Agent: Mike Leahy
“…Son’s blend of acoustic guitar and purring synths confirms this Argentine as one of underground pop’s most beautifully odd voices. Highly recommended, even if your Spanish sucks.”
“Her Brazilian-influenced adventurism can be kaleidoscopic, edgy and exquisite, sometimes all at once; it adds up to an often gorgeous record.” (***)
-Andy Gensler, Rolling Stone
Juana Molina is a good witch. See the front cover of this album: a bone is looking at us! And when a bone looks at us, we’re being watched by the entire history of paleontology. The bone is a sign of having been, it’s the last remain, after the passage of vultures, hyenas, rodents and worms. But the bone became lever, weapon and inscription surface. And the bone is also Stanley Kubrick, that name we invented for jumping from the monkey to the superhuman, as well as from the caves to the moon, to Jupiter and beyond. In ancient folk legends, buried bones were believed to be the cause of luz mala (‘evil light’, also known as ghost lights or will-o’-the-wisp), that strange halo which floats above the ground and scares travellers at night.
But Juana Molina is a good witch, and this particular bone isn’t sinister or menacing, it wants us to reconcile with its kind. It’s both playful and serious, ironic, imaginative and quite magical, just like Juana’s music.
The twelve tracks in Halo abound with hypnotic rhythms which seem to draw their energy from immemorial rituals; with timbral explorations and ever-
changing soundscapes; with mysterious lyrics often touching on witchcraft, premonition and dreams, always used as metaphors for emotional states; with voices which sometimes move away from word and meaning to be reduced to abstract phonemes and onomatopoeia.
Juana approaches music in a very physical, intuitive way: every instrument and electronic resource is an extension of her body, and is used to express feelings and moods. It’s magic, in its oldest sense: art or techné, which articulates knowing with doing, in order to produce something which didn’t exist before.
Halo was recorded in Juana Molina’s home studio outside of Buenos Aires, and at Sonic Ranch Studio in Texas, with contributions by Odin Schwartz & Diego Lopez de Arcaute (who have both been playing live with Juana for a number of years), and Eduardo Bergallo (who has taken part in the mixing of her previous albums), with Deerhoof’s John Dieterich making a guest appearance in a couple of tracks.
Since the release of her acclaimed Wed 21 album at the tail end of 2013, Juana Molina has performed scores of shows around Europe, the US, Latin America and Southeast Asia. She’ll be back on the road from May 2017.
More info soon.[inspired by Gabriel Galli’s essay on the music of Juana Molina]
Juana Molina – “Halo” – out on April 28th (LP+CD+digital)