1) le parody/your nation (el vigilante) http://www.rtve.es/radio/20130417/parody/642065.shtml Si el folk es raíz y lo electro futuro, Le Parody (pronunciado le paródy) tiende un puente entre medias y lo cruza para traerse de un lado y otro piezas con las que fabricar sus canciones. Entre lo tecnológico y lo melodramático, usando sílabas en castellano, estructuras sin estribillo y sólo instrumentos que quepan en una maleta de mano (un ukelele, un sampler lleno de beats, glitches, trozos de películas, pedales); Sole Parody, voz y apellido del proyecto, habla del desamor, del cuerpo, del baile. Describe un lugar entre desiertos y ciudades vigiladas hasta el que ha llegado cargada con un ecléctico bagaje musical: sentires flamencos de Granada, electrónica de Los Ángeles, punk feminista de Madrid, souvenirs del underground de Zrenjanin. Frank Santiuste viene de Cuba y la acompaña a la trompeta. Juntos recorren escenarios de salas, salones, solares, hoteles, lavanderías, parkinglots, rincones subterráneos de Madrid y sus periferias, cunetas de carreteras hacia el sur. Y allí donde van tocan y bailan. COMPONENTES: Sole Sánchez Parody / Frank David Santiuste 2) oracle O. /wodoo walk Oracle O.’s début album is a bit like love-making. Sometimes it can be rough, sometimes it can be sensual, and occasionally it becomes slightly disturbing. With such a tagline, I think I could happily finish my review. However, I still feel I may need to explain the love-making comparison in there. Oracle O. is already quite a unique blend, as it consists of Chilean guitarist Mauricio Santana and the Danish-Irish singer Madeleine Kate McGowan. Oracle O. got in touch with the Norwegian label Fuzz ClubRecords (Dead Skeletons, Singapore Sling, The Wands etc.) last fall, and they decided to complete the unfinished work that had been waiting in the drawer for a long time. So Cracking the Eyes was born. nel loro soundlcloud da dove potete ascoltare parte delle cose che sono uscite, i pezzi sono molto vari tra loro, come succede quando magari metti insieme cose che fanno parte un po' del passato, ma il risultato è assai piacevole quindi considerate che il pezzo che ho scelto non è indicativo in senso assoluto. date un'occhiata a quello che fanno, e grazie a signorina Alos, che vi ricordo il 26 aprile sarà a roma con il suo XY tour, e da tuba vi aiuterà a costruire sex toys per signorine vegan.Il laboratorio sarà accompagnato dalle note musicali di R.Y.F. - https://www.facebook.com/RestlessYellowFlowers?ref=hl e per la prima volta a roma dalla mostra fotografica dell'artista danese Goodyn Green Cracking the Eyes is the debut album by Oracle O. It will be available via Fuzz Club Records on April 1st 2013. 4)valentina/ladders Valentina is preparing to release her new “Wolves” EP next weekend via Greco-Roman, a collective of Berlin and London musicians and artists who run a label and generally have a good time together. The record also enlists the help of Kwes (who’s “Meantime” was named one of the Best EPs of 2012 by Their Bated Breath), in a producer’s role. The Italian singer-songwriter (her real name is Valentina Pappalardo) previously streamed her beautiful title track, and has now followed it up with another song, “Ladders”. The music is an eclectic mix — wandering into electronica (ala Zola Jesus), dance, with pop-melodies, all held together by steady beats and Valentina’s soulful lead vocals that lean more toward a style like Jessie Ware or Martina Topley-Bird. The label lists the official release date for “Wolves” as April 13, but the artist’s facebook page has the date as the 29th. Whatever the case may be, you’ll want to get your hands on a copy of the EP 5)polica/tiff feat justin vernon (bon iver) nuovo album per poliza, di cui vi avevamo fatto ascoltare un estratto dall'album dell'anno scorso che si intitolava Give You the Ghost (2012), la band di minneapolis, è una delle cose più interessanti degli ultimi anni, e non solo per 6)charli xcx/cloud aura feat brooke candy dopo tanti singoli fatti uscire nel corso dell'anno scorso di quest'anno la giovane e piuttosto precoce artista inglese, sforna finalmente un alburm dal titolo "true romance" con la iamsound records. [ stripper and rapper brooke candy americana, che ha collaborato anceh con grimes,a proposito del la sua vita e le canzoni che si ispirano sempre a quello che è realmente, come donna che ama le donne ecc, e come stripper che è la sua fonte principale di guadagno dice: Well, being a woman that likes women, I guess you could say I've derived inspiration and wanted to promote strong women my whole life. I'm all about women helping women. There aren't enough collaborations like there were back in the day. Remember that track "Ladies Night" with Missy, Angie Martinez, Da Brat, and Left Eye? 7)selofan/a whimper Analogue synths, minimal sound, experimental tunes by a newcomer from Greece using only analogue equipment (Moog Voyager, Roland SH101, Roland TR727). The duet produces music in their living room and regard it as ”retro-minimal. 8)aristophanes/the peach blossom Seems like using the handle Aristophanes would bring a lot of pressure with it, but that’s just the way rappers seem to like it, even when spitting their flows in Mandarin Chinese. Yeah, that’s right. Aristophanes is a female DJ from Taipei named Li Mou, who shows off her buttery-smooth delivery in a track called “The Peach Blossom”. If you’re like me, foreign-language limited, you can use google translate to read through a fairly spotty translation of her lyrics. It’s a bit misleading, with the seemingly sensually-charged (and rather clever) single cover image and the song title — but the song isn’t about that at all. It’s really a riff on on old Chinese fable, Tao Yuanming’s “The Peach Blossom Spring” — about a culture that lives life in utopia, unaware of the outside world. In some ways, that’s what certain music is, the ability to go into a cocoon of one’s own. The song “The Peach Blossom” is very sedate, using high-pitched R&B keyboard stylings, breathy vocals that build in intensity, a steady rhythm and slow-smoked patience. 9)butterclock/milky words un po cocorosie, un po emily wells the name Butterclock is just weird. The word itself summons images of Dalí-lite kitchen tables covered in timepieces that would make Paula Deen’s mouth water. In actuality though, it’s the moniker for an electro-poppy music maker named Laura Clock, who has been active with bands like oOoOO for a bit now. This, oddly, makes more sense, but the lack of food-lubricant or minute-hand-relevant imagery in her music is a bit disappointing. What is not disappointing, however, are her beats. She has beats in spades. Another thing she has is an EP coming out on April 15 called First Prom. Apparently, Fantasy Music have already released it as a very limited CD but are releasing it again come April 15. It’s all very confusing. Check out “Holograms” from this already present but also impending EP below. 10)la luz/sure as spring La Luz is a band in Seattle, WA, started in the summer of 2012 by Shana Cleveland (guitar), Marian Li Pino (drums), Abbey Blackwell (bass), and Alice Sandahl (keyboard). Everyone sings. Songs by Shana and La Luz. sul loro bandcamp a 5 dollari scaricate l'album nel formato che volete 11)gianna lauren/anchor down Gianna Lauren is a performer of the graceful kind. Her onstage aura and the charisma behind her recordings are impossible to overlook. With the release of her sophomore album, Some Move Closer, Some Move On (October 2010), she becomes Forward Music Group is first female artist and first singer-songwriter to join the label. Having shared the stage with Julie Doiron, Snailhouse, Flotilla, Share, and Two-Minute Miracles; having sung with Hi-Lo Trons, The Prospectors Union, and Paper Beat Scissors, Gianna Lauren is breaking ground all her own. Following 2010's Some Move Closer, Some Move On, Halifax-based songwriter Gianna Lauren is back with another collection for Forward Music Group. Her six-song EP On Personhood is out on April 2. The songs were captured live off the floor at a 19th century horse stable-turned-studio in Ontario called House of Miracles. It was engineered by Andy Magoffin (Constantines, Shad, the Hidden Cameras, Great Lake Swimmers) with sessions taking place over five days in June 2012. For the recording process, Lauren formed a band featuring J.J. Ipsen (J.J. Ipsen and the Paper Crown), Marshall Bureau (Octoberman, the Pinecones), and Justin Nace. 12)rokia traoré/beautiful africa The first thing you hear on Rokia Traoré's Beautiful Africa is a drum beat, unadorned. It only lasts a few seconds before the guitars wrap around it like a veil, but it still feels revealing, as though we opened the door on the music just a few seconds before it was ready for us. That thump and tap, in a rhythm a bit like Radiohead’s “Idioteque,” tells us a lot about the album that follows: This is a record that grooves but also invites the listener to come closer, to step into its space, be still and listen. Traoré and producer John Parish have captured this music in all its rhythmic grace with great intimacy, capturing each slide up the bass or thrum of the n’goni with direct clarity. For music with such rhythmic body, precision in capturing the singular character of each sound is often beside the point. But Traoré’s music benefits immensely from it-- you can hear the way the her guitar twists around the other guitars and Mamah Diabaté’s dusty n’goni, and the sound sets this thicket of repeated, interlocking phrases inside the full-bodied rhythm section. The effect is of music that lives two rhythmic lives in tandem, and each one pushes the other, leaving her voice free to glide loosely over the top. Traoré’s past albums established her as a fine singer, but here, she feels more accomplished than ever, her voice bending around her words (sung mostly in Bamana) with flourishes of subtle vibrato. Moreover, she’s developed the dynamic range of her singing and writing. “Sikey” and “Lalla” both offer slippery funk, but with two completely different feels, while “N’Téri” travels in time over its nine and a half minutes, from hushed and skeletal n’goni topped by some of Traoré’s most incredible, full-throated singing to a whirling, driving electric song. The final couple of minutes surge on a bed of beatboxing and roiling guitar. It’s an amazing performance, and a good contrast to the more concise and straightforwardly funky songs. Traoré is from Mali, and her music carries many signatures of her homeland, from the n’goni to the language to the circular guitar figures, but her sound is fundamentally international, swallowing tradition and modernity whole to create a pop sound she can quite easily call her own. Being from her country means contending with the legacies of some of West Africa’s most internationally successful artists; at this point, I’d say Traoré fits comfortably alongside her forbears. Rokia Traoré – Beautiful Africa (releasedate: D/A: April 9th) “I really like rock,” says Rokia Traoré about her new album Beautiful Africa, “and it was because of rock that I wanted to play music, but I didn’t want to make rock and roll in the Western tradition … I wanted something that’s rock and roll but still Malian and still me.” When she was growing up, an older brother used to play her Dire Straits and Pink Floyd. “It wasn’t all I listened to—I discovered jazz and blues with my dad, and Malian and other African music, and French chanson, but it was rock music that made me want to learn guitar.” There are three guitarists on the album, John Parish, Stefano Pilia and Traoré herself, but though the record is constructed around rock riffs and sturdy bass work, it still has a distinctively West African feel, thanks to the genius of Mamah Diabaté on the n’goni, the ancient, harsh-edged African lute. It’s an instrument that Traoré has used in compositions throughout her career, and she argues, “I’ve used n’goni in classical music projects, and it goes with blues, or jazz, or rock and roll. It’s a great instrument!” Traoré’s changes of musical direction usually start with “a sound that I imagine…a sound inside my head.” She didn’t want to imitate what other people had done “because I need to do what I imagine—that’s the reason I’m making music.” But she needed someone to help her create the sound that she imagined, and eventually decided on John Parish, the writer, guitarist, and producer who has worked with Tracy Chapman, Eels, and PJ Harvey. During the recordings “he just asked me to listen to things and make my choice.” The collaboration worked. “This is what I wanted to make. it’s even more than I imagined.” The past year has been a quite extraordinarily productive period for Traoré. The Barbican invited her to wirte three wildly different new sets of music: the acoustic Damou (Dream), the often bluesy Donguili (Sing), and the rock- influenced Donke (Dance), in which she set out to show “three different aspects of Malian culture and my own personality.” She has toured Britain lately on the Africa Express train, collaborating with Damon Albarn as well as Paul McCartney and John Paul Jones, who joined her backing band for the London finale. And she has continued acting as well, with British and European performances in Toni Morrison and Peter Sellars’ much-praised theatrical/musical re-working of the Shakespearian story of Desdemona, for which she wrote the music. The songs on Beautiful Africa are in the West African language of Bambara, as well as French and occasional bursts of English, and the often personal lyrics are concerned with Traoré’s thoughts on her own life, and on her tragically battered homeland. The album’s title track, built around the sturdiest rock riff on the album, is very much a love song to “battered, wounded Africa,” and reflects Traoré’s despair and fury at what has happened to her country. “The flood of my tears is in full spate, ardent is my pain,” she sings, while arguing that, “Conflict is no solution…Lord, give us wisdom, give us foresight.” Other songs on the album include the thoughtful ballad “Sarama,” a praise song to Malian women, partly sung in English, and the personal “Mélancolie,” a surprisingly upbeat song about loneliness and sadness that has already become a radio hit in France. Traoré says that she was lonely as a child, partly because her father was a diplomat and constantly on the move. Another, more upbeat song, “Sikey,” is also autobiographical, looking back at the criticism she received when she first set out to become a professional musician, after all, she was not a griot, from a family of traditional musicians, but the daughter of a diplomat. And although she had no musical training, she gave up her studies in Brussels to return to Mali to create a new form of music, in which her songs would be backed by her acoustic guitar, along with n’goni and the xylophone-like balaba balafon, two instruments not normally played together in Africa. Traoré, Parish and Stefano Pilia play guitars on the album, with Nicolai Munch- Hansen on bass, percussion from Sebastian Rochford (Polar Bear), ‘human beatbox’ effects from Jason Singh, and n’goni playing and backing vocals by fellow Malian musicians Fatim Kouyaté and Bintou Soumounou, both members of the Foundation Passerelle that Traoré established in Bamako, the Malian capital, to help her fellow Malians prepare for careers in music and sustain the growth of Mali’s rich musical culture. It is difficult to think of anyone else who can switch from ancient Malian culture to acting and then to African rock and roll. She will be touring Europe in May and June presenting her album Beautiful Africa during a run of summer festivals, including Glastonbury and Roskilde. 13)lisa hilton/getway Lisa Kristine Hilton is an American jazz pianist, composer and bandleader, producer and writer[1] based in the greater Los Angeles area. Hilton’s post-bop compositions are considered to be highly impressionistic,[2] which she expresses in an evocative playing style. Acting on her belief that young musicians will build a new generation of jazz traditions, Hilton works to support music programs for children and teens, particularly those that are blind or visually-impaired. She has performed benefit concerts, conducted workshops and played with young musicians at the historic Perkins School for the Blind,[10] near Boston, The Chicago Lighthouse[11] for People Who are Blind or Visually Impaired, the Junior Blind of America and their Camp Bloomfield in Malibu, and Berklee College of Music in Boston, among other youth-oriented programs. Pianist/composer Lisa Hilton is one of the most distinctive and individualistic voices in jazz today. Her new album, Getaway (Ruby Slippers, #1016), is her fifteenth as a bandleader. in più kelpe/answered London-based Kelpe (aka Kel McKeown) has a new video out for “Answered”, from off his three-song “Answered EP” out via DRUT. The video was directed by Jonathan Lieb. The song is a playful and senual overlapping of distorted vocal samples, skittering percussive elements, and steady bass beats that transition in and out of a variety of rhythmic speeds and changes in tone. questa è la prima delle tre tracce contenute in un ep vinile uscito il 15 aprile e che prelude il suo album che uscirà a giugno“Fourth: The Golden Eagle”