Mi Loco Tango - Del Diablo Y Del Angel - 2009 - ETHNiC

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ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
Û . ³² Û
Û . ³² Mi Loco Tango - Del Diablo Y Del Angel
Û . ³² Û
ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
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...³±.............RELEASE_INFOs. . .
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ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
Û . ³² Û
Û . ³² Ü Artist........: Mi Loco Tango Ü Supplier......: ETHNiC Û
Û . ³² Ü Title.........: Del Diablo Y Del Angel Ü Ripper........: ETHNiC Û
Û . ³² Ü Rlz date......: 2010-02-03 Ü Size .........: 86,8 MBb Û
Û . ³² Ü Quality.......: VBRkbps / Joint-Stereo Ü Playtime......: 69:28 min Û
Û . ³² Ü Genre.........: Tango Û
Û . ³² Ü Year..........: 2009 Ü Source........: CDDA Û
Û . ³² Ü Grabber.......: EAC Ü Encoder.......: LAME Û
Û . ³² Ü Label.........: Zama Recordings Ü Cat.num...... : n/a Û
Û . ³² Û
ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
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...³±.............TRACKs_LIST. . . .
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ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
Û . ³² Û
Û . ³² 01 - Adios Nonino [05:26] Û
Û . ³² 02 - Introduccion Al Angel [04:43] Û
Û . ³² 03 - Milonga Del Angel [06:07] Û
Û . ³² 04 - La Muerta Del Angel [02:59] Û
Û . ³² 05 - La Resurreccion Del Angel [06:57] Û
Û . ³² 06 - El Tango [06:48] Û
Û . ³² 07 - Mumuki [09:30] Û
Û . ³² 08 - Tango Del Diablo [03:54] Û
Û . ³² 09 - Romance Del Diablo [05:44] Û
Û . ³² 10 - Vayamos Al Diablo [02:14] Û
Û . ³² 11 - Contrabajisimo [10:35] Û
Û . ³² 12 - Casapueblo [04:31] Û
Û . ³² ÄÄÄÄÄÄÄ Û
Û . ³² 69:28 Min Û
Û . ³² 86,8 Mb Û
Û . ³² Û
ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
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...³±..........RIPPER_NOTEs... . . .
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Û . ³² Û
Û . ³² http://www.amazon.com/Del-Diablo-y-d...ef=sr_1_2?ie=U Û
Û . ³² TF8&s=music&qid=1265204822&sr=1-2 Û
Û . ³² Û
Û . ³² These two expertly executed releases from Frankfurt-based quartet Mi Loco Û
Û . ³² Tango exemplify the performative nature of the tango. It is a dance, yes, Û
Û . ³² but the drama inherent in it can be conveyed aurally alone. Similarly, the Û
Û . ³² realm of film score can so often be over-egged in execution (witness the Û
Û . ³² totally charmless, vaudevillian villainy of the Spaghetti Western Û
Û . ³² Orchestra for more information), and it is certainly an often-ignored Û
Û . ³² problem to get it just right. Fortunately, the majority of these Mi Loco Û
Û . ³² Tango recordings do very well indeed. Û
Û . ³² Û
Û . ³² Del Diablo Y Del Angel is an exploration of the works of Argentinean Û
Û . ³² composer Astor Piazzolla—the prime exponent of the tango nuevo, such as it Û
Û . ³² was in the 20th century. He was exposed to generations of what you might Û
Û . ³² term analytical music—Neo-Classicists of the West and so forth—but twisted Û
Û . ³² the merest of those influences into a vibrant, eclectic and, above all, Û
Û . ³² living tango oeuvre. Û
Û . ³² Û
Û . ³² Indeed, living and dying is the preoccupation of Del Diablo Y Del Angel Û
Û . ³² (The Devil and the Angel). The siren-like violin lines of “Adios Nonino” Û
Û . ³² provide a masterful counterbalance to the business of the accordion, the Û
Û . ³² lines of which almost refuse to conform to complete melodic sense—a Û
Û . ³² delicious conceit on the part of the composer. Similarly, the piano (which Û
Û . ³² was by no means Piazzolla’s instrument) on “La Resurrection Del Angel” Û
Û . ³² rumbles in a menacing, Grieg-like lower register, more a textural effect Û
Û . ³² than a melodic device. Again, the corresponding lines in the violin and Û
Û . ³² accordion provide that much-needed focus. Û
Û . ³² Û
Û . ³² It’s as if the restriction of a quartet makes the music as expressive as Û
Û . ³² it is, and Mi Loco Tango do a fine job of accentuating the nuances to Û
Û . ³² their most effective ends. Aside from their musical forays, the bizarre Û
Û . ³² German monologue that accompanies “El Tango” is actually strangely fitting Û
Û . ³² and evocative, even if the initial shock is uncomfortable. These players Û
Û . ³² are fit, sharp, and attuned to the barest meanings of the piece at hand. Û
Û . ³² Û
Û . ³² When they turn their hands to film scores, though, is that attention to Û
Û . ³² detail handled in the same way? The love that has clearly gone into Û
Û . ³² recording and arranging doesn’t quite translate to the all-encompassing Û
Û . ³² musical effect they gun for, but more often than not this isn’t a terrible Û
Û . ³² cross to bear. In particular, and perhaps by virtue of being one of the Û
Û . ³² better-known pieces, their interpretation of Morricone’s “The Good, the Û
Û . ³² Bad & the Ugly” suffers most from a lack of expansion. It is incredibly Û
Û . ³² ornate, but it doesn’t have the solemnity of the original. Û
Û . ³² Û
Û . ³² Still, the remainder are efficient, innovative, and beautifully executed Û
Û . ³² pieces. From the likes of “Cinema Paradiso” to “8½”, their craft is Û
Û . ³² superb. The interpretations, though, suffer slightly by the nature of the Û
Û . ³² ensemble’s limitations. Where on the Piazzolla disc they turn these Û
Û . ³² limitations into a tense base to bounce from, they are a means of minor Û
Û . ³² sabotage on the soundtracks. All that aside, these are super little Û
Û . ³² records. Û
Û . ³² Û
ÛÛÛÛÛÛ²ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
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Û . ³² Û
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Û . ³² ETHNiC..Don't hate, apreciate... LAST UPDATED 03.2009 Û
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