#flans 1985

[remasterizados]

No Controles de Flans, del álbum Flans (1985)

[agendaculturaldelima]

#SinMusicaNoExisto

🎶 “INESPERADO [TOUR]” 🌎 💚💛❤️

👥 PANDORA + FLANS (México)

💥 Regresa la agrupación de habla hispana Pandora con sus éxitos musicales compartiendo escenario con el grupo Flans. Gracias a la canción “Cómo te va mi amor”, que las hermanas Mayte e Isabel Lascurain junto a Fernanda Meade, saltan a la fama en los años ochenta y se convierten en una de las agrupaciones más famosas del momento, logrando una nominación al Grammy en la categoría Pop Latino (1987). “Adiós Amor”, “Alguien llena mi lugar”, “Amor, Amor”, “Cuando no estás conmigo”, “Ni Tú ni Yo, “Sólo Él y Yo”, las posicionan en lo más alto, alcanzando vender trece millones de copias a nivel mundial, recibiendo 146 discos de oro y 157 de platino, convirtiéndolas en leyenda viva de la música.💿💽

🔥En la actualidad, Flans, ahora integrada por Irma Hernández “Mimí” e Ilse María Olivo, pues la tercera integrante Ivonne Guevara, abandona el trio para dedicarse a temas personales y al arte. Alcanzan la popularidad en la década de los ochentas con las canciones “Bazar” y “No controles”, colocándose en los primeros lugares de los rankings musicales, respaldadas por el conductor Raúl Velasco en su programa “Siempre en Domingo” (1985). 😍🌻

© Producción: Global Music Group.

📌 CONCIERTO:

📆 Sábado 02 de Noviembre

🕗 8:00pm.

🏟️ Anfiteatro Nicomedes Santa Cruz del Parque de la Exposición (av. 28 de julio y Garcilaso de la Vega – Lima)

🎫 Entrada: S/.161

🖱 Reservas: https://www.ticketmaster.pe/event/pandora--flans-inesperado-tour-home

[differenthead]

Volume 288

0:00:00 — "Introducción" (Edit) by Quál (1988)

0:00:41 — "Apañón" by La Maldita Vecindad y los Hijos del Quinto Patio (1989)

0:04:13 — DJ

0:07:03 — "Tonight" by Size (1980)

0:08:26 — "Margarita" by Lucía Méndez (1983)

0:11:47 — "Cuerpos Huecos" by Casino Shanghai (1985)

0:15:09 — "Las Mil y Una Noches" by Flans (1987)

0:19:31 — DJ

0:26:00 — "Mi Globo Azul" by Timbiriche (1985)

0:29:22 — "Suave" by Luis Miguel (1993)

0:34:01 — "Electropical Heart" by Volti (1986)

0:38:39 — "El Paso Del Tiempo" (Versión Remezclada) by Silueta Pálida (1984)

0:42:08 — DJ

0:47:15 — "Planetarios Suite" (Edit) by Eblen Macari (1987)

0:49:38 — "Passacaglia" by Eblen Macari & J.L. Almeida (1989)

0:51:54 — "Saltatrás Cuarterón" by Jorge Reyes & Suso Sáiz (1991)

0:55:42 — "El Arrullo de la Mujer Dia, Mujer Luz" by Jorge Reyes (1986)

1:01:30 — DJ

1:06:19 — "Siente Más y Piensa Menos" by Aristeo (1988)

Stream

Download

[turnbacktothe80s]

Flans - self titled album (1985)

[mauricedelafalaise]

Flans

debut album: October 6, 1985

#35years

[fuckyeahmexico]

Flans - No Controles - 1985

[nocontexttmbg]

What’s your least favorite They Might Be Giants song?

you are playing this game on hard mode, my friend /j

in all seriousness i have yet to hear a song i didnt eventually end up liking. most of the songs i didn’t immediately fall in love with i had this idea of how they were “supposed” to sound based on the title/surrounding tracks in an album (which is kind of narrow-minded imo especially for tmbg), but after another listen or two they warmed up for me. songs that went this route were *i believe* the world’s address & toddler hiway

ACTUALLY now that i think about it. i dont know if demos count but hotel detective off the 1985 demo tape is simultaneously the funniest and most unnerving thing... the vocals remind me too much of those distorted wiggly meme videos and hearing flans underneath it just makes me lose my fucking mind. so its my favorite song to make fun of and also the only one i can listen to for a max of 20 seconds before clicking to a song thats... easier to listen to!

[itsjuda]

Una de las portadas de disco mas importantes en México por ahí de 1985. 

#pixel #flans #pixel art #my art

[ricardosousalemos]

Thurston Moore: Rock n Roll Consciousness

Though they personified the squall and squalor of 1980s Manhattan, Sonic Youth’s hearts always belonged to 1960s California. Starting with 1985’s Bad Moon Rising, Golden State roots both literal (see: Kim Gordon’s Los Angeles upbringing) and figurative (Lee Ranaldo’s Deadhead past) began to deeply entangle themselves in their knotty guitar gnarl. But where the Manson-inspired maelstrom of “Death Valley ’69” seemed to add another gallon of piss onto the grave of the hippie dream, the content and iconography of Sonic Youth’s subsequent work suggested they were secretly mourning it.

The inner-sleeve artwork for 1986’s EVOL found Thurston Moore posing like a flower child with a sitar, while a scrawled crucifix insignia—emblazoned with the words “Sonic Life”—evoked the DIY religiosity of West Coast free-love cults. And with 1987’s Sister, Sonic Youth produced the most Californian album in their canon, from the desecrated Disneyland photo on the cover to the specific geographic references, not to mention the song that proved to be the closest Gordon and Moore would ever get to their own “I Got You Babe.” After flirting with mainstream success in the early 1990s, Sonic Youth more or less carried themselves as a post-punk Grateful Dead, becoming a modern paragon of hippie-era artistic freedom but without the incense, hacky sacks, and wavy-arm dancing.

This summer marks the 30th anniversary of Sister, but in lieu of a big deluxe reissue campaign, Moore has surfaced with a solo record that similarly exhibits outer aggression as a means to achieve inner bliss. While Moore’s most recent work has seen him unleash his latent activist streak, Rock n Roll Consciousness uses its noisy guitar jams as battering rams to access more intimate, spiritual modes of expression. The title is no misnomer—on Rock n Roll Consciousness, Moore is consciously rocking, with the returning cast of guitarist James Sedwards, My Bloody Valentine bassist Debbie Googe, and Sonic Youth drummer Steve Shelley further solidifying the groundwork they laid on 2014’s The Best Day. But that sturdy foundation gives Moore the confidence to let his head float evermore freely into the clouds, atop some of the most joyous, optimistic lyrics he’s ever sung.

Rock n Roll Consciousness is an album about love—if not an album of love songs per se. Moore isn’t singing to his girlfriend here—he’s addressing mythical goddesses and the mystique of big cities at night and the changing of the seasons. Like The Best Day, the new record features lyrical contributions from London poet Radio Radieux, whose cosmic vocabulary—with its references to “the prophetess,” “peyote walkers,” “magic drums,” and “vibration love”—allows Moore to mine the ecstatic without losing his ageless, dead-cool drawl.

But if the album’s lyrics project a certain youthful idealism, musically, Moore and co. proudly dig their worn-out Converse heels into an indie-is-the-new-dad-rock ethos that trades in Sonic Youth’s abstract extremes for a tougher, more propulsive thrust. It’s more meat-and-potatoes, sure, but it’s really choice grass-fed beef with yam flan. “Exalted” unfurls like the Feelies playing at 16 rpm, before Sedwards starts channeling J Mascis channeling Eddie Hazel on what sounds like a meditative rendition of Neil Young’s “Like a Hurricane.” This melancholic reverie is rudely interrupted by a doom-metal drone that hits like a flaming gong crash, blazing the trail for Moore’s star-struck vocal to finally come in just before the eight-minute mark. “Aphrodite,” meanwhile, feels like an entire song spun out of the staccato, pin-pricked climax to “Marquee Moon,” until Googe’s hypnotic bass breakdown goads Moore and Sedwards to engage in some wah-wah warfare.

Where The Best Day proffered a somewhat uneven mix of extended odysseys and rough-hewn sketches, Rock n Roll Consciousness is much more cohesive and smoothly sequenced. Its five tracks (averaging eight minutes a piece) feel like carefully plotted epics rather than improvised excursions; the revved-up 10-minute thriller “Turn On,” in particular, is packed with hairpin twists and turns. But Moore can also reach euphoric peaks through a more direct route. “Cusp”—a cloud-parting ode to the coming of spring—is six-and-a-half sustained minutes of shimmering jangle and steady, shuffling rhythm. The song is simultaneously frantic and soothing; like a jogging-on-the-spot exercise, the surroundings may not change, but by the end, your heart is pounding and you feel light-headed. It’s the moment where this album’s core philosophies achieve their purest physical manifestation. As Moore would attest, rock’n’roll—like love itself—should instill a higher state of consciousness, while at the same time make you feel like you’re losing it.

[pacozeacom]

Flans y sus 5 hits icónicos

Flans y sus 5 hits icónicos

Flans marcó la pauta como el primer grupo pop de Latinoamérica conformado por mujeres, además de marcar las tendencias en moda en la segunda mitad de los 80

Flans es un grupo femenil considerado un ícono dentro de la música en español de la década de los 80, que debutó un 6 de octubre de 1985, a escasas dos semanas de los sismos que devastaron la Ciudad de México el 19 y 20 de septiembre.