{"id":13731,"date":"2009-08-14T16:00:00","date_gmt":"2009-08-14T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/animals-pink-floyd\/"},"modified":"2026-09-26T23:58:49","modified_gmt":"2026-09-26T21:58:49","slug":"animals-pink-floyd","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/animals-pink-floyd\/","title":{"rendered":"Animals – Cerdo de Battersea, Orwell en la Britania de los 70"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Harvest, cerdo de Battersea, Britania de Orwell<\/h3>\n

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Animals<\/em> se public\u00f3 el 21 de enero de 1977 (Harvest UK; Columbia US) como d\u00e9cimo \u00e1lbum de estudio de Pink Floyd. Gran parte se desarroll\u00f3 en Britannia Row, en Islington, el estudio propio de la banda tras el ciclo de Wish You Were Here<\/em>. Roger Waters molde\u00f3 el concepto a partir de Rebeli\u00f3n en la granja<\/em> de Orwell, proyectando la sociedad brit\u00e1nica de mediados de los 70 sobre perros (trepadores agresivos), cerdos (\u00e9lite dirigente) y ovejas (masa conducida). Los breves bookends Pigs on the Wing<\/em> (partes 1 y 2) enmarcan tres piezas largas: Dogs<\/em>, Pigs (Three Different Ones)<\/em> y Sheep<\/em>.<\/p>\n

Hipgnosis y Aubrey Powell fotografiaron la portada en Battersea Power Station con el cerdo inflable Algie. El primer d\u00eda el cerdo se solt\u00f3, entr\u00f3 en el espacio a\u00e9reo de Heathrow, retras\u00f3 vuelos y aterriz\u00f3 en Kent, una an\u00e9cdota tan unida al disco como la foto final. En las ranuras, David Gilmour comparte voz y coescribe Dogs<\/em> con Waters; Richard Wright y Nick Mason sostienen grooves largos y secos bajo guitarras y teclados afilados. El mix es m\u00e1s seco y abrasivo que el espacio abierto de Wish You Were Here<\/em>.<\/p>\n

Sin singles convencionales en Reino Unido al estilo de Money<\/em> o luego Another Brick in the Wall<\/em>, Animals<\/em> aun as\u00ed lleg\u00f3 al n.\u00ba 2 UK y n.\u00ba 3 US y fue multiplatino. La gira In the Flesh de 1977 puso el cerdo sobre arenas; las tensiones de esa gira alimentaron el siguiente concepto de Waters, The Wall<\/em>. En directo, Sheep<\/em> y Dogs<\/em> se volvieron piezas centrales para los solos de Gilmour y la cr\u00edtica social de Waters. En la letra, Waters nombra objetivos con m\u00e1s claridad que en \u00e9picas Floyd anteriores: pol\u00edticos y guardianes morales en Pigs (Three Different Ones)<\/em>, mientras Sheep<\/em> pasa del canto d\u00f3cil a la revuelta en la secci\u00f3n final. La guitarra de Gilmour en Dogs<\/em> cruza met\u00e1foras de negocios y mortalidad sin edici\u00f3n radio. La lista corta y la duraci\u00f3n larga se volvieron plantilla para el rock progresivo pol\u00edtico posterior.<\/p>\n

Los teclados de Wright suelen quedar m\u00e1s abajo en el mix que en Wish You Were Here<\/em>, lo que luego aliment\u00f3 relatos sobre su rol menguante antes de The Wall<\/em>. Aun as\u00ed, el \u00f3rgano y los stabs de synth en Sheep<\/em> y las capas fr\u00edas bajo Dogs<\/em> explican lo glacial que suena el disco frente a los Floyd de espacio abierto de principios de los 70.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

\n

No es un \u00e1lbum conceptual como The Wall. Es m\u00e1s un conjunto de canciones sobre el estado del pa\u00eds.<\/p>\n<\/blockquote>\n

(Roger Waters hablando de Animals, entrevistas de \u00e9poca \/ prensa retrospectiva)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb14938″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790421983{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

D\u00e9cadas despu\u00e9s, el remix de 2018 y el documental asociado devolvieron el foco al rodaje de Battersea y al filo pol\u00edtico del \u00e1lbum. La lista parece corta (cinco t\u00edtulos) pero supera los cuarenta minutos porque las tres piezas centrales rechazan el formato radio. Esa escala es el punto: rock de estado de la naci\u00f3n escrito en suites, no en singles.<\/p>\n

Animals<\/em> se sit\u00faa entre el brillo melanc\u00f3lico de Wish You Were Here<\/em> y la fortaleza narrativa de The Wall<\/em>: Floyd en su momento m\u00e1s abiertamente pol\u00edtico, anclado por una de las portadas industriales m\u00e1s reconocibles del rock.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

El 21 de enero de 1977, Pink Floyd public\u00f3 Animals en Harvest\/Columbia, un \u00e1lbum conceptual de cinco temas inspirado en Rebeli\u00f3n en la granja de Orwell y la sesi\u00f3n del cerdo en Battersea Power Station.<\/p>\n","protected":false},"author":1,"featured_media":13726,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[300,299],"tags":[481,515],"class_list":["post-13731","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albumes","category-criticas","tag-classic-rock-es","tag-pink-floyd-es"],"yoast_head":"\nAnimals - Cerdo de Battersea, Orwell en la Britania de los 70 - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/animals-pink-floyd\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Animals - 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