Xenia Rubinos - Spell Trix [2012][FLAC / WEB]

  • 20.06.2016, 23:17,
  • Music
Xenia Rubinos — Spell Trix [2012][FLAC / WEB]

Artist: Xenia Rubinos
Release: Sorcery Trix
Released: 2012
Label: Ba Da Bing!
Catalog#: BING 082
Format: FLAC / Lossless / WEB
[color=blue]State: USA
Style: rock

1. Help
2. Ultima
3. Whirlwind
4. Curls Receding
5. Cherry Tree
6. Cafe con Leche
7. Pan y Cafe
8. Los Mangopaunos
9. I Like Being Alone
10. When You Come
11. Let's Go Out
12. Aurora de Mayo

Throughout “Whirlwind”, the third number cheaply on Xenia Rubinos’ inauguration album Sorcery Trix, there’s a joyous vocal choppiness that darts between speakers like a translate in a clog up-mobility . There’s the seesawing murmur of a squeaky door, low, crunching keyboards, and a agitated, roiling drumbeat that Zach Hill wouldn«t be shamefaced of. When you pay attention to closely, you understand there are words to Rubinos’ scrambled ululations: “When you get the feelin’ that you’re startin’ to wake up,” she trills, like an gong. “Something I really wanted on this set down, and in unrestricted, is effusiveness,” the inexperienced Brooklyn-lodging troubadour told Rookie recently. She»s triumphed unambiguously: Sorcery Trix is a upsetting lightning fasten of a set down.

There are four peerless parts to Rubinos’ engross uninjured: her exciting, smoky voice; overdriven keyboards, which often seem like exciting guitar but aren«t; the contributions of syncopation-in the seventh heaven drummer Marco Buccelli and funk-apt bassist Adam Minkoff. Sorcery Trix recalls theme-yArDs, Battles, Camille, and the melodies of St. Vincent’s Put Together Me remade with a Offbeat Quarter-era passage-- but dependable to the record’s designation, Rubinos has a wizard»s lone flair.

Rubinos is of Puerto Rican and Cuban genesis, and sings in English and Spanish. (The Spanish-lingo songs here are either fantastical, punky advance-strand chants, or sweetly sad lullabies.) She has as much of a refreshing, piercing way with warm as governmental matters: “Ultima” opens with a collage of beatboxed vocals, and is back-breaking and balsamic, like watching an exorbitant presentation while lazing on a seashore. She coolly recounts how, in Cuba, easily understood things like going to the bank are different enough to evict you for a juncture. After an irked, yelped chorus of “Oye, yo soy la ultima!” (“Hey, I’m the last one!” your cue to accompany the repudiate of a strip) she flips the susceptibility repudiate onto herself: “You know it really, really takes a extended, extended time/ To advised what’s going on around you/ To spring up and change.”
Sorcery Trix deals with the quake at that opportunity will terminate the things you attraction, but it’s not so paralyzing that you’re powerless to take more favourably of the new wisdoms it brings, particularly concerning glamour-- and Rubinos writes tempting, surrealist attraction songs. On “When You Come”, her keyboards take on a vamp, seedy aspect, and she describes her crinkle in deliciously bizarre terms: “He ties my humanity in knots/ Just like Improve sausages.” Her odd, folkloric intentions (also: laying an egg into his bazoo) stave off her impulses to look beyond the imagination of the guy who «makes attraction to [her] like [he’s] seen something new» and folds her clothes afterwards, preferring “to keep pretending/ You are the devoted to thing/ I made you out to be.”
Navigating the harmony between all-out imagination and dulling realism is another of Sorcery Trix«s firm suits. (Rubinos channels Poly Styrene on «Pan Y Cafe», where she recasts the mice behind her refrigerator as Martian invaders.) On “Hair Receding”’s vibrant mathy peculiar, Rubinos laments the superficial of opportunity, writ in the wrinkles of a features she»s starting to neglect doing. The temperature drops on the ensuing “Cherry Tree”, where frenzied drums pass into blossoming keys, and she yells with frustration, eloquent that her homage of this guy is already fading. By “Let’s Go Out”, the drums downslide with dejection: She's given up trying to recall. After the tropical wilds that introduce it, the false, silvery keyboards here uninjured effectively bleak.

Although Rubinos’ humanity is aching, she«s not unconditionally giving up on subsistence in color; “I Like Being Alone” is a chirruping ode to isolation: “Because it means I don’t have to be something I’m not.../ Because it means I don’t have to consider you/ I can just be hellacious like I am/ I can be as indolent as I am.” It’s that console with her own ideas and crowd that makes Sorcery Trix so subsistence-affirming, transcending its uninjured-a-likes to proudly pretentiousness off a lone new pop luminary. Rubinos» remarks on effusiveness reminded me of something the similarly sole-minded Natasha Khan said recently, about our civilization emphasizing art that is «down, brown, and fucked up-- so when there«s undismayed joy, that»s awkward for people. It«s too much, or it»s not refreshing.» If you're looking for a way out of those doldrums, then Sorcery Trix is the glitter in the brown.

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