pintomusica

既直接卻模糊、豐富與簡樸並存、精準又遼遠...

http://www.myspace.com/brokenrecordsedinburgh


"We're trying to do something different. People forget that music doesn't have to be just bass, guitar and drums. It can be just as loud and exciting with glockenspiel and trumpet" - Broken Records


Tipped by pretty much every record industry insider upon their appearance in 2008, Broken Records certainly have the raw materials to become one of the most celebrated British bands over the next 18 months. A record bubbling over with passion and heart-on-the-sleeve emotion, Until the Earth Begins to Part doesn’t always quite do the songs it features full justice. The production seems to struggle to cope with the bombast, and the band could learn occasionally that less can be more. 


That said, songs such as ‘Slow Parade’ and ‘If the News Makes You Sad Don’t Watch It’ are undeniable signs that they could play huge venues in the future. (the epoch times)

http://www.federicoaubele.com/


“Love is such an important thing for every human being, whether we notice it or not. We all experience it at least once in life. It’s one of the few things, along with dying, that is guaranteed to happen to you.”


Buenos Aires-born songwriter/guitarist Federico Aubele’s going for a rico suave thing here, sort of like a downtempo Gipsy Kings. At a distance this may sound like generic latin lounge music – it’s kind of formulaic, but it’s a formula that works. This cd offers layers of acoustic and electric guitars with hushed lounge lizard vocals (in Spanish) over a trip-hop beat. Aubele could use a lyricist, and there are places where the drum machine becomes completely claustrophobia-inducing (the album is just out on the well-intentioned but sonically numbing Thievery Corporation’s label). Now for some good things about the cd. Aubele is an excellent, terse guitarist: there aren’t any wasted notes here. And the songs are pretty, most of them in moody minor keys. Plus, he’s dubwise. His reggae touches typically linger and reverberate in the background, lithe guitar accents cleverly and judiciously kicking in at unexpected moments.


Suena Mi Guitarra sways and bounces, trip-hop meets tango with a jangly reggae guitar feel. Te Quiero a Ti is upbeat and evocative of Mexican groups like the Reggae Cowboys. Del Ayer layers phased backward-masked guitars in the background; there’s also a duet with the unlikely choice of Miho Hatori from Cibo Matto, who quite surprisingly acquits herself so well that she really ought to have been given a turn out front. The most bizarre cut here – tropicalia is just full of them, isn’t it? – is the samba-inflected El Sabor with its layers of artificial, bubbling synth, early 80s ELO goes to Brazil. The cd ends with an acoustic guitar instrumental that offers more than a hint of a more stark, purist sensibility lurking here. Piazzolla it’s not, but it’s something you can put on at a party and nobody will complain – in fact, you’ll probably have people asking you who this is – and it’s a good late-night sleepytime cd.