Member Since: 11/3/2004
Band Website: www.alihjey.com" alihjey.com
Influences: Words and Music by Alih Jey: an overview
Singer, songwriter and vibrant musical bon vivant Alih Jey is very proud and excited about her newly released independent EP Necia, a high-octane 6-song mini-compilation of material written over the past two years.
But don't expect art house pretense or overly cautious restraint out of Necia. At times playful, at times vulnerable, at times reflective, and at times a little sly, this prolific, highly driven record plays like an open book, thoroughly self-expressive yet fully embraceable. "The idea was to be very free and let each song just have its own little world.â€
The Past
Alih Jey sang when she still wore diapers. By the age of two, she was traveling all over her native Dominican Republic with her parents and sisters, singing in harmony ("it was like a Dominican version of The Partridge Family"). She began writing songs at an early age, too. At 14 she wrote "Deal with It", an upbeat Hanson-inspired pop tune with major cheer-up factor ("oh my God, I loved Hanson!"). At the time, Alih Jey co-hosted a popular children's TV show with her older sister, and her local fame generated some ugly vibes at the all-girl catholic school she attended. "Deal with It" was a kind of response to the catty wiles of her schoolmates. Over the next two years, she wrote hundreds more songs. "It was like breathing, it just flowed out of me," Alih says. One of these songs, "It's Ok", caught the attention of well-known music producer Jorge Taveras, an unexpected chance occurrence when the long-time family friend came over to visit one day. He was so impressed with the talented young musician that he immediately sent a demo to Universal Music Latino in Miami, where she was quickly signed. The family packed their bags for Miami. "It's Ok" went on to climb the Billboard charts, and cement her in the industry: it and other Alih Jey creations have been interpreted by various artists from various genres, and she has since become a widely sought songwriter for countless projects, from translating Robbie Williams' "Angels" for
the opening of the 2004 Latin Grammy ceremony, to collaborating on a Grammy-nominated album herself (Ines Gaviria’s debut album A Mi Manera, nominated for best new artist in 2006).
It's been a winding road, from 2001's debut Alih Jey, to 2004's Gotas de Piel, to now. A road with many lessons and adventures. “I now have, I hope, a balanced combination of knowledge and artistic sensibility." Part of that knowledge being that true artistry means taking risks. Over time, she began paving her own path, with research and discovery of a wealth of music from multiple genres and eras, which has enriched and inspired her to an unprecedented degree. "I feel like a different songwriter now. I feel boundless."
The Present
Packed with newfound fervor and influence far and wide, from PJ Harvey, to the Pretenders, to Julieta Venegas, along comes Necia. Self-financed, self-written, self-produced, self-played, self-created, Necia is her first project since severing ties with Universal-nearly three years in the making. "When you're working independently, it's a staggering enigma. You get a bit achieved here, another snippet there, with at times a wide gap in between. That long-coveted grassroots approach takes its toll that way." As a result, and perhaps as a kind of token of the bridging of past and present, songs adjacent to each other on the record are actually pieces that were composed pretty far apart. "It's interesting how it turned out, though, because the record has such a wide range, yet in a way that still feels cohesive to me."
The first track, "No t’ Encuentro", is nothing short of a brilliant anthem. Its rich tones and multilayered, circular quality, like an ecstatic outpour, make for an unforgettable kickoff. In it, Alih Jey is delightfully liberated, densely musical, and utterly boundless. "No t' Encuentro" is a sensual declaration of independence, with a sexy play on words and sound that make for a one-of-a-kind artistic statement.
Then there's the magical interlude of "Sapo Verde", a whimsical musing on the nature of life, which is at once a journey through the life of a song: from inception in a hand-held recorder to full realization in the studio (that really is the "first take" on Alih Jey's own hand-held recorder we hear at the beginning, by the way). We take this journey with her; we're submerged. What starts as a bare-bones one-on-one with Alih and her guitar ends in the affirmation that "If you just stop and really tune in... life always gives you answers." Both a beautiful reflection and a charming, witty outtake, "Sapo Verde" induces a smile every time.
She's a one-woman powerhouse in "Ingrata." Edgy, seductive, intoxicating, and totally original, "Ingrata" is a no-holds-barred, hear-me-roar performance. Its snarky lyrics spawned a fun metaphor of a video that's sure to please (coming soon!). "I like to think of it as the ultimate homage to cattiness," Alih says with a smirk.
"Al Fin Me Despierto" unfolds like a sprawling blossom of radiant self-empowerment. She gleefully glides through waves of beautifully painted, sweeping sound, with the kind of ultra-femme jubilance reminiscent of mid 90's Liz Phair and No Doubt. A bittersweet end marks a new beginning as she traces a story backwards to the very start, or, rather, the end.
Next is "Soledad Esclava", a wistful ballad with a bright, Beatles-inspired "swing-strum" that gives the song a strolling, rocking quality, with each chord lifting like a new soap bubble, leaving its liquid crib and floating up in the air. "I wanted the song to have a light, magical feel to it, and at the same time a sad yearning," explains Alih. The piece will also appeal to those who enjoyed ballads from prior albums, such as "Pienso en Ti", "Borrarte" and "Mil Besos / A Thousand Kisses", and serves as a rest stop to focus on her sweet, angelic voice.
Finally "I fall" is an expression of, you guessed it, the quirks of her career. But Alih Jey does not regret anything. "It makes for great material," she laughs. The break into the chorus features the kind of fun pseudo-reggae/rock beat championed by The Police.
Each song carries subtle clues of who Alih Jey is as an individual. For example, in "Sapo Verde" she mentions the birds singing in Spanish, which alludes to her writing most songs in Spanish. "People ask me why, and the only answer I can come up with is …that's what keeps coming out," she notes pensively. "I think mostly in English, but certain expressions are only achievable to me…well… en español!" Alih Jey's creations attest to her colorful personality and bi-cultural upbringing, and the notion that music is its own language.
The Title
In the latter days of the journey that culminates in Necia, someone Alih Jey worked with commented to her that she was stubborn. "I thought, ‘perfect! That's the title’, because while I wouldn't agree that I was then, I certainly made a conscious decision as of that moment to be that way from now on" she says smiling.
Necia has yet another tier of significance for Alih Jey as a most crafty first-time collaboration with her partner, long-time producer and former Monterosa guitarist Vitto, who produced, mixed and played on the album. They hooked up in 2006 while traveling with Paulina Rubio's "Paulatina" tour, for which Alih Jey's band was the opening act, and have been making music together non-stop ever since. Vitto's myriad curriculum includes most recently co-producing Rabanes' Latin Grammy-award winning KamiKaze. "Vitto brought so much to this album," comments Alih. "It's been so great, working together, making this 'baby'," she laughs, "it's been…. Phantasmagorical."
All in all, Necia brings everything together for Alih Jey; a defining moment in her life, not only in parting ways with the bubble gum past, but in opening up to endless possibilities for the future. The music is very much like its sweet-natured creator: bright, innovative, winsome, distinctive yet accessible, forward-minded yet uncorrupted, and most of all, spontaneous.
Sounds Like:"Borrarte (poder no es querer)"
directed by Scarlett Acosta"Munequita Tuya" directed by Cristian Ubilla"It's OK" directed by Mariella Sosa
Type of Label: None