The premiere of Maria Arnal De, which reveals a compositional book that melts the survey and pump, captivated this Friday in the Suhow show, which is waiting for a long journey. The initial point of the album without the date of the publication, “AMA” deployed an imaginary melodic minimalism with choreographic support, Fourteen songs with allusion to a female role in a family in our cultural tradition.
It is Arnal’s return after his alliance with guitarist Marcel Bagés. “Premère”, who had a long time on a manifesto screen on the controversial bond of the festival with the conglomerate of the KKR in which she expressed her commitment to “Continue to fight that they tend to the bridges between Sonar, BDS, Pacbi (the last two, boycott platforms to Israel) and the Palestinian community in Catalonia.” Maria Arnal thanked Sonar “all measures taken” these days, for example “a public distance taken with a KKR” and “express condemnation of genocide”, as well as the “study and commitment to other possible measures after the next issue”.
From Japan to flamenco
The texture of the concert indicated that La car, protagonist, multiplied by AI (sometimes, managed remotely five dancers of La Veronal Company), settled in very average sound support, synthesizer who packed the title piece, With a strong percussion base and imaginative melody, as a result of Kate Bush. Songs of playful melodic roads (‘Pellizco’), a pinch of tragedy (“It burns me at stake that nails me on the cross,” he said in Alid that they were taking away from me “) and some fine Latin Devane (” Mirror “).
Japanese aesthetics was a blink and turning flamenco with a “window to heaven”, Duet with Tania in which Yerai Cortés He contributed with his luxurious touch and at the end there was the most rhythmic letters, such as the promising “TIC TAC”. We saw Mary Arnal to explore her voice forces and were looking for a overall show, set up VA more pop than popular territory, Unlike his roots as a singer of a traditional repertoire.
The liturgy in the auditorium
Another great voice, Elche Child, Allied with Raül Refretion in ‘Cru+Ces’, In October he shone in the pass, which will have the shape of the album. Presented as a repertoire around existential dichotomy (life and death, pain and joy) with the supervision of the “mystical ecstasy”, with him the darkness in the Sonarcomplex auditorium, where both characters got on stage and melted singing with minimal electronics and “scratches”.
It was a concert with allusion to the last dwelling and transformation (“No one will know about us, we will be everywhere”) Francisco Contreras, who processed the voice in the spectral regime on sudden, almost industrial funds. Picked up the tone with all his Power ‘Jondo’, in an intense work meeting with rewarding (acoustic) This meant the culmination of a session on the way to the result with machine sparks.
For electronic artifacts, you from Alva Noto and Fennesz in honor of Ryuichi Sakamoto worthy of all of them: AntiCompce, without “hits”, with his own creation in the orbit of the “El Renacido” soundtrack, who worked his first with a Japanese musician ten years ago. Minimalism of friction with noisy “defect” and guitar invective (distorted) Fennesz. And for festive scenes, passage Portuguese Branko, EXBURAKA SOM, A group that mixed electronics with an Antilllean rhythm of Zouk and Angolan Kuduro. His current proposal, embodied in “soma”, retained part of this agitation, although it was modified towards softer sensuality, more r’n’b, without diverting the view of the global south. More than enough to guarantee agitation in the village.
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