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The Farmer's Boys



For the treasure hunter had everything against advance: the group name and the cover of their most remembered album, a postcard is not particularly appealing embedded in a background of new wave design not very seductive. But though often covers both the artist and say it is capable of expressing, in this case the continent ran largely left out of content. Sponsorship of an oracle of pedigree as John Peel, an ardent defender of the group, did not help to reserve a place of prestige. The story, big or small, were reduced to a point indistinguishable, but a third, secret, deal with entrusting a place in the sun. That

requetesabida who crossed the crossing of the day: early recordings on labels unknown to result in a sudden and ambiguous interest from the major shift in order to respond to the demand overcrowded Top Of The Pops to bet while to compete with the equally large clientele of boys and girls of the Wave in which by then was known otherwise. They had no luck. The competition was fierce and his apparent humility was eclipsed by other unhealthy egos and greed of criticism. The adventure is over, so when the almighty EMI decided that two albums under his auspices were more than enough to record the group's intentions. Good kids, but not morbid or spectacular enough.



After struggling in the first-singles of rigor, his first album came costelliano title "Get out and walk" (1983) . "Matter of fact", its first cut, as happened with others like "Who needs it?", And put on tracks: the struggling blues Edwyn Collins on a platform a little more conventional than the orange juice, but with similar adolescent fervor. The Farmer's Boys music, like that of his Scottish counterpart, reflects the state seamlessly switching between that New Wave and what, thereafter, in order to homogenize a generation of comparable groups often hard-to share in any case a sense of home and minimalist pop, was named first age of modern indie. The vitality and euphoric feeling that emerges from this collection of songs, as well as the effectiveness that comes with almost all, result in a disc infallible, bubbly, with plenty of material to entertain endless parties, without poses nones and resources appropriate. They knew even sound as if they were covers of some classic sixties ("Way you make me cry"). As Undertones, other darlings of Peel, formal discretion but amassed appeared influences with full meaning and legitimate aspirations. Gathered the momentum and urgency of the late seventies, yet a sophistication dressed in his case never sounded petulant or empty, I am reminded of groups such as Friends Again and all his vulgar and sterile elegance-but perfectly interwoven crackling in their compositions, except for "Soft drink", an attempt to sneak an electro-funk to Heaven 17 momentarily breaking-outstanding-general tone of the album. In others, such as "Wailing Wall" or "Muck It Out", the verdict so often certified to ship in a line style, the speaker that seemed to lead Philip Oakey Orange Juice, ever get much more favorable results.



"For you" had all the papers to run for glory. One of those hits a crescendo of enthusiasm inexplicably relegated to the wardrobe. It is true that the video of which was accompanied by a group showed no particular interest because they take too seriously. The irony was surrounded by a thick frame.
pills also fit small pop-punk like "Drinking and dressing up" or "I do not know why I do not like all my friends" that gave them a point of disappointment is nothing disappointing in all pan step next to the rest. A record to reconsider from beginning to end.

went unnoticed, despite the talent in abundance that treasured throughout his brief career they decide to fall back, this time, those wonderful years when figures such as Cliff Richard aroused the most overflowing feelings. The updated review of Farmer's of "In the country" should be the flag attachment for a budding public to pass through the filter of a standard to assess at its true potential for these guys. opened "With These Hands" (1985) second and lp last group, which contained fewer than in his previous pildorazos but would not lag behind in terms of results. The Bluebells I think about when you are playing, in that spontaneous pop-rock melody irretufable directly. For "I built the world" slip the line rounded the Byrds. "Sports for all" is perhaps the last chance to compare them with Orange Juice, last more than ever through the sieve of Smokey Robinson, missing more. "Art Gallery" and "Whatever is he like" (this last play-off first time) are moving more or less than the method Housemartins Paul Heaton and, taking these the glory and the chorus just a few months after The Farmer's Boys decided to throw in the towel altogether. The elegance of the eighties is not lacking, the costelliana -way "Punch the Clock" - "Something from nothing" or "Heartache" are excellent examples of that drank of his time. Paradoxically, even the violins anachronistic "Phew wow" are in a fully enjoyable album certainly not as revealing as the first, but with the charm intact.



Backs Records, a former record store and label distribution converted into occasional fund the second single the group's history, decided to dust off long after, the group led by Baz parked in the pantry of the time, the first recordings of Norwich. "Once upon a time in the East (The Early Years 1981-1982)" (2003) , is the first singles, unreleased tracks and early recordings of many of the first album. Although essentially a collection completists and fans led to fatal (like the undersigned), contains occasional strong reason to recommend even the wary or unwary. Leaving aside the wake of the Buzzcocks aided in pieces like "I Lack Concentration" or "Or what", "I think i need help," the particular "Falling and laughing "The Farmer's Boys, deserves special mention. An indie-pop anthem of the first order which should sound at all meetings of ravenous fans of everything that has to do with gender, a wonderful pill that not only shares the same charm as the best contemporary songs of Felt, Go-Betweens or The Monochrome Set, but earned and fiercely competes with them all.

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damned poets and French Symbolist Poetry


The first, inexplicably, does not have a repeat according to legend, one that through its prime mover and shuttle made brief sampling of a stream as elusive as paradigmatic. The decadence, embryo other 'ism' more unifying and powerful, but so scattered and contradictory as his blood brother. So read each other (the second is the latest compilation in Castilian that updates the evolution of late-century phenomenon, which converge-and-later dissolve in the avant-garde and post-modernism) is like twisting the stem and keep to see after all the sap run.



the party regulars, Mallarmé, Rimbaud, Verlaine Corbière or "repeat itself, while the first meeting are as far apart visitors Villiers De L 'lisle-Adam and Mrs Desbordes Valmore, real discovery involuntary forge a movement that provides a counterpoint-all told, of royal romance a bit away from his fellow damned, a poetic and sentimental clearer than the rest. But this compendium of passage is worth it, inter alia, by beating and burning, at times stuttering-defense in many cases in the present-that the poor Lelia ie, Verlaine, who does, mostly, were friends and lovers, most of them indisputable figures of his own circumstance, sponsored by the nectar of desolation and irony in their particular way of understanding the murder. All out round the vase, but never try to touch it.



enthusiasm was extinguished and died of laziness;
if living is forgotten, not being in one piece
himself and his mistress was his only sorrow.

born not in any way;
goes where the wind stops, which is hogwash
complex
adulterous mixture of everything.



Then came Luis Antonio de Villena-true specialist and enthusiast materials to put everything in clean-in an issue found, that if, with the odd sweat, to chart a comprehensive path and exciting, considerably useful to draw from the hat views, conclusions, and pull cards with names, many more names to complete the picture of the century, led by Valéry and Gide, who are often those that we usually bring to mind the word symbol, planned metapoetic and nostalgic, as appropriate. Talk of the process by which Nature-Parnassus-lose whole and must defend the industrial smoke and confusion, to return to feel the attachment-especially through the Belgian insistence undisputed circumstantial and radar-a Parisian mold primitive and ancestral, determined at birth. The sun, wine and marble to the smells of bygone days, ever escaped.



Wanted to confess to things
of you be amazed at the way you would
and once and for all
understand you with your gestures.

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Behind the glass (Villaronga Agustí, 1987)



Some have been here revised and expanded version of "Rapture" Ivan Zulueta. Although dealing with different topics, formally have much in common. Teens looking narcotic destabilize a particular focus on environment more or less internal, more or less projected, even moved in both cases clearly excuses away. Both tape and the other, punctuated by the illness, the amorality, the violence, especially in the case of contumacy Villaronga-and for years have been labeled a loser, but in the case of Basque, the reward of critical acclaim, though dormant, made living a second youth, in the case denied "After the glass."

Despite what you stand on the author of "The Sea", "Behind the glass" does not speak of an issue as personal as can be paused Zulueta kinematics. The debut issue of Villaronga is, unfortunately, more on days like this where pedophilia merely uncovering every moment, a universal question that resorts to a specific event, such as the shadow of Nazism here somewhat blurred, and one of its many practices, the whole awareness of revenge as circular, congenital and unfathomable. Architecture under a gray, blue and black really superb, with a picture kept special mime who then made his debut in length, the film does not lose intensity in almost no time, despite some predictable certain discursive levels.



Terror is only a matter of aesthetics, and a tributary on which channel the plot, never an end in itself, so it goes beyond gender or frauds. The struggle for power is his lantern, walking on a carpet of attraction / repulsion fortunately sustained. A fight that will have its peak and turning at the hanging of David Sust Marisa Paredes, officer's wife abuser, Sust only obstacle to carrying out all its deployment sick and twisted, her whole spectacle of cruelty and cold dishes served well . From that moment, a constant torture in a procession of gullible and unsuspecting prey faces of innocent children go through the machine where it survives niche Günter Meisner, the initiator of the nightmare, returned as an amplified vomiting. Without compassion. But your point degreaser. As in "Outbreak", where between hallucination and so much dependence, provided the time Carmen Giralt hilarious to stretch, will be on "Behind the glass" the role of a Imma Colomer, peasants as casual as endearing, which provides a respite from so much congestion and rawness.



That such a film - the best of the eighties in Spain? - So well done, so vigorous and exciting, perfect ornamental damn still considered unlikely, without the possibility of erecting a completely obscurantist status , is a measure that in some cinemas still sends more falling into grace to be funny.