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DON’T FORGET ME-MAGGIE ROGERS.

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  La semana pasada se publicó el tercer disco de Maggie Rogers, Don’t Forget Me .   Para este tercer trabajo, Maggie abandona las guitarras rockeras, los sintetizadores y los agudos de Surrender para volver a sonidos más acústicos y diurnos. En Don’t Forget Me se deja el sonido nocturno y comprimido de la ciudad por el de banda sonora para los viajes de carretera de primavera-verano . Maggie Rogers se sitúa más próxima al single de 2019 , Love You For a Long Time , cuestionándose sobre el amor verdadero y abandonando la euforia del deseo de Surrender , reducido solamente a Drunk . Las reminiscencias a Kacey Musgraves -muy notables en el banjo de Sick Of Dreaming - en parte se deben al trabajo de Ian Fitchfuk, productor de muchas de las canciones de Golden Hour , también de Ghost de Sigrid , que figura como compositor de ocho de las diez canciones del disco, además de productor. Por otra parte, la primera pista del disco, It Was Coming All Along , recuerda a John Mayer en Love On T

NUEVE AÑOS DE WILDHEART DE MIGUEL.

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Con un nuevo proyecto previsto para algún momento de 2024, hoy analizamos el que, posiblemente, sea el álbum más auténtico y personal del cantante de Los Ángeles. Nueve años después, Wildheart sigue estableciéndose como el conjunto más cohesivo de Miguel. Wildheart se lanzó en 2015 , después de que triunfara comercialmente con su disco Kaleidoscope Dream (KD), publicado en 2012, por el que ganó un premio Grammy, gracias a Adorn . Pese a llevar unos años en la escena, Miguel consiguió con KD disco afianzarse en el terreno del R&B americano. Wildheart es la verdadera carta de presentación de Miguel , tanto personal como artística. Por una parte, Miguel conecta con sus raíces mexicanas, ya sea cantando a veces en español o en los títulos de las canciones, como destinado a morir - y con su ciudad, Los Ángeles, que aparece no sólo como escenario (la referencia específica en The Valley ) sino como hilo conductor del álbum, que lleva a jugar con el universo celestial que predomina en

ARIANA GRANDE- eternal sunshine.

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 Ayer publicó Ariana Grande su séptimo álbum de estudio, eternal sunshine. Cuatro años han pasado desde Positions   y la cantante solamente había adelantado la house  yes, and?, que contiene el beat de Vogue de Madonna, como sencillo y algunos detalles del álbum, como su conexión con la película -presente en todo el artwork y en el nuevo videoclip- Eternal Sunshine of the Spotless Mind.  Eternal Sunshine  es un disco conceptual, que trata la ruptura, pero también la búsqueda del verdadero y auténtico amor, y quizás el disco más coherente como conjunto que ha hecho Ariana Grande . Como un círculo completo, el disco comienza con " how can I tell I'm in the right relationship? " para acabar con el consejo de Marjorie Grande, abuela de la artista (Nonna) -única colaboración del proyecto- : " It, it's very easy, and as I told her / Never go to bed without kissing goodnight/  That's the worst thing to do, don't ever, ever do that / And if you can't, and i

SIGRID- THE HYPE REVIEW

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  La artista noruega vuelve con un EP de cuatro canciones, después de su segundo disco, How To Let Go , publicado en 2022 .   Después de los singles de ese proyecto, inspirados en la evolución y el amor a uno mismo, en este EP predomina la temática de ruptura, de darse cuenta de duras verdades (‘ You only call me when I’ve done something extraordina ry’ ), incluso con toques de real desilusión en las letras.  Como decía en Twitter, la cantante tocaba la vulnerabilidad en la letra de The Hype , el primer tema lanzado del EP. Sin embargo, pese a la crudeza de la letra, el tema -con un breakbeat- tiene toda la fuerza, color    y brillo vocal de Sigrid, que te hará saltar como en los temazos ( Strangers, Don’t Feel Like Crying …) de Sucker Punch .  Por otra parte, dos de los temas del EP ( Ghost y Wanted It To Be You ) son menos uptempo y más acústicos- con Ghost siendo la balada del proyecto -    y acercan a Sigrid a los sonidos más folk , aprovechando la expresividad de su voz más rasp

BECKY G - ESQUINAS REVIEW.

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 Becky G ha lanzado el pasado viernes su tercer álbum de estudio, ESQUINAS , donde la cantante abraza, como nunca antes, sus raíces mexicanas.  Su título hace referencia a la mezcla de culturas que Becky G ha vivido desde niña y que se ha reflejado en su carrera musical: Desde sus inicios cantando y rapeando en inglés, su etapa más pop-chicle anglosajón con Shower y su incursión en el mercado latino y en el reggaeton desde 2017. De hecho, para cuando se publicó su primer disco, Mala Santa -un poco a destiempo, hemos de reconocer-, se había rumoreado que se lanzaría un disco en español y otro en inglés, como ahora pretende hacer Kali Uchis. Parece que esta dualidad siempre ha estado en Becky G , que ha lanzado canciones enteramente en inglés ( LBD , My Man ...), pero sin lograr el éxito de sus temas en español, resultando siempre en un regreso al reggaeton. Incluso, dentro de sus temas en español, su éxito comercial se ha restringido al reggaeton, dejando de lado otros temas donde B

IRAMA & RKOMI- NO STRESS. ALBUM REVIEW.

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 Este viernes se publicó el álbum conjunto de Irama y Rkomi - No Stress -, que llega después del primer adelanto, Hollywood. El disco se produce como resultado de la unión artística de dos de las figuras más importantes del mainstream, pop y del género urbano italiano en Los Ángeles, después de haber colaborado anteriormente en  5 gocce y Luna Piena .  Pese a haberse lanzado en pleno verano, en No Stress predomina un tono oscuro, como el azul profundo de su artwork . Puede que Hollywood sea la canción con un color más brillante del álbum porque el resto del conjunto alberga un sub-tono más sombrío. De la oscuridad y el sudor del club de Sexy - que cuenta con la colaboración de Gué , que se integra bastante bien en la pista- al anhelo de Quando Piove, que se acerca más al Drake de One Dance o al Sin Señal de Quevedo. Existe algún punto de luz en Sulla Pelle,  que podría titularse 5 gocce parte II y que replica sus claves del éxito: la vertiginosidad de la percusión ochentera y los

REDCAR ET LES ADORABLES ÉTOILES (prologue)- REVIEW

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  Christine and the Queens vuelve con Redcar, un trabajo abrupto, casi enteramente en francés y con su característico toque teatral.   Christine and the Queens (ahora Redcar ) ha vuelto este 2022 después de algún retraso en la fecha de lanzamiento de su nuevo proyecto y de los shows de presentación.  Si su segundo capítulo, Chris , era un disco liberador y de fresco pop , Redcar es mucho más íntimo y abrupto. Redcar está marcado por la situación personal del artista , que perdió a su madre en 2019 y que ha expresado su deseo de utilizar los pronombres masculinos. Hace unos meses concedió una entrevista a The Guardian , con la que se puede entender ,en su amplitud, la situación del artista y el porqué de este disco. Ante la incomprensión social , quizá se muestre el mensaje de aceptación que siempre ha perseguido (‘We accept you’ de la película  Freaks (1932)). El artista cambia por segunda vez de nombre enfrentándose de nuevo a las convenciones sociales y se presenta con una nueva

THE 1975- 'BEING FUNNY IN A FOREIGN LANGUAGE' REVIEW

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 The 1975 publicó ayer su quinto trabajo discográfico, Being Funny In A Foreign Language , después de NOACF (2020), cuya reseña fue el primer post del blog que compartí por Twitter.  Después de dos años, The 1975 llega con una ametralladora de hits pop. La banda deja a un lado su afán experimental en un lado para centrarse en un disco pop, un álbum con solo 11 pistas; preciso y enfocado. El espectro de géneros se reduce (no hay rastro de dancehall ni EDM), pero persiste la identidad de la banda de Manchester: Desde el primer single, Part Of The Band , se siente la mente de Matty Healy, con su folk-rock y la letra plagada de sus yuxtaposiciones llevadas al extremo, su análisis social y su post-modernismo. En el proyecto persisten las influencias ochenteras y solos de saxofón en temas como I'm In Love With You y Oh Caroline, con un piano que recuerda a The Way It Is de Bruce Hornsby & The Range  y los habituales temas más cercanos al jazz, como el grower All I Need To Hear o

TAMINO VUELVE CON UN CONJUNTO ÍNTIMO EN SU SEGUNDO ÁL BUM, 'SAHAR'.

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El pasados viernes 23 de septiembre Tamino publicó su esperado segundo álbum, después de adelantar varios singles. El primero de ellos fue ‘The first disciple ’ en el que el protagonista es el laúd arabe o ud (que también acapara la portada del tema) y donde se habla sobre la fama de esa forma reflexiva y ceremoniosa a la que acostumbra el artista belga.  Tamino ya no es solo el narrador observador (del que hablé en el primer post del blog ) y testigo del primer álbum, en SAHAR, siente en primera persona desde el principio de cada canción , como en la solemne   You Don't Own Me , donde vuelve a mostrar su poderío vocal. 'SAHAR' es un disco íntimo , donde Tamino te envuelve para retratar la crudeza y las oscuridades de los sentimientos.  Y es que Tamino brilla al hablar del desencanto. Hay cierta belleza en el retrato del desengaño, de la decepción o  tristeza que se esconde tras sus canciones:  La belleza de una noche de luna llena donde las estrellas se reflejan en el

SIGUE/FOREVER MY LOVE EP REVIEW

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 J Balvin and Ed Sheeran dropped last Friday a joint EP of two songs with the  original and unseen title of... The titles of the two songs together ! The EP comes after Sheeran has been flirting with Latin music for a while, as he did in Camila Cabellos' s Bam Bam. This time he has tried to speak Spanish (which remains a little unpolished yet).  The EP's two songs ( Sigue and Forever My love ) are the result of an unexpected friendship between the two artists after meeting in a gym in Manhattan last year- Ed Sheeran told Apple Music-.  The first one, Sigue , is a reggaeton track -produced by Tainy- where Sheeran shows he's really into Balvin's world (similar to Sheeran's featurings in the UK rap scene, Stormzy's Own It for example) with  sexual references, showing off and the same thoughtful rhyme, like when he sings 'Sigue que a mí me gusta todo lo que exhibes' ( Continue because I like what you exhib it) - maybe some people commonly use the verb e

IRAMA- IL GIORNO IN CUI HO SMESSO DI PENSARE REVIEW.

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 Last Friday Irama released his new album, which follows up his 2020's EP, Crepe . The project comes after the incredible success of Ovunque Sarai, both commercially (the track is certified platinum in less than a month) and critically (Irama scored the 4th position in the Sanremo Festival this year) . Far from his latest latin sound, in  Ovunque Sarai  Irama looks at himself and his feelings. In particular, Irama portrays the feeling of missing someone relying on nature as the artistic reference point. The result is, in a chain of future tenses, a long poem , showing an almost unprecedented depth, artisitic growth and maturity. Irama's vocals on the track raise the track even more, creating an experience, where feeling is the protagonist.  Now, almost a month after the Festival, we get the album, Il Giorno in cui ho Smesso di Pensare.  The record includes featurings from his frecquent producer, Shablo  (and also writer of Ovunque Sarai),   Rkomi, Sfera Ebbasta, Guè, Mace, Wi

OLIVER BEARDMORE- NOT SINKING, YET FLOATING- EP REVIEW : AN IMMERSION IN SHOEGAZING.

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 The now London- based singer and songwriter Oliver Beardmore released last Friday his EP, Not Sinking, Yet Floating, which includes his latests singles and two new songs ( Closer and I'm Sure You Know ). The EP gets Oliver's work from the past two years together.  The result is a dive in guitar walls, unbreakable textures and a total immersion in Shoegazing. Even though tracks like Closer or Not Sinking, Yet Floating strengthen the introspection, creating a very dark and gloomy atmosphere, there's also time for more melodic pieces ( Fiesta and With The Heavens On Your Side), closer to modern-pop songwriting.  The guitar is the  protagonist of the collection, cause and effect of the project. The intention to cover the wide sea of the instrument's dimensions leads to have a very alt-rock sound, getting nostalgic mid-80s  and 90s guitars on the EP-titled cut, Not Sinking, Yet Floating .  

YEARS AND YEARS - NIGHT CALL REVIEW

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 Last Friday (January the 21st) Years & Years released their third studio album, which is the first one since the group split up and Olly Alexander decided to keep the band name to release his solo music. Night Call takes influences from the 80s and disco music, but it certainly is music from this century (from 2022 or 2019, when Olly started writing songs for this record). The result is a dance and up-tempo ensemble which explores desire and attraction in a very open way.  Included on the album are the previously released singles: Starstruck (that had the dance-pop queen Kylie Minogue on the remix) , Sweet Talker (with Galantis), which entered a few weeks ago in the Top 40 , and the latest one, Sooner Or Later. It also features some Years & Years hits and the It's A Sin version with Elton John, which was performed at last year's BRITS, consolidating (with Kylie's appearance) Alexander as a true pop-star. Night Call is made up of danceable, light songs to dance to

REMEMBERING GEORGE MICHAEL: FAITH (1987)

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 This year's Christmas Day marked the fifth anniversary of George Michael's early death. With this post I wanted to pay some sort of tribute . Today I'll focus on his album Faith. It was released on 1987, after Wham's split in 1986 and after having released three successful solo singles: Careless Whisper ,   A different corner and the duet with Aretha Franklin, which won a Grammy Award for the Best R&B Performance by a duo or a group. Those three singles weren't included on the 10 tracks of the album, which made  the project seem a new chapter, like his physical appearance , as he would do with every other album (Older, 1996). All the songs were written and produced by Michael himself, which notices his involvement on the project and his music.  The album title is the same as the most successful track of the album, Faith. Faith is the perfect blend of rock and roll and pop. With its iconic video, George Michael established himself as a visual artist, having mem

CARLY PEARCE - 29 WRITTEN IN STONE REVIEW.

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 Carly Pearce released her third album on Friday. The album comes as a following part of her 29 EP, dropped in February. The album includes the 7 songs from the EP and eight new tracks.This extension of 29 the EP melts perfectly with the songs unveiled back in February.  It feels like the rest of the chapter, a part of her healing told with all the authenticity.  One of the new songs  is Never Wanted To Be That Girl   with Ashley Mcbride. There 's no  other artist that could drive the song with that honesty than Ashley Mcbride. In her Genius commentary to her song One night standards , she described the song as 'an exercise in honesty'  and that is what  Never Wanted To Be That Girl  is about : Speaking your feelings in such a difficult situation in a relationship;being the other girl. The album starts with the funny and country-rock  Diamondback (cowritten with Kelsea Ballerini , among others), which has some of  the  Before He Cheats revenge in the chorus. According wi

JOHN MAYER-SOB ROCK REVIEW.

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 Back in July John Mayer dropped his long-awaited album, Sob Rock.  The project comes three years after the first single (included on the album), New Light , which showed the direction of John Mayer's new music: very synthed and 80s-influenced. This is revealed again  in Last Train Home , with synths that recall Toto's smash hit Africa. To promote this song, Mayer teased it saying 'New music done the old way '. This seems the motto for the album and it really fits together with the sound of it: John Mayer goes back in time, to the 80s to make his new music and looks to the production and arrangements of those times, like in  the Christopher Cross-influenced Shot in the Dark .  The ensemble of 10 tracks contains the three previous singles: the mentioned New Light , the soul-pop  Carry Me Away and I Guess I Just Feel Like, which remained closer to the usual Mayer's sound.  In the remaining seven tracks, John Mayer coquets with other genres, from country and western

MIDLAND-THE LAST RESORT REVIEW: A PLEASANT LISTENING .

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 Midland dropped ' The Last Resort ' a few weeks ago. It's the second project from the band this year: In March, they released The   Sonic Ranch , an album made of their old and unreleased songs.  Now, The Last Resort is the first collection of new songs since their second album , Let it Roll in 2019. Despite the EP only includes five tracks, it's a pleasant listening.  The sound contains some rock and electric guitars that melt with Midland's classic country sound. The result is delicious.  The first piece is the post-break-up And Then Some , with mellow sadness. This start is much closer to their origins on The Sonic Ranch . There is a bittersweet feeling in every song (except from Two To Two Step , that will get you dancing), which is far from the debauchery and living to the max of the 21st Century Honky Tonk American Band... That's also shown in the first single and second track, Sunrise tells the story. It brings back cheating to the narrative, but it'

JORJA SMITH'S 'BE RIGHT BACK' REVIEW. THE RED CHAPTER IS FOR BROKEN PASSION.

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Last month Jorja Smith released ' Be Right Back' , a project with eight songs that follows up her debut album (' Lost & Found '). The collection forgets her 2019 hit ,  Be Honest,  and Come Over, both with a more Jamaican sound, with reggae and dancehall influences.  The visuals for this chapter, alongside with the cover, are always framed by the colour red, which is the star of the cover for the album.  Red is the usual colour for passion or love, but ,in this record, it seems  bittersweet  and incomplete . Be Right Back starts with Addicted , full of Jorja's  delicious bare vocals. It was the first single released from the mini-album and it focuses on the realization after a break-up, with Jorja singing frankly after giving all in a relationship 'The hardest thing / You are not addicted to me/ I'm the only thing you should need'. The track includes soul production and alt-rock guitars that reminded me of part of John Mayer's solo in Fran

ERIC CHURCH'S SOUL REVIEW .

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 The second chapter of Eric Church's seventh album was released last Friday. Soul is also made of nine songs, but the energy totally changes from one part to another. This is funnier to listen to and The Chief seems to be enjoying it too while singing and playing these songs. This album is all about energy , sound and performance. Eric Church carries a vivid, soulful and wild show, exhibiting a wide vocal range (falsetto and deeper voice) throughout the whole album . This time the lyrics aren't personal or even deep . They are funny, getting in the 'bad guy' character or the 'break it kind of guy' . The only exceptions may be Lynird Skynird Jones( that is about the tragic life of  a biracial man born after an affaire in a concert of the band Lynird Skynird ) and Hell of a View , the most chart successful song from the project (top 5 on the billboard hot country songs chart). This the best attempt for a love song. It's a love letter to his lover and to what

ERIC CHURCH'S 'HEART' REVIEW.

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 Eric Church finally drops the first part of his triple album 'Heart & Soul' . Heart consists of nine songs and some of them were singles previewed before the realease of the album:  Never Break Heart, Crazyland, Heart On Fire and  Stick that In Your Country Song  , the first single of the whole project, dropped last summer.  Stick That In Your Country Song is one of the most special moments in the album. It was written in 2015 by Jeffrey Steele and David Naish and finally given to Church to sing it himself. It has unavoidable social lyrics and social content, and it addresses young people problems, their options for life and the ease to get in contact with guns and violence. The song is almost combative and there's no better country act than Eric Church to sing it and , maybe, ask for change. There are brilliant songwriting moments, like the lines  ' Jails are full, the factories empty / Momma's crying, young boys dying / Under that red, white, and blue still