José Miguel Gaspar
How it all began and the 93 peaks so far. Begins this Wednesday, the Marathon 38 bands, lasts four days. LCD Soundsystem is the group “always more expensive festival” Paredes de Coura.
Legend has it that the LCD Soundsystem, punk-dance superstars NY, are now so expensive that sucked half of the entire budget of Coura 2016. João Carvalho, the popular director of the festival, which kicks off thousands of “likes” on Facebook even when only publishes pictures of cows grazing in the most famous meadow Alto Minho (with the caption ” biological turf treatment for you “), I laugh but confirms:” There is some truth in this legend … LCD is the band that all festivals in the world want to have this year and, yes, it’s our most expensive signing . 24 more: this is the most expensive Coura ever in paychecks and production, 15% more than last year – the room has grown to over 3000 people [the capacity is 25,000 / day], tripled showers and wc, now there’s even dryers for girls, “says João Carvalho, who especially appreciates the expression that Coura is” the best rock resort in the country. “
Always growing, one horribilis year
it is a fact that has begun at the end of 90, still in the sponsorship of the brewers, which spread in 2004, when Optimus entered, and that stands there now as truth in a neon when Vodafone came in 2013 and applied to beautify the natural habitat
Since the 1500 spectators 1993 and greenish posters that the festival continues to grow. – except in very dark 2010 edition , despatrocinada, with distorted poster by Cult, Klaxons and Prodigy (and still with Tallest Man on Earth and Caribou in the small tent to keep hearts), the only really horribilis year history of the festival. The best turnout ever was last year, sold only once overflowed, and it was because of Tame Impala (and neo-psychedelic typhoon Pond which unexpectedly swept the angry crowd in the evening, ruffling it all), the largest ever concert Coura crystallized in eight minutes of the explosion “danceball” “let it happen”
Today the director ensures:. “the success [ticket] this year is already guaranteed a month ago, we have a full house, “the last 3000 general passes went on sale earlier in the week.
Coura is …
Already smallest than the Primavera Sound, his cousin “hippie-chic” five years of Porto, less than half of the public Alive (by the way: why is the country’s largest festival, who lives tight as shirts of crazy the promenade in Algés, do not change for the great emptiness of the municipal park of Bela Vista in Lisbon?), what makes Coura a special festival for years on the podium of rock olympics?
pure context in which it occurs (one castiço and cheap village, amphitheater and natural grass, river beach, a river of cold crystals), and how occurs, extending the four days into that emotional radome. Coura is not like the others; the other into and out and at the end of each day reentered the existential routine; in Coura where most of the public camping, we remain always within the affective enclosure festival
Perhaps this, more exposure, emotional availability, flushing memory, explain the spell:. what is Coura John Carvalho, but an attack on the limbic lobe or neuronal spell? “Coura is … love. It’s an overused phrase, I know, but it’s true, we all know. Here there is a spirit of freedom and gratitude that even today, seem always unusual. It’s something you see on the street, that is in people’s faces, “as something that is to just be, as the power of a global brand.
the green years
everyone, even those who do not have the superpower of Funes, the Imemorial (Funes is a creation of Borges: a man with such a colossal memory that recalls all the exact seconds of the life from birth until it dies with the skull crushed by the weight of memory), all have a defining moment fell in love with Coura.
for 1993, the year of publication of “in utero” of Nirvana, for those who fell for the first time the slope ervada and naked to see Echoes of Cave, this is, this memory is a medal, the stage down, put aside, left, and not to the bottom as it is now, of course facing the amphitheater. Or in the following two years, still free, as romantic, modern Portuguese music and indie antechambers, Cosmic City Blues, Dead Hand, Boredom Boys, Pop Dell Arte, Blind Zero, all posts in glaucous poster on the electric figure of Kurt Cobain ( Nirvana never would touch them in Coura, only the Foo Fighters 10 years later, the still 95 poster mirrored generational shock and paid homage to the dead king in the previous year). The first campers, 1996, will prefer this, tickets to a thousand shells, three days, the first foreigners on the poster, the first sponsorship, Imperial, Shed Seven, Raincoates, Lovestone, who was there has first bracelet, you can claim your of the embryo.
the turning point in the millennium
Many of us have reached the end of the 90s, the two indie assaults that would raise the future than Coura would be 1998, a moment of pop fixtures and delicacies, with Divine Comedy, Mark Kozelek and emersion “sadcore” (how many minutes there lasted the “Helicopter”?), the Tindersticks acadinhos dressing, Stuart Staples in cardigan white tweed doing bike balancing act, levitating in the room on the puddles and mud) and 1999 (the bane of Tom Barman and dEUS to delve into us, Suede, that moment encore cut the Lamb, a stab to the fans, a stab in the belief that the festivals would not kill the encores).
who came in 2000 saw Coldplay at six o’clock, he saw Matt Johnson and the the Johnny Marr (Morrissey coming six years then, and leave without completing the “Panic”, the diva), saw the avant garde chic freak of Mr. Bungle, saw the best of trip hop (Sofa Surfers) and left with the memory forever screwed in the wonderful pop hallucinatory psychosis Technicolor of the Flaming Lips’ the Soft Bulletin “(and has left to dream of the battles of Yoshimi against the Pink Robots that would two years below).
and what happened 95
but for most, even for hard fans of 2003, the year of Korn, Incubus and Puddle of Mud (but there was also Lee Perry and the only time it was worth it to see Gotan Project ) was 2005, an artistically leap year and certainly unrepeatable in which everyone has the face that reaper glare of Arcade Fire and the National, they also burning (already had “Sad songs for dirty lovers” and “Alligators”), with Nick Cave urging us to darkness and fury, imperial, prohibiting screens, smiling at us and dominate us like a black spider, with Juliette Lewis all white leather to assanhar, as if the end of the world 1999 stab Ralph Fiennes in the fury of the end of the century the “Strange Days”, traitor (but what she sang ?, but what does it matter?) and the large number of surrealist Vincent Gallo, a melodrama about “slapstick” he sat sharpening guitar, a predator shy false, the pregnant girlfriend to the battery and he give us the hotel room number, to melt there in front of us, faint blue, the rock cliché, a luxury at best Coura theater night ever for those who realized that it was necessary to be there in front, glued and tuned it. On top of this, an invincible trio that swept whole staves of rock and roll: Queens of The Stone Age, very high, dust, wheel-punk, mosh, surf, everything until well into the Foo Fighters and even the Pixies when the Pixies still they were good). If it was a bright start balloons or comets, each find the nights that year his heart and when he was in Coura forever. This memory continues to emerge as defining and possessive, although every year yet, even after the changes and upgrades (2012, illuminated only once by EDP, a favorite poster for many finished Millenials arriving: Chromatics, Kavinsky, Sleigh Bells , Japandroids, of Monreal, Gang of 4, Anna Calvi), to the modern era of Vodafone and full assumption of the festival as a brand, event and quality assurance, as with the Primavera Sound: the brand is so strong that it overrides the name of the band, the brand sells tickets before announcing any artist
now:.? evolutionary or reprise
Flexuoso as an electrical exam heart activity, able to evolve in its reruns and new nerve, this year there are 38 bands, six of them in “after hours” – and the highest peak LCD Soundsystem, where you have to stop again and ask: who saw the dawn of this year 2004 flood of the Strokes, Motorhead and Kills? Very few, that year the LCD were so new (the first disc would leave the year after) that even in the small print of the infamous “Foot Print” (an unrepeatable moment of foot fetishism) managed to figure. Would play later, changed the flooded tent by the wind to the unexpected biggest stage for a huge wet minority who danced “Daft Punk is playing at my house” and eternalized think the shoes of James Murphy and Gene Kelly at the same time. Today, LCD Soundsystem bring three albums and a new, immense fame reversed end of the aftershock meeting and tomorrow, Thursday, will have a thousand feet that are religiously attentive and punctual, believers in Murphy’s congregation and the power of his profane “danceball, desperate for rapture. This is the main course.
LCD + 37
With the new focused menu in rock protein diet and tributaries, both post-rock and post-punk, the poster is, for some, evolutionary, and for others, repetitive, since all headliners already there were at least once: Chvrches, the Vaccines, Thee Oh Sees Cage the Elephant, the Tallest Man on Earth, to the band’s “dumbest name on earth” (or will only be the worst explanation of a name ever?), Portugal the Man, everyone has seen Coura ahead – and expect certainly . see her feet
in the post-Murphy thought (is an LCD + 37 poster), the rock is pulled in two or three fronts: King Gizzard & amp; the Lizard Wizard (there are seven in stage Australian, fierce, almost executioners, and come evict a psych-rock event: “Nonagon infinity”, an album that holds us in infinite ellipse sweet acidity of rock) and Cage the Elephant – these are ruthless and relentless, Kentucky, USA, punk blues as one gets in a garage a piece of Jean Cocteau represented the indomitable basin John Wayne. The third way is benign wrath of Crocodiles and post-punk revivals, other is the Suuns (art punk and krautrock) and the other is from The Last Internationale, the New York band’s bassist / vocalist Delila Paz that debuts here after Alive, crash, post-grunge and alt-metal protestativo. Last year, opened concerts for The Who and the Plant.
New solar time, secure, Whitney, the new secret of poetic pop, born trio of ashes of Smith Westerns and battery left the Unknown Mortal Orchestra (and the UMO changed and not worse, are the stars tonight, psychedelic r & amp; b) and bring a debut album dripping disruption and love. And to close a risk: Chvrches. Two years ago, with the viral pop “Gun” and “Recover” and the great album “The hats of what you blieve” only convinced the front of the hillside, who danced rampant and always pose structural fan. Returning now to capture the remaining sweetly “indietronic” strob and new album “Every eye open.” Hopefully the “lovely” Lauren Mayberry has lungs for everyone.
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