{"id":12276,"date":"2022-09-28T00:00:47","date_gmt":"2022-09-28T04:00:47","guid":{"rendered":"https:\/\/magazineampm.com\/?p=12276"},"modified":"2022-09-26T10:31:35","modified_gmt":"2022-09-26T14:31:35","slug":"glitch-gianluca-loto","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/glitch-gianluca-loto\/","title":{"rendered":"Glitch \/ Gianluca Loto"},"content":{"rendered":"<p>I don&#039;t know how many times I&#039;ve already heard <em>glitch<\/em> \u2014Gianluca Loto&#039;s new solo effort\u2014 before beginning this paragraph. Not even how many times have I deleted the paragraph after going around the disk again. Even now I am not sure I have fully understood it, so I can only offer this short map.<\/p>\n<p>a week ago i downloaded <em>loveagain <\/em>(2021), album by FlorDeLoto, a band led by Gianluca and David Mart\u00ednez. So I was somehow hoping to find a similar proposal. But not only are the proximity between the two albums scarce, but that palette of sounds that was developing through a clear musical narrative does not exist here. At least not in a linear way.<\/p>\n<p>Ironically <em>glitch <\/em>It seems more like the work of a duo: in this LP several aesthetics coexist, which, I&#039;m not sure they fit at all. On the one hand we have a Gianluca from <em>flow <\/em>Latino, who raps and sings with a <em>mood<\/em> slow and carefree on songs where an Afro-Caribbean rhythm prevails. It&#039;s the one that opens the album, with <em>Aguaje<\/em>.<\/p>\n<p>But this characterization breaks down to the second theme, <em>New Rules<\/em>, where a monotonous digital sound emerges that will gain or lose strength throughout the album. Here the author will not only change languages when singing, but will delve into American genres such as funk or R&amp;B, using pop melodies or hip hop blocks to relieve the viewer of the repetitiveness of the <em>loops<\/em>.<\/p>\n<div class=\"video-container\"><iframe title=\"Spotify Embed: Glitch\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/3VYjniMZvKoY6ePk27kvsN?si=39-4NvMeSNuLYwDkfIefEg&#038;utm_source=oembed\"><\/iframe><\/div>\n<p>for the third <em>track<\/em> it might seem that the album returns to its initial aesthetic with <em>Needs<\/em> (with notable influence from Cimafunk), but the production is increasingly contaminated with electronic music resources and sequenced sounds.<\/p>\n<p>follows him <em>Tell me<\/em> and, at this point, it is already difficult to elucidate whether we are dealing with the work of a DJ or a composer, in the conventional sense of the word. In this theme not only the different sonorities that were being worked on are mixed, it also serves as a prelude to the next track, <em>Olulali<\/em>, where electronics ceases to be a means and becomes an end. Being the longest-lasting theme of the work, it exploits monotony as the main resource to create a hypnotic environment, which plays to induce the listener into a state of trance.<\/p>\n<p>From here on the album starts to go in circles, showing us some variants of what we have already witnessed. Topics six and seven will be <em>save me<\/em> and <em>They ain&#039;t ready<\/em>, with structures that will move away from the patterns of electronic music to return to the gringo sound. follow them <em>oof<\/em>, which returns to the line <em>Olulali<\/em>. And it comes again <em>flow<\/em> latin with <em>uhm<\/em> and <em>Ceramic Bowls<\/em> (in the latter the shadow of Cimafunk becomes evident again).<\/p>\n<p>just a <em>track <\/em>to finish the album we found <em>hei\u03b2e<\/em>, which with filin chords and lyrics that seek a certain introspection, will be the only intimate space on the album. But if we have believed that we will have a quiet ending, <em>Devil<\/em>, emulating an eighties funk with Bee Gees-style choirs.<\/p>\n<section class=\"post-promo\"><span>Also read<\/span><picture><img loading=\"lazy\" decoding=\"async\" width=\"80\" height=\"80\" src=\"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/06\/Love-Again-portada-baja.jpg?resize=80%2C80&amp;ssl=1\" class=\"attachment-categorias size-categorias wp-post-image\" alt=\"Portada del \u00e1lbum Love Again, de FlorDeLoto. Arte: Sindicato Studio, cortes\u00eda de la banda\" srcset=\"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/06\/Love-Again-portada-baja.jpg?resize=80%2C80&amp;ssl=1 80w, https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/06\/Love-Again-portada-baja.jpg?zoom=2&amp;resize=80%2C80&amp;ssl=1 160w, https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/06\/Love-Again-portada-baja.jpg?zoom=3&amp;resize=80%2C80&amp;ssl=1 240w\" sizes=\"auto, (max-width: 80px) 100vw, 80px\" data-attachment-id=\"8282\" data-permalink=\"https:\/\/magazineampm.com\/en\/love-again-flordeloto-resena\/love-again-portada-baja\/\" data-orig-file=\"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/06\/Love-Again-portada-baja.jpg?fit=1520%2C695&amp;ssl=1\" data-orig-size=\"1520,695\" data-comments-opened=\"1\" data-image-title=\"Love-Again-portada baja\" data-image-description=\"&lt;p&gt;Portada del \u00e1lbum Love Again, de FlorDeLoto. Arte: Sindicato Studio, cortes\u00eda de la banda&lt;\/p&gt;\" data-image-caption=\"&lt;p&gt;Portada del \u00e1lbum Love Again, de FlorDeLoto. Arte: Sindicato Studio, cortes\u00eda de la banda&lt;\/p&gt;\" data-large-file=\"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/06\/Love-Again-portada-baja.jpg?fit=960%2C439&amp;ssl=1\" \/><\/picture><section><span class=\"promo-categoria\">Reviews<\/span><h3 class=\"promo-titulo\"><a href=\"https:\/\/magazineampm.com\/en\/love-again-flordeloto-resena\/\">Love Again \/ FlorDeLoto<\/a><\/h3><span class=\"promo-autor\"><a href=\"https:\/\/magazineampm.com\/en\/author\/lorena-sanchez\/\">Lorena S\u00e1nchez<\/a><\/span><span class=\"promo-fecha\">09.06.2021<\/span><\/section><\/section>\n<p>This is an album that we will go through without finding any instrument taking center stage or extensive harmonic developments. As I said before, his compositions are not intended to be loaded with strong emotions, but instead aim at the sensory: digitizing rhythms normally executed in an analog way, exploring timbres, altering them in order to find contained and enveloping sounds, putting it all together, and letting it flow.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>\u00a0\u00a0<\/em><\/p>\n<p>After all these laps it becomes undeniable to me that <em>glitch <\/em>it is a job, at least, dispersed. And although this chaos is intentional and part of the concept, I can&#039;t help but feel that after 40 minutes of travel, we haven&#039;t gotten anywhere. There are bridges, yes: the minimalist arrangements, the vocal harmonizations, the filtered voice at almost all times, the dark harmonies or the scarcity of analog instruments, can indicate that everything is part of the same journey. But the absence of a climax, both in the songs and in the phonogram script, gives the feeling that the television is changing the channel every five minutes, until that collage, itself, conforms to the film.<\/p>","protected":false},"excerpt":{"rendered":"<p>This is an album that we will go through without finding any instrument taking center stage or extensive harmonic developments. As I said before, his compositions are not intended to be loaded with strong emotions, but instead aim at the sensory: digitizing rhythms normally executed in an analog way, exploring timbres, altering them in order to find contained and enveloping sounds, putting it all together, and letting it flow.\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>","protected":false},"author":1529,"featured_media":12280,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[25],"tags":[8365,9409,9408],"coauthors":[8439],"class_list":["post-12276","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-resenas","tag-flordeloto","tag-gianluca-loto","tag-glitch"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2022\/09\/Gianluca-Loto-_-portada-scaled.jpg?fit=1200%2C548&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/12276","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/users\/1529"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=12276"}],"version-history":[{"count":3,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/12276\/revisions"}],"predecessor-version":[{"id":12285,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/12276\/revisions\/12285"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/12280"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=12276"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=12276"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=12276"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=12276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}