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New Album: Ella Mai ‘Ella Mai’: This Is Ella These days, everyone is singing along to Ella Mai. Finally, the 10 Summers and Interscope artist takes center stage with her long-awaited, self-titled debut, Ella Mai. Locked down with the…



















Le Mardi Musique de rend hommage à l’immense soprano espagnole Caballe. Empruntez ces plus beaux :




¡Qué bonito es recordar! Podemos sentir nostalgia por nuestros viejos álbumes de fotos 📚… ¡pero llevar nuestros momentos familiares en formato digital es mucho más fácil y sencillo! 📱📱






















After having too much , listening to the perfect album could you down & distract you until the uneasy feelings pass. Here are 8 that’ll help calm you down when you’re .



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Jumpsuit ➤ Twenty One Pilots

i’ll be right there
but you’ll have to grab my throat and lift me in the air
if you need anyone, i’ll stop my plans
but you’ll have to tie me down and then break both my hands
if you need anyone

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#albums #acoustic #alternative #artist #amigo #drums #bands #drummer #engineer #independent #inspired #jams #label #music #musicgear #musician #melody #live #merrow #performance
#producer #underground #rockandroll #rhythm #record #rock #sandiego  #percussion #live (at The Merrow)
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reliving: My Bloody Valentine -- ‘mbv’

Kevin Shields’ My Bloody Valentine unit has been credited with perhaps more than it ever should. But back in the day this was a pretty top group on the Creation label, selling no records but gaining plaudits everywhere for taking ages to make music and having a guitarfucked sound all to itself.  

Here MBV return, then, with a record that came out of the blue, the group’s first such in over twenty years. 

The clipped, looped noise knackered ‘nothing is’ has you wondering if indeed this is pure pisstick (of the highest calibre, obviously), while on the other side of the board we get something that sounds like Stereolab at their most whispy on ‘is this’ featuring no audible guitars, replaced instead with cloudy organ keys and reticent female harmonies. 

‘if i am’ continues in this vein, only this time guitars strum in the half distance creating a foggy bit of off-kilter dream-pop, and ‘who sees you’ returns to pure MBV guitar effects and rumble, even if it all sounds as rushed as a sloth that hasn’t slept for days. Worth the wait? Of course not. But at least worth a listen.

Made in Chile

MADE IN CHILE

Is Chilean pop good or bad? Do you know any Chilean singer or band of pop music?

Teña Ferreira of 20 years old, is an engineering student of my university (University of Chile), and he is also a compositor and singer of pop music (this is his favorite music gender). Having an interview with him, I realized how hard it is to be considered as a good singer in pop’s world being Chilean (and also not millionaire)

 We can firstly think that having talent is enough, and Teña is still thinking that it could be, when I asked him about what does he considered most necessary for being a famous artist, talent or money. He selected talent, but we both recognized that sometimes it is romantic idea, and yes, there are some people who become famous singers, dancers, or artists in general without having talent, and just because of money. Apart from those things he said that it is ok if they do that, but that he couldn’t.

Anyway in my opinion he is so talented, so he doesn’t have to do that kind of things, even if someone offers him money, and become famous because of that, it wouldn’t be just because of money. (although that’s just my personal opinion, here is a video for you to judge).

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Another point of the talking was about music genders. As I mentioned his favorite is pop, but he thinks that the most famous ones between young people in our country (Chile) are reguetoon, trap, ballade, and cumbia. In our conversation we could guess that it could be because they are popularly danced in parties (mostly reguetoon).

Why isn’t pop as popular as other genders in our country, this was another topic that we realized in the interview, he answered that it could be because of being considered as for  little girls, or for people less intelligent (you must considered that that’s not what he personally thinks), and anyway he said too that is not usually danced in parties. 

In a moment of the interview we get to the topic of the foreign pop, and why it is more popular that the Chilean (or even the Latin one). In my opinion, maybe it’s considered better because it’s in English, but he realized that there’s not just because of that, too because of money, and if there’s a pop song in English, but it isn’t foreign, it couldn’t be as popular as one made in the United States of England, it is a weird phenomenon in which some Chileans prefers something just because of being from those “powerful” countries.

Most Chilean artists get famous in other countries, because in their own one, nobody hears them. I asked him if he considered that being a Chilean artist is a disadvantage at being a singer?, and he answered that not being Chilean but yes be working here. Anyway if there’s something that I can see in his self as an artist, is his musical identity, something that we talked about, he thinks that every artist must have his or her identity for becoming a good one, something that makes you feel it like something new, and his own presence can be heard in his songs, written by his own.

Finally, I really recommend you having a minute for hearing him, and also a song of his own, singed by a Chilean band (24/7), from whom I will write soon. 

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Macarena Pineda Ampuero.

 

 

 

 

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- S h o e g a z i n g -

Inspired by the gloom of bands like The Cure, the noise rock of Sonic Youth, the dream-like atmospheres of Cocteau Twins and the leftovers of the once unstoppable punk (and its often misunderstood offspring, post-punk), a new genre was born. It was called “shoegazing”, and it dominated the british pop/rock scene during the late 80s and the early 90s.

The name comes literally from “shoe” and “gaze”, and it referred to the way artists stood on stage, constantly staring at their effect pedals, never looking at the crowds. Shoegaze bands used tons of different pedals, creating thick walls of sound that melted each individual track into an atmospheric sonic experience.

Shoegaze’s most iconic and influential bands are Ride, Slowdive and My Bloody Valentine. The first one, Ride, has more traditional instrumentation, and it serves as the foundation of what was britpop later on. Slowdive is more on the dreampop side of the genre, leaving aside the distortion pedals in favour of a more glossy yet brutally melancholic sound. My Bloody Valentine, perhaps the greatest shoegaze band of all time, embodied the quintessential sound of the genre, its spirit and its aesthethics. Its masterpiece, Loveless, is one of my absolutely favorite albums of all time, as well as Souvlaki by Slowdive.

What at first sounds like pure noise starts to take shape into unique layers of melody, where distorted guitars that sound nothing like guitars are intertwined with whispering voices that sound nothing like voices. My description is without a doubt biased though, so I suggest you to find out all by yourself what do you think about shoegaze!

Fernando Amaya A.

David Bowie’s “Berlin Era”

David Bowie (1947-2016) was a singer-songwriter who was characterized by many of his fans as a “chameleon” of music because he explored a wide variety of genres and styles in his albums. This made him a widely acclaimed and recognized voice throughout many eras of pop music, from the 70’s glam-rock with hits like Ziggy Stardust, to the bubbly 80s pop music, with songs like “Modern Love” and “Let’s Dance” however, some of his most critically-acclaimed works were made in what is called the “Berlin Era” or “Berlin Trilogy” period, which consists of three albums: Low (1977), Heroes (1997) and Lodger. (1979) These albums were recorded in the late 70s in a period in which Bowie settled in West Berlin. These albums are regarded as masterpieces by his fans because of how experimental they are in comparison to some of his other work, fusing elements of electronic music, ambient and krautrock into pop music. These albums are enriched by Bowie’s experience working alongside renowned produced Brian Eno and musician Iggy Pop. 

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The reason these albums are so special goes beyond their musical quality. The period in which Bowie worked towards these three albums was a very dark period in his life, marked by broken relationships and an addiction to cocaine, all surrounded by a very conflictive political period in which Germany, the place he was living in at the time, was a country divided by a great wall that separated thousands of people form their families and friends. This is why, one might argue, these three albums carry a darker tone than the rest of David Bowie’s discography. The songs can be eerie and have no lyrics at all, relying purely on instrumentals to communicate strong emotions. One such example is the song “Warszawa” from the album Low towards which Bowie commented: “I tried to express in this song the feelings that accompany people when they want freedom, feel the smell, lying in the grass, but they can not reach for it."  

Luis F. Prunés. 

Album Aesthetics: Is This It?

Oh my blood

Once was my own

But in one touch

You made it yours

What have you done?

What have you done?

Yeah I know I went and left you all alone

Please don’t think that I let you go

I’ll never let go

Cause I could touch a hundred thousand souls

But none of them would ever feel like home

And no matter how far and wide I roam

You’re the only one I’ll ever know

I don’t belong to anyone else

I don’t belong to anyone else

I don’t belong to anyone else

I don’t belong to anyone else

40. David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972)

This album introduced the world to a legend. Of course it wasn’t Bowie’s first album – at this point he’d already put out several LPs that were already experimenting with various different musical styles – but it was with Ziggy Stardust that he truly burst out of his chrysalis to reveal himself as the outrageously talented artistic polymorph he would be known as for the rest of his life. Having received mostly limited success with folksy ballads, moody rock songs and music-hall romps, Bowie set about draping himself and his music in the trappings of the burgeoning glam rock scene. The real masterstroke here wasn’t just that he dreamed up the story of a decadent alien rock-star set in a doomed, dystopian future; but that he fully assumed the character for himself and took on the role, casting his backing band as the titular Spider From Mars. The resulting change seeped into every element of their creative process – the music became harder, denser, and more colourful, and Bowie’s presence on stage and in the media turned him into a sensation that could no longer be ignored. But even removed from this historical setting, and disregarding it’s place in the cultural sea change of the times, this album still stands up as a stone cold classic. Based around the already proven quality of Bowie’s song-writing, informed by the rock solid rhythm section of the Spiders, and featuring the inspiring and versatile guitar playing of Mick Ronson – whose fluid leads, tough riffs and melodic hooks would perfectly counterpoint Bowie’s androgynous vocals – The Rise and Fall of Ziggy Stardust and the Spiders From Mars is a record of eleven lean, hard, dramatic and theatrical songs that don’t let up from start to finish. ‘Five Years’ demonstrates the scope of the album perfectly, beginning with that hard, punchy rhythm section, as Bowie introduces us to the alien character with a call to arms that culminates with the decaying grandeur of the swooping, crashing string section that closes the track out. ‘Soul Love’ surges forward on a backing of brittle, hard guitars, sultry horns and crooning backing vocals, whilst ‘Moonage Daydream’ is absolutely huge; it’s staccato outbursts and rhythmic thrust slowly getting sucked into a vortex of swirling strings and sci-fi guitar theatrics. Tracks like ‘It Ain’t Easy’, ‘Hang on to Yourself’  and ‘Suffragette City’ keep this breathless momentum up, whilst ‘Lady Stardust’ and ‘Star’ call back to the piano driven music-hall ballads of Hunky Dory to provide some welcome textural variation amongst all the guitar drenched rock songs. Both ‘Starman’ and ‘Ziggy Stardust’ are standouts, not just on this record but in Bowie’s whole discography, although both for entirely different reasons – ‘Starman’ is a lush, acoustic ballad, utilising Bowie’s warm, melodic voice and a sweeping, psychedelic chorus that pegs it as the spiritual successor to ‘Space Oddity’, whilst ‘Ziggy Stardust’ would sit alongside ‘Rebel Rebel’ as one of the songs that would come to define his glam rock period – it’s immediately recognisable riff, melodic verses and hard-as-nails choruses pegging it as an instant classic. The album ends with the dramatic finale of ‘Rock’n’Roll Suicide’ as the album gets swept back up into the upper atmosphere in a wave of strings, horns and Bowie’s frenzied yelps. The world would applaud, thinking they’d found a new glam rock god to worship for a few years; but no one knew then just what this exotic, androgynous alien being would go on to achieve. Bowie jettisoned the Stardust character not long after the tour for this album ended, and a few years after that would abandon glam rock entirely, moving on to master a variety of other musical styles and characterisations, and eventually gaining even greater success. But it was this album that started it all – not his career, but his decades long run of absolute, undeniable genius.

Also listen to: Hunky Dory, Aladdin Sane, Station to Station

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Yeah
18 ans laa am dome (beugg tekki)
18 ans laa dem kaaw (beugg tekki)
18 ans laa am diom
Baby Mama waroul meusseu manquer CFA (faut que ma tekki) #zero #garantie #Macina #albums #solos

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