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Pop - Uscito il 02 novembre 2018 | Columbia

Hi-Res Riconoscimenti Pitchfork: Best New Music
Mettere assieme flamenco, R&B ed electro? Non molte persone scommetterebbero su questa ricetta che, sulla carta, sembra un po' cheesy. Ma è proprio quello che Rosalia Vila Tobella è riuscita a fare. La cantante catalana ha ricevuto l'elogio della critica per il suo "neo flamenco" sviluppato nell'album Los Ángeles nel 2016. E quest'anno ha fatto dei salti da gigante. Dalla pubblicazione del primo singolo di El Mar Querer nel maggio 2018, la contagiosa Malamente, con la clip diretta dal collettivo Canada, che ha ottenuto già cinque nomination per i Latin Grammy Awards, Rosalia colpisce ripetutamente nel segno: un featuring con J Balvin sull'album del colombiano, Vibras, un video in studio con Pharrell Williams, fino alla chiamata di Pedro Almodovar per una possibile partecipazione nel suo prossimo film...Ed ecco El Mar Querer, un album atteso a lungo, prodotto da El Guincho, artista spagnolo già nel roster dell’etichetta inglese Young Turks, conosciuto per i suoi campionamenti di beat tropicali e che qui si diletta tagliando e incollando battiti di mani e dita, e talvolta la voce stessa di Rosalía, come su De Aqui No Sales, che ricorda il lavoro di Björk. Se il mix di R&B e flamenco va piuttosto bene su Baghdad, la tendenza electro è un po' più forte su Que No Salga La Luna. Privilegiando la sperimentazione alla melodia, Rosalía rimane generalmente nel quadro di questo disco, rivelando tutta se stessa negli angoli di intriganti sentieri trasversali, e dimostrando di saper condurre la sua voce straordinaria con grande spirito d’avventura. © Smaël Bouaici/Qobuz
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Pop - Uscito il 10 febbraio 2017 | Universal Music Spain S.L.

Flamenco singing -­- the real stuff, not the pop-ified version -- is often raw to the point of discomfort. This astonishing debut from a 23-year-old from Barcelona, on the other hand, manages to retain the music's primal emotion while sounding startlingly vital and accessible. Perhaps surprisingly, considering that Rosalía owes her growing reputation to collaborations with artists from other genres, including hip-hop and trap, Los Ángeles is a dyed-in-the-wool traditionalist flamenco album. As is customary for flamenco singers trying to make their name, Rosalía makes sure to demonstrate her mastery of all the different strands (or palos) of flamenco, such as alegrías, fandangos, tangos, tarantas, and malagueñas, among others. Despite this variety, Los Ángeles was ostensibly designed as a single piece with granite-like production consistency and arrangements as downright austere as the music is deadly serious. Death indeed hovers over almost every single lyric -- most culled from oral tradition or popular folk songs: Loss, murder, domestic abuse, exile, revenge, and suicide. More than just a solo album by Rosalía, however, Los Ángeles is a collaborative effort between the singer and maverick producer/guitarist Raül Refree, who has worked with Sonic Youth's Lee Ranaldo. While taking flamenco recordings and singers from the early 20th century as their points of departure, Rosalía and Refree also sound inspired by Johnny Cash and Rick Rubin's American Recordings series, a connection highlighted by the album's closer, a breathtakingly beautiful version of Will Oldham's "I See a Darkness" (also covered by Cash). In both attitude and sound, Los Ángeles could be considered flamenco with a D.I.Y.-post-punk ethos, something that can also be applied to Cash's American Recordings and Will Oldham's early Palace work. It certainly sounds just as revelatory. Of course, none of the above would make much of an impression in merely competent hands. As admirable as it may be as an art project, Los Ángeles is all about Rosalía's voice. No two ways about it: She is exceptional. No familiarity with the genre is required; her instrument is a tornado capable of sweeping away any cultural or language barriers. Even more remarkably, she does not accomplish this with sheer volume or vocal histrionics, but by reaching almost unbearable levels of intensity and expression. Universally hailed in Spain as one of 2017's best albums, Los Ángeles is a stellar debut that signals the appearance of a major talent in both the flamenco and the world music scene. © Mariano Prunes /TiVo
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Pop - Uscito il 28 maggio 2020 | Columbia

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Pop - Uscito il 28 marzo 2019 | Columbia

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Pop - Uscito il 03 luglio 2019 | Columbia

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World music - Uscito il 15 agosto 2019 | Columbia

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Pop - Uscito il 10 febbraio 2017 | Universal Music Spain S.L.

Hi-Res
Flamenco singing -­- the real stuff, not the pop-ified version -- is often raw to the point of discomfort. This astonishing debut from a 23-year-old from Barcelona, on the other hand, manages to retain the music's primal emotion while sounding startlingly vital and accessible. Perhaps surprisingly, considering that Rosalía owes her growing reputation to collaborations with artists from other genres, including hip-hop and trap, Los Ángeles is a dyed-in-the-wool traditionalist flamenco album. As is customary for flamenco singers trying to make their name, Rosalía makes sure to demonstrate her mastery of all the different strands (or palos) of flamenco, such as alegrías, fandangos, tangos, tarantas, and malagueñas, among others. Despite this variety, Los Ángeles was ostensibly designed as a single piece with granite-like production consistency and arrangements as downright austere as the music is deadly serious. Death indeed hovers over almost every single lyric -- most culled from oral tradition or popular folk songs: Loss, murder, domestic abuse, exile, revenge, and suicide. More than just a solo album by Rosalía, however, Los Ángeles is a collaborative effort between the singer and maverick producer/guitarist Raül Refree, who has worked with Sonic Youth's Lee Ranaldo. While taking flamenco recordings and singers from the early 20th century as their points of departure, Rosalía and Refree also sound inspired by Johnny Cash and Rick Rubin's American Recordings series, a connection highlighted by the album's closer, a breathtakingly beautiful version of Will Oldham's "I See a Darkness" (also covered by Cash). In both attitude and sound, Los Ángeles could be considered flamenco with a D.I.Y.-post-punk ethos, something that can also be applied to Cash's American Recordings and Will Oldham's early Palace work. It certainly sounds just as revelatory. Of course, none of the above would make much of an impression in merely competent hands. As admirable as it may be as an art project, Los Ángeles is all about Rosalía's voice. No two ways about it: She is exceptional. No familiarity with the genre is required; her instrument is a tornado capable of sweeping away any cultural or language barriers. Even more remarkably, she does not accomplish this with sheer volume or vocal histrionics, but by reaching almost unbearable levels of intensity and expression. Universally hailed in Spain as one of 2017's best albums, Los Ángeles is a stellar debut that signals the appearance of a major talent in both the flamenco and the world music scene. © Mariano Prunes /TiVo
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Pop - Uscito il 24 marzo 2020 | Columbia

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Pop - Uscito il 30 maggio 2019 | Columbia

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Pop - Uscito il 30 maggio 2018 | Columbia

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Pop - Uscito il 23 gennaio 2020 | Columbia

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Pop - Uscito il 07 novembre 2019 | Columbia

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Flamenco - Uscito il 02 novembre 2017 | Universal Music Spain S.L.

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Generi vari - Uscito il 12 agosto 2016 | Rosalia

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World music - Uscito il 03 marzo 2019 | Bilal Production

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Pop - Uscito il 24 luglio 2018 | Columbia

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World music - Uscito il 21 novembre 2014 | Viking Records

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World music - Uscito il 21 novembre 2014 | Viking Records

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World music - Uscito il 21 novembre 2014 | Viking Records

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Rosalia nella rivista