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La Construcción Del Concepto De Post-Rock En España (1995-2001): El Caso De Manta Ray

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La Construcción Del Concepto De Post-Rock En España (1995-2001): El Caso De Manta Ray MÁSTER EN MÚSICA ESPAÑOLA E HISPANOAMERICANA DEPARTAMENTO DE MUSICOLOGÍA UNIVERSIDAD COMPLUTENSE DE MADRID TRABAJO FIN DE MÁSTER CURSO 2016-2017 La construcción del concepto de post-rock en España (1995-2001): el caso de Manta Ray Ugo Fellone Turores: Julio C. Arce Bueno Ruth Piquer Sanclemente 2 Índice 1. Introducción......................................................................................................................................5 1.1. Justificación.............................................................................................................................5 1.2. Objetivos..................................................................................................................................7 1.3. Estado de la cuestión................................................................................................................7 1.4. Marco teórico......................................................................................................................... 10 1.5. Fuentes y metodología........................................................................................................... 14 2. Exégesis y proyección del término post-rock: de Simon Reynolds a la prensa española..............16 2.1. Análisis de las definiciones de Simon Reynolds.................................................................... 16 2.2. Llegada del término a España................................................................................................ 19 3. La construcción del concepto de post-rock a través de Manta Ray................................................22 3.1. Primeras referencias: Manta Ray (1996)................................................................................ 22 3.2. Producción musical del grupo ante el declive del término (1997)......................................... 33 3.3. La vinculación definitiva al post-rock: Pequeñas puertas que se abren y pequeñas puertas que se cierran (1998-1999)........................................................................................................... 36 3.4. La consolidación y redefinición del término: Esperanza (2000)........................................... 44 3.5. Conexión con el post-rock desde Estratexa (2003) a la actualidad....................................... 49 4. Conclusiones...................................................................................................................................51 5. Bibliografía.....................................................................................................................................54 6. Anexos............................................................................................................................................56 6.1. Anexo I. Entrevista a José Luis García.................................................................................. 56 6.2. Anexo II. Entrevista a Jesús Llorente..................................................................................... 60 6.3. Anexo III. Entrevista a Joan Pons.......................................................................................... 62 6.4. Anexo IV. Entrevista a Julio Ruiz.......................................................................................... 63 6.5. Anexo V. Guía para el audio de la entrevista de Frank Rudow.............................................. 64 6.6. Anexo VI. Contenido del CD................................................................................................. 65 3 4 1. Introducción No es fácil etiquetar la música de Manta Ray, pero tal vez la denominación más certera sería aquello de post-rock, un término acuñado en 1994 por el perspicaz crítico musical Simon Reynolds para definir una forma de reinterpretar los instrumentos tradicionales del rock con fines no rockeros, que a su vez se fundía con géneros más complejos como el krautrock, el jazz, la música de bandas sonoras, la instrumental, el minimalismo o la electrónica, características que están presentes en la obra de los gijoneses. Lo mejor de la etiqueta era su polivalencia, pues igual servía para definir a Mogwai que a Stereolab, a Sigur Rós que a Tortoise1. Nos parece una falta de educación que se pueda hablar sin ningún tipo de complejos de otras etiquetas (respetables) como psicodelia, after punk, power pop... y no de post-rock. Nos gusta la etiqueta “post”, es muy de fin de milenio […]. Lo que no me gusta de la palabra es su uso pedante, dándole un carácter intelectual... ¡yo ni siquiera tengo carrera! Post- rock para nosotros es salirse de los esquemas clásicos de la canción de rock, cosa que nosotros tratamos de hacer. Nacho Álvarez (bajista de Manta Ray)2. 1.1. Justificación En 1993, el crítico británico Simon Reynolds acuñó uno de los términos musicales más controvertidos del último cuarto de siglo: post-rock3. Aunque no tardó en escribir varios artículos en los que reflexionaba sobre su significado, en cuanto otros periodistas comenzaron a utilizarlo su sentido fue mutando, llegando a ser rechazado por Reynolds en fecha tan temprana como 19974. La transformación de este término proseguiría posteriormente, hasta el punto de que gran parte de lo que en un primer momento fue considerado como post-rock parece no tener casi ningún rasgo en común con los grupos que hoy día se incluyen bajo la etiqueta. El proceso por el cual el significado de esta expresión fue cambiando aún no ha sido abordado de manera sistemática, lo cual ha hecho sumamente difícil poder establecer una historia sobre este género musical sin incurrir en omisiones y discontinuidades. Hoy en día el término está condicionado por una serie de grupos que adquirieron éxito entre finales de los noventa y los primeros años de la década del 2000. Entre ellos destacan fundamentalmente Mogwai, Sigur Rós y Godspeed You! Black Emperor. Según una serie de rasgos compartidos por ellos el post-rock se entiende como cierto tipo de rock predominantemente 1 CEZÓN DOMÍNGUEZ. José. “Manta Ray resucitará por una noche en el aniversario de La Plaza”. El comercio.es, 8 de diciembre de 2012: http://musica.elcomercio.es/manta-ray-resucitara-por-una-noche-en-el-aniversario-de-la-plaza [consultado: 9/5/2017]. 2 BASTERRETXEA, Aritza. “Manta Ray. Nuevo salto sin red”. Mondosonoro, enero de 2000, versión online: http://www.mondosonoro.com/entrevistas/nuevo-salto-sin-red/ [consultado: 11/3/2017]. 3 CHUTER, Jack. Storm, Static, Sleep. A Pathway Through Post-Rock. Londres: Function Books, 2015, p. 61. 4 REYNOLDS, Simon. Overrated Records/Artists/Phenomena of 1997 (plus one Ambivalence of 1997), citado en RUDERER, Tobias. Post-Rock, Chicago School, Jim O'Rourke. Über Materialbenhandlung in der Avantgarde der populären Musik. Lüneburg: Universität Lüneburg, 2006, p. 213. 5 instrumental (o con un uso de la voz no convencional), centrado en la creación de ambientes sonoros por medio de la repetición y superposición casi minimalista de una serie de patrones rítmicos, melódicos, armónicos y tímbricos que en muchas ocasiones se dirigen hacia un clímax por medio de un crescendo5. Esta visión del género en la actualidad no se corresponde con el sonido de los primeros grupos de los que hablaba Reynolds, que llevaban a cabo una música mucho más experimental influida por la electrónica o el hip-hop. El estudio de la terminología musical sigue siendo una tarea pendiente para la musicología, dado que implica el manejo de una gran cantidad de fuentes de periodos relativamente extensos que deben ser comparadas con las prácticas musicales a las que remiten. El caso del post-rock resulta bastante interesante por el escaso espacio temporal con el que se producen los cambios, fruto del dinamismo cultural de la sociedad contemporánea. Pero dada la ingente cantidad de textos producidos en relación al término en los últimos 25 años, para que un trabajo de este tipo pueda arrojar luz sobre las transformaciones a las que se somete la expresión post-rock, debe concentrarse en una producción más acotada desde el punto de vista geográfico y cronológico que sea capaz de reflejar de manera precisa este devenir terminológico. Por eso, este trabajo estudiará la construcción del término post-rock en España desde su llegada a la prensa nacional a mediados de los 90 hasta comienzos del siglo XXI. Para ello nos centraremos en un estudio de caso, que constituirá la mayor parte de nuestro trabajo: el análisis de los discursos creados por la crítica musical alrededor de Manta Ray, considerado el primer exponente destacado del género a nivel nacional. Estos serán insertados dentro de un marco mucho más amplio –el de los discursos generales sobre el post-rock a nivel nacional–, que a su vez se entenderá a la luz del devenir del término en el ámbito anglosajón, fundamentalmente británico. Para comprender estos discursos adquiere un destacado lugar la prensa musical, que además de ser más fácilmente accesible que la radio o la televisión, empleaba y debatía el término de manera mucho más frecuente. La elección de esta banda como hilo conductor no es casual. Manta Ray fue uno de los grupos más destacados del indie español de los años 906, encuadrándose como uno de los principales exponentes de la escena de la ciudad Gijón. Sus discos y actuaciones en vivo copaban lo alto de las listas de las principales revistas musicales del país y su novedosa propuesta musical les llevó a colaborar con artistas como Javier Corcobado, los franceses Diabologum o los estadounidenses Come. Además, entre sus filas se encontraba un joven Nacho Vegas, que
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