Catalogo - Flock, Colibri, Oil

Cancer Moon

Flock, Colibri, Oil

-27%

View cart

11,00

Munster

Cancer Moon

Flock, Colibri, Oil


SKU: MR DG 023  |  , ,

Originally released on Munster in 1992, Cancer Moon’s second album was a key and groundbreaking record for the Spanish music scene, full of hypnotic rock which drew from proto-punk, noise and the bands that came out of Seattle in the late 80s. Especially remastered for this reissue. Pressed on 180g vinyl and presented in a facsimile gatefold sleeve.

Delayed due to their unusual and ill-fated relationship with the Polar label, Cancer Moon’s second album arrived in 1992. The dubious dealings of their previous company had significantly increased the band’s prejudices with regards to the music industry. The intimacy of the bubble in which they lived triggered their suspicions towards label owners, bigwigs and anyone who tried to intervene in the nourishing and destiny of one of their children, their songs. However, they never censored producer King Pharaoh, a regular collaborator of Munster at the time. Although in fact, the Frenchman from Bordeaux stuck to handling the desk and mixing while band members Jon Zamarripa and Josetxo Anitua took charge of a quick and cheap production work in which they sacrificed the bigger clarity of their previous album for a meatier sound. That sonic hyper rawness stressed the idea among music journalists that Cancer Moon were the fathers of Spanish noise. But they weren’t such thing, or at least they weren’t aware of it. The truth was that Zamarripa was that type of instinctive and visceral guitar player, more magical than skilled, who had been brought up on mid-70s proto-punk. He would create a tangled mess when playing which was utilised on this album more than ever before, which resulted in that sonic wall that somebody described as noise. Listening to the album again, I’m especially surprised that the overused psychedelia tag comes to mind more than I remembered, a lot more than with their previous and next records. Even though I used to roll up joints for them while they were crafting these songs at Zamarripa’s house, I didn’t remember them sounding so trippy. And as memory often traces coherent connections, I’ve automatically remembered delirious listening sessions at night with Jon and some other friend when we would inevitable end up playing Screaming Trees lying on the floor, when our bodies had given in to the weight of the night, and we would float away night after night thanks to their hypnotic rock. Although we liked the whole Seattle sound and loved Mudhoney, our favourites were always the Trees, whom you’ll clearly recognize in these grooves. And forgive me for daring to make a comparison to such a unique band, but even in the moments when Cancer Moon sounded more similar, they always produced a distinctive element, which was Josetxo’s wonderful voice: powerful, persuasive, in total symbiosis with those contortionist guitars which were such a feature of the album. The band, especially at this time, were miles ahead not only of the so-called Getxo sound from which they enrolled backing musicians but also of many other bands from abroad. A final suggestion for anyone listening to this piece of history for the first time. “Flock, colibri, oil” has around 20 per cent of difficult, hard tracks which reflect the unconventional personalities of its creators. In order to get into their microcosm, there is no better way than watching the superb and illuminating video of ‘Solution’. Fernando Gegúndez

Cancer Moon fue un grupo de música rock fundado en Bilbao (País Vasco, España) en 1988. Como grupo no se disolvieron oficialmente, pero en 1995 pararon la actividad. El grupo facturó un sonido entre el noise rock y el rock alternativo, que en aquellos años 90 empezaba a eclosionar en España con grupos como Surfin' Bichos, 713avo Amor o The Pantano Boas. Son considerados como uno de los grupos fundadores del noise en España.Cancer Moon manejaban entre sus influencias a grupos como The Velvet Underground, Sonic Youth o Television. Publicaron tres álbumes, cada uno en un sello diferente: Hunted by the snake (1990), Flock, colibri, oil (1992) y Moor room (1994). Este último fue elegido como mejor disco nacional del año por la revista musical Rockdelux.2 Josetxo Anitua, fundador y compositor del grupo falleció el 22 de abril de 2008 a los 43 años de edad.
-27%

View cart

11,00

Munster

Originally released on Munster in 1992, Cancer Moon’s second album was a key and groundbreaking record for the Spanish music scene, full of hypnotic rock which drew from proto-punk, noise and the bands that came out of Seattle in the late 80s. Especially remastered for this reissue. Pressed on 180g vinyl and presented in a facsimile gatefold sleeve.

Delayed due to their unusual and ill-fated relationship with the Polar label, Cancer Moon’s second album arrived in 1992. The dubious dealings of their previous company had significantly increased the band’s prejudices with regards to the music industry. The intimacy of the bubble in which they lived triggered their suspicions towards label owners, bigwigs and anyone who tried to intervene in the nourishing and destiny of one of their children, their songs. However, they never censored producer King Pharaoh, a regular collaborator of Munster at the time. Although in fact, the Frenchman from Bordeaux stuck to handling the desk and mixing while band members Jon Zamarripa and Josetxo Anitua took charge of a quick and cheap production work in which they sacrificed the bigger clarity of their previous album for a meatier sound. That sonic hyper rawness stressed the idea among music journalists that Cancer Moon were the fathers of Spanish noise. But they weren’t such thing, or at least they weren’t aware of it. The truth was that Zamarripa was that type of instinctive and visceral guitar player, more magical than skilled, who had been brought up on mid-70s proto-punk. He would create a tangled mess when playing which was utilised on this album more than ever before, which resulted in that sonic wall that somebody described as noise. Listening to the album again, I’m especially surprised that the overused psychedelia tag comes to mind more than I remembered, a lot more than with their previous and next records. Even though I used to roll up joints for them while they were crafting these songs at Zamarripa’s house, I didn’t remember them sounding so trippy. And as memory often traces coherent connections, I’ve automatically remembered delirious listening sessions at night with Jon and some other friend when we would inevitable end up playing Screaming Trees lying on the floor, when our bodies had given in to the weight of the night, and we would float away night after night thanks to their hypnotic rock. Although we liked the whole Seattle sound and loved Mudhoney, our favourites were always the Trees, whom you’ll clearly recognize in these grooves. And forgive me for daring to make a comparison to such a unique band, but even in the moments when Cancer Moon sounded more similar, they always produced a distinctive element, which was Josetxo’s wonderful voice: powerful, persuasive, in total symbiosis with those contortionist guitars which were such a feature of the album. The band, especially at this time, were miles ahead not only of the so-called Getxo sound from which they enrolled backing musicians but also of many other bands from abroad. A final suggestion for anyone listening to this piece of history for the first time. “Flock, colibri, oil” has around 20 per cent of difficult, hard tracks which reflect the unconventional personalities of its creators. In order to get into their microcosm, there is no better way than watching the superb and illuminating video of ‘Solution’. Fernando Gegúndez

Productos relacionados

-27%

View cart

11,00

Munster

Flock, Colibri, Oil

SKU: MR DG 023  |  , ,

Originally released on Munster in 1992, Cancer Moon’s second album was a key and groundbreaking record for the Spanish music scene, full of hypnotic rock which drew from proto-punk, noise and the bands that came out of Seattle in the late 80s. Especially remastered for this reissue. Pressed on 180g vinyl and presented in a facsimile gatefold sleeve.

Delayed due to their unusual and ill-fated relationship with the Polar label, Cancer Moon’s second album arrived in 1992. The dubious dealings of their previous company had significantly increased the band’s prejudices with regards to the music industry. The intimacy of the bubble in which they lived triggered their suspicions towards label owners, bigwigs and anyone who tried to intervene in the nourishing and destiny of one of their children, their songs. However, they never censored producer King Pharaoh, a regular collaborator of Munster at the time. Although in fact, the Frenchman from Bordeaux stuck to handling the desk and mixing while band members Jon Zamarripa and Josetxo Anitua took charge of a quick and cheap production work in which they sacrificed the bigger clarity of their previous album for a meatier sound. That sonic hyper rawness stressed the idea among music journalists that Cancer Moon were the fathers of Spanish noise. But they weren’t such thing, or at least they weren’t aware of it. The truth was that Zamarripa was that type of instinctive and visceral guitar player, more magical than skilled, who had been brought up on mid-70s proto-punk. He would create a tangled mess when playing which was utilised on this album more than ever before, which resulted in that sonic wall that somebody described as noise. Listening to the album again, I’m especially surprised that the overused psychedelia tag comes to mind more than I remembered, a lot more than with their previous and next records. Even though I used to roll up joints for them while they were crafting these songs at Zamarripa’s house, I didn’t remember them sounding so trippy. And as memory often traces coherent connections, I’ve automatically remembered delirious listening sessions at night with Jon and some other friend when we would inevitable end up playing Screaming Trees lying on the floor, when our bodies had given in to the weight of the night, and we would float away night after night thanks to their hypnotic rock. Although we liked the whole Seattle sound and loved Mudhoney, our favourites were always the Trees, whom you’ll clearly recognize in these grooves. And forgive me for daring to make a comparison to such a unique band, but even in the moments when Cancer Moon sounded more similar, they always produced a distinctive element, which was Josetxo’s wonderful voice: powerful, persuasive, in total symbiosis with those contortionist guitars which were such a feature of the album. The band, especially at this time, were miles ahead not only of the so-called Getxo sound from which they enrolled backing musicians but also of many other bands from abroad. A final suggestion for anyone listening to this piece of history for the first time. “Flock, colibri, oil” has around 20 per cent of difficult, hard tracks which reflect the unconventional personalities of its creators. In order to get into their microcosm, there is no better way than watching the superb and illuminating video of ‘Solution’. Fernando Gegúndez

-27%

View cart

11,00

Munster

Cancer Moon

Flock, Colibri, Oil

SKU: MR DG 023  |  , ,

Originally released on Munster in 1992, Cancer Moon’s second album was a key and groundbreaking record for the Spanish music scene, full of hypnotic rock which drew from proto-punk, noise and the bands that came out of Seattle in the late 80s. Especially remastered for this reissue. Pressed on 180g vinyl and presented in a facsimile gatefold sleeve.

Delayed due to their unusual and ill-fated relationship with the Polar label, Cancer Moon’s second album arrived in 1992. The dubious dealings of their previous company had significantly increased the band’s prejudices with regards to the music industry. The intimacy of the bubble in which they lived triggered their suspicions towards label owners, bigwigs and anyone who tried to intervene in the nourishing and destiny of one of their children, their songs. However, they never censored producer King Pharaoh, a regular collaborator of Munster at the time. Although in fact, the Frenchman from Bordeaux stuck to handling the desk and mixing while band members Jon Zamarripa and Josetxo Anitua took charge of a quick and cheap production work in which they sacrificed the bigger clarity of their previous album for a meatier sound. That sonic hyper rawness stressed the idea among music journalists that Cancer Moon were the fathers of Spanish noise. But they weren’t such thing, or at least they weren’t aware of it. The truth was that Zamarripa was that type of instinctive and visceral guitar player, more magical than skilled, who had been brought up on mid-70s proto-punk. He would create a tangled mess when playing which was utilised on this album more than ever before, which resulted in that sonic wall that somebody described as noise. Listening to the album again, I’m especially surprised that the overused psychedelia tag comes to mind more than I remembered, a lot more than with their previous and next records. Even though I used to roll up joints for them while they were crafting these songs at Zamarripa’s house, I didn’t remember them sounding so trippy. And as memory often traces coherent connections, I’ve automatically remembered delirious listening sessions at night with Jon and some other friend when we would inevitable end up playing Screaming Trees lying on the floor, when our bodies had given in to the weight of the night, and we would float away night after night thanks to their hypnotic rock. Although we liked the whole Seattle sound and loved Mudhoney, our favourites were always the Trees, whom you’ll clearly recognize in these grooves. And forgive me for daring to make a comparison to such a unique band, but even in the moments when Cancer Moon sounded more similar, they always produced a distinctive element, which was Josetxo’s wonderful voice: powerful, persuasive, in total symbiosis with those contortionist guitars which were such a feature of the album. The band, especially at this time, were miles ahead not only of the so-called Getxo sound from which they enrolled backing musicians but also of many other bands from abroad. A final suggestion for anyone listening to this piece of history for the first time. “Flock, colibri, oil” has around 20 per cent of difficult, hard tracks which reflect the unconventional personalities of its creators. In order to get into their microcosm, there is no better way than watching the superb and illuminating video of ‘Solution’. Fernando Gegúndez

Productos relacionados