Javier alvarez youtube
Late motiv – javier álvarez. «the age of the future».
I’m excited for many reasons, but basically because it is now when The Age of the Future makes sense to me. I am working on the reopening of my catalog in order to reactivate my career, silent for almost everyone for more than a decade. Just to let you know that I am immersed in the recording of a new track with a current producer, which I hope will be a bomb and the start of a new album and will allow me to put into action a plan of attack in the form of concerts. Also, I am finalizing the composition of a song to close the Bob Pop series with Christina Rosenvinge.
Because I need money and I think the songs are a very good investment, because they are always alive. The idea came from a phrase that spontaneously came to me in a conversation, in which both the idea of the auction and the idea of my interview series La Voz Cantante came up.
I don’t know what Bedroom Pop is, because I’m old and because I don’t follow trends, with apologies. But there has always been and always will be censorship, although freedom of expression is of course infinite. What happens is that if there is one thing I am proud of, it is the deep respect that flows from mine. You can say anything but well.
Javier alvarez – caro diario (video clip)
The shamans of the indigenous tribes believe that physical ailments have their origin in an evil spirit that settles in the body of the sick person and that the magical-musical rite will drive them away and thus, the pain will disappear. Among the Yayuro of Venezuela, the shaman sings a long melody while shaking his maraca, on whose surface are drawn the main divinities that he visits with his trances.
Within the environment of the American shamans, the maraca is something like the scalpel in the hands of a surgeon, in them they focus all, or almost all, the healing power of their songs; so it can be deduced that the healing power of the shaman resides in his rattle and without it his strength disappears.
The intervention of the maracas reveals, with their rhythmic patterns, the shaking of the bundles of corn leaves or aromatic plants, with which the vapor that accumulated in the upper part of the chamber was lowered, which, when passing them near the ceiling, can reduce the heat to make it uniform throughout the temazcal or direct it towards certain parts of the body.
Javier álvarez eighty
Fame was uncontrollable and certainly led Javier down not recommendable paths from which it has taken him a long time to recover, not without pain. But he has done it, and that is the important thing. Let’s keep going through the discography that now takes us to 1999 and ‘Tres’, his third album, with many electronic elements that he would later recover with success in other works. We now listen to the opening track of the LP, ‘Padre’, censored or at least ignored in many media. Just listening to the first verse, one can imagine why.
Of course, after the ‘pajillero’, ‘puta’, ‘rojo’ and ‘drogadicto’, it seemed a contradiction in terms to do a version of ‘El novio de la muerte’, the Legion’s song. Well, he did it, and with exquisite taste, in his next work.
Since then, that merciless entity we call the ‘music industry’ turned its back on Alvarez’s torrent of talent, which he could not control and who continued to do whatever he wanted. His fifth album came in 2003, ‘Tiempodespacio’ it was called, and nevertheless he was still backed by a multinational like Warner. One of the outstanding themes, merciless with what we said about the ‘industry’, was ‘Ni na no no’.
Javier álvarez – dicen
Javier Álvarez (Ciudad de México, 1956) estudió clarinete y composición con Mario Lavista antes de trasladarse a Estados Unidos a principios de la década de 1980 y, posteriormente, a Londres, donde asistió al Royal College of Music y a la City University. De esta época datan sus primeras obras electroacústicas, como Temazcal (1984) para maracas y cinta. Mannam (1992) se inspira en la antigua cítara coreana, kayagum. Ganador de una distinción del Prix Ars Electronica en 1993, Mannam mezcla y yuxtapone elementos de la música coreana con materiales y técnicas de interpretación extraídos del arpa popular mexicana.
Varias obras de Álvarez incorporan elementos de géneros de danza latinoamericanos, como el mambo. En Mambo a la Braque (1991) crea un collage electroacústico de segmentos musicales extraídos del Caballo Negro del compositor cubano Dámaso Pérez Prado. A mayor escala, Papalotl(1987) de Álvarez, para piano y sonidos electroacústicos, hace referencia al amplio mundo de la danza mediante el uso de complejos patrones rítmicos en un dúo sincronizado entre el piano y la parte electroacústica. Esta obra ganó el premio ICEM de París en 1987, así como los premios del Festival Internacional de Bourges y el Prix Ars Electronica de Austria.