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Devendra Banhart, Nino Rojo
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Elle | by Leigh BelzblurbYou heard it here first: Folk is back in a big way with…Devendra Banhart’s sparkling second album, Nino Rojo…Banhart takes his sound in a quirkier direction, with jaunty, Paul Simon-esque melodies....
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DEVENDRA BANHART, "NINO ROJO"
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Brainwashed | by Jonathan Dean a joyful, magical work of unrestrained creativityJust as Rejoicing in the Hands of the Golden Empress represented the maternal principle, Nino Rojo represents the principle of the child. Following in a line of primal symbolism going back to the Egyptian deity Horus ("the crowned and conquering child"), the title depends upon that fundamental consonance between Sun and Son. The "red sun" disc of the Eye of Horus, casting the light of knowledge upon mankind; and the "red son" of Banhart's title, an "exuberant and foolish" child full of passion and curiosity. This symbolic conceit works to unite these two halves of the same generative source. Nino Rojo comprises a second volume of 16 songs from the same fruitful recording sessions that produced Rejoicing, and far from a collection of outtakes or castoffs, represents another stunning album from one of the most uniquely talented individuals currently working in this medium. As if to enforce the frolicsome exuberance suggested by the album's title, the songs here focus on energy, dynamism and the spirit of communal play. To that end, many of these tracks are more orchestrated than I'd come to expect from past albums, with guest players......
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Devendra Banhart, Nino Rojo
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BlenderQuote It's Banhart's gift for melody that ultimately carries the day. [Nov 2004, p.128]...
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Devendra Banhart, Nino Rojo
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Elle | by Leigh BelzblurbYou heard it here first: Folk is back in a big way with…Devendra Banhart’s sparkling second album, Nino Rojo…Banhart takes his sound in a quirkier direction, with jaunty, Paul Simon-esque melodies....
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DEVENDRA BANHART – Nino Rojo
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Jersey Beat | by James McQuistonDevendra’s music is arranged with the most careful of hands“Ay Mama†has a double-harmonized set of vocals work magic alongside sweetly-wrought instruments. However, there are moments on Nino Rojo where Devendra creates a style of music that still feels a little hollow, music that could use more percussion, specifically “We All Knowâ€. The oscillations in Banhart’s voice would be perfectly coupled with some simple foot-stomping added to the choice, and the album version relaying purely on a distorted cymbal and brass only portend a minor amount of the amazing possibilities of the track. Some tracks are specifically crafted for a child’s audience, including “Little Yellow Spiderâ€, which could be recreated by a class of kindergartners for a more impressive sound. It comes time and time again that Banhart’s voice just does not have the power or energy to pull this album, and eir’s continued insistence on being the primary vocalist on the disc holds this album back. It is only when Devendra picks up a second vocalist to supplement eir’s own voice in a track like “At The Hop†where the disc finally has a full feeling that it seriously lacks. Devendra’s music is arranged......