Devendra Banhart’s “Mala”
Banhart still remains one of the few artists who manage to regularly put out something different, while still remaining fundamentally the same.
Although each work, including “Mala,” displays a different side of Banhart’s artistry, it would not be without reason to say that there is a sense of familiarity that he has stuck with since his earlier works, such as that on “Rejoicing in the Hands,” his second studio album.
From the title of the album to the lyrics, it becomes evident that the Venezuelan artist does not lack a sense of humor or a love for irony.
“Mala” roughly translates to “sweetie pie” in Serbian, the native language of Banhart’s fiancée, Ana Kraš, while also translating to “bad” in Spanish.
Banhart has let his guard down with this record. From the brief opening track, “Golden Girls,” to the final, repetitive, and Biblically based “Tarobolium,” Banhart’s humor grows increasingly more confusing.
However, the lyrics and musical techniques that Banhart opted to use for his most recent work make it relatable and familiar even for those who may not be fans of his previous releases.
“Your Fine Petting Duck,” the sixth track, features the vocals of Ana Kraš, Serbian photographer and Banhart’s fiancée.
The couple sings a lighthearted doo-wop-like duet, making exchanges regarding desperation and a failed relationship, that finishes off after the song briefly transitions to an eighties inspired track sung in German.
“Never Seen Such Good Things,” with its ironically upbeat and playful rhythms, adds to the themes of love and heartbreak.
Immediately after this track, Banhart goes on to show the diversity of his instrumentation with “Mi Negrita,” sung entirely in Spanish and adorned with guitars, tambourines, maracas, and light background vocals reminiscent of those of Mexican trio “Los Panchos.”
It is a sharp contrast to “Mala,” a one minute and 8 second track with haunting guitar plucking and the only lyrics being, “The time has passed / it must be accepted,” sung in Spanish.
From here, the album winds down with “Won’t You Come Home,” a sweet, intimate appeal, featuring Banhart’s signature vocals that shine in a unique way throughout the entire course of the 14 track work.
Banhart’s individuality has resulted in well over 100 tracks that should be considered pieces of art. Mala is no exception in regards to his uniqueness.
Although he continues to remain a versatile artist and songwriter, his versatile voice and desire to explore the irony of life through music will always lead Banhart to drift away from any distinct, run of the mill sound.