PAVEMENT
"TERROR TWILIGHT"
Matador
1999
La escena indie de finales de los años 80 y principio de los 90 fue un espectáculo para los oídos, aunque estaba destinada a no durar, Dinosaur Jr se elevó a alturas imposibles detrás de su obra impecable You're Living All Over Me, junto con el intemporal Doolitle de Pixies y el Slanted And Enchanted de Pavement, el cielo era el límite detrás de una generación de indie rock.Y, sin embargo, la moda se fue tan pronto como comenzó. El rock más flojo/moda indie o como quiera llamarse, en esencia, murió en 1999 con el lanzamiento del Terror Twilight sólo para ser reemplazado por los snobbies indies de la década del 00 de la talla de Vampire Weekend. Así que, en cierto modo, Terror Twilight fue un final simbólico. Ya no era la escena indie llena de vagos fuera de su lugar. Sino que simplemente, Stephen Malkmus y Scott Kannberg crecieron. Los viejos compañeros de Stephen Malkmus con él supieron retirarse a tiempo sin manchar su nombre, algo que muchas bandas han pecado de eso. Terror Twilight es emocional y más introspectivo que ningún otro disco de Pavement, incluso utilizando metáforas extravagantes para las relaciones se puede decir que a mejorado con el paso de los años como el mejor vino. Mirando hacia atrás en esta floreciente escena uno le da añoranza no solamente de no disfrutar de nuevo de discos de tal magnitud, sino de artistas con semajanza actitud.
Terror Twilight fue una declaración masiva y todavía lo es. Y voy a ir tan lejos como para decir que en este álbum Pavement desafió a su discografia con su disco mas personal. Nunca a la banda se mostró con tanta moderación y alegría, pero sonaban más fuerte (como banda y no como sonido) y más audaces de lo que nunca lo habían hecho. Se necesita mucho coraje para lanzar un álbum emocional tan relajado, después de la naturaleza squizofrénica y absoluta de Slanted And Enchanted. Pero lo hicieron aquí. Y hay canciones muy diferentes a lo que estabamos acostumbrados sin perder esa esencia atrevida y conceptual como en la pieza central del álbum, "Major Leagues". Esta canción es el sinónimo final de Pavement pero también es probablemente una de las mejores creaciones de Malkmus. "Major Leagues" puede parecernos algo triste ya que conserva ese aura de "fin de algo", lenta, atmosférica, relajada y melancólica. Pero es la pieza central del álbum. Es la canción que Ben Gibbard deseaba poder escribir. El resto de Terror Twilight no decepciona, siempre y cuando no compares de que esto es la misma banda que escribió.
No son pocos los temas a los que aquí suena como Radiohead a veces, pero sin embargo funcionan. Godrich amplió el sonido áspero y lo convirtió en un sonido intenso, masivo y épico. "Spit on a Strange" es extraña, es pegadiza y melódica y el riff de Kannberg es instantáneamente reconocible al igual que la sintonía que mantiene con Malkmus. "Cream of Gold" es una obra maestra, mira por encima y nos recuerda y nos acerca al viejo sonido de Pavement. Versos lentos y un poco distorsionados, la línea de estribillo es pegadiza y hace que suene como un hit de álbumes anteriores. Y "The Hexx" es quizás la canción más progresista que Malkmus a escrito, es oscura, larga y tiene unos ritmos cambiantes constantemente muy complejos. Sólo hay una manera de describir Terror Twilight, y es Pavement dentro de su Utero, como en el disco famoso de Nirvana. Los aficionados discuten y se pelean por si es un buen álbum, yo creo que con el paso del tiempo a hecho que si, en su día cuando lo escuche no me pareció nada del otro mundo, pero a dia de hoy puedo dar buena nota de que es un gran disco. Además, teniendo en cuenta que Terror Twilight terminó esencialmente un género de una década.
Este álbum, es el sonido de una banda cayéndose a pedazos, pero también es el sonido de toda una época cayendo a pedazos y que poco a poco está volviendo a nacer.
The
indie scene in the late 80s and early 90s was a spectacle for the ears,
but was destined not to last, Dinosaur Jr to impossible heights rose
behind his work impeccable're Living All Over Me, along with the
timeless Doolittle Pixies and Pavement Slanted And Enchanted, the sky
was the limit behind a generation of indie rock.Y, however, fashion was
as soon as it began. The
loose rock / indie fashion or whatever you call it, in essence, died in
1999 with the launch of Terror Twilight only to be replaced by snobbies
indies of the decade of 00 from the likes of Vampire Weekend. So, in a way, Terror Twilight was symbolic end. She was no longer full of vague indie scene out of place. But simply, Stephen Malkmus and Scott Kannberg grew. The old fellow knew Stephen Malkmus him retire on time without tarnish his name, something many bands that have sinned. Terror
Twilight is emotional and more introspective than any Pavement album,
even using extravagant metaphors for relations can be said that improved
over the years as the best wine. Looking
back at this thriving scene gives one no longing not only enjoy new
record of such magnitude, but similitude artists with attitude.
Terror Twilight was a statement and still is massive. And I'll go so far as to say that this album Pavement challenged his discography with the album more personal. The band never showed so sparingly and joy, but they sounded stronger (as a band and not as sound) and bolder than I ever had. It takes a lot of courage to release an album so relaxed emotional after squizofrénica and absolute nature of Slanted And Enchanted. But they did here. And there are songs very different from what we were used without losing the essence daring and conceptual as the centerpiece of the album, "Major Leagues". This song is the end of Pavement synonymous but it is also probably one of the best creations of Malkmus. "Major Leagues" may seem a bit sad as it retains that aura of "end of something", slow, atmospheric, relaxed and melancholic. But it is the centerpiece of the album. Is Ben Gibbard song wanted to write. The remainder of Terror Twilight does not disappoint, as long as you do not compare this is the same band that once wrote Summer Babe.
There are few topics on here sometimes sounds like Radiohead, but nevertheless work. Godrich extended the harsh sound and made it sound intense, massive and epic. "Spit on a Strange" is strange, is catchy, melodic and Kannberg riff is instantly recognizable as the tune that keeps with Malkmus. "Cream of Gold" is a masterpiece, looks over and reminds us and brings us closer to the old sound of Pavement. Verses slow and a bit distorted, the line of chorus is catchy and makes it sound like a hit from previous albums. And "The Hexx" is perhaps the most progressive song Malkmus has written, is dark, long and has a constantly changing complex rhythms. Only one way to describe Terror Twilight, and Pavement within your uterus, as in the famous Nirvana album. Fans argue and fight over whether it is a good album, I think that with the passage of time made that if, at the time when I did not hear anything special, but to this day I can take note of it's a great record. Furthermore, considering that essentially ended Terror Twilight genre a decade.
This album is the sound of a band falling apart, but it's also the sound of an era falling apart and is slowly being reborn.
Terror Twilight was a statement and still is massive. And I'll go so far as to say that this album Pavement challenged his discography with the album more personal. The band never showed so sparingly and joy, but they sounded stronger (as a band and not as sound) and bolder than I ever had. It takes a lot of courage to release an album so relaxed emotional after squizofrénica and absolute nature of Slanted And Enchanted. But they did here. And there are songs very different from what we were used without losing the essence daring and conceptual as the centerpiece of the album, "Major Leagues". This song is the end of Pavement synonymous but it is also probably one of the best creations of Malkmus. "Major Leagues" may seem a bit sad as it retains that aura of "end of something", slow, atmospheric, relaxed and melancholic. But it is the centerpiece of the album. Is Ben Gibbard song wanted to write. The remainder of Terror Twilight does not disappoint, as long as you do not compare this is the same band that once wrote Summer Babe.
There are few topics on here sometimes sounds like Radiohead, but nevertheless work. Godrich extended the harsh sound and made it sound intense, massive and epic. "Spit on a Strange" is strange, is catchy, melodic and Kannberg riff is instantly recognizable as the tune that keeps with Malkmus. "Cream of Gold" is a masterpiece, looks over and reminds us and brings us closer to the old sound of Pavement. Verses slow and a bit distorted, the line of chorus is catchy and makes it sound like a hit from previous albums. And "The Hexx" is perhaps the most progressive song Malkmus has written, is dark, long and has a constantly changing complex rhythms. Only one way to describe Terror Twilight, and Pavement within your uterus, as in the famous Nirvana album. Fans argue and fight over whether it is a good album, I think that with the passage of time made that if, at the time when I did not hear anything special, but to this day I can take note of it's a great record. Furthermore, considering that essentially ended Terror Twilight genre a decade.
This album is the sound of a band falling apart, but it's also the sound of an era falling apart and is slowly being reborn.
Puntuación *8/10
SvS
