Review de Gang of Four no EDP Vilar de Mouros 2019:

"Num mar repleto de guitarras, os baixos dos Gang of Four no EDP Vilar de Mouros são verdadeiras ilhas paradisíacas."

Post punk, edição de 83
*Disco e capa como novos.*

Banda de Andrew Gill, colaborador dos Red Hot Chilli Peppers entre outros, recentemente falecido.

Anarchy and exactitude seem like opposites, yet Andy Gill, who’s led the post-punk band Gang of Four since he and singer Jon King formed the quartet at the University of Leeds in 76, has developed a highly personal 6-string language that comfortably balances both.

Gill’s playing on the band’s classic 79 debut Entertainment! heralded the arrival of a new kind of rock-guitar hero: string slammers who embraced angularity and atonal bombs, crafting braying, churning waves of noise and serrated, dangerous solos.

Others were in on this new game, like David Byrne and the Voidoids’ Robert Quine.

And some, with Quine and Gill at the fore, embraced blues and R&B, just as Hendrix and other guitars heroes of the previous generation had done. But they cracked those styles open like cooked lobsters and carefully selected the parts on which they wanted to feast.

For Gill, it was the deep groove and rhythmic precision of classic R&B and dub, blended with the explosiveness of Hendrix, but all tailored to a new era.

That’s an aesthetic that produced the disjointed, brittle-toned guitar that Gill splattered all over the groove of “At Home He’s a Tourist,” from Entertainment!, and the seesawing siren calls and beehive rhythm he authored for “What We All Want” from the 81 follow-up, Solid Gold—the albums that established his influence in the world of free-ranging guitar.

Both of those songs also offered incisive critiques of consumer culture, reflecting Gill and Gang of Four’s interest in lyrics reflecting the zeitgeist—at a time when the U.S. and Great Britain were being flooded by a wave of right-wing leadership, even as the Cold War was coming to a supposed end.

For the next four decades, with two hiatuses along the way, Gill and Gang of Four have continued to refine that sound and that perspective. Gill’s wanton destruction of guitar tone has been aided by new developments in digital sound-processing technology, reaching a new apex onstage and in a trio of recent studio releases: the 2015 album What Happens Next, last year’s Complicit EP, and the new album Happy Now.

And as fresh titles like “Ivanka: ‘My Name’s on It’” and “I’m a Liar” broadcast, he’s not toned down his commentary.

As Gang of Four was beginning the final leg of a U.S. tour in late February, Gill was hospitalized in New York City for a chest infection.

The remainder of the tour was scrapped and, when he sufficiently improved, Gill returned to his home in England. He was there when we spoke via Skype, in improved spirits and condition, obligingly answering questions about his career as a brilliant and purposeful sonic radical who helped change the evolution of rock guitar and continues to experiment with its DNA.

Your playing is like a blend of expressionist and hyper-realist painting: explosions of sonic color blended with Jimmy Nolen-like rhythmic precision, embracing James Brown’s notion of the band as a single organism. Is that something you’ve purposefully done, or is that simply a preposterous conversation starter?

I’ve given a very similar description myself, and there are two very, very diverse ways I go about things. One is sort of, as you say, just crashing through everything else, while the drums and the bass are always a tightly functioning, rigid groove.

And you could say the James Brown thing is there. And sometimes the guitar ties in a little bit, and then goes completely off-grid.

It’s sort of Hendrix at his most chaotic, or the Velvet Underground, where it kind of gets a little sloppy. And then, at the other extreme, it’s tight and sits right in what the rhythm section’s doing. People that do that are—like, Steve Cropper, and Wilko Johnson at the British R&B end—just millimeter-tight with the groove.

Relacionado com Gang Of Four, new wave, post rock, participação em bandas sonoras de Sophia Coppola Virgin Suicides Marie Antoinette, relacionado com Pop 80's Depeche Mode New Wave Cabaret Voltaire Bow Wo Wow Red Hot Chili Peppers

Gang Of 4* ‎– Hard
Label:
EMI ‎
Format:
Vinyl, LP, Album
Country:
Portugal

Genre:
Rock
Style:
Indie Rock

Tracklist

A1 Is It Love
A2 I Fled
A3 Silver Lining
A4 Woman Town

B1 A Man With A Good Car
B2 It Don t Matter
B3 Arabic
B4 A Piece Of My Heart
B5 Independence

Manufactured By – Vecemi, Música E Discos, Lda.
Distributed By – Vecemi, Música E Discos, Lda.
Credits
Arranged By [Strings, Horns] – Gang Of 4*, Howard Albert, Mike Lewis (7), Ron Albert
Backing Vocals – Alfa Anderson, Brenda White*, Chuck Kirkpatrick, John Sambatero*
Bass – Jon Astrop (tracks: A1, A2, B2, B4), Sara Lee
Conductor [Strings, Horns] – Mike Lewis (7)
Engineer [Assistant] – Patrice Carroll Levinsohn, Peter Heffer
Engineer [Concert Sound] – Kevin Harvey
Guitar, Vocals, Drums [Additional] – Andrew Gill*
Lighting [Lighting Designer] – Phil Allen (3)
Management – Glotzer Management Corporation*
Management [Stage Manager] – James Chapman (5)
Mastered By – Mike Fuller
Photography By – Scott Heiser
Producer – Howard Albert, Ron Albert
Producer [With] – Andrew Gill*, Jon King
Recorded By – John Rollo
Remix – Howard Albert, Ron Albert
Sleeve [Sleeve Produced In Consultation With] – Gang Of 4*
Sleeve [Sleeve Produced] – Assorted Images
Vocals, Melodica – Jon King
Written-By – Gill*, King*
Written-by [With] – Jon Astrop

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