25 novembre 2017


Tra l'aprile e l'agosto di quest'anno, senza particolari clamori (né astrali seduzioni) sono tornate in circolazione due graffianti collezioni sonore di Amos and Sara - ovvero Jim Welton e Chris Gray - note almeno in parte a chi a suo tempo seguì le vicende dell'era artpunk/D.I.Y. londinese dei primissimi anni Ottanta e di una delle sue band più esemplari, The Homosexuals. Allora erano audiocassette autoprodotte in poche copie originali - ma se ne incoraggiavano altamente la duplicazione e la circolazione non ufficiale - mentre oggi sono album in vinile a tiratura limitata distribuiti nelle boutique del disco: Amos And Sara Sing The Private World Of Amos e Amos & Sara... Invite To 'Endless Latino'.

Amos and Sara were one of the twentieth century’s greatest musical polymath duos, equally adept at composing, conducting, performing and theory. Their style was similarly varied, ranging from the dense expressionism of their early one-act operas, to the vast symphonies of their maturity. Like several important composers of the period, they were opponents of bourgeois culture, with a political commitment to making ‘useful’ music (Gebrauchmusik) that was direct in its appeal, and in which they succeeded with high creative intelligence. Their standing, as seminal figures of modern music, was partly undermined by their diversity, but their reputation never really declined, and has undergone a huge reappraisal in recent years.

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