{"id":16692,"date":"2019-07-31T20:05:14","date_gmt":"2019-07-31T18:05:14","guid":{"rendered":"https:\/\/xceed.me\/blog\/?p=16692"},"modified":"2023-05-12T13:16:34","modified_gmt":"2023-05-12T11:16:34","slug":"review-of-sonar-2019-10-key-performances","status":"publish","type":"post","link":"https:\/\/xceed.me\/blog\/en\/review-of-sonar-2019-10-key-performances\/","title":{"rendered":"S\u00f3nar 2019: 10 key performances"},"content":{"rendered":"

A whole year criticizing. Criticizing that Bad Gyal was the main character of S\u00f3nar by Day. Criticizing that Bad Bunny was the biggest headliner of S\u00f3nar by Night. Criticizing that Cecilio G’s show was the most commented one, the one that raised the most expectations. Criticizing the great attendance at Dellafuente’s concert. Criticizing the absence of great concerts of high standing as those of Gorillaz or LCD Soundsystem last year. Criticizing, in short, that S\u00f3nar<\/a> had surrendered (apparently) to urban music.<\/p>\n

Was it really like this? Has S\u00f3nar ceased to be an advanced music festival? Has S\u00f3nar ceased to be a reference in electronic music? No. The answer is simple: no. It is undeniable that the shift towards the urban sound has been commented by everybody. It is also undeniable that it is not an invented shift, but real, tangible in our society and in the scene. S\u00f3nar does nothing more than to show a reality, be faithful to that reality and play the role of a window to the world. Isn’t that its true mission?<\/p>\n

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\"bad<\/a>
Image: \u00a9 S\u00f3nar Festival<\/figcaption><\/figure>\n

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Discoverers of music and sounds: don’t be alarmed. S\u00f3nar is still S\u00f3nar. And, in S\u00f3nar, you’ll continue to discover what is coming, you’ll continue to discover the music of the future, the most daring, groundbreaking and avant-garde proposals. In S\u00f3nar, you’ll continue to discover that electronic music doesn’t understand historical moments or scenic trends.<\/p>\n

We say this supported by the trancy futurism of Tutu, the environmental and experimental techno of Afrodeutsche, the dancefloor-oriented house of Leon Vynehall or Disclosure, the broken schemes of Deena Abdelwahed or Neon Chambers, the musical embraces of Caterina Barbieri, K \u00c1 R Y Y N, Kelly Moran, Daito Manabe or Max Cooper together with Bruce Brubaker, the extraterrestrial rhythms of Actress together with Young Paint, the transgressor hardcore of Virgen Maria or the incomprehensible and overwhelming spectacle of Arca. All that, without forgetting Lorenzo Senni’s rock ‘n’ roll format or DJ Krush’s scratchy and relentless hip-hop recital. But we didn’t want to give you a list of 30, or 20. So, after breaking our heads a lot, we’ve selected these 10. With them, we’ll travel again through S\u00f3nar 2019.<\/p>\n

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10. Holly Herndon pres. <\/strong>\u201cPROTO\u201d<\/strong><\/h2>\n