The whole of La Llorona has a intensely mythic feel, rising and falling dramatic and exotic breaths - an invitation to darker mysteries, like the Siren songs of the album's namesake. #LHASA DE SELA LLORONA RARE FULL#The final selection, El Arbol de Olvido (The Tree of Forgetfulness), a somber dreamscape from Argentina, brings the album full circle, ending as it began, looking through a glass darkly. Escuche de forma ilimitada o descargue de forma permanente el título Boy por Beautiful Moments en calidad Hi-Res en Qobuz. "Desdenosa (Disdainful)" is a whispery, dramatic, flamenco-tinged confessional, while both "Pajaro (The Bird)" and "Mi Vanidad (My Vanity)" are rolling-sea ruminations with gypsy accordion and klezmer clarinet. "Floricanto" (or "Flower Song") is a dreamy lament with hurdy-gurdy echoes. "Los Peces" is a folk song of Mexican origin, but de Sela makes it her own, turning a ballad about the Virgin Mary and the fish in the sea into a dervish dance. The first is a sweet melodrama over a melody that flows like a minor-key norteño folk song. She pulls back from the brink with "Por Eso Me Quedo (That's Why I'm Staying)" and "Los Peces (The Fish)," two of the albums best cuts. Almost too much so de Sela verges here on a wallow. "Desierto ("The Desert)" and "El Payande" are laments, romantically hypnotic. (In fact, all of de Sela's lyrics could stand alone on the printed page with the kind of poetic effect usually attributed to the likes of Bob Dylan, Leonard Cohen, and few others.) "La Celestina" moves to the rhythm of a campfire dance and the more prominent cry of the musical saw in addressing a wandering soul. The opening cut, the smoky, desolate "De Cara la Pared (Face to the Wall)" makes the most of Desrosiers' musical saw and the violin of Mara Tremblay as Lhasa delivers a haiku-like plea of lost love. The songs on La Llorona are all in Spanish, which adds to the veil of mystery that is woven into every song, as Lhasa mines the rhythms and melodies of Latin folklore, poetry in the Andalusian tradition of Federico Garcia-Lorca, European gypsy and klezmer music, and norteño canciones along with more conventional French (and French-Canadian) café styles. While comparisons to the likes of Edith Piaf are inevitable, they describe neither the texture of her vocals, the poetic sweep of her lyrics, nor the music she and collaborator Yves Desrosiers created for the album. Tags applied to Lhasa, like the oft-repeated "chanteuse" don't really capture her moody, ethereal voice. CD La Llorona Les Disques Audiogramme, 1997 Lhasa de Sela, Yves Desrosiers - authors La virgen se está peinandoEntre cortina y cortinaLos cabellos son de. If you still have trouble downloading Lhasa de Sela - Lhasa (2009).rar hosted on 85.61 MB, Lhasa de Sela - Lhasa (2009).zip hosted on 91. While Lhasa de Sela's delivery is not quite that powerful, this stunning debut album did win her the 1998 Juno Award as Best World Music artist. If file is deleted from your desired shared host first try checking different host by clicking on another file title. Descrizione dell'albumLa Llorona is a figure from Aztec mythology who is known to lure men with Siren songs, then turn them to stone as punishment for their evil ways. Vedi di più Your browser does not support the audio element. © Jason Ankeny /TiVo Maggiori informazioni And while much has been made of the melancholy that pervades her music, ultimately Central Reservation is first and foremost a record about hope and survival its emotional centerpiece, the seven-minute "Pass in Time" (a spine-tingling duet with legendary folk-jazz mystic Terry Callier), grapples with the death of Orton's mother, but its underlying message of healing and perseverance is powerfully life-affirming - her music hasn't merely discovered the light at the end of the tunnel, it's now bathing in it. It's a risky move creatively as well as commercially - after all, the club culture was the first to champion Orton's talents - but it pays off handsomely for all its brilliance, elements of Trailer Park already feel dated, but the new material possesses a timelessness that recalls the best of Nick Drake or Sandy Denny, with a haunting beauty to match. With the exception of a pair of Ben Watt-produced tracks ("Stars All Seem to Weep" and a remix of the title cut), Central Reservation rejects synthetic sounds and beats altogether in favor of an organic atmosphere somewhere between folk, jazz, and the blues the focal point is instead Orton's evocatively soulful voice, which invests songs like "Sweetest Decline" and "Feel to Believe" with remarkable warmth and honesty. #LHASA DE SELA LLORONA RARE FREE#On her stunning sophomore album, Central Reservation, Beth Orton slips free of the electronic textures that colored her acclaimed 1996 debut, Trailer Park, stripping her music down to its raw essentials to produce a work of stark simplicity and rare poignancy. Acquista e scarica questo album in più formati, secondo le tue esigenze.
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