While touring in support of their Grammy-winning album Mettavolution, Rodrigo Y Gabriela performed the album in full every night at their nearly one hundred shows around the world. Mettavolution Live (also includes new recordings of classic RYG songs) captures a show in Paris at the end of the tour and sees the virtuoso duo operating at the peak of their powers, the perfect balance of melody and metal, fire and finesse, which they have honed over the twenty-plus years of playing together.
Rodrigo y Gabriela are ready to embark on the next chapter of their remarkable story, with the release of their first studio album in 5 years. The new album, Mettavolution, will be released April 26 via ATO Records.
Rodrigo y Gabriela's 9 Dead Alive is their first album of new material in five years. Written, arranged, and co-produced by the pair, they deliberately attempt to forgo the Latin influence in their music in favor of an all-rock (albeit still acoustic) approach – which marks a return to their pre-recording roots in heavy metal. (That they don't entirely succeed is part of what makes 9 Dead Alive so compelling.) Each tune was composed for a different inspiration: authors, philosophers, activists, scientists, and a queen. The set was exquisitely recorded in Mexico by Fermin Vasquez Llera. There isn't a dull moment in these 41 minutes. "The Soundmaker," for 19th century luthier and guitarist Antonio de Torres Jurado, commences with Rodrigo's knotty riff and Gabriela's chugging rhythmic vamp.
Another cinematic episode in the continuing Pirates of the Caribbean franchise means another Hans Zimmer soundtrack…right? Well, yes and no. It's true that Zimmer, with his trademarked European sense of flair, has scored Pirates of the Caribbean 4: On Stranger Tides with his usual orchestra and choir, but there are a couple of twists to make things a tad more interesting. Zimmer, a longtime fan of virtuoso acoustic guitar duo Rodrigo y Gabriela from Mexico, decided to incorporate them into his score, which is rich in Latin and flamenco themes. They are prominently featured on no less than five cues here…
For a long time, a large portion of Handel’s early opera Rodrigo was thought to have been lost. It was not until 1974 that the printed libretto turned up again and nine years later the third act was found in the Earl of Shaftesbury’s Handel collection. On August 29, 1984, finally, the work was revived during the Innsbruck Festival of Early Music and in 2019 it’s on the programme at the Göttingen International Handel Festival. The opera narrates a freely adapted version of the end to the regency of the Last Visigoth King Roderich. In the libretto by Francesco Silvani, however, the reason behind it is less the lust for power on the part of his opponents than the thirst for vengeance of his spurned mistress. It was back in 1707 in Rome that George Frideric Handel wrote Rodrigo.