Visions
by Yamila
Being Material
Brad Rose
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Suspended In Light
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Visions II
04:40
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Visions III
06:09
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Visions IV
08:16
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Visions V
07:52
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Visions VI
03:41
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Visions VII
06:02
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about
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Vinyl LP: umor-rex.com
Blue LP limited edition & gatefold jackets
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Yamila reveals her most intimate catharsis in Visions, an album that brings together and provokes the hallucinatory powers of music. Like an ancient herald, she announces the profound feminine mystique while crossing epic melodies full of pleasure and pain. This album is a journey that prodigiously unites baroque accents, Spanish folklore –such as flamenco– and contemporary electronic music.
Her voice and music –sometimes torn and others buoyant– could resemble the score for a biblical passage (ie. visions of the Apocalypse), for they are overflowing with physical ecstasy and sounds that one can touch. Visions is composed of different forms and rhythms. Pieces like "Visions V" evolve intensely with sharp and systematized hits ––powerful layers that bring us closer to Alessando Cortini's Forse era. "Visions II", for its part, shares intensity and power with flamenco ritual patterns, as if it were an old Andalusian scene dripping with oscillations and electric shocks. Yet there are luminous vocal pieces such as "Visions I" (featuring Rafael Anton Irisarri), inspired by Manuel de Falla's Suite Española composed in 1922. Here, an aural chiaroscuro with beautiful voices and choirs is deeply fused with daring drones. And it is in the ensemble of moments of Visions where Yamila's conceptual axis is rendered solid. Pain and glory, lacerating religiosity, feminism cauterized by power, and hallucinations as a source (or pretext/tool) to be heard.
Yamila exhibits a profuse aesthetic with her music that calls for a look at the far-past with romanticism and nostalgia. Visions is radiant, intense. A unique album.
Vinyl LP: umor-rex.com
Blue LP limited edition & gatefold jackets
—
Yamila reveals her most intimate catharsis in Visions, an album that brings together and provokes the hallucinatory powers of music. Like an ancient herald, she announces the profound feminine mystique while crossing epic melodies full of pleasure and pain. This album is a journey that prodigiously unites baroque accents, Spanish folklore –such as flamenco– and contemporary electronic music.
Her voice and music –sometimes torn and others buoyant– could resemble the score for a biblical passage (ie. visions of the Apocalypse), for they are overflowing with physical ecstasy and sounds that one can touch. Visions is composed of different forms and rhythms. Pieces like "Visions V" evolve intensely with sharp and systematized hits ––powerful layers that bring us closer to Alessando Cortini's Forse era. "Visions II", for its part, shares intensity and power with flamenco ritual patterns, as if it were an old Andalusian scene dripping with oscillations and electric shocks. Yet there are luminous vocal pieces such as "Visions I" (featuring Rafael Anton Irisarri), inspired by Manuel de Falla's Suite Española composed in 1922. Here, an aural chiaroscuro with beautiful voices and choirs is deeply fused with daring drones. And it is in the ensemble of moments of Visions where Yamila's conceptual axis is rendered solid. Pain and glory, lacerating religiosity, feminism cauterized by power, and hallucinations as a source (or pretext/tool) to be heard.
Yamila exhibits a profuse aesthetic with her music that calls for a look at the far-past with romanticism and nostalgia. Visions is radiant, intense. A unique album.
credits
released July 1, 2022
All songs written and performed by Yamila Ríos (Spain), except “Visions I”, which features Rafael Anton Irisarri. Recorded between the Swedish winter and the Belgian countryside. Additional musicians: Simbad guitar on V-IV and V-I, Vera Cavallin harp on VIV. Mastered by Rafael Anton Irisarri at Black Knoll Studio. NY. Photos by Virginia Rota in Madrid. Design by Daniel Castrejón in Mexico City.
All songs written and performed by Yamila Ríos (Spain), except “Visions I”, which features Rafael Anton Irisarri. Recorded between the Swedish winter and the Belgian countryside. Additional musicians: Simbad guitar on V-IV and V-I, Vera Cavallin harp on VIV. Mastered by Rafael Anton Irisarri at Black Knoll Studio. NY. Photos by Virginia Rota in Madrid. Design by Daniel Castrejón in Mexico City.
license
all rights reserved
tags
discography
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Jun 2023 -
Apr 2023 -
Nov 2022 -
Sep 2022
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I first listened through this a couple years ago, and I don't know why I hadn't bought it until now. Regardless, I think everyone should listen through this in its entirety at least once, the best way I can describe it is beautifully haunting. I'm sure my favorite track will keep changing forever, too.
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Something so raw and vulnerable about this album connects with me on a visceral level. There’s deep beauty within the sadness. Thank you.
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by J.LynchJ.Lynch (aka Thirty Pounds of Bone) plays with organic elements, including prepared piano, against electronics to impressionistic effect.
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The 17 mindbending songs on this compilation represent minimalist experimental music at its best, a collage of blips and static.
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Written and recorded on a reed organ, “HULDA” is a haunting work of sustained drone that is simultaneously soothing & unsettling.
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supported by 9 fans who also own “Visions”
the sobbing man sample (?) in 'craze' killed me
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