{"id":252,"date":"2006-05-24T12:48:31","date_gmt":"2006-05-24T15:48:31","guid":{"rendered":"http:\/\/www.exitmusic.com.ar\/news\/2006\/05\/24\/pitchfork-critica-the-eraser\/"},"modified":"2020-07-07T18:18:07","modified_gmt":"2020-07-07T21:18:07","slug":"pitchfork-critica-the-eraser","status":"publish","type":"post","link":"https:\/\/www.exitmusic.com.ar\/news\/2006\/05\/24\/pitchfork-critica-the-eraser\/","title":{"rendered":"Pitchfork critica \u00abThe Eraser\u00bb"},"content":{"rendered":"<p><em>The Eraser<\/em> es suntuoso &#8230; una torta producida por Nigel Godrich, con pianos tristes, r\u00e1fagas atrapantes de sintetizadores, guitarras que quieren escapar en medio de beats programados y la iracunda voz de Thom Yorke, sobre las presiones y las paranoias normales de la fama y la expectacion. Pero no, no es un album tecno.<\/p>\n<p>Ahora vamos tema por tema:<\/p>\n<p>1. \u00ab<strong>the eraser<\/strong>\u00ab: la canci\u00f3n comienza con un acorde repetido y tapado de piano. Luego de un par de compases, y un cambio de acorde, comienzan los beats programados, y Thom interrumpe con \u00abPlease excuse me but I got to ask\u00bb, en un tono alto. Luego, un grupo de Thoms etereos se suman para el estribillo, que no puede negar una influencia de Morrisey: \u00abThe more you try to erase me\/ The more that I appear\u00bb.<\/p>\n<p>2. \u00ab<strong>analyse<\/strong>\u00ab: voces y piano comienzan esta meditaci\u00f3n sobre no alcanzar el \u00e9xito. \u00abThe fences that you cannot climb\/ The sentences that do not rhyme,\u00bb se lamenta Thom, triste e inteligente, todo al mismo tiempo. Y luego \u00abIt gets you down\/ You&#8217;re just playing a part,\u00bb uno de tantos presuntos golpes a la auto-identidad. La progresi\u00f3n de acordes recuerda a algo parecido a un \u00abKnives Out\u00bb m\u00e1s lento, con un redoblante lleno de dudas\u00a0 en el fondo, antes de que Godrich lance el primero de los adornos sintetizados del album.<\/p>\n<p>3. \u00ab<strong>the clock<\/strong>\u00ab: Una linea repetitiva de guitarra le da a este tema una onda motorizada, aunque m\u00e1s recuerda a un paseo de recreaci\u00f3n digno de un Domingo por la tarde. Beats\u00a0 Click-clack van subiendo el ritmo, antes de la primera e inevitable linea: \u00abTime is running out\/ For us.\u00bb. Hacia el final, Thom tararea melod\u00edas simples, bluseras, sobre el firme pero duro ritmo.<\/p>\n<p>4. \u00ab<strong>black swan<\/strong>\u00ab: abre con un beat casi hip-hop, antes de que un riff blusero, similar a \u00abI Might Be Wrong\u00bb comienza y arma la estructura. \u00abThis is fucked up, fucked up,\u00bb declara Yorke. Luego, se anuncian m\u00e1s crisis de identidad: \u00abI don&#8217;t care what the future holds\/ &#8216;Cause I&#8217;m right here and I&#8217;m today\/ With your fingers you can touch me.\u00bb<\/p>\n<p>5. \u00ab<strong>skip divided<\/strong>\u00ab: Samples de Thom recuperando su aliento ayudan a formar la base de percusi\u00f3n de este tema oscuro, similar a una declaraci\u00f3n de un acechador. Aqu\u00ed, Yorke se pone conversador, casi como si estuviera borracho en un pub, revelando \u00abWhen you walk in a room I follow you &#8216;round\/ Like a dog\/ I&#8217;m a dog, I&#8217;m a dog, I&#8217;m a dog\/ I&#8217;m a lapdog\/ I&#8217;m <em>your<\/em> lapdog.\u00bb Terrorifico.<\/p>\n<p>6. \u00ab<strong>atoms for peace<\/strong>\u00ab: Thom retoma donde quedo \u00ab&#8230; homesick alien\u00bb, casi demandandote: \u00abNo more going to the dark side with your flying saucer eyes\/ No more falling down a wormhole that I have to pull you out,\u00bb and striving for some higher octaves during the chorus: \u00abI wanna geeet ouuut\/ And make it woooork.\u00bb Tonos celestiales refuerzan una linea de bajo c\u00e1lida, apenas audible &#8212; un arreglo relativamente m\u00ednimo comparado con el resto del album. \u00abSo many lies\/ So feel the love come off of them\/ And take me in your arms,\u00bb canta Thom. El \u00abYou&#8217;re Beautiful\u00bb de Thom, quiz\u00e1s?<\/p>\n<p>7. \u00ab<strong>and it rained all night<\/strong>\u00ab: Volvemos al lado oscuro para el tema m\u00e1s escalofriante de The Eraser. Un tema empapado en arreglos sintetizados aterradores, guiados por una linea de bajo a lo Joy Division. Thom toma la postura de un poeta-observador, surrealisticamente\u00a0 comentando lo que ve en un New York en el que acaba de llover mucho, samples de voces cortadas forman luego la linea de bajo. Finaliza con un desesperado: \u00abI can see you\/ But I can never reach you.\u00bb<\/p>\n<p>8. \u00ab<strong>harrowdown hill<\/strong>\u00ab: No se desanimen por la linea de bajo pr\u00e1cticamente post-punk del comienzo. M\u00e1s sintetizadores atrapantes y beats programados llegan despues, volviendo a oscurecer todo. \u00abI&#8217;m coming home to make it alight\/ So dry your eyes,\u00bb Thom canta &#8212; una de las melod\u00edas vocales m\u00e1s convencionales, m\u00e1s pop del album. \u00abI can&#8217;t take the pressure\/ No one cares if you live or die\/ They just want me gone\/ They want me gone.\u00bb Todo se suspende, dejando lugar a unos cuantos riffs, que finalizan el tema.<\/p>\n<p>9. \u00ab<strong>cymbal rush<\/strong>\u00ab: Nos recibe algo que suena como el sonido del Pac-Man cuando muere, pero aumentado una octava, luego un ambiente de sintetizador m\u00e1s funeralistico, junto con percusi\u00f3n programada, pero no similar a la de \u00abKid A\u00bb. \u00abTry to build a wall that is high enough,\u00bb Thom canta. \u00abIt&#8217;s all boiling over.\u00bb Finalmente, el climax: la percusi\u00f3n se completa, la guitarra entra sobre el piano melanc\u00f3lico, y m\u00e1s Thoms etereos flotan, quej\u00e1ndose &#8212; hasta que todo llega a un desfile final de sonidos, que colapsand en un final abrupto.<\/p>\n<p>El album es orientado a las canciones, tal vez en una escala inesperada &#8211; no hay instrumentales, todos los temas est\u00e1n en el rango de los 4 minutos, la gran mayor\u00eda son m\u00e9tricas normales de tiempos &#8211; y enfatiza la riqueza de texturas, se\u00f1a particular de Radiohead y Godrich.<\/p>\n<p>El art\u00edculo original lo pod\u00e9s leer <a href=\"http:\/\/www.pitchforkmedia.com\/news\/06-05\/24.shtml\">aqu\u00ed<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"<p>The Eraser es suntuoso &#8230; una torta producida por Nigel Godrich, con pianos tristes, r\u00e1fagas atrapantes de sintetizadores, guitarras que quieren escapar en medio de beats programados y la iracunda voz de Thom Yorke, sobre&hellip; <a href=\"https:\/\/www.exitmusic.com.ar\/news\/2006\/05\/24\/pitchfork-critica-the-eraser\/\" class=\"morelink\"> m\u00e1s \u00bb<\/a><\/p>","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,1380],"tags":[],"class_list":["post-252","post","type-post","status-publish","format-standard","hentry","category-noticias","category-thom-yorke"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pitchfork critica &quot;The Eraser&quot; 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