{"id":785,"date":"2013-06-24T11:03:00","date_gmt":"2013-06-24T10:03:00","guid":{"rendered":"https:\/\/bolachas.org\/testes\/?p=785"},"modified":"2020-09-14T22:04:52","modified_gmt":"2020-09-14T21:04:52","slug":"optimus-primavera-sound-2013-friday-day-2","status":"publish","type":"post","link":"https:\/\/bolachas.org\/?p=785","title":{"rendered":"Optimus Primavera Sound 2013: Friday, day 2"},"content":{"rendered":"

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Optimus Primavera Sound. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

Optimus Primavera Sound\u2019s second day of concerts was assuredly the big day of the festival, with major headliners Blur stepping up to play one of the most important concerts in Portuguese soil this year. But there was so much more to it.<\/p>\n

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OM. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

When Al Cisneros and Amos moved from their previous experiences to create OM<\/strong>, they were thinking about give to their fans a different experience. The droning metal invaded Primavera Sound when the sun was shining high. It may look a bit strange how you can mix the colorful landscapes of the festival with a dark kind of music. But it worked like a good trip of eastern-influenced type of music, rhythmic and smooth. It has a sort of mystical mood, kind of magic jam and the elements converse to a sort of joyful experience. The elements of the psychedelic, the walls of bass fuzz, sparse drums that have the power to create a pleasant mood.\u00a0There was time for some songs off\u00a0Advaitic Songs<\/em>\u00a0and a powerful \u201cState of Non-Return\u201d, where bass fuzzes get us to a new metal approaching, and the extremely tight drums gave us the sensation of clumsiness. The sound of OM is always about to free your mind there were the ambiences of the atmospheric keyboards and high-pitched wails working as backing vocals.\u00a0 The power of OM has direct relation with the genuine elements that make the concert a transcendental moment, entrancing washes of depth and hypnotic groove. – CMT<\/p>\n

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Neko Case. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

Being the big fans of the AC Newman-lead supergroup New Pornographers that we are, it\u2019s tough not to allow their shadow to cover Neko Case<\/strong>. Her outstanding performance on the record Twin Cinema<\/em> is memorable, but the truth is her solo albums are also great. An indie-flavored version of the trve alt-country style, sweet songs, and slide guitars. One thing you can\u2019t do, though: ask her to play \u201cThe Bleeding Heart Show\u201d, maybe the best song she ever put her voice on – she\u2019ll be mad at you. – RC<\/p>\n

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Daniel Johnston. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

Daniel Johnston wrote some of the most sincere and beautiful songs fo the past 30 years: \u201cDon\u2019t Let the Sun Go Down On Your Grievance\u201d, \u201cDevil Town\u201d, \u201cTrue Love Will Find You in the End\u201d\u2026 It\u2019s also pretty obvious to everyone that Johnston isn\u2019t a performer. Most of the concert was not memorable – his backing band, unfortunately, is also nothing special – but the latter two songs I mentioned above, played on the encore, made me forget about the rest. It\u2019s hard not to break down while watching him sing the first words in \u201cTrue Love\u201d<\/a>. A truly touching moment.<\/p>\n

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Swans. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

Slower, louder and harder. It\u2019s not difficult to define the power of Swans<\/strong>. Wave after wave, there was heavy noise that let us in a blissful meditative magic in a stunning set. It\u2019s like you\u2019re seeing the darkest opera you will ever see, where the music is a punishing and visceral act, and yet stunning and beautiful. The majesty rides you to the storm, disturbing your head and dealing with the highest decibel possible.\u00a0 Gira and his boys let us travel to the fringes of the universe and all the bizarre there is. There is a mixture between eastern drones, clanging metallic bringing an intense wall of vibration, hitting the Ritcher Scale. In the other point, you have Michael Gira singing an heavy melancholia and gorgeous acting, like if he\u2019s the devil\u2019s crooner. In the avalanche of terror and noise, we are always dealing with the frontier between the sophistication, the experimentalism of the repetitions, and the madness of the droning power. During the set you had some highlights like the unrecorded song \u201cShe Loves Us\u201d, the title track \u201cThe Seer\u201d and opening track \u201cTo Be Kind\u201d.\u00a0I\u2019m not exaggerating to say the set is an amazing experience of modern music. They are beyond any categorization and they will sound like a brand new progressive stuff, even if we\u2019re talking about their previous stuff. By the end of the day, seeing this live act makes almost all of other stuff sound lightweight and pointless. – CMT<\/p>\n

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M\u00e3o Morta. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

9:30 pm, ATP Stage. While Swans were giving rude noise lessons to a large Primavera crowd, Rodriguez was supposed to perform an historic gig, cancelled few weeks before to be replaced by Portuguese rock dinosaurs M\u00e3o Morta<\/strong>. Of course this lead to a big doubt: was it really worth it to attend a concert of a band which surely two thirds of the Portuguese OPS attenders already saw? A \u201cgreatest hits\u201d concert with no foreseeable album to come? A concert of a band whose main vocalist would miss in place of Swans (as Adolfo Lux\u00faria Canibal would confess moments earlier)? Don\u2019t even bother to roll the drums, the answer is \u201cYes\u201d. Like I mentioned, it was indeed a greatest hits concert. And for starters this is why it turned out to be a great concert, simply because it became the celebration of M\u00e3o Morta\u2019s career to an audience not entirely Portuguese (during the show some Spanish guy asked me the name of the band playing). The gruesome lyrics and Adolfo\u2019s striking pose can\u2019t age, songs as \u201c1 de Novembro\u201d or \u201cAnarquista Duval\u201d have become hymns \u2013 who wasn\u2019t singing the \u201coh-oh-ohs\u201d of \u201c1 de Novembro\u201d had it already been performed? \u2013 and mostly they gave a heck of an irresistible concert. Seriously I was just stalling time til Melody\u2019s Echo Chamber started \u2013 ended watching the entire concert and no Melody\u2019s for me. Regrets? None. – BSC<\/p>\n

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Shellac. DSS<\/em><\/p>\n

A Shellac<\/strong> performance isn\u2019t just a rock concert. It\u2019s a happening.\u00a0Another<\/em> happening, you might be thinking, as they play Primavera every year and mostly everyone has seen them by now. And yes, their live show hasn\u2019t change a lot in the past few years: there\u2019s always the \u201clook at me I\u2019m a plane\u201d silly antic, Todd Trainer beating the shit out of his snare drum around the stage on \u201cThe End of Radio\u201d and both Albini and Weston stealing his drumkit piece by piece at the ending of the concert. Then why do I went to see them for the third time instead of watching Grizzly Bear, a band I sometimes enjoy and whose concert I missed in the 2010 edition (to see Polvo or some other better band, I think)? Because it\u2019s fucking fun<\/em>. No one else gets on stage shouting \u201cTHIS IS A SAD FUCKING SONG\u201d and then proceeds to beat the shit out of everyone\u2019s eardrums and instigate madness in the front rows, where crazy Central European-looking couples teach the locals (and everyone else) how to have fun.\u00a0Again, fun is the word. Even Steve Albini stated that between \u201cKillers\u201d and \u201cWingwalker\u201d:\u00a0\u201cI side with the defenders, the defenders of FUN.”\u00a0<\/em>Me too, and I\u2019ll be seeing them next year again. Never change.<\/p>\n

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Grizzly Bear. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

I fucking love Grizzly Bear<\/strong> and think they are one of the most interesting, flawless, and important acts of the 00s and 10s. Following their 4th LP, Shields<\/em>, it looks like Brooklyn-based quartet is now fully grown, and, with a perfect setlist, they were able to balance melody and improv. in the Optimus Stage, both in equal parts, in a way they hadn\u2019t been able to done, e.g., at Super Bock Super Rock 2010. It was amazing, and totally worth to miss Shellac at the same time, back at the ATP stage. – RC<\/p>\n

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Four Tet. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

The set of Four Tet <\/strong>AKA Kieran Hedben is truly more accessible than is record work. From the ethereal genre-splicing beats of the albums, he didn\u2019t bring us almost anything. Trying to make people sway, he kept his choices for the upbeat. The chilling synths and constant rings, but he brought the bass, making everyone vibrate. It was physical as a performance in a open-air festival needed to be. – CMT<\/p>\n

Meanwhile, Meat Puppets<\/strong> were clearly having the time of their lives at the ATP stage. With a still-rednecky<\/em>, rockier-than-countrier<\/em>\u00a0setlist\u00a0– and I was hoping for the latter – they pulled out of their hats an unexpected version of\u00a0“Sloop John B”\u00a0as we were leaving for Blur which made me stop somewhere between the bushes that separate the two stages, contemplate how nicely this kind of sorcery they call “world\u201d works and sing\/shout along with them. Jesus, I fucking love my life.<\/p>\n

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Blur. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

Not only Blur<\/strong> is one of the biggest (in dimension) bands of all times, one of the groups with which I started listening to music for real, and Damon Albarn is one of the greatest songwriters of pop\/rock, they\u2019re a band known for greatness live. And it\u2019s outstanding what these guys can do with their age. Last year, Blur have released new songs. Good songs. They have played them in the Optimus Stage, at OPS, among all other tunes, a best of, totally, and it was so, so good. My only regret is that I was a little bit hungry and tired, thus not being able to really feel this gig. – RC<\/p>\n

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Hot Snakes. Hugo Lima\/Optimus Primavera Sound<\/em><\/p>\n

Meanwhile, everywhere else\u2026<\/p>\n

My first concert at the Pitchfork tent was Do Make Say Think<\/strong>, one of the acts I wanted to see the most in this festival. Like I said on the festival preview, it\u2019s not 2003 anymore, but \u201cFredericia\u201d is still one of the best post-rock tunes ever written. How they\u2019re playing in the worst stage of the festival at the same time as the bigger headliner instead of being alongside scenemates Explosions in the Sky in the main stage is still a mystery to me. It would be one of the contenders for best show of the festival if we could have the chance to see them while laying down on the hilly surfaces in front of any of the other stages, gazing at the stars or doing some other faggotry that doesn\u2019t involve standing at a hard surface from 1:20 to 2 am on a music festival.<\/p>\n

At the same time, the reformed Hot Snakes<\/strong>, one of the major American post-Drive Like Jehu post-hardcore bands, or a more mature version of them, were playing at the ATP stage for a couple hundred of fans. Although they were on heavy rotation on my MP3 player in the spring of 2005 or something, I just wasn\u2019t feeling like punching people in the face after being shot in the heart by the Canadian post-rockers. I need these guys in a small club ASAP though.<\/p>\n

Glass Candy<\/strong> is one of those bands that have all the ingredients that make me run away as fast as I can: cool ladies\u2019 electronic dance music that attracts annoying fans eager to being earfucked by a singer who enjoys screeching a little too much for my taste. Normally I wouldn\u2019t give them a chance, but I looked to the timetable to see what the alternative was and hah, there was no way I\u2019d be near the ATP stage for a while. Against all odds, I loved this. Singer Ida No looks like a lovely housewife from the 80s and her singing voice is so good that I forgot about all the shouting that of course<\/em> was going to follow as soon as she entered the stage for \u201cDigital Versicolor\u201d. The concert rapidly became a massive party – \u201cGeto Boys\u201d was the highlight for me, with that awesome beat from \u201cMy Mind Playing Tricks On Me\u201d – which I was grateful to be a part of. As a bonus, I got to not see Fuck Buttons. I win. Your word, CMT.<\/p>\n

Okay, Fuck Buttons<\/strong>. Their albums made a fantastic transition to the stage. The sonic experimental music of the duo mixes influences by a lot of genres with distorted tonalities and rhythmic noise. The strobing modulators and technological FX transformed the show in a hyperactive experience. The sort-of-like industrial psychedelic techno loomed in a blissful way. FB\u2019s music makes the groove join the power of rock, twiddling distortions and reverb, screaming for the party to come.\u00a0In the flux vortex you are sucked into somewhere galactic, shiny and immense. The fractured beats create a tremendous convulsion and when the bass kicks, there is a minor earthquake of dance happening, trashing the mass of the bodies. The physical, visceral and intense music is infectious and contaminates the audience.\u00a0They have something special in the way they capture the hard-hitting sound and make all sound so furious that he have to conclude maybe there is just a small difference between techno and punk music. – CMT<\/p>\n

– DSS\/AMB except when noted<\/p>\n","protected":false},"excerpt":{"rendered":"

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