Los Deltonos

As the first album the band recorded after guitarist Henry Garza suffered a serious spinal injury when he fell off-stage during a concert, 2014's Revelation finds Los Lonely Boys revitalized. The Texan trio has never been constrained by genre, but here they let their imagination wild, dabbling in every sound or style that's ever tickled their fancy, easing into proceedings with a teasing bit of traditional Tex-Mex – "Blame It on Love" opens with little more than guitar, accordion, and voice – before diving into every roots or rock style they've ever hinted at in the past.

Given all the extracurricular projects members of Los Lobos pursued during the three years separating Colossal Head and its followup, it's not surprising that they've decided to show off what they've learned on This Time, resulting in a record that vacillates between songcraft and sonic sculptures. It could be said that Kiko and Colassal Head were like this as well, but the difference is that This Time has the structure of a straight-ahead rock & roll record, clocking in at 38 minutes with 11 short tracks. While that conciseness is welcome, it also points out the flaws in the post-Latin Playboys Los Lobos – Cesar Rosas' fine rockers are obscured by a layer of studio gauze, and David Hidalgo's songs can seem like excuses to run wild in the studio…

Gustavo Dudamel and the Los Angeles Philharmonic’s revelatory interpretation of Gustav Mahler’s Symphony No. 8, recorded live at Walt Disney Concert Hall (30/31 May & 2 June 2019) will be released in June 2021. Their new album documents a landmark performance that brought the LA Philharmonic’s centennial season to a triumphant conclusion in 2019. Mahler’s extraordinary ‘Symphony of a Thousand’ spans a universe of emotions, channeled through everything from passages of intimate reflection to overwhelming outbursts of choral and orchestral sound.

Nothing could be more appropriate in celebrating Victoria de los Angeles’s 75th birthday than this extensive conspectus of her recordings of Spanish song over 40 years. It’s hardly possible in a brief review to do justice to such an astonishing achievement on the part of the Spanish soprano; indeed had she sung nothing else her place in recorded history would be assured.

This album contains a collection of works from the Seicento, most of them well known and recorded several times, although it also includes a composition (Cazzati’s La Verità sprezzata) that is little or not very often heard. It is a repertoire to which we have usually devoted ourselves. That is why we wanted to propose our own way of doing it, in all honesty and avoiding fashions and artifice, without pretentiousness, respecting only the rhetorical —and dramatic— discourse implicit in the texts and their setting to music, fleeing from affectation —but not from affetti— and unquestioned customs, taking advantage of the information provided by musicological research, making use of our intuition and experience, and also remembering the teaching we have received from our old masters. Inspired by Ripa’s allegory and by the idea of truth as άλήθεια or unveiling of the self that is hidden by the veil of appearance, we have endowed our performance with a certain natural simplicity, a deliberate nakedness, especially in moments of particular emotional intensity.

The four-piece band exude all the chintzy glamour of a hyper-stylised ’70s B-movie: its members hail from across the globe (Uruguay, Australia, Sweden, London), style themselves like mid-century French chanteuses and are mainly here to vibe-out, man. But their debut album is seriously captivating: a breezy, all-instrumental tour through retro global psychedelia, from cumbia to Turkish psych to scuzzy surf-rock, furnished by vintage synths and produced by Franz Ferdinand’s Alex Kapranos. These are adventurous, evocative jams, calling to mind spaghetti western standoffs and oversized margaritas; there’s also an homage to Lindsay Lohan’s VIP beach resort, naturally (“Lindsay Goes to Mykonos”).

These albums aims to provide a selection of some of the most representative classic of world music, as well as a selection of recent successes, universalized in version "World". This denomination, we have baptized for the occasion as "La Musica De Los Dioses" (The Music of the Gods), provides a spectrum of influences, whose origins are in the most remote places on earth. Sounds, percussion and voices of the Amazon jungles, islands of Borneo and Indonesia or multiple regions of Africa converge here with influences from very different cultures and current rates.