| Juana Molina — Halo (May 5th, 2017) |
Juana Molina — Halo (May 5th, 2017) ••› Argentinean mystic Juana Molina conjures up new levels of rhythmic intrigue on a long overdue new album for Crammed.
Location: Buenos Aires, Argentina
Genre: ELECTRONIC, CONTEMPORARY / ROOTS
Album release: May 5th, 2017
Record Label: Crammed Discs
Duration: 56:33
Tracks:
01 Paraguaya 3:44
02 Sin Dones 5:42
03 Lentísimo Halo 5:24
04 In the Lassa 4:40
05 Cosoco 4:58
06 Cálculos y Oráculos 4:47
07 Los Pies Helados 5:23
08 A00 B01 4:30
09 Cara de Espejo 5:04
10 Andó 3:50
11 Estalacticas 4:53
12 Al Oeste 3:38
Description:
••› Juana Molina is a good witch. See the front cover of this album: a bone is looking at us! And when a bone looks at us, we’re being watched by the entire history of paleontology. The bone is a sign of having been, it’s the last remain, after the passage of vultures, hyenas, rodents and worms. But the bone became lever, weapon and inscription surface. And the bone is also Stanley Kubrick, that name we invented for jumping from the monkey to the superhuman, as well as from the caves to the moon, to Jupiter and beyond. In ancient folk legends, buried bones were believed to be the cause of luz mala (‘evil light’, also known as ghost lights or will~o’~the~wisp), that strange halo which floats above the ground and scares travellers at night.
••› But Juana Molina is a good witch, and this particular bone isn’t sinister or menacing, it wants us to reconcile with its kind. It’s both playful and serious, ironic, imaginative and quite magical, just like Juana’s music.
••› Halo is Juana Molina’s seventh album, and it pursues the experimental path she began years ago, marking a new milestone in the evolution of her own, unmistakable voice. She’s “on an evolutionary journey of her own devising” (Pitchfork), and pushes once more her “eerie, hypnotic” music “to increasingly haunting heights” (as written by Spin magazine about her previous record).
••› The twelve tracks in Halo abound with hypnotic rhythms which seem to draw their energy from immemorial rituals; with timbral explorations and ever~changing soundscapes; with mysterious lyrics often touching on witchcraft, premonition and dreams, always used as metaphors for emotional states; with voices which sometimes move away from word and meaning to be reduced to abstract phonemes and onomatopoeia.
••› Juana approaches music in a very physical, intuitive way: every instrument and electronic resource is an extension of her body, and is used to express feelings and moods. It’s magic, in its oldest sense: art or technй, which articulates knowing with doing, in order to produce something which didn’t exist before.
••› Halo was recorded in Juana Molina’s home studio outside of Buenos Aires, and at Sonic Ranch Studio in Texas, with contributions by Odin Schwartz & Diego López de Arcaute (who have both been playing live with Juana for a number of years), and Eduardo Bergallo (who has taken part in the mixing of her previous albums), with Deerhoof’s John Dieterich making a guest appearance in a couple of tracks.
••› [inspired by Gabriel Galli’s essay on the music of Juana Molina]
Boomkat Product Review:
••› Argentinean mystic Juana Molina conjures up new levels of rhythmic intrigue on a long overdue new album for Crammed.
••› Four years on from her Crammed Discs debut, ‘Wed 21’, the excellent Juana Molina returns to the Belgian experimental stronghold with her ninth LP, pocketing contributions from Deerhoof’s John Dieterich, and regular colluders Odin Schwartz, Diego Lopez de Arcaute and Eduardo Bergallo.
••› The 12 tracks on ‘Halo’ expand on the rich instrumentation of Molina’s last album, peeling away in even more rewardingly odd rhythmic directions that make you forget she was ever daubed with that godawful folktronica tag.
••› As ever, Molina’s soothing vocal flexibility is the guiding force here, its warmth acting as conducting force for the instrumentation that surrounds and complements it. Dare we say Molina has deviated from the precision and tidiness of previous albums too, occasionally letting tracks spring to life unexpectedly as on the Can~style percussive freakout Cosoco and the creaking minimal dub reductions of Cara de espejo.
••› Other tracks, such as A00 B01, bring about the sort of wonderfully weird dissonance that endeared everyone to Juana Molina in the first place.
••› Given the otherworldly nature of her voice, it’s tempting to draw parallels between Juana Molina’s native tongue and the universal language of Anna Homler’s work as Breadwoman, uncovered and explored so superbly by RVNG last year.
••› You don’t necessarily need to understand what either are saying to form a real connection with the music. ••› https://boomkat.com/
SINOPSIS
••› Halo es el séptimo álbum de Juana Molina, y confirma el camino experimental iniciado años atrás a la vez que se constituye como un nuevo modo en la construcción de una voz propia e inconfundible.
••› Ella está “en un viaje evolutivo de su propia concepción” (Pitchfork), y empuja una vez más su “misteriosa, hipnótica” música “a alturas cada vez más inquietantes” (escrito por la revista Spin sobre su disco anterior).
••› Halo fue grabado en el estudio en la casa de Juana Molina fuera de Buenos Aires y en el Sonic Ranch Studio de Texas, con contribuciones de Odin Schwartz y Diego López de Arcaute (que han tocado en vivo con Juana por varios años), y Eduardo Bergallo (que ha participado en la mezcla de sus álbumes anteriores), con John Dieterich de Deerhoof como artista invitado en algunas canciones.
••› Desde el lanzamiento de su aclamado álbum “Wed 21” a finales del 2013, Juana Molina ha realizado decenas de shows en Europa, Estados Unidos, América Latina y el sudeste asiático. Estaría de vuelta en la carretera a partir de mayo de 2017.
Retro view:
••› Juana Molina, významná představitelka světové alternativní scény, přivezla 9. listopadu 2013 do pražského Jazz Docku svůj svébytný alt~folk. Koncert proběhl v rámci série Femme Fatale věnovaná výrazným ženským umělkyním současné alternativní hudby. Juana Molina pochází z argentinského Buenos Aires, tak by si někdo mohl mylně myslet, že se bude jednat o tango či jiné latino rytmy, ale s tím její hudba má pramálo společného. Její pojetí hudby je podobné jako u Björk či Lisy Germano, tedy snaží se zkoumat průsečíky mezi žánry a experimentovat s nimi, aniž by rezignovala na melodičnost celku. Pokud si pustíte její poslední desku z letošního října “Wed21”, uslyšíte v základu silné přírodní písničky obalené netuctovými beaty a zvukově extravagantní elektronikou. K tomu si připočtěte její éterický hlas a vyjde vám opravdu výborná deska. Moc se mi líbí práce s rytmem, kde je poznat, že latinsko~americký základ tam prostě je. Za všechny např. Eras nebo Bicho Auto.
••› http://milujihudbu.blogspot.cz/
Label: http://www.crammed.be/
Website: http://www.juanamolina.com/
Facebook: https://www.facebook.com/juanamolinamusic/
| Juana Molina — Halo (May 5th, 2017) |
Juana Molina — Halo (May 5th, 2017) ••› Argentinean mystic Juana Molina conjures up new levels of rhythmic intrigue on a long overdue new album for Crammed.
Location: Buenos Aires, Argentina
Genre: ELECTRONIC, CONTEMPORARY / ROOTS
Album release: May 5th, 2017
Record Label: Crammed Discs
Duration: 56:33
Tracks:
01 Paraguaya 3:44
02 Sin Dones 5:42
03 Lentísimo Halo 5:24
04 In the Lassa 4:40
05 Cosoco 4:58
06 Cálculos y Oráculos 4:47
07 Los Pies Helados 5:23
08 A00 B01 4:30
09 Cara de Espejo 5:04
10 Andó 3:50
11 Estalacticas 4:53
12 Al Oeste 3:38
Description:
••› Juana Molina is a good witch. See the front cover of this album: a bone is looking at us! And when a bone looks at us, we’re being watched by the entire history of paleontology. The bone is a sign of having been, it’s the last remain, after the passage of vultures, hyenas, rodents and worms. But the bone became lever, weapon and inscription surface. And the bone is also Stanley Kubrick, that name we invented for jumping from the monkey to the superhuman, as well as from the caves to the moon, to Jupiter and beyond. In ancient folk legends, buried bones were believed to be the cause of luz mala (‘evil light’, also known as ghost lights or will~o’~the~wisp), that strange halo which floats above the ground and scares travellers at night.
••› But Juana Molina is a good witch, and this particular bone isn’t sinister or menacing, it wants us to reconcile with its kind. It’s both playful and serious, ironic, imaginative and quite magical, just like Juana’s music.
••› Halo is Juana Molina’s seventh album, and it pursues the experimental path she began years ago, marking a new milestone in the evolution of her own, unmistakable voice. She’s “on an evolutionary journey of her own devising” (Pitchfork), and pushes once more her “eerie, hypnotic” music “to increasingly haunting heights” (as written by Spin magazine about her previous record).
••› The twelve tracks in Halo abound with hypnotic rhythms which seem to draw their energy from immemorial rituals; with timbral explorations and ever~changing soundscapes; with mysterious lyrics often touching on witchcraft, premonition and dreams, always used as metaphors for emotional states; with voices which sometimes move away from word and meaning to be reduced to abstract phonemes and onomatopoeia.
••› Juana approaches music in a very physical, intuitive way: every instrument and electronic resource is an extension of her body, and is used to express feelings and moods. It’s magic, in its oldest sense: art or technй, which articulates knowing with doing, in order to produce something which didn’t exist before.
••› Halo was recorded in Juana Molina’s home studio outside of Buenos Aires, and at Sonic Ranch Studio in Texas, with contributions by Odin Schwartz & Diego López de Arcaute (who have both been playing live with Juana for a number of years), and Eduardo Bergallo (who has taken part in the mixing of her previous albums), with Deerhoof’s John Dieterich making a guest appearance in a couple of tracks.
••› [inspired by Gabriel Galli’s essay on the music of Juana Molina]
Boomkat Product Review:
••› Argentinean mystic Juana Molina conjures up new levels of rhythmic intrigue on a long overdue new album for Crammed.
••› Four years on from her Crammed Discs debut, ‘Wed 21’, the excellent Juana Molina returns to the Belgian experimental stronghold with her ninth LP, pocketing contributions from Deerhoof’s John Dieterich, and regular colluders Odin Schwartz, Diego Lopez de Arcaute and Eduardo Bergallo.
••› The 12 tracks on ‘Halo’ expand on the rich instrumentation of Molina’s last album, peeling away in even more rewardingly odd rhythmic directions that make you forget she was ever daubed with that godawful folktronica tag.
••› As ever, Molina’s soothing vocal flexibility is the guiding force here, its warmth acting as conducting force for the instrumentation that surrounds and complements it. Dare we say Molina has deviated from the precision and tidiness of previous albums too, occasionally letting tracks spring to life unexpectedly as on the Can~style percussive freakout Cosoco and the creaking minimal dub reductions of Cara de espejo.
••› Other tracks, such as A00 B01, bring about the sort of wonderfully weird dissonance that endeared everyone to Juana Molina in the first place.
••› Given the otherworldly nature of her voice, it’s tempting to draw parallels between Juana Molina’s native tongue and the universal language of Anna Homler’s work as Breadwoman, uncovered and explored so superbly by RVNG last year.
••› You don’t necessarily need to understand what either are saying to form a real connection with the music. ••› https://boomkat.com/
SINOPSIS
••› Halo es el séptimo álbum de Juana Molina, y confirma el camino experimental iniciado años atrás a la vez que se constituye como un nuevo modo en la construcción de una voz propia e inconfundible.
••› Ella está “en un viaje evolutivo de su propia concepción” (Pitchfork), y empuja una vez más su “misteriosa, hipnótica” música “a alturas cada vez más inquietantes” (escrito por la revista Spin sobre su disco anterior).
••› Halo fue grabado en el estudio en la casa de Juana Molina fuera de Buenos Aires y en el Sonic Ranch Studio de Texas, con contribuciones de Odin Schwartz y Diego López de Arcaute (que han tocado en vivo con Juana por varios años), y Eduardo Bergallo (que ha participado en la mezcla de sus álbumes anteriores), con John Dieterich de Deerhoof como artista invitado en algunas canciones.
••› Desde el lanzamiento de su aclamado álbum “Wed 21” a finales del 2013, Juana Molina ha realizado decenas de shows en Europa, Estados Unidos, América Latina y el sudeste asiático. Estaría de vuelta en la carretera a partir de mayo de 2017.
Retro view:
••› Juana Molina, významná představitelka světové alternativní scény, přivezla 9. listopadu 2013 do pražského Jazz Docku svůj svébytný alt~folk. Koncert proběhl v rámci série Femme Fatale věnovaná výrazným ženským umělkyním současné alternativní hudby. Juana Molina pochází z argentinského Buenos Aires, tak by si někdo mohl mylně myslet, že se bude jednat o tango či jiné latino rytmy, ale s tím její hudba má pramálo společného. Její pojetí hudby je podobné jako u Björk či Lisy Germano, tedy snaží se zkoumat průsečíky mezi žánry a experimentovat s nimi, aniž by rezignovala na melodičnost celku. Pokud si pustíte její poslední desku z letošního října “Wed21”, uslyšíte v základu silné přírodní písničky obalené netuctovými beaty a zvukově extravagantní elektronikou. K tomu si připočtěte její éterický hlas a vyjde vám opravdu výborná deska. Moc se mi líbí práce s rytmem, kde je poznat, že latinsko~americký základ tam prostě je. Za všechny např. Eras nebo Bicho Auto.
••› http://milujihudbu.blogspot.cz/
Label: http://www.crammed.be/
Website: http://www.juanamolina.com/
Facebook: https://www.facebook.com/juanamolinamusic/