gitla

Folk Singer – Songwrier & storyteller
presents a unique style of writing and playing with a evocative touching andelegant voice.

Gitla, which inherited her name from her grandmother
(Origin from Romania and means “Good” / “Beautiful” / “Safe” )   less

Twenty-six-year-old singer/songwriter Gitla Yosub is on the cusp of independently releasing her debut album “Mothers.” With cleanly produced covers from diverse artists like Damien Jurado and Townes Van Zandt populating her YouTube page, Gitla’s originals follow in the folk footsteps of Joni Mitchell and contemporaries like Laura Marling. “Teeth and Bones,” the haunting ballad below, won first place in an Israeli songwriting completion last May.

Watch “Teeth and Bones” here:

Read more: http://forward.com/schmooze/217442/8-israeli-bands-to-listen-to-right-now/

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Who is Flavia Coelho? Flavia is a singer who wasborn in Rio de Janeiro, in the 1980s; she is now based in France, since 2006.(What a wonderful year, when Finland scared the hell out of Europe.)

It has been three years since Flavia Coelho caught Europe’s ears with Bossa Muffin, a contagious blend of funky bossa hop rhythms, acclaimed by critics and applauded by the public in Europe.

Mundo Meu, the new album released by Mr. Bongo Recs., keeps the tradition for mixing many references, recalling Brazil’s music, filled with so many African and urban elements, but innovative with the outcome.

orn in Rio, but now based in Paris, Flavia Coelho has created one of the most joyful, easygoing fusion sets of the year. As the title implies, her songs are built around a rhythmic clash of Brazilian and Caribbean styles, and it’s often reggae and ragga that dominate. Coelho has an effortless, relaxed style that almost disguises her skill at easing between the slinky melodies and bursts of rapid-fire hip-hop. Many of the songs were written with Bika Bika Pierre, a musician from Cameroon who brings African influences into a mix that even takes in Catalan rumba. Manu Chao is clearly a major influence, and should be persuaded to produce her next album.

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Lounging with humour, there is a balkan upbeat tune, a bolero and a reggae, with a Caribbean tone bouncing throughout the whole album. The lyrics are involving, with some cheeky chorus for the gringos to learn, she talks about devoted love, street artists and mostly about people, with a positive vibe.

Highlights for the beats by drummer Tony Allen in ‘People Dansa’, and ‘Hoje’, an African rolling sound with a touch of ‘forró’ with accordionist Fixi and some hip-hop vocals.

A smoother groove than Bossa Muffin, Mundo Meu is a spring album and states Flavia as a singer that plays with international tropical sounds of Brazil.

 

 

O último (músico) caboverdiano triste

Tem coisa mais linda do que dar ao seu disco o nome de O último caboverdiano triste? Pois o fez assim o Cachupa Psicadélica, projeto musical do mindelense Luis Gomes (Lula’s).

É interessante

http://muzika.sapo.cv/musica/novidades-musica/artigos/cachupa-psicadelica-um-projeto-do-mundo-com-raizes-crioulas-bem-fincadas?artigo-completo=sim

http://www.coolture.pt/event/cachupa-psicadelica-novas-quintas/

https://www.dn.pt/artes/interior/a-cachupa-psicadelica-ninguem-tira-o-negocio-6233903.html

https://acervo.publico.pt/mundo/noticia/ser-africano-em-cabo-verde-e-um-tabu-1718673

 

 

 

 

 

 

 

 

Lola Marsh: o duo israelense que você precisa conhecer

Lola_Marsh_Credit_Michael_Topyol_Universal-3

O duo israelense Lola

http://www.interviewmagazine.com/music/lola-marsh-youre-mine/#_

Following the release of Lola Marsh’s debut EP, You’re Mine, in January, the Tel Aviv-based duo has spread through the internet like wildfire, climbing HypeMachine charts and reaching number three on Spotify’s Most Viral Tracks list. Combining Yael Cohen’s slightly raspy, hypnotic vocals with Gil Landau’s compositional skills, Lola Marsh’s unique sound straddles the line between indie folk and electro-pop. On a track like “Days to Come,” Cohen sings “You used to sit back and wonder / About tomorrow and the days to come … Time slowly flies / Want to grow older with you” atop slow keyboard and drum samples, while on “You’re Mine” she sings, “I know that I’m slow in the morning / As I fall into a hole without an end / Until suddenly I look at you / And all the mirrors vanish from my mind” over clapping hands, upbeat guitar melodies, and a catchy bass line. Though they only have five officially released songs and two videos, Lola Marsh has been long in the making.

 

At the first listenings of the first EP of Lola Marsh, the sulky voice of the singer Yael Shoshana Cohen inevitably evokes that of the vaporous Lana Del Rey. Nothing surprising when we know that the young woman had been noticed at The Voice Israel by taking over the Video Games of the American lippue. Given the astronomical number of copies of Lana Del Rey that had to be made since her breakthrough in 2011 and the questionable choices of her Israeli imitator – who also took over the life in pink during the telecopy – there was something Skeptical about the career of Yael Shoshana Cohen. But she made a decisive encounter with composer Gil Landau: by balancing their forces, the duo they formed, Lola Marsh, found an unexpected grace. The first songs written from Tel Aviv have stirred the Web in 2015, accumulating more than 3 million plays on Spotify and winning the hearts of American blogs. The first official EP, You’re Mine, confirms and concretises hopes. A 4 titles that balances between folk stripping and richer pop, beautifully arranged, even lengnant the music of Ennio Morricone with Sirens. Yael’s voice is finally more delicate than sulky, and it finds its place by quickly forgetting his model. You’re Mine, which gives its title to EP, has something to haunt us durably.

 

 

 

 

5 álbums inesquecíveis que completam 50 anos

If 1967 was a year of introduction and innovation in rock ‘n’ roll—from Monterey Pop to to the release of Sgt. Pepper’s Lonely Heart’s Club Band and the launch of Rolling Stone Magazine—1968 was a proving ground, when a handful of the stars who had sprouted in the Summer of Love came to full flower in the psychedelia age. Artists from both sides of the pond, including The Jimi Hendrix Experience, Aretha Franklin, Cream, Traffic and Jefferson Airplane felt free to chip further away at old molds and pursue a daring musical muse. It was an epochal year for established artists as well. The Beatles splintered in the studio, but their individual contributions to a self-titled double LP, the so-called White Album, amounted to some of the band’s greatest work and, in retrospect, unlocked a few imminent solo careers. The Rolling Stones grew out their roots with Beggar’s Banquet, while The Kinks and The Zombies took giant leaps forward with new and imaginative masterpieces that forever altered their trajectories.

Rock ‘n’ roll was at its most free in the pre-Woodstock glow of 1968. The Beatles went to India, Johnny Cash went to Folsom, the Stones put a mobile studio in a truck, The Monkees went off the air. But it couldn’t ignore what was happening at home—drugs, riots, assassinations, war, a doomed election, space travel, poverty, Civil Rights, women’s liberation. All of it seeped into the art of the free-love counterculture with that strange combination of militant idealism and comical self-regard, as though it were clear that humanity would one day look at 1968 for a generation’s heroes and villains. Fifty years later—in the midst of a modern drug epidemic, a tarnished presidency, a growing underclass and a renewed vigor for social progress —that’s exactly what we’re doing, starting with the soundtrack. Here are the 15 best albums of that momentous yea

 

Simon & Garfunkel, Bookends
Release: April 3
The most fully realized album of Simon and Garfunkel’s middle-period career, Bookends showed that the duo were capable of more than merely poignant, introspective balladry. Only their fourth studio effort, Bookends was fashioned as a concept album that imagined life’s progression from youth to old age. “Old Friends,” a song that more or less became synonymous with the duo’s often stormy relationship, encapsulated that trajectory, but several others stood apart as future standards, including “America,” “A Hazy Shade of Winter,” “At the Zoo,” and an encore performance of “Mrs. Robinson,” culled from the soundtrack to The Graduate, released the year before. At the same time, Bookends would prove an ideal lead-in to Bridge Over Troubled Water, which would follow two years later and elevate the duo to their grand crescendo.

 

2. The Jimi Hendrix Experience, Electric Ladyland
Release: Oct. 16
Jimi Hendrix  radiated genius from the get-go with Are You Experienced? and Axis Bold As Love, his first two albums with the Experience in 1967. On Electric Ladyland, he took that extraordinary innovation into entirely new realms that were difficult to define then and remain so now. The trio, with its British rhythm section and American frontman, was perfectly suited to their era, and with a supporting cast that included Traffic’s Steve Winwood, Dave Mason and Chris Wood, as well as drummer Buddy Miles and Jefferson Airplane bassist Jack Casady, Ladyland redefined the concept of modern rock within a progressive posture. The album boasts everything that Hendrix (who produced it) did well: slinky psych-soul (“Burning of the Midnight Lamp,” the title track), explosive electric blues (“Voodoo Chile”), melodic pop (“Crosstown Traffic,” “Long Hot Summer Night”) and tripped-out sonic explorations that take the listener under the sea (“1983… A Merman I Should Turn to Be”) and into the heavens (“And the Gods Made Love”). His version of Dylan’s “All Along the Watchtower” showcased his ability to put an indelible mark on any popular music of the day, making it little wonder that even now, half a century later, the final studio effort recorded in Hendrix’s lifetime continues to set an almost unattainably high bar

15. Otis Redding, The Dock of the Bay
Release: Feb. 23
In some ways, 1968 began with a great sadness. On Dec. 10, 1967, the blossoming soul star Otis Redding was killed in a plane crash in Wisconsin that also claimed the lives of four of his band members. The tragedy had taken not just one of the era’s most distinctive singers, but an artist standing at a new horizon for R&B music. Days before his death, Redding had recorded a new composition ”(Sitting On) The Dock of the Bay,” a lilting ray of sunshine that found a winsome Redding unwinding his tight groove sound and opening up new worlds for his soul. Released posthumously in February 1968, The Dock of the Bay showcased Redding for the mainstream audience he had courted at Monterey Pop the previous summer. “Let Me Come on Home” was the hard-driving, horn-happy rocker; “The Glory of Love” the arpeggiated slow burn; “Tramp” the naughty call-and-response with Carla Thomas. It wasn’t the album Redding was supposed to make in 1968, but it nevertheless served as the crossover breakthrough he always had in him.

9. Johnny Cash, At Folsom Prison
Release: May
When Johnny Cash arrived at Folsom Prison in California on Jan. 13, 1968, he was fortunate that he was there to perform for inmates and not join them behind bars. Cash had spent much of the previous few years in a drug spiral, watching his career and his life circle the drain. He was looking to revitalize his waning career, and a prison concert seemed the ideal vehicle—if Cash had always empathized with jail-bound convicts and the lonely despair that comes with the life, now he felt he could speak directly to them on terms everyone could understand. He had recorded the “Folsom Prison Blues” single back in 1955, and here was an opportunity to put faces to names. Proving that the concert was directed at a very specific audience, Cash performed a set of songs (two sets actually, which were combined into one 15-song album) that resisted self-help bromides and spiritual guff. “Dark as a Dungeon,” “The Long Black Veil” and “25 Minutes to Go” evoked the cynicism and gloom of living in captivity. Little did Cash expect, it also resonated loud and clear with a global audience who for one reason or another felt the sting of living in bondage even as they walked free.

 

Jeff Beck Truth

Truth é o álbum de estréia do The Jeff Beck Group, lançado em 1968 no Reino Unido pela Columbia Records e nos Estados Unidos pela Epic Records. Ele introduziu o talento de Rod Stewart e Ronnie Wood para um público maior, e chegou ao número 15 na Billboard 200.

 

The Beatles é originalmente o décimo álbum gravado em estúdio dos Beatles, lançado como disco duplo em 22 de novembro de 1968. Este álbum está na lista dos 200 álbuns definitivos no Rock and Roll Hall of Fame[1]

É popularmente conhecido como The White Album (O Álbum Branco), por não haver nome, e ser apenas um fundo branco com o nome da banda em relevo. A capa foi criada pelo artista pop Richard Hamilton e o título original era para ser A Doll’s House, mas uma banda britânica chamada Family já tinha lançado um álbum com nome similar. Foi o primeiro disco lançado após a morte do manager Brian Epstein.

Em 1997O Álbum Branco foi nomeado o décimo melhor disco de todos os tempos pela “Music of the Millennium” da Classic FM. Em 1998 a Q Magazine colocou como 17° lugar e em 2000 em 7° lugar. A Rolling Stonecolocou como o décimo entre 500 álbuns e o canal VH1 como 11° lugar. De acordo com a Associação da Indústria de Discos da América, o disco é 19 vezes disco de platina e o décimo disco mais vendido nos Estados Unidos.

Em 2010, um colecionador argentino possuía o álbum com assinaturas originais dos quatro Beatles. A peça foi vendida na ocasião por 33 mil dólares.[2]

 

Os Mutantes (álbum)

Origem: Wikipédia, a enciclopédia livre.
Os Mutantes
Álbum de estúdio de Os Mutantes
Lançamento Junho de 1968
Gravação 1968
Gênero(s) Tropicáliarock psicodélico e rock experimental
Duração 36:01
Idioma(s) Português e Francês (faixa 8)
Gravadora(s) Polydor records
Produção Manoel Barenbein
Cronologia de estúdio por Os Mutantes
Tropicalia ou Panis et Circencis
(1968)
Singles de Os Mutantes
  1. A Minha Menina” / “Adeus Maria Fulô”
    Lançamento: 1968

Os Mutantes é o álbum de estréia da banda brasileira de tropicalismohomônima. Foi lançado em LP em junho de 1968 e reeditado em CD em 1992 e 2006 pela gravadora Polydor, sendo lançado nos EUA pela Omplatten Records e depois (em 2006) pela Universal Records. É considerado um dos mais importantes álbuns da história da música brasileira, por conter um som inovador para a época, misturando elementos da música brasileira com o rock psicodélico e experimental e usando de diversas técnicas de estúdio. Foi classificado em 9° lugar na lista da revista Rolling Stone dos 100 maiores discos da música brasileira.[1]

 

Blood, Sweat & Tears (Blood, Sweat & Tears album)

From Wikipedia, the free encyclopedia
Blood, Sweat & Tears
BS&T cover.jpg
Studio album by Blood, Sweat & Tears
Released December 11, 1968
Recorded October 7 – 22, 1968 CBS Studios, New York City using a 16-track recording facility
Genre
Length 45:36 (original)
Label Columbia
Producer James William Guercio
Blood, Sweat & Tears chronology
Child Is Father to the Man
(1968)
Blood, Sweat & Tears
(1968)
Blood, Sweat & Tears 3
(1970)

Blood, Sweat & Tears is the second album by the band Blood, Sweat & Tears, released in 1968. It was a huge commercial success, rising to the top of the U.S. charts for a collective seven weeks and yielding three successive Top 5 singles. It received a Grammy Award for Album of the Year in 1970 and has been certified quadruple platinum by the RIAA with sales of more than four million units in the U.S. In Canada, it enjoyed four runs and altogether eight weeks at No. 1 on the RPM national album chart.

The song selection was much more pop-oriented than the first album, with more compositions from outside the band. It was recorded at the then state of the art CBS Studios in New York City. The studio had just taken delivery of one of the first of the model MM-1000 16-track tape recorders, built by Ampex. The new technology allowed for far more flexibility in overdubbing and mixing than the 4- and 8-track tape recorders which were standard in 1968. The album was among the very first 16-track recordings released to the public.[citation needed]

The album was selected for the 2006 book 1001 Albums You Must Hear Before You Die.[1]

3 rappers franceses de 20 e poucos anos que provavelmente você não conhece

MHD-french-rap

Eu sempre gostei de hip-hop. Nos anos 90,  ouvia direto Tupak e B.I.G. Nos anos 2000, foi a vez de Eminem, Jay Z, IAM, MC Solaar, Control Machete, Cypress Hill. Desde então, curto investigar quem são os nomes mais promissores do gênero mundo afora.

O rap francês, claro, sempre esteve na minha mira – desde IAM, MC Solaar e, mais recentemente, a incrível e ultrapolitizada Keny Arkana.

Selecionei 3 rappers de 20 e poucos anos que você deveria ficar de olho. Guarde estes nomes:

1.Lonepsi

Ele tem 20 e poucos anos, é filho de pais argentinos e é leitor de Baudelaire. Tem horas que ele canta, tem horas que ele declama, tem horas que ele toca (piano e guitarra). Algumas de suas letras são quase poemas, alguns de seus poemas viraram músicas.

Confere só o trechinho de Des Rêves Inexaucés:

“On se dévoilait toutes nos failles incosciemment

Durant les moments les plus parfaits”

ou

“Inconscientemente, revelamos as nossas falhas

Durante os momentos mais perfeitos”

O rapaz lançou há pouco o EP San Dire Adieu, em que declama a poesia Le Chien et le Flacon, baseada em poema homônimo de Baudelaire. Grande promessa do rap francês.

 

 

2. Nekfeu

Nekfeu, ou Ken Samaras (seu verdadeiro nome), atua no mundo do rap já faz um bom tempo. Próximo de completar 28 anos, ele também atua no coletivo L’Entourage e no grupo 1995.

O rap do cara é eletrônico, a cara da geração 2.0. Suas letras falam da vida nos grandes centros urbanos, do mundo virtual (óbvio), drogas, amor, amizade. Feu, o álbum de estreia, levou o consagrado prêmio Victoires de La Musique de 2016 na categoria música urbana. O segundo, Cyborg (quer coisa mais contemporânea do que falar de ciborgues?), foi aclamado pela crítica especializada.

O francês também arriscou no cinema, fazendo um par inusitado com Catherine Deneuve em Tout nous sépare (2017).

 

3. MHD

O cara tem só 22 anos (ele é o sujeito da foto do post) e já virou referência. MHD é o pioneiro um novo estilo que recebeu o nome de Afro Trap, um mix de ritmos africanos e de trap, um subgênero de hip-hop surgido nos EUA lá pelos anos 2000.

MHD teve uma ascensão meteórica. Em menos de cinco anos, passou de entregador de pizza a fenômeno nas mídias sociais (Bravo, que você ouve abaixo, teve 24 milhões de vizualizações) e nos estádios de futebol. Fanático por futebol (procure a música Champions League no YouTube ou repare nos clipes do cara – quase sempre ele veste uma camiseta de um time), ele inventa várias dancinhas. Uma delas foi adotada (veja neste link) por alguns dos jogadores do PSG quando celebram o gol.

O disco de estreia, MHD, foi lançado em 2016. Há quem diga que o francês deve lançar um novo este ano. Tomara.

 

 

 

Projeto Street Player bota talentos da dança de rua para rebolar ao som de house

street-player-livity-youtube

Mais um daqueles projetos simples, mas bacanudos, que a gente encontra nas redes sociais. Lançado em fevereiro de 2016, o Street Player é um canal do Youtube que traz jovens talentos da dança de rua do mundo todo (a maior parte, claro, é britânica, já que os idealizadores também são) rebolando ao som de house music.

A ideia é promover não só esses artistas, mas os produtores musicais que vêm fazendo um baita trabalho ao remixar e reinterpretar gente como DJ Shadow, por exemplo, ou os Groove Armada. Mais do que isso, Callum McGeoch, ex-editor da Dazed, revista britânica dedicada às artes e à moda e que atualmente lidera o projeto, quer capacitar esses jovens. Por isso, vem dando cursos de produção de vídeo e de mídias sociais.

Callum integra o Livity, agência que tem a cultura jovem no foco. Foram eles que criaram, por exemplo, a série Dubplate Drama (2005 a 2009). A novelinha, praticamente um reality show, já que o público podia votar, acompanhou um grupo de garotos e garotas do mundo da música cujo sonho era assinar um contrato para gravar um disco.

No site da Livity, produtores e artistas de rua podem se inscrever para participar.

 

Dá uma conferida em alguns vídeos do Street Player. Os dançarinos simplesmente escolhem um local qualquer em suas cidades e bora lá dançar.

 

 

 

Primeiro e último disco de Magín Díaz é celebração à vida

magin-diaz-1

Imagine um cara que não sabe ler nem escrever, mas compôs algumas das canções que hoje compõem o registro folclórico nacional colombiano. Imagine viver praticamente no anonimato, não receber direitos sobre suas músicas e chegar aos 95 sem nunca ter gravado um disco solo.

Contada em pouquíssimas palavras, esta é a história de Magín Díaz. Como muitas de suas canções fazem parte da cultura colombiana (cito Rosa, por exemplo) e como Magín se aproximava dos 95 anos, um produtor resolver dar a ele um presente, quase uma homenagem em vida: o seu álbum de estreia.

Lançado em maio de 2017, El Orisha de la Rosa tem produção apuradíssima. Reúne não só gente das antigas, como a cantora colombiana Totó la Momposina, como bandas da nova geração, entre elas Monsieur Periné, de quem já falei aqui, o coletivo Systema Solar e a portenha La Yegros. Também foram convidados artistas plásticos para criar uma obra baseada em cada uma das canções do disco. A linda capa, aliás, levou um prêmio no Grammy Latino em 2017. Dá uma conferida no minidoc sobre o disco abaixo.

Morte

Em novembro de 2017, Magín viajou aos EUA para participar da cerimônia de entrega dos Grammy. Pouco dias depois da festa, o músico colombiano foi internado e veio a falecer. Fica este tardio e belo registro de uma vida dedicada à música.

“Cantar para mí es como si me inyectaran.  Es un corrientazo de vida.  Si yo no canto, me muero.” – para o Shock

Você ouve a linda Me Amarás e Dolores Tiene un Piano.