Portal de Cartagena
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The young New Zealand singer, Marlon Williams, has been described as "the impossible son of love" between Elvis Presley, Roy Orbison and Townes Van Zandt.
And when you listen to his voice, everything makes sense.
It has a privileged voice, which is a strange combination of country-style whispers and vibratos that leave the audience spellbound.
It has a voice so mature that it would not be out of place in a cathedral, in a marae (typical Maori construction) or in the bar of a bar.
In Cartagena you can enjoy all its fullness in the courtyard of the old CIM, on Thursday July 26 from 21: 30h, which will be your only letter of introduction in Spain.
Williams has a soft, warm and deep voice and achieves without apparent effort a wide range of tones that baffles.
No syllable is effort, no note escapes him and in fact he has been affectionately called Elvis Maori, although he could be called Roy Orbison, Nick Cave or Leonard Cohen Maori.
The variety of your records has no limits.
In his music the influence of the sounds of North America has always been present, but in his latest work the Maori echoes are wider and direct and remind of legendary musicians like Prince Tui Teka, Sir Howard Morrison or the Maori bands of the 50s.
His latest work, "Make way for love" is an album that could be included in a series of classics that talk about sentimental breakups, albums like "Blood on the Track" by Bob Dylan or "Blue" by Joni Mitchell.
The 11 songs that integrate it and that include a coherent amalgam of styles, country, folk, a primitive and heartbreaking rock & roll, and traditional pop, are the product or the rest of what has been left after the last loving break of Williams .
You could say that "Make way for love" is a sad album in which each song evokes some of the emotions experienced in any worthwhile relationship.
There is no missing feeling, desire (Come to Me), lack of communication (What's Chasing You), lust (Beautiful Dress), possession (Party Boy), melancholy (Love is a terrible thing) desire and jealousy (Can I Call You?), resentment (I Know a Jeweler), revenge and infidelity (I Did not Make a Plan), resignation (The Fire of Love) and maybe, finally, hope ( Make Way for Love).
But the great success of Williams in "Make Way for Love" has been the song "Nobody Gets What They Want Anymore", a peculiar duet dominated by melancholy and sung with his former partner and also singer, Aldous Harding.
"Nobody Gets What They Want Anymore" tells the disintegration of a relationship and is at the same time the main thematic and ideological object of the whole album.
Williams sent the song to Aldous asking him if he could sing with him part of the dialogue that maybe they could not have in real life.
Williams' intention was to record the song together, in the same room, but Harding's busy schedule did not allow it so the singer recorded her part in a Cardiff studio, two months after Williams had recorded the album. song in California.
As the song says (nobody gets what he wants) Williams could not fulfill his wish and the two sang to each other separated by an ocean, a continent and in time.
You could say that pain has inspired this work but that its writing has been therapeutic.
The scratch has left Williams with a nice scar on his heart and a huge disc and possibly turned him into the "crooner" of the future.
Source: Ayuntamiento de Cartagena
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