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Devendra Banhart review
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Bleachzine.comRead the story here:Bleachzine.com...
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Banhart hones his songwriting with 'Rojo'
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Michigan Daily | by Evan MacKinderRating: 3 and 1/2 out of 5 starsDevendra Banhart’s records have always acted as a soundtrack to the beauty of nature. His first release of 2004, the enigmatic, free-folk cornerstone Rejoicing in the Hands carried song titles like “Tit Smoking in the Temple of Artesan Mimicry,†and introduced themes of naturalism and modernity into Banhart’s canon. “Ticks Eat the Olives,†the opening track to Banhart’s first record Oh Me Oh My, introduced the singer/songwriter to the underground folk scene with a swirling, lyrically abstract song about tear-spawned olives that are devoured by ticks, which originate in the back of the human head. Banhart’s third release, Nino Rojo, continues his obtuse lyricism — which has catapulted Banhart to the peak of today’s folk scene — yet is, in many ways, unique from its predecessors. His trademarked lyrics are now juxtaposed with a welcomed shadow of instrumentaion which was introduced with his folk stylings. “Wake Up Little Sparrow†introduces Rojo as a record rooted in typical folk fashion with its sole finger-picked guitar. The album quickly builds from there as Banhart incorporates horns to play a backdrop in tracks like “Ay Mama†and “We All Know.†Banhart’s......
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Devendra Banhart, Nino Rojo
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Evil Sponge | by Mr PharmacistNino Rojo continues Banhart's idiot savant creative streakThe idea of the crazed, fringe artist is alive and well in our new friend Devendra Banhart. From images of trickster minstrels carved on ancient cave walls to current copies like Robyn Hitchcock, we love the idea of musicians as nutjobs. There's a bigger history to this. Crazy people are supposed to speak the truth. They see more than us normal folk, limited as we are by reality and a need for good hygiene. But, they are a cipher for realms beyond the ordinary. They are a cure for Pat Boone and boy bands. Our music eccentrics are expected to deliver the cosmic goods. What to make of the neophyte member of the oddball club, Mr. Banhart? Nino Rojo, his third release on Young God Records, provides a few answers. From the crazy album art (self conscious attempts at replicating the scribblings of a schizophrenic) to the vulnerable warble to the childlike yet cracked psychosexual musings that make up the lyrics as well as the sparse accompaniment, Banhart's third album seems a lot like the second, Rejoicing in the Hands. This isn't too surprising, since both albums are......
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Devendra Banhart review
()
Bleachzine.comRead the story here:Bleachzine.com...
-
Banhart hones his songwriting with 'Rojo'
()
Michigan Daily | by Evan MacKinderRating: 3 and 1/2 out of 5 starsDevendra Banhart’s records have always acted as a soundtrack to the beauty of nature. His first release of 2004, the enigmatic, free-folk cornerstone Rejoicing in the Hands carried song titles like “Tit Smoking in the Temple of Artesan Mimicry,†and introduced themes of naturalism and modernity into Banhart’s canon. “Ticks Eat the Olives,†the opening track to Banhart’s first record Oh Me Oh My, introduced the singer/songwriter to the underground folk scene with a swirling, lyrically abstract song about tear-spawned olives that are devoured by ticks, which originate in the back of the human head. Banhart’s third release, Nino Rojo, continues his obtuse lyricism — which has catapulted Banhart to the peak of today’s folk scene — yet is, in many ways, unique from its predecessors. His trademarked lyrics are now juxtaposed with a welcomed shadow of instrumentaion which was introduced with his folk stylings. “Wake Up Little Sparrow†introduces Rojo as a record rooted in typical folk fashion with its sole finger-picked guitar. The album quickly builds from there as Banhart incorporates horns to play a backdrop in tracks like “Ay Mama†and “We All Know.†Banhart’s......