Juana Molina - Un Dia reviews
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| Allmusic |
 Juana Molina's sound is so precious and rare that tampering with the formula is akin to tearing down a singular example of great architecture, or witnessing the extinction of a rare and beautiful animal. Fortunately, Un Dia is immediately recognizable as a Juana Molina album. Yes, there are slight differences between this and her previous work, but fortunately, she's still retained most of what made her special in the past. In place are the gentle but propulsive vocal-based rhythms, the airy feel to the proceedings, and the occasional chirping polyharmonies. Also present (and appreciated) is the fine balance between organic instruments (wood, metal) and post-production processing (delays, distortion) that makes her records sound as experimental as Björk's but much more inviting. Differences appear, however, in the hypnotic rhythm that powers several songs with a driving energy. If her breakout albums, 2000's Segundo and 2002's Tres Cosas, were so diaphanous that they threatened to dematerialize altogether, Un Dia makes rhythm a central proposition, sometimes so machine-like that she approaches techno (albeit, techno from the standpoint of an Argentinean obsessed with native instruments)....full text |
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| Tinymixtapes |
Read a couple reviews of Juana Molina’s previous albums and count how many times the words “ambient” and “folk” turn up. One critic even hyphenated them. But “ambient” implies mood or environment music, music with the function of decoration. Un Dia does set a mood and create an environment, but it demands the ear’s attention and defies reduction to function. And “folk” is, at best, a term with multiple meanings. In America and about American artists, it has come to mean consciously trad-oriented music with artistic emphasis on subject. About foreign artists, however, it usually means any music whose influences aren’t Anglophone.
But there’s nothing traditional about elaborate vocal collage or about the acid loops in “¿Quién?” or the drones in “El Vistado.” Un Dia is not remotely folk music — at least, it’s no more folk than were the many South American jazz musicians of previous eras who happened to use native percussion styles. Instead, Un Dia seems to fit in with an emerging and as-yet unarticulated genre of electronic or loop music, one that forgoes the futurist trappings of techno and electro in favor of eclecticism and a deliberately “organic” setting....full text |
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| Rollingstone |
| Imagine if Tina Fey quit comedy and sang electronics-based folk songs. That's the path Juana Molina took more than 10 years ago in her native Argentina, leaving her job as a TV comedian to pursue experimental folk. Her fifth disc is her most adventurous, combining avant-garde vocals with the atmospherics of Portishead and My Bloody Valentine. With looped guitar, hypnotic percussion and a bit of feedback, the title track sounds like two songs playing at once. The centerpiece is a trio that includes "Los Hongos de Marosa," built on lopsided harmonies, coiling keyboards and Middle Eastern textures. But like Brian Wilson or Kevin Shields, Molina pulls off the most out-there material with melodies nearly as accessible as conventional pop....full text |
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