Tulsa, review of her album Amadora in Mondo Sonoro
Disc by disc until this seventh work, Miren Iza He has been building a solid career with… Miren Iza's seventh album, Amadora in Mondo Sonoro, has been reviewed by Tulsa. The album is described as a departure from traditional pop, with a focus on a feminine but universal existentialism, paying tribute to mothers who gave their all for their family. The composer, María Velasco, sings in the background and accompanies the album with a theatrical montage by María Valasco. The record is considered a conceptual album with its narrative structure and intense emotional journey. The reviewer praises the artist's subtlety and good taste, which is evident in her lyrics.
Published : 4 months ago by admin in World
Disc by disc until this seventh work, Miren Iza He has been building a solid career with albums that are increasingly removed from the usual labels that we usually use. His “signature pop” (to define it in some way) has been reaching flight, and now acquires new complexity in this stage of maturity that he faces with all its consequences.
Is not that “Amateur” be an easy album in the sense in which things are expected today: soft and without digging into the wound. In this case, a specifically feminine but universal existentialism. The artist pays tribute with elegance but also rawness to those mothers who, as she says in one of the songs, gave their all for her family. Forgetting themselves along the way. A conceptual album – in her own words – that is accompanied by a theatrical montage by María Velasco.
Musically, the artist dabbles with subtlety and good taste in different areas – from folk to indie pop, author songs or electronic music -, with the ease of someone who has nothing to prove. It is in her lyrics – personal, incisive, hurtful – where she continues to risk telling truths that almost no one expresses.
The composer lends her voice to Amadora, a mature and universal woman who moves from the edge of the abyss to hope. Conceived with a narrative structure, the album starts out introspective, almost inhospitable, and opens to a crack of light. Between the fragile delicacy of “Far Heels” and the triumphant voice melodies and choruses of “THE STAR” there is an intense emotional journey that hurts and excites, with stops at dislocated pop (“SAINTMARTYR”) or electronic (“Peach”), the vitiated atmospheres, almost of some southern Portishead, of “When the pale lion comes” or folk rock with acoustic textures with a beautiful chorus (“I don’t want to make history”). All resolved with the wisdom of someone who has long since found his own voice.