Synister Gates Haircut Without Gel

Gabo IRON by Joaquim Correia

Notes Gabo Ferro

by Joaquim Correia

(photograph by Lucia Muraca)

A foundational myth

Most of the interviews, notes and reviews about Gabo Ferro refer, more or less extensive, as it passes through the hardcore in the nineties with Porco, thereby emphasizing several elements: his musical career, his various activities during the silent and the turnaround that gave his career (both musically and in the poetic) author's recent history is summed up in a strange chain of events: the March 31, 1997, at Hotel Bauen, Gabo speechless (literally) in the third theme of the last show of Porco, band that was a salutary lesson and an ideologue performer retailer. That night he ran for Callao and day Next, he began to study history at the University of Buenos Aires. (Rolling Stone, July 2005, 36)

The story is an early part of the definition of Gabo Ferro artist as cultural agent: musician who falls silent in front of the supposed success in the middle of a show and takes refuge within a circle in principle entirely alien. Metaphor that has its roots in the thinking of the movement and the concept of the album as a documentary subject and, above all, artistic, and at the same time, gives the principle of differentiation between music and the music industry. One scene, in short, that identifies and justifies Gabo Ferro your project and design (Birth and reflection) of it.

production circuits

Their first four albums were released independently (the first three Azione Artigianale under seal, belonging to the musicians of Fish and arises as a venture of musicians for musicians, while the fourth, however, released him without even seal), while, some of them, released a live record, a "rogue officer." Its circuits are specific and conscious movement, keeping them direct participation and responsibility. The artist is deciding the direction and insertion sites of his work: no presentation is outside the orbit of their productions or "expectations" reading their receptors. His thought you cover the whole process of movement of the work, from production in this or that place, under the seal and under such conditions, until the decision about where to play and under what expectations or the public. The text that serves as a cover for his second album, All that is solid melts into air, operates in this sense as his manifesto: (...)

What made us lose sight, though more or less accompanying depending sincerely in each case, the imagery, agencies, mass media and communication, full time producers, graphic design, sponsors and record companies that make the disks but not the songs? Why are some musicians are represented in images before imagined his best song? What makes us think in pictures or drawings as a matter of obligation to a disc?

has established a pattern of production that aims to install over a given period of time a single art, a single visual image, a single music, in short, a single song that far from democratizing result, it Identity override.
Do not be confused with accessory basics. An album are songs, an album's music. The rest is water that evaporates into the air. (Gabo Ferro, 2006) Water white, black duck, the total dispossession, return to the music, the album, along with the denial of the whole apparatus is mounted from the time after the song. Marx and Engels puts on the cover of the album, its title and within it with a quote from the Communist Manifesto branded a useless gesture as political proclamation, decepcionante1 and even somewhat vain, when it was initially conceived and designed as a statement of principles by the artist, the "policy editorial "and productive, the explication of his thinking about art and culture within capitalist society. Such words reflect both environmental awareness and the media, the logic of the field and its operation, as well as critical and subversive power that art itself can be traced from his own statement and presentation as an artefact. I want to hear me: the word in the act, taking shape, reaching from the source of singing itself.

Music and

disk

From the foregoing it would seem that his poetry would venture based on the revolutionary song, the style of protest song or the singers of the sixties to this part. And yet, no: his lyrics put the focus on love, in the particular universe that creates and sets. And yet, his intellectual background, ideological position and his academic career are not kept apart and could be traced to the use and selection of certain words, certain topics and situations.

All discs have a short text explaining the reason for the title, and in the case of two of them is responsible for defining them as "documentaries." The titles are the element that frames the songs, anticipating or synthesizing predominant tone.

Songs that a man should not sing (2005)

The cover shows the first and Gabo in the foreground, on whose lips dropped a white flower ( margarita, perhaps). The photos of the book are all the recording process and its justification reads as follows:

"A man should not sing stuff like that!" Declared Edith Piaf in 1959 shocked after listening to play Jacques Brel Ne me quitte pas. There Brel played a man who begged not to be abandoned parole reduced almost to nothing. What shocked the Piaf? Do you see a man in the place that some (large) part of society and culture came (with few exceptions) placing the woman? What things should we, then, men sing? I argue revolutionary from the point of view should be, the duty to say and express allowed by society and its stereotypes. From there, a documentary album about love, about issues and ways that, historically placed on women, seem ridiculous, cheesy or maudlin in the man's voice. Debut dedicated to occur in the field with a poetic establish his way of saying, denying the silence imposed by the inadequacy for sex: "The songs from that album were not within a defined genre and I found that all were woven well with them because all were inconvenient in my mouth, because he was a boy. " Lyrics love exploring the different stages along with other more general aspects of man, since the separation, depression and anxiety, to family storytelling marked by the secret of homosexuality. "The friend of my father" in this sense, it is interesting when thinking about the production of Gabo and landslides or stitches on the link reality - Fiction. The author defined as songs, the self that they have become blurred with author figure printed on the cover, thereby leading to confusion of the life and work. Thus, references to the family, romantic relationships or more of its recurrent topics (the garden, night, child, children, animals) took a different turn, directly related to their shape or losing in registers without the possibility of categorizations arbitrary.
The word utility is denied and banished from the relationship (in "Love is not") as the modern meaning, industrial and productive, capitalist and colonial, thereby rendering the love in the antipodes of production, as foreign the parameters of supply and demand. A song from the antithesis, which deconstructs one of the main ways that love. A song that combines the male artist with the intellectual man and opens the way for what would be the controversial issue of their next album.

All that is solid melts into air (2006)

completely white Disco marked only by the black letters, many of Marxist affiliation them. Given the non-art editing possibilities of attributing a precise justification diversify:, set forth, declare, declaim, mute, justify, replicate, to contradict. In any case, show the artist's awareness of the cultural field and the laws that govern it as is (it) defined as good: actually avoided a space that was intended to self: What discussed at the music? The ways of production. The first thing that new bands do is to hang a picture on the Internet without instruments! The wishes of many great bands are signed to a label whose catalog of dishonor. I am far more ambitious than all: I work for the story (Live Interview)

Again back to sing what forbidden to man, loving feelings dichotomized in the negative pole of the feminine. Here adds very peculiar narrative of a dialogue (a prayer) with God, the development of highly concentrated and beautiful images related to the nature and depth on the topic of death. Three songs I

stress, joined by a similar idea but different constitution. The first is "Seamstress and carpenter": by telling a story assigned roles are reversed (historically) to the men and women, leading to the elimination of prejudices and originating from there to a new subject hybrid faces the conventions and their enforcement: I fall in love with a good seamstress / A woman's right hand, a good woman with child's body and hands well arranged. / I will love her and protect her. Of all the terror of nature, he / she will love me and sew for me the best clothes for my dolls. / / She is wise and knows to smile when a child yelled seamstress / say that nothing matters if we are integers. / Child seamstress and she carpenter. Since almost childlike figures, traditional shop, goes to the critique of the tax. The story goes to say something else: "use some things about the micro-history, that is, take a tiny event to talk about the big problem."

The other song is "If a man ", where once again raises the fact of what should be and their sexual limits allowed. A soldier that sits between the memory of the songs from the mother and the battle flag, which is directed towards the voice, "and sing it loud

winner / and sing to their wives / transform who they know / all the pain it hurts. / / I cried a lot fighter / and stories told / to merge / be a murderer and a Christian. / / Garnish with flowers / all hair. Stop being a soldier. / Be a whole man. Tips murderer and a Christian man: the ability to assume another nature, that of childhood, that maybe true for innocent, for your kindness and socialization primary close to the mother, about life, time and the world.
Finally, but also in the same direction, is the story of a lesbian character microhistory (the bride's head dropped. ") There he recounts the failed marriage and subsequent murder of a bride with her lover. Using language-started at all level-outside of discourse (from the poetic to xenophobia false innocence tinged with doctors), masterfully depicts situations, dialogue and images from a powerful and revolutionary fresh from the theme to the narrative - composition. A micro more of the same spirit but in a much more aggressive, which boldly includes institutions and pillars of society (marriage, church, being heterosexual).










Tomorrow should no longer be this (2007)

The next record shows at the top to Gabo in the foreground, with eyes lined and singing. The photos are inside or instruments (guitar dominates the design) or are focused on the action of touching. This idea seems to emphasize the visual mode (as he had done since the textual) in music, action singing and playing instruments. The photos do not dramatize anything or are shots of poses: they are, simply, music in motion, action, music listening. The text accompanying the letters reads as follows: "This is an album with love as the theme of a classic romantic universe, nature, night, and the tragic destiny of things as deep stage that we are a self- us, which refuses to remain this morning. " The songs, well, he went into the world of love, in several of its facets. Take hold their topics, their narratives, descriptions of images and parables. Again to say that outside the man, and in this case from a constellation of elements whose roots are in another century, with the intention of fleeing and clichés, so it seemed only accepted and allowed to speak of love: "Tomorrow

Do not continue this. .. another title, as their second album (All that is solid melts into air), refers to this game between past and present. "On this album

wanted to address the theme of love, making a semantic pirouette to talk about it, without falling into the" you love me and I love you. What I did was stand in places of history and see where the love ... in the '60s not because there is now above the industry calls this neofolk, and then I went to the nineteenth century German Romanticism, and began to compose under the structure of nature, night, death, folklore and religion. I wanted to use a title that was almost empty so that whoever read it could carry its own meaning ... the truth is that the secret of the title is in the word "this", because my "this" certainly is not the same as yours. (Interview page 12) And once again the challenge to industry, as expected for it, tax it sit on the means of expression, as permitted to sell. A new gesture of independence that returns to tradition to avoid taxation: the reviewing and rereading to find something that says no innate predisposition to consumption: the denial of fashion.

love, fear, from (2008)






Expression of intention of the musician released an album per year, thereby ignoring the dictates of the market and its circulation and reception processes . All material previously unreleased, was recorded live at two concerts: there, another quality of his struggle. New songs for an audience that know, no choruses, therefore, with a completely silent environment, expectation. The artist does not expect Coreen its themes, the artist makes his show pretending to be heard in full.

Notes

1 "The text, in connection with the songs, doubly disappointed. First because, far from eliminating the mediations, for attachment between the music and the listener, does nothing but bring others, even more opaque. But also because of the provision indicates a yearning for a past stronger (not clear from the quotation from Marx and Engels) that could print some of the songs a naive nostalgia for a world pre-urban, pre-technological, pre-capitalist, and so on. "Criticism of All that is solid melts into air Patricio Orellana, Rolling Stone. S / d.

2 Recorded in a few days (or two), against the recording industry and product manufacturing processes. Gabo Ferro postulates the live production of his records, working in the studio, with a guiding idea that reflects the tone of the disc and its atmosphere. 3 Ana Laura Perez, "Interview with Gabo Ferro. The one who deserves love, "Viva Magazine, No. 1695, Sunday 26 - 10 - 2008. 4 Cristina Vitale, "Interview with Gabo Ferro. The modern troubadour songs " on page 12, Friday October 19, 2007.