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Chris Corner, de la "Becoming X" la "I am X"


 
Exista o plasa de siguranta in cultura trupelor. Pe de o parte acest lucru ofera confort, pe de alta parte este sufocant.”
 
Un copil care a fugit de la un party cu face-painting. Un trickster dintr-un tablou medieval. Un superstar rock parasit. Un expatriat englez la Berlin. Cand incerci sa te apropii de personalitatea lui CHRIS CORNER, cel al carui nume este esential pentru formatii precum IAMX sau SNEAKER PIMPS, unul dintre cei mai talentate si creative nume de artisti care apar in conversatiile despre cum stau lucrurile pe scenele electro si indie, iti dai seama ca iti lipsesc intotdeauna cateva piese din puzzle, oricate lucruri ai cunoaste despre el. In matematica, o necunoscuta se marcheaza cu litera X. Acest X, aceasta necunoscuta, este cea care ghideaza cariera lui CHRIS CORNER, de la albumul de debut SNEAKER PIMPS, “Becoming X” la proiectul sau actual, IAMX.
 
Asa cum indica si citatul din deschiderea articolului, care provine dintr-un interviu cu CHRIS CORNER din 2008, cariera lui a fost o alegere sinuoasa intre a se relaxa in confortul oferit de cultura unei trupe si a fi sufocat de aceeasi cultura. Este adevarat ca totul are propriii demoni, dar atunci cand vorbim despre alegeri de cariera sub reflectorul orbitor al industriei muzicale, ingerii pot parea demoni si vice-versa. Desi SNEAKER PIMPS a fost o formatie cu un success de debut foarte mare, si aici este suficient si numai exemplul primului lor single, “6 Underground”, care a devenit un imn MTV la sfarsitul anilor 1990 si a fost selectat pentru coloana sonora a nenumarate filme, de la “Sfantul” la “Fantomele fostelor iubite”, CHRIS CORNER, un artist cu o natura refractara la compromise, nu s-a simtit confortabil in structura trupei, iar dupa ce a ales sa urmeze destinul trupei si fara solista Kelli Dayton, s-a gasit in fata unei constrangeri si mai rigide: in urma careia, si-a dat seama, o trupa nu lasa loc pentru o auto-suficienta pe care si-o recunoaste si singur. De aceea, dupa ce a creat o trupa de cult cum este SNEAKER PIMPS, o prezenta emblematica in playlisturile cu trip-hop, downtempo si electronice, s-a revoltat impotriva propriilor alegeri si si-a pregatit urmatoarea deghizare: IAMX, formatia care a depasit notorietatea fostei sale trupe, si a recimentat o identitate remodelata, cea a unei formatii de muzica electronica cu un singur membru, alimentata de tensiuni si construita in jurul unui bestiar bogat.
 
IAMX provine din aceeasi seva care a dat lumii SNEAKER PIMPS. Totusi, schimbarea subtila pe care a facut-o CHRIS CORNER nu inseamna ca a renuntat la un crez artistic sau s-a dat peste cap pentru a ajunge de la A la B (sau de la un fost X la alt X), ci, de fapt, ca a dat la schimb angoasele relatiilor urbane pentru ambient dark si dragostea neimpartasita pentru una platonica si alteori pentru rafinamente erotice – daca adaugam in ecuatie si un strop de confuzie de gen si o adoptie plenara a credintei in suflete-animal, personalitatea unui nou artist este desavarsita. O intrebare se naste, totusi, si anume, care este reteta lui CORNER pentru succes, avand in vedere ca ambele trupe in care a activate au fost primite calduros inca de la debut, ulterior sporind constiinta despre trupe si castigand numerosi fani?
 
IAMX nu este un surogat pentru SNEAKER PIMPS, dar cu toate acestea, succcesul proiectului a fost unul progresiv, iar notorietatea la care a ajuns este cruciala in intelegerea actuala a culturilor dark – cu o recuzita de imagistica bogata, cu simbioza a genurilor muzicale si cu un leader foarte charismatic – o reteta de scuces care a fost primita cu bratele deschise de un public generos si variat. O formatie placuta de mainstream si de nise fara rezerve, IAMX este un subiect de conversatie, unul care incita la discutie si ridica interes, si asta intr-un climat care nu intinde un covor rosu in fata inspiratiei de cabaret cu incarcatura sexuala in cantece sobre. Si totusi, titluri precum “Tear Garden” si “Think of England” pot fi adaugate cu usurinta la orice playlist si au fost difuzate la atatea posturi de radio incat devine absurd sa crezi ca au fost inspirate de ceva care nu este universal. Desigur, intregul credit ii apartine domnului CHRIS CORNER, dar radacinile fenomenului merg mai adanc. Intr-un interviu improvizat cu fanii sai pe blogul IAMX, artistul recunoaste ca muzica are un rol purgativ in viata sa: “Muzica e portavocea pentru frustrare, manie, ura, agresivitate, ambiguitate sexuala, anxietate, frica de moarte, lupta cu hedonism, vina obsesiva si in general o nemultumire pentru toate lucrurile lumesti. Naturala si spirituala. Daca m-as gandi la asta zi de zi in viata reala, as fi ajuns demult in mormant.” Astfel, favorizandu-si statutul de a fi o necunoscuta a problemei, CHRIS CORNER nu isi adauga viata la arta, ci, mai degraba, desprinde aschiile artei din viata sa, ramanand in sine anonim, dar oferind toate sansele artei sale de a fi una cunoscuta. Un exemplu de delicatete si atitudine umila in showbiz, CORNER dovedeste astfel ca nu ar trebui ca primul lucru care sa ne vina in minte sa fie curentul care le spune artistilor sa-si promoveze culte personale pentru a da savoare muzicii lor. Faptul ca IAMX vorbeste atator oameni pe atatea paliere este de asemenea de inteles. Daca nivelul dialogului artistic se muta de la cotidian la primordial in stare bruta si la spiritualitate fara afiliere, cuvintele vorbesc multimilor inainte de a vorbi indivizilor. “Volatile Times” sau “Fire and Whispers” sunt astfel de exemple, in timp ce “I Am Terrified” sau “My Secret Friend” ilustreaza tenta mai personala a muzicii sale.
 
CHRIS CORNER nu se afla, probabil, in ultima sa formatie si cu siguranta nu si-a scris intregul testament muzical. Cultura de trupa care i-a dat posibilitatea sa isi promoveze formatiile pana in prezent va mai fi responsabila de astfel de dezvoltari, cu atat mai mult cu cat prezenta sa cameleonica, niciodata regizata, dar totalmente teatrala, niciodata prea comunicativa cu publicul, dar oferindu-i acestuia experiente depline, nu are numai o descendenta branduita si genealogica: formatii care isi gasesc inspiratia in muzica lui, chiar si in mod nedeclarat, apar in fiecare zi.
 
 
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