2012 em discos

Mais uma vez, aqui fica, não uma lista dos melhores álbuns de 2012, mas uma ordenação qualitativa de tudo quanto ouvi este ano. Nesse sentido institui um sistema de qualificação em dois planos: um geral, constituído por cinco níveis (de A a F), e um outro, respeitante a cada um desses cinco, constituído por outros três (de A a C).

Desta forma penso tornar-se mais óbvio aquilo que penso em relação a cada título, procurando atenuar diferenças entre, por exemplo, o primeiro e o último álbum classificados com AA, e realçá-las entre, por exemplo, o último álbum com a classificação AA e o primeiro com AB.

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[AA] 001. Field Music, Plumb (Memphis Industries; Art rock);

[AA] 002. Tindersticks, The something rain (Constellation; Rock);

[AA] 003. Magma, Félicité thösz (Seventh; Zeuhl);

[AA] 004. Motorpsycho and Ståle Storløkken, The death defying unicorn (Rune Grammofon; Rock progressivo);

[AA] 005. Leonard Cohen, Old ideas (Columbia; Rock, Pop);

[AA] 006. Dúlra, Ecstasy (Heresy; Música de câmara, Música do mundo);

[AA] 007. Terry Riley, Aleph (Tzadik; Música contemporânea, Avant-garde);

[AA] 008. Chick Corea/Eddie Gomez/Paul Motian, Further explorations (Concord Jazz; Jazz);

[AA] 009. Ahmad Jamal, Blue Moon: The New York session (Jazz Village; Jazz);

[AA] 010. Esperanza Spalding, Radio Music Society (Heads Up; Jazz, Pop);

[AA] 011. Pharez Whitted, For the people (Origin; Hard bop);

[AB] 012. Eyvind Kang, The narrow garden (Ipecac; Música de câmara, Música do mundo);

[AB] 013. Michael Sahl + Eric Salzman, Civilization and its discontents (Labor; Música contemporânea);

[AB] 014. Gustavo Beytelmann Trio, L'autre visage (Warner Classics & Jazz; Música de câmara, Jazz);

[AB] 015. Sun Kil Moon, Among the leaves (Caldo Verde; Folk indie);

[AB] 016. Lambchop, Mr. M (City Slang; Rock);

[AB] 017. Avishai Cohen, Duende (Blue Note; Jazz);

[AB] 018. Gary Smulyan, Smul's paradise (Capri; Hard bop);

[AB] 019. Jeremy Haladyna, Mayan time mayan tales (Innova; Música contemporânea, Avant-garde);

[AB] 020. Jon Irabagon’s Outright!, Unhinged (Irabbagast; Free jazz);

[AC] 021. Sharon Van Etten, Tramp (Jagjaguwar; Folk indie, Rock indie);

[AC] 022. Ben Wendel, Frame (Sunnyside; Jazz);

[AC] 023. Hot Chip, In our heads (Domino; Pop);

[AC] 024. Damien Jurado, Maraqopa (Secretly Canadian; Rock);

[AC] 025. Patti Smith, Banga (Columbia; Rock);

[AC] 026. Pat Metheny, Unity Band (Nonesuch; Jazz);

[AC] 027. Mission of Burma, Unsound (Fire; Pós-Punk);

[AC] 028. The Men, Open your heart (Sacred Bones; Rock);

[AC] 029. Marcus Miller, Renaissance (Concord Jazz; Jazz, Funk);

[AC] 030. Hospitality, Hospitality (Merge; Rock indie);

[AC] 031. Father John Misty, Fear fun (Sub Pop; Folk rock);

[AC] 032. Lionel Loueke, Heritage (Blue Note; Jazz, Música do mundo);

[BA] 033. Joe Bonamassa, Driving towards the daylight (J&R Adventures; Blues Rock);

[BA] 034. Philip Dizack, End of an Era (Truth Revolution; Jazz);

[BA] 035. Lee Ranaldo, Between the times and tides (Matador; Rock);

[BA] 036. Philip Blackburn, Ghostly psalms (Innova; Música contemporânea, Avant-garde);

[BA] 037. School of Seven Bells, Ghostory (Vagrant; Dream pop);

[BA] 038. The Flower Kings, Banks of Eden (Inside Out; Rock progressivo);

[BA] 039. Little Feat, Rooster rag (Rounder; Southern rock);

[BA] 040. Tame Impala, Lonerism (Modular; Rock indie);

[BA] 041. Earth, Angels of darkness, demons of light II (Southern Lord; Rock);

[BA] 042. The Beach Boys, That's why God made the radio (Brother; Pop);

[BA] 043. First Aid Kit, The lion's roar (Wichita; Folk indie);

[BA] 044. Errors, Have some faith in magic (Rock Action; Pós-rock);

[BA] 045. Andrew Bird, Break it yourself (Mom & Pop Music; Rock indie);

[BA] 046. Georgia Anne Muldrow, Seeds (SomeOthaShip; Hip-hop, Soul);

[BB] 047. Amadou & Mariam, Folila (Because; Música do mundo);

[BB] 048. Trevor Rabin, Jacaranda (Varèse Fontana; Rock);

[BB] 049. Rush, Clockwork angels (Roadrunner; Hard rock, Rock progressivo);

[BB] 050. Peter Hammill, Consequences (FIE!; Rock);

[BB] 051. Bruce Springsteen, Wrecking ball (Columbia; Rock);

[BA] 052. La Sera, Sees the light (Hardly Art; Rock indie);

[BB] 053. Paul Buchanan, Mid air (Newsroom; Pop);

[BB] 054. Grimes, Visions (4AD; Pop indie);

[BB] 055. Van Halen, A different kind of truth (Interscope; Hard rock);

[BB] 056. The Cult, Choice of weapon (Cooking Vinyl; Rock);

[BB] 057. Nanci Griffith, Intersection (Proper; Folk, Country);

[BB] 058. Pop. 1280, The horror (Sacred Bones; Rock);

[BB] 059. Air, Le voyage dans la Lune (Virgin; Pop, Música electrónica);

[BB] 060. Beach House, Bloom (Sub Pop; Pop indie);

[BB] 062. Eric Marienthal, It's love (eOne; Smooth jazz);

[BB] 063. Johannes Enders Trio, Mondgovel (Naxos; Bebop);

[BB] 064. Marc Rossi Group, Mantra revealed (Naxos of America; Jazz rock, Música do mundo);

[BC] 065. James Morrison, Snappy too (Morrison; Jazz, Big-band);

[BC] 066. Dr. Dog, Be the void (Anti-; Rock indie, Lo-fi);

[BC] 067. Bobby Womack, The bravest man in the Universe (XL;R&B);

[BC] 068. Beth Jeans Houghton & The Hooves of Destiny, Yours truly, Cellophane Nose (Mute; Pop);

[BC] 069. Kotebel, Concerto for piano and electric ensemble (Carlos Plaza Vegas; Rock progressivo);

[BC] 070. Gregory Porter, Be good (M.A.T. Music; Smooth jazz, Soul);

[BC] 071. Fang Island, Major (Sargent House; Rock);

[BC] 072. The Explorers Club, Grand Hotel (Explorers Club; Pop, Rock);

[CA] 073. Spiritualized, Sweet heart, sweet light (BMG; Rock, Shoegaze);

[CA] 074. The Mars Volta, Noctourniquet (Warner Bros.; Rock);

[CA] 075. Fiona Apple, The idler wheel is wiser than the driver of the screw and whipping cords will serve you more than ropes will ever do (Epic; Rock indie);

[CA] 076. Blaudzun, Heavy flowers (V2; Folk indie);

[CA] 077. Christian Mistress, Possession (Relapse; Heavy metal);

[CA] 078. Tennis, Young & old (Fat Possum; Rock indie);

[CA] 079. Joe Louis Walker, Hellfire (ADA; Blues rock);

[CA] 080. Carolina Chocolate Drops, Leaving Eden (Nonesuch; Bluegrass);

[CA] 081. Erdem Helvacioğlu, Eleven short stories (Innova; Música de câmara)

[CA] 082. Perfume Genius, Put your back n 2 it (Matador; Indie lo-fi);

[CA] 084. The Internet, Purple naked ladies (Odd Future; Pop, Soul);

[CA] 085. Orelha Negra, Orelha Negra (NorteSul; Hip-Hop);

[CA] 086. Portico Quartet, Portico Quartet (Real World; Música electrónica);

[CA] 087. Asia, XXX (Frontier; Rock);

[CA] 088. David Benoit, Conversation (Heads Up; Smooth jazz);

[CB] 089. Madonna, MDNA (Interscope; Pop);

[CB] 090. Chairlift, Something (Young Turks; Pop indie);

[CB] 091. Fanfarlo, Rooms filled with light (Canvasback; Pop);

[CB] 092. Crippled Black Phoenix, (Mankind) The crafty ape (Cool Green; Pós-rock, Rock progressivo);

[CB] 093. Cardinal, Hymns (Fire; Rock indie);

[CB] 094. Kayo Dot, Gamma knife (Ice Level; Avant-garde);

[CB] 095. The Shins, Port of Morrow (Columbia; Rock indie);

[CB] 096. Disappears, Pre language (Kranky; Rock);

[CB] 097. The Pines, Dark so gold (Red House; Folk indie);

[CB] 098. Keith Kenniff, Branches (Village Green; Música de câmara, Música electrónica);

[CB] 099. The Earth Explorer, Trans-Europe expression (Musea; Rock progressivo);

[CB] 100. Porcelain Raft, Strange weekend (Secretly Canadian; Electrónica indie);

[CB] 101. Theory Hazit, Thr3e (Humble Beast; Hip-hop);

[CB] 102. Pyramids + Horseback, A throne without a king (Hydra Head; Música electrónica; Drone);

[CB] 103. The Chap, We are nobody (Lo; Pop, Rock);

[CB] 104. ScHoolboy Q, Habits & contradictions (Top Dawg; Hip-hop, Rap);

[CB] 105. PMDS, PMDS (Thisco; Rock, Música electrónica);

[CB] 106. Unsane, Wreck (Alternative Tentacles; Pós-hardcore);

[CB] 107. Robert Glasper Experiment, Black radio (Blue Note; Jazz, Soul);

[CB] 108. Europe, Bag of bones (Earmusic; Hard rock);

[CC] 109. Slug Guts, Playin' in time with the deadbeat (Sacred Bones; Pós-Punk);

[CC] 110. Anaïs Mitchell, Young man in America (Wilderland; Folk indie);

[CC] 111. King Giant, Dismal hollow (Graveyard Hill; Sludge rock, Stoner rock);

[CC] 112. The Big Pink, Future this (4AD; Shoegaze);

[CC] 113. Black Pyramid, II (Headspin; Stoner metal);

[CC] 114. Mads Björn, Monolith (Zewski; Folk indie);

[CC] 115. John Talabot, fIN (Permanent Vacation; House);

[CC] 116. Aidan Baker, Closure axioms (Miskatonic Soundlab; Drone);

[CC] 117. Ian Anderson, Thick as a brick 2 (Chrysalis; Rock progressivo);

[CC] 118. Nachtmystium, Silencing machine (Century Media; Black metal);

[DA] 119. Sleigh Bells, Reign of terror (Mom & Pop Music; Electrónica indie);

[DA] 120. Cosmos, Mind games (iMusician Digital; Rock progressivo);

[DA] 121. Comus, Out of the coma (Rise Above; Acid folk);

[DA] 122. Plug, Back on time (Ninja Tune; Drum and bass, IDM);

[DA] 123. Holograms, Holograms (Captured Tracks; Pós-Punk);

[DA] 124. Paul McCartney, Kisses on the bottom (Hear Music; Pop, Jazz);

[DA] 125. Aidan Baker, The spectrum of distraction (Robotic Empire; Avant-garde);

[DA] 126. The Maccabees, Given to the wild (Fiction; Rock indie);

[DA] 127. Lawrence Ball, Method music (Navona; Avant-garde);

[DA] 128. Lana Del Rey, Born to die (Universal; Pop);

[DA] 129. Lamb of God, Resolution (Epic; Metalcore, Groove Metal);

[DA] 130. Expensive Looks, Dark matters (Group Tightener; Música electrónica);

[DB] 131. Great White, Elation (Frontiers; Hard rock);

[DB] 132. Ani DiFranco, Which side are you on? (Righteous Babe; Alt-folk);

[DB] 133. Kathleen Edwards, Voyageur (Zoë; Folk indie);

[DB] 134. Vendetta, Feed the extermination (Massacre; Thrash metal);

[DB] 135. Enter Shikari, A flash flood of colour (Ambush Reality; Pós-hardcore, Trancecore);

[DB] 136. The Life And Times, No one loves you like I do (Slimstyle; Shoegaze, Pós-rock);

[DC] 137. Howler, America give up (Rough Trade; Rock indie);

[DC] 138. Diagrams, Black light (Full Time Hobby; Pop indie);

[DC] 139. Anthony Green, Beautiful things (Photo Finish; Folk indie);

[DC] 140. Alcest, Les voyages de l'âme (ProMedia; Blackgaze);

[EA] 141. Beyond the Bridge, The old man & the spirit (Frontiers; Rock progressivo);

[EA] 142. Wiley, Evolve or be extinct (Big Dada; Grime);

[EA] 143. Liberteer, Better to die on your feet than live on your knees (Relativity; Grindcore);

[EB] 144. Wyland Blues Planet Band, Blues Planet (Blues rock; Wyland);

[EB] 145. Foxy Shazam, The Church of Rock and Roll (Capitol; Rock);

[EB] 146. El Caco, Hatred, love and diagrams (Indie Recordings; Stoner rock);

[EB] 147. Abigail Williams, Becoming (Candlelight; Black metal);

[EC] 148. The Anabasis, Back from being gone (Burnside; Rock progressivo);

[FA] 149. Guided by Voices, Let's go eat the factory (GBV Inc.; Rock indie, Lo-fi);

[FA] 150. David Crowder Band, Give us rest or (A requiem mass in C - The happiest of all keys) (Sixsteps; Pop, Rock);

[FA] 151. Ringo Starr, Ringo 2012 (Hip-O; Rock);

[FA] 152. Mário Moita, Fado navegante (Arc; Fado, Música do mundo);

[FB] 153. Secrets, The ascent (Rise; Metalcore).

Suddenly I realized she was asleep. Exhausted by her flight she had fallen asleep against my shoulder as so many times, in taxis, in buses, on a park-seat. I sat still and let her be. There was nothing to disturb her in the dark church. The candles napped around the virgin, and there was nobody else there. The slowly growing pain in my upper arm where her weight lay was the greatest pleasure I had ever known.

Graham Greene, The end of the affair

On my fifteenth birthday, my mother said she would spend five dollars on me (a lot of money for us then), and asked me what I wanted. I said, "Well, instead of buying me something, why don't you just let me make a long-distance phone call?" (Nobody in our house had ever made a long-distance phone call.) I decided that I would call Edgard Varèse. I deduced that a person who looked like a mad scientist could only live in a place called Greenwich Village. So I called New York information and asked if they had a listing for Edgard Varèse. Sure enough, they did. They even gave me his street address.

Frank Zappa, The Real Frank Zappa Book (Touchstone, 1999)

Antes e depois:

- Neil Young, After the gold rush (Reprise, 1970);

- Lee Ranaldo, Between the times and tides (Matador, 2012).

Deitados de frente um para o outro na cama de dossel, continuaram a contar as suas histórias até cair a noite, e depois ser noite escura, até ambos terem dito praticamente tudo e se terem revelado um ao outro da forma mais completa que sabiam. E no fim, como se ele ainda não estivesse suficientemente enfeitiçado por ela, Marcia sussurrou-lhe ao ouvido uma coisa que acabara de descobrir:

- Esta é a única maneira de conversar, não é?

Philip Roth, Némesis (Dom Quixote, 2011)

When I was a kid I used to carry around this awful image in my head – a picture of three men tangled awkwardly in high-tension wires, fifty feet in the air, their lifeless bodies crisping in the midday sun.

The horror they endured was shared with me by my father, an electrical engineer who worked, among other places, at the U.S. Military Academy at West Point, New York, helping with the installation of a new power plant in the 1950s. Carl Frehley was a man of his times. He worked long hours, multiple jobs, did the best he could to provide a home for his wife and kids. Sometimes, on Sunday afternoons after church, he’d pile the whole family into a car and we’d drive north through the Bronx, into Westchester County, and eventually find ourselves on the banks of the Hudson River. Dad would take us on a tour of the West Point campus and grounds, introduce us to people, even take us into the control room of the electrical plant. I’m still not sure how he pulled that one off – getting security clearance for his whole family – but he did.

Dad would walk around, pointing out various sights, explaining the rhythm of his day and the work that he did, sometimes talking in the language of an engineer, a language that might as well have been Latin to me. Work was important, and I guess in some way he just wanted his kids to understand that; he wanted us to see this other part of his life.

One day, as we headed back to the car, my father paused and looked up at the electrical wires above, a net of steel and cable stretching across the autumn sky.

«You know, Paul,» he said, «every day at work, we have a little contest before lunch.»

I had no idea what he was talking about.

A contest? Before lunch?

Sounded like something we might have done at Grace Lutheran, where I went to elementary school in the Bronx.

«We draw straws to see who has to go out and pick up sandwiches for the whole crew. If you get the shortest straw, you’re the delivery boy.»

That was the beginning. From there, my father went on to tell us the story of the day he drew the short straw. While he was out picking up sandwiches, there was a terrible accident back on the job. Someone had accidentally thrown a switch, restoring power to an area where three men were working. Tragically, all three men were electrocuted instantly. When my father returned, he couldn’t believe his eyes. The bodies of his coworkers were being peeled off the high-tension wires.

«Right up there,» he said quietly, looking overhead. «That’s where it happened.»

He paused, put a hand on my shoulder.

«If I hadn’t drawn the short straw that day, I’d have been up there in those wires, and I wouldn’t be here right now.»

I looked at the wires, then at my father. He smiled.

«Sometimes you get lucky.»

Dad would repeat that story from time to time, just often enough to keep the nightmares flowing. That wasn’t his intent, of course – he always related the tale in a whimsical ‘what if?’ tone – but it was the outcome nonetheless. You tell a little kid that his old man was nearly fried to death, and you’re sentencing him to a few years of sweaty, terror-filled nights beneath the sheets. I get his point now, though. You never know what life might bring… or when it might come to a screeching halt.

And it’s best to act accordingly.

Ace Frehley, No regrets - A rock'n'roll memoir