Taraca
Jorge Drexler
“We ask ourselves that we can sing them to love them while the world goes to hell. Nothing less than our work,” writes Jorge Drexler on his new album, the fifteenth Uruguayan singer-songwriter.
Grabado in his mayor in Montevideo and built alongside the young guard of Uruguayan producers, the album is located it can be understood as rhythmic and emotional: once songs in just over half an hour, where the clave of drums supports everything.
It is a disc of deliberately ancient sound – madera, cuero, coro – but in its texts of frantic actuality: yes, it is AI, wars, panels, algorithms, filtered by the view of someone who follows faith in the heart and in conversation as the only valid one.
Also a despicable artist and a flair for attracting young talent, as evidenced by collaborations with Ángeles Toledano or Young Miko.
Yes Color and time (2022) was a record about hope and pause, here Drexler takes the drum as an excuse to celebrate life, talking about the fight, gratitude and how to follow the bail when the present opens up. The result is one of the warmest (and liveliest) albums of his journey, short but great ideas.
play me
Kim Gordon
At 72, the Sonic Youth singer is more interested in continuing beyond nostalgia, and it shows on her latest solo album. Read after two years Team (2024), an album that defied Trump’s censorship by only composing a song with words vetted by his administration.
This album, while short, is not so short in its explanation: it describes technology, Silicon Valley millionaires, the app economy and playlist culture, translated into mere data and revenue.
This oppressive imagination creates a gritty album where Gordon declares more than he sings – sa spoken word hereditary from no wave—. You are back with producer Justin Raisen to stand out an atypical job in a rock starwhich is comfortable on the foundations of trap, old school hip hop and grime, but we’re talking about Gordon.
The songs are like fogonazos; ‘Play Me’ and ‘Black Out’ rock the aforementioned rap beats lows and synths; ‘Nail Bitter’, ‘Dirty Tech’ or ‘Post Empire’ push this aesthetic to even more futuristic ground. Both media contain rockier moments such as ‘Girl With a Look’ or ‘Not Today’.
Short disc capable synthesize elements current male star: rude, sarcastic, and frankly surprisingly smart.
Beauty manual
Rodrigo Cuevas
Asturian artist complete about the folk trilogy I’m coming up with Courtesy Manual (2019), The Romeria Manual (2023), with this third album, full of his mutant Asturian folk.
Newly produced by Eduardo Cabra (ex Calle 13), the album combines futuristic words and verbiage to say what it means to be beautiful, outside of any norm.
In fact, he is one of the few artists to use it inclusive language with naturalnessas a larger form of understanding the world that haunted her.
The universe he imagines is full of accomplices: Massiel in ‘Un mundo feliz’, Ana Belén in ‘Sácame a bailar’, Mala Rodríguez in ‘BLZA’ or the Catalan Tarta Relena in the synthesized melody of ‘El panuelín’.
It’s a bright and juicy album, with a clear political vision: defend the country from being turned into a commodity, celebrate dissident bodies and celebrations that can still be a haven.
THIS MUSIC MAY CONTAIN HOPE
RAY
The album title is a strong statement of intent, but Raye is the same. As it might seem, the British singer is not new to the music industry: for ten years she composed for others and put her voice to work hits Ajenos before you can reckon with your own history.
Now, in the second half, he signs an album that, with more than 17 songs and more than 70 minutes, moves from soul to jazz, R&B and pop with an orchestra of Hollywood musicals – the best Chicago y Cabaret—.
Convert to basic disk, My 21st century blues (2023), in an open-heart catharsis, RAYE enters it This music can hold hope an equally intense album, but less devastating.
There’s talk of anxiety (“I Hate The Way I Look Today”), addictions (“Click Clack Symphony,” working with the less-than-Hans Zimmer), toxic relationships (“Beware The South London Boy”) and a crisis of faith in his work, but you can imagine what comes after the derum (“Happier Times Ahead”).
The narrative quiz is often incomplete, but this ambition is strong. Also in this diva pose, worthy of anyone frontwoman the soul of the 70s. It is curious that the singer was at the same school that other Brits called to restore gender, Olivia Dean. It is better not to lose sight of anything.
HELP! (2)
War Child Records
Paul McCartney, Sinéad O’Connor, Oasis, Blur, Radiohead, Paul Weller… They all appeared in 1995, when the non-governmental organization War Child decided to unite Britpop into a single album to raise funds for children affected by the war in Bosnia.
Three decades later, HELP (2) they intend to repeat this gesture with a new horde of stars: Arctic Monkeys, Fontaines DC, Damon Albarn, Cameron Winter, The Last Dinner Party, Big Thief, Wet Leg, Kae Tempest, Olivia Rodrigo, Black Country New Road, King Krule, Arlo Parks… The first album also featured bands like Pulp and Depeche Mode, which could be between the first album and the release. present.
An album that works, check it out exactly thanks mejunje de styles with which each artist decides to leave at a time when children continue to remain the protagonists of the desired wars. Many of these songs are covers: Sinéad O’Connor’s ‘Black Boys on Mopeds’ performed by Ireland’s Fontaines DC with the amazing Grian Chatten up front and The Velvet Underground’s ‘Sunday Morning’, performed even more impressively by Portishead singer Beth Gibbons.
But the album also features important unreleased tracks, such as Arctic Monkeys’ ‘Opening Night’ in the first new song of 2022, which introduces the project and gives the band a sheen that seems lost. Or ‘Warning’ from Geese leader Cameron Winter confirms that he is one of the most charismatic songwriters and vocalists of his generation.
The feel and sense of living in an unstoppable world is reflected in the lyrics of songs like ‘Obvious’ from Wet Leg. Others are expressly written for the victims: Young Fathers’ “Don’t Fight the Young” reminds us that young people don’t choose war, and Foals’ “When the War’s Finally Done” adopts the voice of a dead soldier ready to help.
The result is an escapist album that allows take over from the best talent of this generation don’t forget why they came here.
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