Los Ángeles is a concept album that collects a series of cantes which have death as its central theme.[11] It is a presentation of Rosalía as a soloist cantaora and as such its structure is similar to that of the debut of any orthodox flamenco singer: "a selection of varied palos, often with traditional or popular lyrics, in which the artist shows his or her aptitude and background."[12] In this manner, the singer encompasses several forms of the genre, including alegrías, tangos, fandangos, fandanguillos, seguidillas, tarantas, malagueñas and "more specific" styles like guajira, saeta and milonga.[12] Rosalía felt that in the album "the cantes become songs", and as such did not list the palos's titles in the track listing, explaining that: "It's a way of saying that I am based on melodies and lyrics from cantes, but we turn it into something else. Those who know something about flamenco will be able to identify them, because we are influenced by that, but we do our own thing."[11]
Juan Serrano-The Art Of The Flamenco Guitar full album zip
Los Ángeles was met with critical acclaim from music critics.[29] Spanish magazine Rockdelux called it "one of the most intense and sweeping debuts of recent times", with critic Juan Monge complimenting its mix of tradition and avant-garde.[31] AllMusic's Mariano Prunes highly commended Rosalía's vocals, writing that "her instrument is a tornado capable of sweeping away any cultural or language barriers", while noting that "she does not accomplish this with sheer volume or vocal histrionics, but by reaching almost unbearable levels of intensity and expression."[29] He concluded that Los Ángeles "signals the appearance of a major talent in both the flamenco and the world music scene."[29] Writing for MondoSonoro, Yeray S. Iborra felt that with Los Ángeles, Rosalía "is posited as the contemporary cantaora who has better understood the current times", noting the difference between the album and her "more American" collaboration with C. Tangana.[30]
In an El Confidencial article, musician and investigator Pedro Lópeh criticized the album, particularly Refree's arrangements, deeming them "artificial" and "wearisome". His views coincided with those of Silvia Cruz, another flamenco specialist. She explained: "I also insist on talking about Refree because the criticisms are always aimed against her and rarely if ever against him, when he is the producer and primary author of this album. I do not think Los Ángeles does any harm to flamenco, but it is a decontextualized product. Apart from the lyrics, I do not hear anything in it that evokes the history of flamenco, its roots or its hallmarks. For that reason, it does not seem to me a groundbreaking or revolutionary work and if it has come to save anything, it is the music industry, not flamenco."[32] ABC's Alberto García Reyes told eldiario.es that while he does not consider Los Ángeles to be "an aberration", he feels Rosalía is not suited to the genre. He said: "Rosalía does not sing badly, but in flamenco she does not fit much. She is a very respectful girl, who has not come barging in to invent a revolution. She is not hurting anyone and has not proclaimed herself master of anything." He was also critical of the album's promotional campaign, arguing that it hailed the unworthy image of Rosalía as "the great revolution of flamenco".[9]
In late 2017, Rosalía received the Premio Ojo Crítico in the category of Modern Music, awarded by RNE. The jury highlighted the singer's "artistic projection, her interpretative capacity and versatility, her charisma, capable of transferring flamenco to young audiences."[41] Rosalía was also nominated for Best New Artist at the 2017 Latin Grammy Awards, losing to Vicente García.[42] On 17 January 2018, Los Ángeles was awarded the Premio Ruido, given to the best national album of the year by the Spanish music press.[43] The album also received a Premio Glamour to "the arts", awarded by the Spanish edition of Glamour magazine in celebration of its 15th anniversary.[44]
This is a superb collection of 8 original flamenco concert guitar solos and two exciting guitar quartets. The selections feature Juan Serrano's usual technical brilliance and capture the vitality, fire and haunting Moorish moods characteristic of flamenco music. All solos are in notation and tablature. Selections include: Ensueno (Petenera for Four Guitars); Flamenco Dance (Sevillanas for Four Guitars); Canto Minero (Taranto); Mantillas de Feria; Capricho de Huelva (Fandangos); Alma (Bulerias in A minor); Andalucian Dance (Tanguillo); Blazing Guitar (Rumba); Memory of Love (Bolero); Ana Maria (Tientos). All of the solos are on the audio, but the quartets are not. Includes access to online audio. 2ff7e9595c
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