Sharon Kovacs, heredera de Sinéad O’Connor y Amy Winehouse

La referencia es inevitable: Quién ve por primera vez el look de Sharon Kovacs recuerda al de Sinéad O´Conoor y quien escucha por primera vez «50 shades of black» la relación es con Amy Winehouse. Lo cierto es que más allá de las comparaciones, Kovacs es una de las voces jóvenes más poderosas y una figura muy original del pop-gótico y jazz.

Sharon Kovacs es holandesa nacida en Baarlo el 15 de abril de 1990, estudió en Rock City Institute, una escuela vocacional en Eindhoven, Países Bajos. En 2014 grabó su primer EP ‘Mi amor’, con el productor Oscar Holleman y participa en varios festivales, como en el North Sea Jazz y el Lowlands.

Su primer álbum ‘Shades Of Black’ fue lanzado el 2 de abril de 2015.


Presentación en su web

A shaven-headed chanteuse hiding the voice of a soul legend beneath her fluffy bear hood, Sharon Kovacs is an enigmatic phenomenon. Emerging from the music college and improvised open mike nights of Eindhoven in the Netherlands, she has forged her own unique path through life’s devious twists and tangles, and entranced the globe with her wicked allure. The Bond-like tango noir of her 2013 EP ‘My Love’, partly recorded in Cuba, was an instant European hit, even reaching Number One in Greece, and in 2015 her debut album ‘Shades Of Black’ charted in 36 countries, making the Top Ten in Germany and hitting Number One in her Dutch homeland.   Sixty million YouTube views, a modelling contract with Viva Paris, a clutch of awards and high-profile sets at major festivals and a Robbie Williams support slot later, Kovacs’ dark, raw, bare-hearted soul with distinct touches of the greats (Holliday, Simone, Bassey, Winehouse, Portishead’s Beth Gibbons) is on the verge of making her a sultry superstar. Her second album ‘Cheap Smell’ is one of the most open, honest and inspired future soul albums of the decade, named after her last pre-fame band and – like her debut – out to find the positive in life’s toughest turns.
Pulling no punches in tackling the light and shade of modern relationships, it’s a series of confessionals about wild love and abusive romantic webs, about hedonism and addiction, that follows Sharon’s rough emotional rollercoaster over the past few years – losing musical and romantic partners and building a new Kovacs family from scratch around producer Liam Howe. “The whole album is this journey of me finding that actually I need to learn to be happy with myself,” she confesses, “and accepting some parts of myself that maybe aren’t perfect.”   From the wry, jaunty wordplay of ‘Adickted’, about losing an ex to cocaine, to theatrical soul dissections of the draw of abusive relationships (‘Play Me’, first single ‘Black Spider’) and a heart-rending song about meeting the father she never knew as a child (‘Mama & Papa’), ‘Cheap Smell’ is as dark as it is delicious, but with a twinkle in its eye. ‘Midnight Medicine’ is a straight-up celebration of sex and ‘It’s The Weekend’ an ode to getting righteously, blissfully stoned. Set to slot into the grand canon of legendary modern soul confessionals alongside ‘Back To Black’, ‘Cheap Smell’ is a healing album, a glorious trawl through Kovacs’ emotional rubble in order to finally rebuild. “From here, I’m in quite a good place,” she says, “the people I love now are around me. The album really helped me achieve being more happy. I learned a lot about myself and musically. I’m much more confident with the things I make now than I was before.”

Sitio oficial


Shades of black

Una de las voces que más nos han impactado es la de Sharon Kovacs, cantante holandesa que tiene una de esas capacidades vocales solo adscritas a las grandes divas. Su álbum de debut contiene algunos de los momentos musicales más arrebatadores que hemos oído en mucho tiempo, y sus influencias… ya las describe ella misma en el estupendo Diggin’ («From Nina to Ella, Ella to Bassie»). Desde el principio, con la apertura de ese contundente 50 shades of black, Kovacs demuestra su talento como cantante, modulando en mil formas para engancharnos hasta el final de la canción. Jugando con el uso de las cuerdas en momentos que parece que estamos escuchando una canción de una película de James Bond (Fool like you), el disco va desgranando piezas que son una auténtica catapulta emocional. (Fuente)

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