Mala is the eighth studio album by folk rock musician Devendra Banhart, released on March 12, 2013 on Nonesuch Records. The album was produced by Banhart and Noah Georgeson, and mastered by Greg Calbi.
Background
Mala was produced by Devendra Banhart and Noah Georgeson, and mastered by Greg Calbi. Banhart's band members Noah Georgeson, Greg Rogove, Josiah Steinbrick, and Rodrigo Amarante helped him on the record.
Fred Thomas of AllMusic wrote that "instead of the overreaching, overly long confusion of previous efforts, Mala streamlines Banhart's multifaceted muse, and the songs all fit together, if in a somewhat roundabout manner." Thomas also noted that "apart from the increased cohesion, the quality of the songwriting is far higher, reminding us of the astonishing promise and tossed-off ease of Banhart's early material, and suggesting that his detours into less exciting sounds were just part of a journey that might be much longer and more rewarding than expected." Consequence of Sound's Dan Pfleegor noted that "although softer and a touch more dour than some of his previous offerings, proves that Banhart is still a strange fella leaving his mark on the world of popular music." At Mojo David Sheppard noticed how "Mala meanders liquidly between warbled, DIY electronic pop [...] with diversions into hazy instrumental miniatures [...] intimate, wraithlike ballads". So, Q's James Oldham told that "where previously it might have seemed ridiculous to talk about Banhart alongside Syd Barrett and Nick Drake, Mala finally makes those comparisons feel comfortable." But John Everhart at Under the Radar noted how it would be "a disservice to compare Banhart to anyone", and he found Mala to be "yet another stylistic curveball, favoring low-key arrangements with subtle flourishes of Tropicalia, and disco even. It's also his best album in nearly a decade." At The A.V. Club, Michael Gallucci writes that "Mala expands Banhart's sonic template in less organic ways, adding pinches of electronic spice here, recording on an old-school hip-hop tape machine there. It’s not an uncomplicated listen (Banhart’s records never are), but Mala breezes through its 14 songs with relative unfussiness." At PopMatters, Zachary Houle noted that "Mala is generally a soft, meditative album full of gently strummed acoustic guitar (and the odd keyboard) that flutters as the chords and notes waft on by", and told that "Mala could easily be categorized as easy listening music, the kind of inoffensive stuff you could almost play for your grandparents".
However, Andy Gill of The Independent wrote that the album is "not bad, just unnecessary", and this is because "it shifts desultorily from style to style, with songs barely hanging around long enough to state their case." On the other hand, Andrew Burgess of musicOMH is in disagreement with that sentiment because he told that in the realm of musicality "Mala has a cohesive sound accentuated by a powerful, thumping low end and washing (but not overpowering) analogue synths." In addition, Burgess noted the album is quite "subdued", and carrying "laid-back tunes unlike anything Banhart has done before." At Rolling Stone, Joe Gross noted that "Banhart seems to grab at anything that would get him out of the freak-folk box; Mala is smoother in its amalgamation, drifty melodies and his classic mumble recorded with gorgeously low-fi-sounding muffle." The Guardian's Kate Mossman felt that Banhart "no longer sounds particularly freaky [...] it's perfectly normal to record on vintage hip-hop equipment". Yet, Luke Grundy of The Line of Best Fit told that Mala is "another exercise in genre cross-pollination encompassing both broad musical brush-strokes and nuanced, vulnerable whisper-like tracks." On the flipside, Paste magazine's Ryan Reed felt otherwise writing that "Mala is just as quiet as his Will Be—but unlike that album, this one never drags." At Spin, Andy Beta told that "lyrically, he still shades toward the surreal". Drowned in Sound's Aaron Lavery noted how Mala was made "with a definite DIY sensibility." Zachary Houle of PopMatters felt that "Mala a bit of a puzzling release, one that might get listeners wondering what was going on in the artist’s mind when he pulled this thing together", and said that "if there's one thing Mala doesn't do, is cohere."
Mala is the eighth studio album by folk rock musician Devendra Banhart, released on March 12, 2013 on Nonesuch Records. The album was produced by Banhart and Noah Georgeson, and mastered by Greg Calbi.
ResponderEliminarBackground
Mala was produced by Devendra Banhart and Noah Georgeson, and mastered by Greg Calbi. Banhart's band members Noah Georgeson, Greg Rogove, Josiah Steinbrick, and Rodrigo Amarante helped him on the record.
Music and lyrics
ResponderEliminarFred Thomas of AllMusic wrote that "instead of the overreaching, overly long confusion of previous efforts, Mala streamlines Banhart's multifaceted muse, and the songs all fit together, if in a somewhat roundabout manner." Thomas also noted that "apart from the increased cohesion, the quality of the songwriting is far higher, reminding us of the astonishing promise and tossed-off ease of Banhart's early material, and suggesting that his detours into less exciting sounds were just part of a journey that might be much longer and more rewarding than expected." Consequence of Sound's Dan Pfleegor noted that "although softer and a touch more dour than some of his previous offerings, proves that Banhart is still a strange fella leaving his mark on the world of popular music." At Mojo David Sheppard noticed how "Mala meanders liquidly between warbled, DIY electronic pop [...] with diversions into hazy instrumental miniatures [...] intimate, wraithlike ballads". So, Q's James Oldham told that "where previously it might have seemed ridiculous to talk about Banhart alongside Syd Barrett and Nick Drake, Mala finally makes those comparisons feel comfortable." But John Everhart at Under the Radar noted how it would be "a disservice to compare Banhart to anyone", and he found Mala to be "yet another stylistic curveball, favoring low-key arrangements with subtle flourishes of Tropicalia, and disco even. It's also his best album in nearly a decade." At The A.V. Club, Michael Gallucci writes that "Mala expands Banhart's sonic template in less organic ways, adding pinches of electronic spice here, recording on an old-school hip-hop tape machine there. It’s not an uncomplicated listen (Banhart’s records never are), but Mala breezes through its 14 songs with relative unfussiness." At PopMatters, Zachary Houle noted that "Mala is generally a soft, meditative album full of gently strummed acoustic guitar (and the odd keyboard) that flutters as the chords and notes waft on by", and told that "Mala could easily be categorized as easy listening music, the kind of inoffensive stuff you could almost play for your grandparents".
However, Andy Gill of The Independent wrote that the album is "not bad, just unnecessary", and this is because "it shifts desultorily from style to style, with songs barely hanging around long enough to state their case." On the other hand, Andrew Burgess of musicOMH is in disagreement with that sentiment because he told that in the realm of musicality "Mala has a cohesive sound accentuated by a powerful, thumping low end and washing (but not overpowering) analogue synths." In addition, Burgess noted the album is quite "subdued", and carrying "laid-back tunes unlike anything Banhart has done before." At Rolling Stone, Joe Gross noted that "Banhart seems to grab at anything that would get him out of the freak-folk box; Mala is smoother in its amalgamation, drifty melodies and his classic mumble recorded with gorgeously low-fi-sounding muffle." The Guardian's Kate Mossman felt that Banhart "no longer sounds particularly freaky [...] it's perfectly normal to record on vintage hip-hop equipment". Yet, Luke Grundy of The Line of Best Fit told that Mala is "another exercise in genre cross-pollination encompassing both broad musical brush-strokes and nuanced, vulnerable whisper-like tracks." On the flipside, Paste magazine's Ryan Reed felt otherwise writing that "Mala is just as quiet as his Will Be—but unlike that album, this one never drags." At Spin, Andy Beta told that "lyrically, he still shades toward the surreal". Drowned in Sound's Aaron Lavery noted how Mala was made "with a definite DIY sensibility." Zachary Houle of PopMatters felt that "Mala a bit of a puzzling release, one that might get listeners wondering what was going on in the artist’s mind when he pulled this thing together", and said that "if there's one thing Mala doesn't do, is cohere."
ResponderEliminar
ResponderEliminarMi amor no tiene esperanza
aunque te esperará
Del corazón se lanza
un fantasma corpo real
Mi amor no tiene venganza
aunque te matara
Este viejo no se cansa
siempre te persigara
Así que
Fe y amor no necesita esperanza
ven amor aquí
Feo amor no grita en mi lancha
alrededor de ti
(perdido en mi dolor, negrita de mi amor)
Feo amor mosquito tan dandi
veo un amor así
feo amor no quita esperanza
ven amor aquí
ven amor, uuhh
Mi amor no te hablo paja
aunque no es la verdad
El abogado trabaja
pa que tú puedas descansar
Así que
fe y amor no necesita esperanza
ven amor aquí
ven amor disfruta mi grasa
alrededor de ti
Fe y amor, feo amor
fe y amor, feo amor
fe y amor, feo amor
Fe y amor.