Feb 13, 2018

RhoDeo 1806 Roots


Today’s artists is a singer, musician, MC, lyricist and Chilean rap composer. She gained recognition in Latin America as the female MC of the hip-hop group Makiza during the late 1990s, establishing her success as a result of her second solo album, 1977. Her music dialogues merged to the sound of hip hop . Feminist and activist in her lyrics she denounces the social and cultural deficiencies. In favor of women's rights and against gender-based violence, in 2014 highlighted on her album "Vengo" the song "Antipatriarca". She has worked in various countries in Latin America, Europe and the United States. She is considered one of the leading MC's in Latin America and has been nominated several times for the Grammy Awards... ......N'Joy

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Ana María Merino Tijoux was born on 12 June 1977 in Lille, France. She is the daughter of two Chilean exiles who fled Chile to France after the 1973 Chilean coup d'état. Her mother is the renowned Chilean sociologist María Emilia Tijoux. In 1978, her family moved to Paris, France. It was not until 1983 that Ana Maria traveled to Chile and met her grandparents and extended family who stayed in the country despite the coup.

In 1988, Tijoux met Consuelo Vergara, who taught Tijoux how to rap and sparked Tijoux's interest in hip-hop and dance. Tijoux moved back to Chile after the return of civil power in 1993. In 1995, influenced by the local rap group Makul in Santiago, Chile, Tijoux formed her own group called Los Gemelos with Zaturno, another rap artist. In 1997, Tijoux became widely popular for her participation in the group Los Tetas and their first studio album release. She and Zatourno collaborated with Seo2, Cenzi, and DJ Squat to form the group Makiza.

In 1997, the group released their first CD, Vida Salvaje, with great success even though it was an independent production. In 1999, Makiza released "Aerolineas Makiza" on Sony Music Entertainment, who became interested in Chilean rap as a result of Tiro de Gracia, a bestselling Chilean rap group. Makiza's album included new and improved versions of songs from Vida Salvaje with two new songs, one of which was the hit single "La Rosa de los Vientos". This album put Makiza at the top of the Latin American hip-hop market, as their style was much more evolved than other groups at the time. The production style resembled the New York underground sound inspired by the Native Tongues, and the lyrics of Makiza lacked the overwhelming "machismo" and violence of average rap. This helped the group receive approval from a wider population.

In 2000, Makiza covered the popular song "Somos tontos, no pesados" by Los Tres. At the end of that year, the members of Makiza separated due to its members' desire to work on personal projects before their tour through neighboring countries. Tijoux specified that she would be abandoning hip-hop and her music career.

In 2001, Tijoux collaborated with a popular band, Barrio Santo, on "La persecución" and "La bienvenida". She returned to France shortly thereafter, until 2004, and recorded her first solo track, "Santiago Penando Estas" for the tribute album for Violeta Parra entitled "Después Vivir un Siglo", which was highly popular in both Chile and France.

In 2003, Tijoux returned to Chile and worked on musical projects with Aluzinati, a Chilean funk band. She also recorded "Lo Que Tu Me Das" with Mexican singer Julieta Venegas for the soundtrack to the film Subterra, and appeared as a featured artist on Mexican hip-hop group Control Machete's final album Uno, dos: Bandera.

In 2004, Makiza came back together and announced a tour to promote the re-release of Vida Salvaje, which was remastered and in CD format. Tijoux and Seo2, the only musically active remaining members of the group, decided to reunite the band and work on new material. The group released its third album in 2005, Casino Royale, under the independent label Bizarre Records. The album involved various producers, rather than one producer like previous albums released, and involved a third Chilean MC, Sonido Ácido. During this time, Tijoux also voiced "Nea" in the animated series Pulentos.

In 2006, the group broke up permanently due to differences in beliefs about musical production and direction.
Solo career

In November 2006, Tijoux released her first single "Ya no fue" and debuted as a solo artist. Due to problems with "La Oreja" record label, her first album which was produced by Erasmo Parra and Camilo Salinas was never released. In January 2007, Tijoux collaborated again with Julieta Venegas on her song "Eres para mi" from her album Limón y sal. The two artists achieved major success in Latin America.

In September 2007, Tijoux released her first solo album under the independent label Oveja Negra, founded by the Sociedad Chilena del Derecho. The album was titled Kaos, and its first single, "Despabilate", was well accepted by the Chilean public and nominated at the Latino MTV Video Music Awards under the categories Best New Artist and Best Urban Artist. She was also nominated for Song of the Year with Julieta Venegas on their collaboration "Eres Para Mi".

On 29 June. 2009, Tijoux performed at the Mexican music festival Vive Latino and continued touring across Mexico soon thereafter.

In October 2009, Tijoux released her second solo album, 1977, titled after the year she was born. The album was very much a return to her rap roots, paying homage to the "golden age of hip-hop". The album was largely autobiographical, exploring themes from her own life that included the death of a close friend, experiencing creative crises, friendships, and bad luck, among others. The album marked a significant distancing from the pop music and pop collaborations Tijoux had been doing in collaboration with other artist. She rapped on this album in both Spanish and French as a raw and direct, as well as mature, MC. The album was produced by Hordatoj, Foex, and Tee of the Potoco Discos label with Habitacion del Panico. The album and single 1977 were immediate hits in the underground rap circles of Chile. The record was amongst the top 10 in 2009 for the blog WorldHipHopMarket.com and it was picked up by the United States-based Latino Alternative label Nacional Records, who released it in April 2010. In March 2010, Tijoux was invited to perform at the South by Southwest (SXSW) Music Festival in Austin, Texas. She soon began her first, and widely successful, North American tour. On 24 May 2010 Thom Yorke, the lead singer of Radiohead, advised his listeners to listen to "1977", on a list he created of his favorite bands and songs.[4] The list also featured popular artists such as The John Coltrane Quartet Plays and Björk. Yorke introduced the song as one of his favorite ones of the summer. In 2011, the song was featured on the EA Sports video game FIFA 11. It also appears in Breaking Bad (season 4, episode 5).[5]

In September 2012, Tijoux was featured in a campaign called "30 Songs / 30 Days" to support Half the Sky: Turning Oppression into Opportunity for Women Worldwide, a multi-platform media project inspired by Nicholas Kristof and Sheryl WuDunn’s book.[6] On 19 September 2011 MTV Iggy put her in the first position of his list "Best New Female Emcees Dominating Mics Everywhere"

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Anita's first solo album, entitled Kaos, was produced by Nicolas Carrasco of the Potoco Discos label, along with guitarist and producer Cristóbal Pére, released in 2007 under the Oveja Negra label.  Her first single "Despabílate!" hit home on this album where she fuses funk, soul and other black rhythms, giving hemself the freedom to compose sad, happy, dynamic and melodic songs with the desire to show a whole range of emotions.

Anita Tijoux - Kaos   (flac  290mb)

01 Intro 1:01
02 Gol 3:12
03 Despabílate 3:34
04 Dolores, Dolares 3:30
05 Llévame Muy Lejos 3:32
06 Las Pestañas De Lu 4:13
07 Otra Vez 3:10
08 Algún Día Te Diré 3:46
09 Llueve 3:11
10 Tres Copas Y Un Tiro 3:34
11 A Veces 3:35
12 Izquierda, Derecha 3:54
13 Crónicas De Una Muerte Anunciada 3:17
14 Desliz Automático 5:36

Anita Tijoux - Kaos (ogg   112mb)

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A seasoned performer who divides her time between France and Chile, Ana Tijoux makes her U.S. solo debut with this disc, named for the year of her birth. On the cover, she wears simple jeans and a flannel shirt and doesn't meet the camera's eye; the introspective seriousness of her approach is made clear before a note is heard. Though she came to broad public attention within the Latin pop market by delivering a guest verse on Julieta Venegas' "Eres Para Mi" in 2006, Tijoux isn't an extroverted MC like Mala Rodriguez, or U.S. female rappers like Nicki Minaj or even Missy Elliott. Instead, she rattles off her lines in a near monotone, hitting the beats with calm and precision. The music behind her is all echoed samples of horns and strings, plus the occasional bit of scratching -- mostly funky and occasionally lurching, these are jazzy beats firmly rooted in the tradition of DJ Premier, DJ Cam, DJ Krush, and other '90s classicists. Ana Tijoux has no interest in getting the club jumping. Indeed, track titles like "Humanidad," "Avaricia," and "Crisis de un MC" indicate that, like New York rappers of a prior generation like Jeru the Damaja, she'd rather get listeners thinking than soundtrack their parties. The music on "Humanidad" consists of little but strings and handclaps, with electronic noise around the edges; were it not for the rhythmic impetus of her delivery, it could be a spoken word track. Ana Tijoux is clearly interested in hip-hop as a vehicle for communication, an approach that's almost anachronistic, but very welcome.

 Ana Tijoux - 1977   (flac  310mb)

01 Intro 1:17
02 Partir De Cero 3:48
03 1977 3:22
04 Sube 3:33
05 Obstáculo 4:03
06 Crisis De Un MC 4:31
07 Problema De 2 3:52
08 Mar Adentro 3:50
09 Oulala 3:20
10 Pie Izquierdo 3:58
11 Humanidad 3:59
12 La Nueva Condena 3:29
13 Avaricia 5:00
14 Crisis De Un MC (CAF) 4:00

Ana Tijoux - 1977   (ogg  125mb)

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The powerful student movement that was formed as a reaction to an excluding new law, was reflected by her in a beautiful song that originally came out as simple - accompanied by a recommendable music video that portrays the streets of Santiago in those days and the participants in the protest - in the that Tijoux denies him the possibility of continuing to apply the doctrine of shock to the shameful Chilean president. "Shock" was called the song and its rebellious, acid and rebellious impulse took with it the album that later contained it, the tremendous La Bala.  Possibly the most politicized album in which Ana has participated since that memorable Makiza Airlines, La Bala is a powerful manifesto that deals with several things. To begin, the political commitment of its author, expressed in an innate talent for social criticism located within an undoubtedly poetic framework, without the incendiary obviousness in which many incur when seeking this north. Secondly, the tremendous ability of Tijoux to sing and rap, a talent unanimously recognized (MTV Iggy, chose her as the best MC in the world last year) and that exploits creativity here and brilliance. And finally, the musical ability and arrangements of Anita, who carries out a very personal project with a quality little seen in the current Latin music, differentiating from those who are stylistically by its subtlety and variety of styles, all addressed with freshness and elasticity. Enjoy, then, one of the best Latin music albums of recent times.

Ana Tijoux - La Bala   (flac  312mb)

01 La Bala 3:03
02 Shock 3:32
03 Desclasificado 3:27
04 Sacar La Voz 4:15
05 El Rey Solo 4:29
06 Quizás 4:54
07 Si Te Preguntan 5:15
08 Las Cosas Por Su Nombre 3:06
09 Mi Mitad 4:43
10 Las Horas 4:57
11 Volver 3:57

Ana Tijoux - La Bala (ogg  117mb)

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A bit weird mixture of modern Spanish rap, some very distant Spanish pop feel (yes, that cute), some South American traditional music from the mountains and what not, perhaps forro... but anyway, the idea of mixing is good. But as always, it is the vocal technique of Ana Tijoux that leaves its mark. Unlike the previous album, which had a marked part in relief and another in a certain romanticism, here is more homogeneity in terms of lyrics, vindicating the social, cultural identity, the neighborhood and the excluded. All together the songs work well, and although the Tijoux never does bad things, this is the most enjoyable record because of the diversity of the sampling. Point for her.

Ana Tijoux - Vengo   (flac  429mb)

01 Vengo 3:12
02 Somos Sur 3:47
03 Antipatriarca 3:04
04 Somos Todos Erroristas 2:57
05 Er-rrro-r 1:02
06 Los Pesces Gordos No Pueden Volar 3:36
07 Creo En Ti 4:01
08 Los Diablitos 0:43
09 Interludio Agua 0:45
10 Rio Abajo 3:54
11 Oro Negro 4:26
12 Delta 3:48
13 No Más 3:55
14 Todo Lo Solido Se Desvanece En El Aire 3:40
15 Emilia 4:13
Bonus Tracks
16 Rumbo Al Sol 3:19
17 Mi Verdad 2:47

Ana Tijoux - Vengo (ogg   157mb )

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1 comment:

Anonymous said...

Thank you very much for Ana Tijoux