Tarta Relena
És pregunta
Boomkat Product Review:
Inventive retro-futurist reframing of Mediterranean folk tradition by Catalan vocal duo Helena Ros Redon & Marta Torella i Martínez, pruning and twisting aspects of flamenco, liturgical chants and folk arcana in ways comparable to Christos Chondropoulos, Sissi Rada, Marina Herlop, Mabe Fratti.
In the shimmering wake of Latency’s aces by Nídia & Valentina Magaletti and TLF Trio with Moritz Von Oswald, the duo Tarta Relena sustain the label’s variegated fecund streak with a fascinating suite that elegantly, and rudely, hops between enchanted ambient recalling Enya x C93 in a gorgeous opener, to passages of ruggeder folk dance in ‘Mano décima’ and CPU processed plainchant ’Tuba mirum’ on a striking 2nd album.
‘És pregunta’ arrives five years after the pair’s first single to betray a poised confidence in their vision, perhaps attributable to honing their sound across renowned performances at Sónar, Le Guess Who?, Mutek, Big Ears, and Primavera Sound, where their classical folk theatrics and dramaturgy was elevated with theuse of ceramic amphora in smart attempts to renew the notion of folk as living tradition ready to be factored into the future, not placed behind glass and gatekept by stuffy auld curmudgeons.
Drawing explicit influence from myriad Mediterranean folk styles as much as Georgian choral laments and the mysticism of Hildegard von Bingen, the ladies use a mix of contemporary electronics hinting at Arabic North African autotune applications, and the vernacular of modern avant dance musicks, to tell ancient, tragic and romantic tales with a new voice.
OK, it’s still maybe a bit more trad than, say, EVOL’s Roc mutating making as a modern Catalan folk, for example (which still seems a bit beyond the pale for many), but does hit a certain pleasure centre somewhere between the evocative melodicism of standout Greek artists Christos Chondropoulos or Sissi Rada, and how deep rooted traditions have been mutated in translation by the radical processes of Marina Herlop’s works for PAN, and even surfaced far away in Guatemalan artist Mabe Fratti’s Latin-diasporic chamber pop.
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Boomkat Product Review:
Inventive retro-futurist reframing of Mediterranean folk tradition by Catalan vocal duo Helena Ros Redon & Marta Torella i Martínez, pruning and twisting aspects of flamenco, liturgical chants and folk arcana in ways comparable to Christos Chondropoulos, Sissi Rada, Marina Herlop, Mabe Fratti.
In the shimmering wake of Latency’s aces by Nídia & Valentina Magaletti and TLF Trio with Moritz Von Oswald, the duo Tarta Relena sustain the label’s variegated fecund streak with a fascinating suite that elegantly, and rudely, hops between enchanted ambient recalling Enya x C93 in a gorgeous opener, to passages of ruggeder folk dance in ‘Mano décima’ and CPU processed plainchant ’Tuba mirum’ on a striking 2nd album.
‘És pregunta’ arrives five years after the pair’s first single to betray a poised confidence in their vision, perhaps attributable to honing their sound across renowned performances at Sónar, Le Guess Who?, Mutek, Big Ears, and Primavera Sound, where their classical folk theatrics and dramaturgy was elevated with theuse of ceramic amphora in smart attempts to renew the notion of folk as living tradition ready to be factored into the future, not placed behind glass and gatekept by stuffy auld curmudgeons.
Drawing explicit influence from myriad Mediterranean folk styles as much as Georgian choral laments and the mysticism of Hildegard von Bingen, the ladies use a mix of contemporary electronics hinting at Arabic North African autotune applications, and the vernacular of modern avant dance musicks, to tell ancient, tragic and romantic tales with a new voice.
OK, it’s still maybe a bit more trad than, say, EVOL’s Roc mutating making as a modern Catalan folk, for example (which still seems a bit beyond the pale for many), but does hit a certain pleasure centre somewhere between the evocative melodicism of standout Greek artists Christos Chondropoulos or Sissi Rada, and how deep rooted traditions have been mutated in translation by the radical processes of Marina Herlop’s works for PAN, and even surfaced far away in Guatemalan artist Mabe Fratti’s Latin-diasporic chamber pop.
Boomkat Product Review:
Inventive retro-futurist reframing of Mediterranean folk tradition by Catalan vocal duo Helena Ros Redon & Marta Torella i Martínez, pruning and twisting aspects of flamenco, liturgical chants and folk arcana in ways comparable to Christos Chondropoulos, Sissi Rada, Marina Herlop, Mabe Fratti.
In the shimmering wake of Latency’s aces by Nídia & Valentina Magaletti and TLF Trio with Moritz Von Oswald, the duo Tarta Relena sustain the label’s variegated fecund streak with a fascinating suite that elegantly, and rudely, hops between enchanted ambient recalling Enya x C93 in a gorgeous opener, to passages of ruggeder folk dance in ‘Mano décima’ and CPU processed plainchant ’Tuba mirum’ on a striking 2nd album.
‘És pregunta’ arrives five years after the pair’s first single to betray a poised confidence in their vision, perhaps attributable to honing their sound across renowned performances at Sónar, Le Guess Who?, Mutek, Big Ears, and Primavera Sound, where their classical folk theatrics and dramaturgy was elevated with theuse of ceramic amphora in smart attempts to renew the notion of folk as living tradition ready to be factored into the future, not placed behind glass and gatekept by stuffy auld curmudgeons.
Drawing explicit influence from myriad Mediterranean folk styles as much as Georgian choral laments and the mysticism of Hildegard von Bingen, the ladies use a mix of contemporary electronics hinting at Arabic North African autotune applications, and the vernacular of modern avant dance musicks, to tell ancient, tragic and romantic tales with a new voice.
OK, it’s still maybe a bit more trad than, say, EVOL’s Roc mutating making as a modern Catalan folk, for example (which still seems a bit beyond the pale for many), but does hit a certain pleasure centre somewhere between the evocative melodicism of standout Greek artists Christos Chondropoulos or Sissi Rada, and how deep rooted traditions have been mutated in translation by the radical processes of Marina Herlop’s works for PAN, and even surfaced far away in Guatemalan artist Mabe Fratti’s Latin-diasporic chamber pop.
Boomkat Product Review:
Inventive retro-futurist reframing of Mediterranean folk tradition by Catalan vocal duo Helena Ros Redon & Marta Torella i Martínez, pruning and twisting aspects of flamenco, liturgical chants and folk arcana in ways comparable to Christos Chondropoulos, Sissi Rada, Marina Herlop, Mabe Fratti.
In the shimmering wake of Latency’s aces by Nídia & Valentina Magaletti and TLF Trio with Moritz Von Oswald, the duo Tarta Relena sustain the label’s variegated fecund streak with a fascinating suite that elegantly, and rudely, hops between enchanted ambient recalling Enya x C93 in a gorgeous opener, to passages of ruggeder folk dance in ‘Mano décima’ and CPU processed plainchant ’Tuba mirum’ on a striking 2nd album.
‘És pregunta’ arrives five years after the pair’s first single to betray a poised confidence in their vision, perhaps attributable to honing their sound across renowned performances at Sónar, Le Guess Who?, Mutek, Big Ears, and Primavera Sound, where their classical folk theatrics and dramaturgy was elevated with theuse of ceramic amphora in smart attempts to renew the notion of folk as living tradition ready to be factored into the future, not placed behind glass and gatekept by stuffy auld curmudgeons.
Drawing explicit influence from myriad Mediterranean folk styles as much as Georgian choral laments and the mysticism of Hildegard von Bingen, the ladies use a mix of contemporary electronics hinting at Arabic North African autotune applications, and the vernacular of modern avant dance musicks, to tell ancient, tragic and romantic tales with a new voice.
OK, it’s still maybe a bit more trad than, say, EVOL’s Roc mutating making as a modern Catalan folk, for example (which still seems a bit beyond the pale for many), but does hit a certain pleasure centre somewhere between the evocative melodicism of standout Greek artists Christos Chondropoulos or Sissi Rada, and how deep rooted traditions have been mutated in translation by the radical processes of Marina Herlop’s works for PAN, and even surfaced far away in Guatemalan artist Mabe Fratti’s Latin-diasporic chamber pop.
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