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Argentinean singer-songwriter
Juana Molina, who had already
released the modest collection of Rara (1996) when she was mainly
a television actress,
found her calling in the new century, coining a personal form of
bedroom folktronica for voice, guitar, electronics and percussion.
Electronic effects permeated Segundo (2003), with two songs over seven
minutes long, and Tres Cosas (2004)
to the point that they (the effects) became the protagonists of the stories, and the ethereal ambience became the ultimate meaning of those stories.
Molina sounded something like a calmer Diamanda Galas, a colder Bjork and a happier Lisa Germano.
Despite Hay Que Ver Si Voy (8:29) and Un Beso Llega (7:18),
Son (2006) was a more corporeal and organic album, almost a return
to the format of the pop song.
Un Dia (2008) was at the same time
more intimate, more abstract and more hypnotic. Its emotional core was
constituted by the three longest pieces:
Lo Dejamos (7:31),
Los Hongos De Marosa (7:27) and
Quien (7:22),
with the voice increasingly turning into an instrument and the rhythms increasingly turning into a voice.
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