas, he cortado cualquier intento de pretender
seguir la actualidad de multitud de escenas, descarto cosas no porque crea que
sean buenas o no sino por saber que no van a adecuarse al modo de procesar los
discos, etc. Completamente
ridículo.
Algo que no puedo dejar de conectar con este extracto del
libro de Frederico Campagna “The Last Night: Anti-work, Atheism, Adventure”:
“One night,
not too long ago, I found myself lying on a hospital bed, saturated with
morphine. I wasn’t sure what exactly was happening to me, but I knew it wasn’t
good. The doctor kept walking in and out of the room, nervously checking my
X-rays. He wouldn’t talk to me, and the nurse stuck to professional silence.
Something was happening. It was happening to me. Was that it? Was it the end?
I used to
believe the myth that upon one’s death, one was entitled to the short,
condensed film of an entire lifetime flashing before one’s eyes. So I waited
for the screening to begin on the cloudy surface of my morphined eyelids. But
no visual recollection appeared to give me my share of cinematic
existentialism. There were no images of my first girlfriend to bring a tear to
my eyes, nor the slow-motion re-enactment of a long-forgotten hug with my
father. I felt no nostalgia, no inner peace. There was only a sharp feeling of
anger, ripping its way through the layers of sedatives.
Anger for
the hours I spent at school, when I was a child. Anger for the morning
sleepiness on the trains to work, while my life melted in a blur alongside that
of all the other commuters. Anger for the summer days spent in the office, for
the late shifts at work, for the cocktail parties, for the enforced fun. Anger
for all I didn’t do, in the name of something that now was nowhere near to give
me my pay back. Anger towards myself, for my unforgivable obedience. Why had I
wasted so much of my life trying to believe in the ‘higher purpose’ of what I
was doing? Why had I blindly poured so much of my energies in my studies, in my
career, in my good behaviour, if everything was now coming to an end, with no
possibility of return?
(…)
In the days
that followed, the thought of my coming encounter with another such moment took
hold of me completely. I didn’t want it to be like that again. I didn’t want to
see myself aged, lying on a hospital bed, once again sedated, shivering for the
anger of having wasted so many years, so many more then those I have wasted so
far. If all the promises of the abstractions I have believed in have revealed
themselves as utterly vacuous – if not as complete scams – the urgency of those
thoughts were still vivid in front of me in their honest reality. Revolution
might never happen, Progress might be just a line traced in the sand, Success a
carrot at the end of a stick, but that anger, that desperate feeling of having
wasted the little, precious time I had, was real, and it urged me to take
action”.
....
▲ “The Rise and Fall of Paramount Records Vol.1”
+ "Traxbox: The Trax
Records Box Set"
+ "Longing for the Past: The 78RPM Era in Southeast Asia"
+ "Purple Snow Forecasting the Minneapolis Sound"
▲ Eliane Radigue “Naldjorlak”
▲ Penny Penny “Shaka Bundu”
+ Mammane Sani et son Orgue "La musique
electronique du Niger"
+ Hailu Mergia “Hailu Mergia And His Classical Instrument: Shemonuanaye”
+ Hailu Mergia “Hailu Mergia And His Classical Instrument: Shemonuanaye”
▲ Michael Finnissy “History Of Photography In Sound”
▲ Toshiya Tsunoda “o kokkos tis anixis”
▲ Rashad Becker “Traditional Music of Notional Species Vol. 1”
▲ PatrickFarmer/David Lacey “pictures of men”
▲ Oneohtrix Point Never “R Plus Seven”
▲ Olivia Block “Karren”
▲ Okkyung Lee “Ghil”
▲ Bryn Harrison “Vessels”
+ Richard Glover “Logical Harmonies”
▲ Palm Highway Chase “Escape from New York”
▲ Logos “Cold Mission”
▲ Juana Molina “Wed 21”
▲ Joe Panzner/Greg Stuart “Dystonia Duos”
+ Anne Guthrie/Richard Kamerman “Sinter”
+ Anne Guthrie/Richard Kamerman “Sinter”
▲ Graham Lambkin/Jason Lescallet “Photographs”
▲ Kacey Musgraves “Same Trailer, Different Park”
+Oomori Seiko "Mahou Ga Tsukaenai Nara Shinitai"
▲ G*Park “Sub”
▲ DJ Rashad “Double Cup”
▲ Dennis Johnson “November”
▲ BFlecha "βeta"
+Curumi Chronicle "
▲ Beyoncé “Beyoncé”
▲ Bellring Shoujo Heart “BedHead”
+ choice? “2nd Kyuai Gata Muteki
Sengen”
+Izukoneko “Room EP”
▲ Bass Clef Acid Tracts/
Svreca "For your eyes only"
+ DJ Sprinkles "Where Dancefloors Stand Still"
Svreca "For your eyes only"
+ DJ Sprinkles "Where Dancefloors Stand Still"
▲ David Tudor “The Art of David Tudor 1963-1992”/
+ Anton Heyboer Rules of the Universe/
+ Jacqueline Humbert/ David Rosenboom "Daytime viewing"
+ Akos Rozmann “Images of the Dream and Death”
+ Anton Heyboer Rules of the Universe/
+ Jacqueline Humbert/ David Rosenboom "Daytime viewing"
+ Akos Rozmann “Images of the Dream and Death”
