![]() ![]() The syncopation between vocal parts falters periodically where entrances or cut-offs are late. The timing factor is more generally problematic. There are, however, moments where one part's pitch inaccuracy is glaringly apparent. I am particularly impressed with the pure bass lines, which are typically vulnerable to nasty pitch problems, especially when engaged in moving lines such as those on the album's closer Alma Llanera. For the most part, the former is solid, even admirable, if not flawless. ![]() Cascades are effectively used, as are syllabic choices such as the plucky "bling" in Pasaje del Olvido.Įven as the group's honest, natural sound harkens back to a different time and style of vocal music, Vocalia is ensnared in some of the more common musical traps, including pitch and timing. Miguel Angel Santaella's arrangements are nicely textured, with moments of simple elegance dotted with crunchy, chewy chords. Vocalia's joyful exuberance on these five songs celebrating love, nature, and spirituality is apparent and contagious. Consideration of technology is now often a component of reviews for modern a cappella recordings, and it can be difficult at times to get to the heart of the matter: how is the singing? Soñando a Venezuela, from the Venezuelan group Vocalia, is a breath of fresh air which disavows the bleeps and blips in favor of clean, energetic singing, which restores a cappella music to its long dormant relative: folk songs. Distortion, octavized bass, and more processing than a supercomputer (or iPhone). ![]()
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