Sunday, May 24, 2015 | Posted by Carlos Reyes at 4:32 PM
Chilean pop still has plenty of propositions on its sleeve. Sometimes it reveals them in the purest form of novelty (Planeta No), and other times it presents them journeys. G.O.R.D.I., the moniker of Valeria Jara, belongs to the latter. After years of interventions in the scene, providing vocal assistance to contemporaries like Gepe and Adrianigual, Jara has polished a profile of her own. Our initial encounter with G.O.R.D.I. happened almost four years ago, when the track “Suave y Salvaje” made the cut to one of our compilations. What seemed like an act pre-destined to follow the folksy neo-andean trend has come to redefine itself as an extravagant addition to urban pop.
The augmentation in artistry and risk is understandable considering the mentorship of Diego Adrian behind this -between G.O.R.D.I. and Planta Carnivora, we can’t help but to applaud his investment to embracing hip hop and reggaeton via pop hues and synthesizers. “Más que amigos” is not an immediate gem - Jara’s vocal delivery is cascaded in such a way that it builds resonance through multiple spins. But once you're able to locate the bridge of the song, there's no way to escape its catchy chorus. The clip directed by Roberto Doveris and Francesc Morales throws frame symmetries out of the window and focuses on polishing its characters through natural and artificial lights. Although it may be too early to say, G.O.R.D.I. is the chilean breakthrough of the year so far.
Thursday, May 21, 2015 | Posted by Carlos Reyes at 7:50 PM
What would you like from your new Julieta Venegas song?
A mad accordion hook?
A melody you can sing after one listen?
A mix of lyrical heart and head, melancholy and hope?
Check, check, check. You're welcome.
It's no secret the Club basically worships Venegas. As the kids would say, she's 'Mom'. Fittingly, "Ese Camino" speaks of maturity and childhood: not so much a parental lecture, but a meditation on the connection between our ever-dying cells and the soul that we carry around, whether we remember the details of it correctly, or not.
Venegas has created another punchy 'three-minuter' - like flash fiction - that rolls joyfully through all her incarnations since Sí. The electronic tweaks are still hiding underneath, but on the whole, this is Venegas back at her session band best. Unfortunately, there's no tantalizing glimpse of what may come with the album proper, Algo Sucede: will there be a surprising new direction? Will it be another solid follow-up album to the previous, refining what came before? We have until the end of August to find out, and we suppose until then we'll just have to hit repeat on this delightful return.
On paper, Valencia-based multi-instrumentalist SALFUMÁN seems to fit the criteria as the next hip thing. Her debut EP, is stuffed with plenty of shiny, slinky sounds to score a neon-lit nightclub or a contemplative after-dusk drive. Each song can be described as synthpop and if you close your eyes, the whole thing might zip by as a nebulous lump of slithering synthesizers, electronic ornamentations, and percussion bounces.
Where the concept of SALFUMÁN (not one related to chlorhydric acid) best manifests itself, though, is in Sandra Rapulp’s wholehearted embrace of sounds that might scan as completely cheesy if paired with more banal sentiments. “Futura Mujer” is a great example. With Rapulp’s voice ramping up humidity, what SALFUMÁN can accomplish with a tonally consistent palette is astonishing and palpable.
Costarican triune Colornoise have never fit into a simple schema. Five years and counting as a band and it seems increasingly improbable that Sonya, Alison, and Mari ever will. Their music is a hybrid of what they call “experimental stoner rock” and a sort of heady sonic mischief that people could probably lazily call noise pop. But within each of their records we see attempts at odd pop, vocal loop experiments, and moments of humor. Their catalog plays like the work of an unfocused but charismatic music project.
Respectively renowned, Colornoise rectifies their overlooked dynamic in their latest single “Amalie” that extends to their incredible spirited onstage chemistry. Colornoise are here merely to address the lingering feeling of loving the unmanageable. And they appropriately placed it at our doorsteps. “Amalie” reigns in the band’s focus, allowing them to build a cohesive, coherent artifact. Aside from being both sonically and thematically tighter, —more than their previous efforts—it showcases Colornoise's musicianship. Ultimately, the combination of the two makes it a must-listen.