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Angélica Rahe

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Angélica Rahe with Jake & Abe

 

Angélica Rahe

ANGÉLICA RAHE (pronounced “ray”) returns to the limelight after a pandemic that put a pause on her emerging career as an artist that garnered her comparisons to Solange and Sade. Angélica has an artistic journey that truly spans the globe; her music and art reflects her journey of femininity, sensuality, and self-love.

Angélica split her childhood between Spain, Japan and landed in the U.S. as a young teenager, gaining the musical influences of Sade, Jorge Drexler, John Mayer and Erykah Badu along the way. While her early singles “Pa’lante,” which Target selected for its 2020 Latin American ad campaign, and “Extranjera,” which touches on identity and the experiences of immigrants, show an impressive range of vocal talent and songwriting, it’s the intimacy and sensuality in her debut album, REINA, that has media and fans likening her to artists ranging from Sade to Solange.

On Valentine’s Day 2020, Angélica gave the world her debut album, REINA, which speaks to her personal journey of reflection, rebirth and self-love. REINA, recorded across studios in Brooklyn, features Angélica on vocals and guitar with Cleon Edwards (Erykah Badu, Jill Scott) on drums, Jake Sherman (Nick Hakim) on keys, and Nick Clark (Kanye West, H.E.R.) on bass. Her North America tour scheduled to begin in mid-March 2020 to support the album was cancelled due to COVID-19.

Before REINA, in 2018, Angélica toured across the U.S., Europe and Latin America with Columbian-American R&B sensation, Kali Uchis, as her musical director, guitarist and backup vocalist (including a North America run opening for Lana Del Rey) before offering the Love, Translated EP, a collection of songs recorded in Austin, Texas, with Grammy-winning producer and musician Adrian Quesada of Black Pumas.

Jake & Abe

It’s got the temperature of the yacht rock paradise that everyone today longs to visit, but the details make it more than just a retro recreation. No one should be blamed for reaching for comparisons to Hall & Oates, but the admixture is a little more unexpected–rather than replicating an album from the 70s, they’re formulating something that never quite happened. Imagine Stevie Wonder producing a Loggins & Messina album–or The Isleys working with Captain & Tennille. Don’t dismiss the Captain! “Muskrat Love” was diaphanously funky. Abe and Jake would understand.

You can tell the duo has session experience–they show the taste and restraint that comes from playing behind greats, from doing more with less, from crafting a statement out of something small. The songs are breezy and easy but each has its little ingenious touches. The way a bassline is configured against the beat in “Selfish Endeavor”; the way a chorus turns around and melts into the bridge on “It’s Easy.” They tuck the magic tricks and sonic surprises into the folds of pop songs, which reminds me a little of 10cc, but with way less layers in the cake.

These four tracks are simple but deeply pocketed. They’re uncluttered but with channels cut that invite all those bubble-bath analog keyboard sounds to flow through the songs in rivulets. This is either a demo that’s been given the richness of an album, or an album that has the intimacy of a demo.
Please Note: Late Show

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