Right to Music

  • Get into Fabriks’ Premiere Music Video for “Future Eyes”

      I got the chance to speak with Eleanor Lucille of dreampop duo Fabriks, who just released their first music video, “Future Eyes”, on Tuesday April 11th. Fabriks is composed of Eleanor Lucille (lead vocals/keyboard) and

    April 13, 2017 • Right to Music, Uncategorized • Views: 3279

  • A Sacred Space in the Coachella Valley Arts and Music Festival

    There’s a social experiment breeding in the heart of Coachella Valley Arts and Music Festival campground’s. Even for the misanthropes yearning to overlook the festival’s conglomerate of celebrityism and Ista-photo opps,

    April 28, 2016 • Right to Music • Views: 3751

  • As I Hear It Vol. #5

    Faimkills – Manic Pixie Dream Girl Being single in the modern age has become quite a complex ordeal. While many modern singletons shift from the traditional monogamous structure of a relationship to experimenting with

    April 13, 2016 • Right To Culture, Right to Music • Views: 5204

  • As I Hear It Vol. #4

    El Haru Kuroi – 192192192 Navigating through the past, present and future, El Haru Kuroi lands their third coming full length 192192192, in a musical realm of both the familiar and foreign. The inventive composition invites

    February 6, 2016 • Right to Music • Views: 4145

  • As I Hear It Vol.#3

    Fool’s Gold – Flying Lessons Winged right out of The City of Angels, Fools Gold steers far and wide in their third release Flying Lessons. Though it has been a diverse journey, the group recalls borrowed rhythms and styles as

    August 11, 2015 • Right to Music • Views: 3871

  • Stuck In Time: How GZA Inspired Me To Take It Slow

    You may have noticed that out on the dance floor time seems to skip by, yet when you’re sitting in class (especially one you don’t like) it creeps ever so slow. In fact that’s how it seems a lot of our activities go; the

    July 28, 2015 • Right To Culture, Right to Music, Right to Verse • Views: 3340

  • As I Hear It Vol.#2

    Ibeyi – ST

    If the soul had an echo, the debut self-titled album by Ibeyi, may reveal such phenomena. Ibeyi, translating, as ‘twins’ in Yoruba, a Nigerian dialect, are Cuban/French twins, Naomi and Lisa-Kaindé Díaz. Though only 20 years old, the sisters express much age and culture within their release. Of course, this can’t go without noting the two are direct kin of Miguel “Angá” Díaz, the late Cuban/Yoruban conguero of Irakere and Buena Vista Social Club. However, the girls’ talent’s ring strongly independent as they fuse both modern electronic, hip-hop, pop arrangements with traditional instrumentation and rhythms.

    The girls dig right into their deep-rooted history with the intro Eleggua. The piano strikes a single B natural ring, as the duo chant a prayer sung in Yoruba. One can read this track as homage to the Orishi, inviting the blessing of unpredictable journeys, or extend further relations to the spirit addressed in such harmonies, as Eleggua also relays a secondary identity in Latin culture as the Holy Child.

    The album carries a Bjork-esk sense of production, but stays true to rich cultural explorations, as we hear in Oya. Evoking another Orishi, the girls reflect on the tangibility of mystery and readdress the notion of journey with such a reference, as Oya, literally translates to “She Tore.” Perhaps relating to the tear in the Niger River, going in nine directions, as the folktale behind the Oya mother suggests. The lyrics move between English and French unfolding the possibilities.

    Continuing to utilize piano, cajón and the Batá drum, Ghost, a particular favorite, seems a bit more revealing of the artists, recalling a true expression of our time, declaring English lyrics and asking “Should we just let it be?” I don’t believe this to be a rhetorical question, but almost a direct reflection of history repeating itself, as they end the title in their Nigerian tongue.

    The aquatic flow of the album continues with River and Think of You, sparse folk-praises echoing hip-hop like samples and jazz breaks, delivering worship addressing the Orishi directly. The dark chords ring ceremonial, and relive the spirit.

    The full length hits heaviest when the girls speak of their parents. The piano motif in Mama Says, rings very Cuban, reminiscent of a slow mambo arpeggios in an earlier Havana. The mature tone empathizes with a woman whose lost love, and refuses to grow.  Maturity further recedes in Faithful to self-titled track Ibeyi, fusing minor chords and striking mixtures of production like that of french ballad and Cubano bolero in melody choice. Weighing subtle electronic backbeats and jazzy transitions the song carry seamless transitions between diminishment and cadence. There is a rich French-pop sub sound overlying the albums mastery, ringing similar to Michel Legrand and Emiliana Torrini styles.

    However, one does not have to be musically schooled to appreciate the solemness in Ibeyi’s music. The spirituality of the release remains pronounced in both harmonies and subjectivity and invites the listener to engage emotionally. For an open ear, the whole work makes for an exciting journey through an array of tongues and tones as Naomi and Lisa-Kaindé Díaz have truly opened a door for anew-musical culture to come.

    July 21, 2015 • Right to Music • Views: 2982

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  • Tastes for Taste: July

    As writers, we clearly have a lot to say, but where do you think our ideas come from? Tastes For Taste reveals a glimpse of things month by month that keep us inspired, whether it be a song we heard of or a restaurant we ate at.

    June 22, 2015 • Right To Culture, Right to Music, Right to Society • Views: 3385

  • As I Hear It Vol.#1

    As  I  Hear  It  Vol.  1  By  Eleanor  Lucille  Gomez QUITAPENAS  -­S/T   QUITAPENAS,  one  word  all  caps,  four  syllables  all  claps,  just  to  give  you  a  taste  of  rhythmic  contagion

    March 5, 2015 • Right to Music • Views: 11927