Ihr Warenkorb ist leer!

Genre :

Die Alben

Ab
HI-RES14,99 €
CD9,99 €

Amérique latine - Erschienen am 27. Mai 2016 | Maturity Music - Stonetree Music Inc

Hi-Res
Ab
HI-RES2,99 €
CD2,49 €

Amérique latine - Erschienen am 24. Juni 2021 | Sony Music Latin

Hi-Res
Ab
HI-RES16,99 €
CD14,49 €

Amérique latine - Erschienen am 26. Februar 2021 | Sony Music Entertainment

Hi-Res
Ab
HI-RES2,99 €
CD2,49 €

Amérique latine - Erschienen am 20. Mai 2021 | Sony Music Latin - Duars Entertainment

Hi-Res
Ab
HI-RES16,99 €
CD14,49 €

Amérique latine - Erschienen am 8. Mai 2020 | Sony Music México

Hi-Res
Ab
HI-RES21,49 €
CD14,99 €

Amérique latine - Erschienen am 9. April 2021 | Universal Music Mexico

Hi-Res
Chilean singer and songwriter Mon Laferte is no stranger to change. She has embraced it in so many areas of her life and work that it seems an aesthetic principle. Early on, she recorded and performed as Monserrat Bustamente, a straight-up Latin pop singer. In 2007, she immigrated to Mexico and started playing rock. After being diagnosed with thyroid cancer in 2009 and beating it, she changed her name to Mon Laferte, and began recording in an indie rock style that netted her a Latin Grammy for 2015's Volume 1. 2017's hit La Trenza showcased her embrace of Latin American song traditions in a modern recontextualization. 2019's Norma, an intensely personal album, focused on heartbreak through different dance rhythms with wildly contrasting instrumentation and arrangements including 1940s big band mambo, rockist psychedelic cumbia, and '70s boleros and salsa. Seis, her sixth album, is rooted in Mexican folk traditions. After the onset of the pandemic, Laferte moved to Tepoztlán. She saw a documentary on the life of iconic ranchera singer Chavela Vargas, who spent her final years in the bucolic town. Vargas' music spurred Laferte to explore a wide range of Mexican styles in her writing. These 14 songs run the gamut from rancheras and mariachis to boleros, bandas, and corridos tumbados. Laferte bookends the set with contrasting versions of her harrowing commentary on gender violence titled "Se Me Va A Quemar El Corazón." On the first, her grainy, angry, yet vulnerable vocal is accompanied only by guitar and bajo sexto. She revisits her "La Mujer" in a duo with one of her earliest and greatest inspirations, Mexican pop/rock icon Gloria Trevi. Laferte hasn't sung it in years; she came to consider its lyrics too dysfunctional. Here she not only rewrote them and revamped the music, it is now a feminist manifesto adorned in a snaky bolero, saturated in reverbed guitars and brass. The women's contrasting voices are resplendent in immediacy, passion, and authority. "Esta Morra No Se Vende" is a bouncing corrido, while "Aunque Te Mueras Por Volver" weds theatrical bolero to classy pop with a rock band and an orchestral string section. The single "Que Se Sepa Nuestro Amor" is sung as an a unabashedly romantic ranchera with the legendary Alejandro Fernandez; the duo are accompanied by the all-female Mujeres del Viento Florido. The meld of Laferte's and Fernandez's voices delivers it with the conviction of a treasured standard. While "Se Ma Vida" is a slow-burning corrido, the closing version of "Se Me Va A Quemar El Corazón" is offered in a heartbreaking collaboration with La Arrolladora Banda El Limon fronted by singer Esaúl García. Seis stands with Norma as a milestone in Laferte's career. Each track is delivered with the consistency, care, honesty, and obsessive attention to detail that Laferte's poetic lyrics and melodies require. The humble presentation here contrasts with her songwriting ambition in what amounts to a truly visionary work of popular art. © Thom Jurek /TiVo
Ab
HI-RES2,99 €
CD2,29 €

Amérique latine - Erschienen am 11. Oktober 2018 | OVO Sound - Warner Records

Hi-Res
Wie ernst ist jemand zu nehmen, der sich den Künstlernamen Bad Bunny gibt und vor allem mit Gastplätzen bei Cardi B und J Balvin in den Mainstream gehievt wurde? Latin Trap nennt sich das Genre, für das Bad Bunny das Paradebeispiel sein will. Mit vier Milliarden Views auf YouTube, aber bisher ohne offizielles Studioalbum. Es wäre leicht, diesen Trend nicht weiter ernst zu nehmen, doch dann würde man übersehen, dass Bad Bunnys Debüt "X 100PRE" ein vielseitiges, ambitioniertes Manifest über die Möglichkeiten und klanglichen Facetten der lateinamerikanischen Hip-Hop-Welt darstellt. Das fängt bei seinem eigenwilligen Vocal-Stil an. Eine tiefe Stimme, melodisch aber casual in Szene gesetzt und zumeist mitsamt leichtem Slur in verschwommenes Autotune getränkt. Ein Sound, wie man ihn von Future oder den älteren Young Thug-Projekten kennt, aber doch in der Intonation und Verwendung einzigartig. Vielleicht leistet hier die Sprachbarriere ihren Beitrag, aber es fühlt sich in den dynamischen Pattern sehr lebhaft an, ansteckend und catchy. So mancher Titel klingt in der 15 Anspielstationen langen Tracklist zwar doch ein bisschen generisch, wie die recht austauschbaren Reggaeton-Crooner "Si Estuviésemos Juntos" oder "¿Quién tú eres?". Dennoch: Gerade im Vergleich zu zeitgenössischen Artists wie J Balvin oder Ozuna zeigt sich Bad Bunny vermehrt von einer experimentierfreudigen Seite. Auf "200 MPH" lässt er sich von Diplo einen Trap-Beat nach Florida-Art schrauben, "Otra Noche En Miami" spielt mit Synthwave-Produktionstricks, "Tenemos Que Hablar" integriert eine (zugegeben etwas kitschige) Pop-Punk-Gitarrenline und "Caro" wagt es doch tatsächlich, ein Vocal-Sample von Enrique Iglesias zu einem überraschend ruppigen Reggaeton-Banger zu flippen. Doch die wahren Highlights lauern in der zweiten Albumhälfte, in der Bad Bunny die Intensität mit einem tiefen Griff in die Trickkiste noch mal zwei Stufen hochdreht. "Solo De Mi" fährt eine griffige Dancehall-Drumline und melancholische Synthesizer auf, doch der Beatbreak im letzten Drittel kommt so abrupt und eindringlich, dass es so manchen Club in Ekstase versetzen dürfte. In der zweiten Hälfte von "La Romana" treffen Flöten und Ambient-Sounds auf eine der treibendsten Drumlines in jüngerer Vergangenheit. Und so albern der Fakt auch ist, dass da gerade Drake auf spanisch singt, fühlt sich "MIA" als Album-Closer trotzdem wie ein triumphaler Moment der Anerkennung lateinamerikanischer Musik im internationalen Mainstream an. "X 100PRE" ist ein Mood-Album mit vielseitigen, treibenden Beats, einem hungrigen und dynamischen Performer und einem bestechend eingängigen Sound. © Laut
Ab
CD7,49 €

Amérique latine - Erschienen am 1. Januar 1970 | MLP

Ab
HI-RES11,49 €
CD9,99 €

Amérique latine - Erschienen am 6. März 2020 | WM Mexico

Hi-Res
Ab
HI-RES16,99 €
CD14,49 €

Amérique latine - Erschienen am 10. September 2021 | Sony Music Latin

Hi-Res
Ab
HI-RES2,99 €
CD2,49 €

Amérique latine - Erschienen am 11. November 2021 | Columbia

Hi-Res
Ab
HI-RES14,49 €
CD9,99 €

Amérique latine - Erschienen am 21. August 2020 | Mono Mundo Recordings

Hi-Res
Ab
CD14,49 €

Amérique latine - Erschienen am 5. Mai 2017 | Columbia

Over the past decade, Natalia Lafourcade appears to have found her groove, alternating between new albums of original material and projects that allow her to investigate other avenues; in particular, the rich heritage of Mexican and Latin American song. In this respect, Musas may initially seem like a sequel to Mujer Divina, her 2012 tribute to Agustín Lara, but a closer analysis exposes several telling differences between records. With Mujer Divina, Lafourcade was translating Lara's work into her pop idiom in the company of several Latin rock and pop stars. Musas, on the other hand, is neither dedicated to a single composer nor a duets album. Most of all, instead of bringing old songs to the present, Lafourcade herself is now traveling back in time to fully immerse in traditional sounds and genres. Finally, rather than celebrate a famous past composer, this project was born from Lafourcade's desire to work with Los Macorinos, the exquisite guitar duo formed by Juan Carlos Allende and Miguel Peña, who famously used to accompany Chavela Vargas, among many others artists. Even if Musas features several other notable collaborators (Gustavo Guerrero, Martín Bruhn, Ximena Sariñana, Juan Manuel Torreblanca, Héctor Castillo, David Aguilar, and Cheche Alara, not to mention a duet with the great Omara Portuondo), los Macorinos remain the heart and soul of this record, together of course with Lafourcade's voice: she has rarely sung better. As for the repertoire, Lafourcade tackles songs by Lara (again!) and Roberto Cantoral, but also extends her vision beyond Mexico to cover Frank Domínguez (Cuba), Violeta Parra (Chile), and Simón Díaz (Venezuela), gently navigating across 50 years or more of Latin American folk music. Unsurprisingly, Musas is a delight from start to finish. Lost in the album's elegance and breeziness, however, the casual listener may miss what is truly impressive about this work. Lafourcade is not merely revisiting the Great Latin American Songbook here: she is measuring herself against it. Musas includes five Lafourcade originals written in the same spirit as the songs by the celebrated composers mentioned above, and -- unless one cheats by looking at the credits -- it is virtually impossible to tell them apart from their noble predecessors. Self-penned opener "Tú Si Sabes Quererme," a son jarocho made in 2016 and graced by a sublime performance by Lafourcade and the always-impeccable los Macorinos, is easily the most beautiful song on this lovely record and an automatic contender for Latin track of the year. It gets better: apparently a second volume from these sessions is already in the mastering stage. © Mariano Prunes /TiVo
Ab
HI-RES19,49 €
CD16,99 €

Amérique latine - Erschienen am 11. Dezember 2020 | WM Spain

Hi-Res
Ab
HI-RES21,99 €
CD18,99 €

Amérique latine - Erschienen am 28. Mai 2021 | Sony Music México

Hi-Res
Ab
HI-RES2,99 €
CD2,29 €

Amérique latine - Erschienen am 29. April 2021 | Warner Records

Hi-Res
Ab
CD9,99 €

Amérique latine - Erschienen am 6. August 2021 | EGREM

Ab
CD7,99 €

Amérique latine - Erschienen am 1. Juni 2014 | Calle54 Records

Ab
HI-RES19,99 €
CD17,49 €

Amérique latine - Erschienen am 13. November 2019 | Sony Music Latin

Hi-Res
Ab
HI-RES16,99 €
CD13,99 €

Amérique latine - Erschienen am 5. Februar 2016 | Premium Latin Music, Inc.

Hi-Res