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Ma

Alternative en Indie - Verschenen op 13 september 2019 | Nonesuch

Hi-Res Booklet Onderscheidingen 4F de Télérama
The tenth studio album from Devendra Banhart is a poetic paradox; joy and pain, light and dark, both metaphysical but grounded. All these contradictions come together and result in an album somewhere between the light-heartedness of Kings Of Convenience and the doom and gloom of The Velvet Underground. As usual, the Venezuelan-American has mastered a wide range of styles (bossa-nova, soft rock, chamber folk, dream pop) and shows off his linguistic abilities (singing in english and spanish) in dream-like musings of motherhood, death, friendship and the meaning of life. He has swapped the minimalism of his previous album Ape in Pink Marble (2016) for a more sophisticated style, notably in the duet with the great Vashti Bunyan in Will I See You Tonight. The coming together of this folk matriarch with her spiritual son is what makes the title of the album so meaningful; Ma not only reveals the talented crooner’s most intimate musings but is an elegant and graceful celebration of filial love. © Alexis Renaudat/Qobuz
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Alternative en Indie - Verschenen op 8 maart 2013 | Nonesuch

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Alternative en Indie - Verschenen op 11 maart 2013 | Nonesuch

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Alternative en Indie - Verschenen op 13 augustus 2021 | Dead Oceans

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Alternative en Indie - Verschenen op 12 september 2005 | XL Recordings

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Alternative en Indie - Verschenen op 24 mei 2004 | XL Recordings

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Alternative en Indie - Verschenen op 23 september 2016 | Nonesuch

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Alternative en Indie - Verschenen op 24 juli 2020 | Nonesuch

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Rock - Verschenen op 26 oktober 2009 | Warner Records

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Alternative en Indie - Verschenen op 24 september 2007 | XL Recordings

In the early days of Devendra Banhart's career, his ghostly voice singing down the phone and captured on four track was more than enough to lend the eerie mysticism required for his nonsensical material (of course, it didn't hurt that his voice was bewitching no matter the lyrical content). As he gradually acquired confederates and the ability to record in studios, the clear problem was going to be retaining that same ghostly personality that made his early recordings so special. Decamped to a woodsy compound nestled in Topanga Canyon, and an enterprising home studio built within, manned by early champion Noah Georgeson, Banhart has weathered the storm of accessibility very well. Smokey Rolls Down Thunder Canyon is many things -- perhaps too many things, but its successes outnumber its failures, and it essentially solves the problems inherent in confining a free-form singer to time signatures and arrangements and rhythms imposed by outsiders. It's also a success in that it finds him more comfortable within those confines than 2005's Cripple Crow, his first full-band record. Of the many things Smokey Rolls is, first of all it's his White Album, as he marshals his many influences into a mural of closely drawn portraits, whether it's Victor Jara on the opener, "Cristobal," Gilberto Gil on the deep polyrhythms of "Samba Vexillographica," Jewish wedding music and Borscht Belt comedy in equal measure on "Shabop Shalom," or, in the oddest combination, Dave Brubeck and Grand Funk (separately, not together) on the eight-minute "Sea Horse" (with backing vocals from another influence, the winsome Vashti Bunyan). The album is also his Blue -- Joni Mitchell's Blue, that is -- with several songs dedicated to the destruction of a relationship, with poignant lyrics ("Mama, I ain't waiting but I'm still holdin on"). As an aside, given the cast of "bearded bums" present, Smokey Rolls is also his Absolutely Free and, given his representation by Neil Young manager Elliot Roberts, it must be his After the Gold Rush. Certainly, his surreal life continues to yield more material -- consider the inspiration of becoming lost with friends in the Orinoco basin until a stork lands and immediately leads them far into the jungle to a tribe of yopo-snorters ("Tonada Yanomaminista"). And, amid the trippy songs and confessional singer/songwriter material, there's yet more evidence of Banhart's continuing musical idiosyncrasies: "Saved," which comes complete with a gospel choir, has the production mark of the late '70s (but not in a good way), while "Lover" is a surprisingly funky fusion of soul and pop, like Jackson 5 with a backing group of Archie Bell & the Drells plus the Manson Family on vocals. Continually beguiling and fascinating, even as he leaves his four-track days farther behind, it's clear that Devendra Banhart has much more ground to plow. © John Bush /TiVo
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Alternative en Indie - Verschenen op 27 september 2004 | XL Recordings

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Alternative en Indie - Verschenen op 1 augustus 2019 | Nonesuch

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Alternative en Indie - Verschenen op 23 juni 2021 | Dead Oceans

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Rock - Verschenen op 23 oktober 2009 | Warner Records

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Alternative en Indie - Verschenen op 28 oktober 2002 | Young God Records

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Alternative en Indie - Verschenen op 23 september 2016 | Nonesuch

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Alternative en Indie - Verschenen op 20 juli 2021 | Dead Oceans

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Alternative en Indie - Verschenen op 3 september 2020 | Nonesuch

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Alternative en Indie - Verschenen op 16 januari 2020 | Nonesuch

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Alternative en Indie - Verschenen op 16 juli 2020 | Nonesuch

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