As reported in this very interwebspace, Buenos Aires-born JUANA MOLINA came strongly into her own with Tres Cosas, her third album, in 2002. Balance, integrity and generous musicianship fused together in a sublime way. It’s an album that I've played at regular intervals ever since.
As an Album "Son" doesn’t try to surpass that achievement, but it has comfortably matched it. There is the same intimate warm voice and same deft touch on a fine sounding, beautifully recorded guitar. A samba lilt hints at pleasure without demanding a party. Extra vocal tracks contribute to the rhythmic sway as much as to the harmonic subtlety. On top of the interwoven electronica of the earlier albums we also find forest birds and animals, ambient sounds and some added voices - from what sound like indigenous cultures in "La Verdad" and like cartoon cats on "Un Beso Llega". There are equally attractive tunes and the same underlying sense of gentle fun that features in all her work. "Micael" spreads the percussive palette a little wider, with gamelan-like sounds that lead imperceptibly into the ambient introduction of "Son" itself.
If you have already enjoyed earlier MOLINA albums, Son (which is Spanish for "they are" of course) is going to be a natural next step. It will be instantly recognisable and it will evoke the same sense of peace and affirmation that you have valued so much. The range of sounds and textures is broader, but by just enough to rekindle your curiosity. On "the song "Son" itself they do take the central role for a while. The still-emerging folktronica movement will find much to learn from this recording.
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If you haven’t heard her yet, fear not. This album is accessible, friendly and ready to become a favourite straight away. Earlier albums will not disappoint you once you have the bug.
I might have offered the same thought last time round, but this album can serve as a barely noticed mood-improving soundscape for a domestic evening (it really is well-behaved): equally it comes into its own when you give it close attention. There is a very fine granularity about the mix that cuts blurring between separate sounds to a minimum. The large and the small can live separately, while being fully appreciated together.
And for me, there is the deep pleasure of acoustic guitars that give out the rich tones that are so often paid for but so sparingly used.
At the very end "Hay Que Ver Si Voy" does drift sweetly off into a more abstract and spacey mode, but by this time the persuasive charm has been so great that only the stoniest of hearts would feel that weirdness had finally set in. It is simply a very beguiling album.
A double vinyl album is being offered - with an extra track. I am very tempted ...
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