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Khamis, 30 Januari 2014

Yuna - Google Blog Search

Yuna - Google Blog Search

Final Fantasy 10/10-2 HD first-print purchasers receive <b>Yuna</b> DLC <b>...</b>

Posted: 30 Jan 2014 06:49 AM PST

Final Fantasy 10/10-2 HD first-print purchasers will be handed a free set of DLC for Lightning Returns: Final Fantasy 13 in the form of Yuna's Spira's Summoner costume.

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The costume DLC also comes with Yuna's staff, shield and character victory pose.

Content will be downloadable via a token included with the PlayStation 3 version of the forthcoming Final Fantasy 10/10-2 HD Remaster, due for release March 21.

Lightning Returns: Final Fantasy 13 releases on PS3 and Xbox 360 February 11 in North America and February 14 in Europe.

<b>Yuna</b>: Nocturnal | PopMatters

Posted: 26 Jan 2014 06:02 PM PST

Being cool, calm, and collected can be seen as both virtuous and flawed. Generally, a leader seen to be too cool sometimes lacks the backbone to make the arduous decisions affect the people he or she represents. From a musician's standpoint, being too nonchalant and restrained sometimes characterizes a boring, unexcitable album. Malaysian singer/songwriter Yuna epitomizes the aforementioned adjectives, generally trending on the more chill side of things. While her eclectic blend of alt-pop and soul leans more in a reserved direction, Yuna makes a sound statement nonetheless. Nocturnal turns out to be quite compelling, finding Yuna in good voice, riding atop brilliant and thoughtful production.

"Falling" opens Nocturnal sensationally, sporting a hybrid indie-pop/indie-soul vibe about it. Yuna herself remains cool through her vocal performance, delivering a TKO without breaking a sweat or resorting to vocal histrionics. Restrained yet chocked-full, "Falling" establishes Yuna's musicianship from the outset and doesn't let up. A brilliant opening salvo, "Falling" serves a superb springboard for the tracks to come. "Mountains", the sophomore cut, certainly has a difficult act to follow. Despite its lot, "Mountains" bucks adversity, continuing to find band and singer on autopilot. Yuna's vocal tone is nothing haunting, only adding sweetness to the stunning backdrop of including piano, synths, percussion, and heart-wrenching strings. The way that she executes certain lyrics—such as "Place me in a corner, inside your heart / so that you can remember, baby when I'm gone"—is nothing short of scrumptious.

"Rescue" keeps things rolling along exceptionally, delivering what ends up being an uplifting number that plays antithetically to its title. Things begin unenthusiastically ("She think she's all alone and all her hopes are gone"), but grow more resilient and positive ("So I wrote this song so she can move along").  By the chorus, Yuna is singing exuberantly and full-throated: "Yeah! She's got a light in her face, she don't need no rescuing she's okay / No S.O.S. needed, no rescuing she's fine out there." On "Lights and Camera", Yuna keeps things both soulful and classy, without necessarily superseding the three home runs preceding it. Yuna loses no swag, but "Lights and Camera" doesn't enthrall quite like the former cuts. "Lovely Intermission" does, however, rival the opening trio.  After being "uninspired" and needing "a miracle to believe in love," Yuna finds it via her lovely intermission, "the one that I've been waiting, waiting for you."  Thematically, "Lovely Intermission" shines radiantly.

"Someone Who Can" continues a thoughtful combination of songwriting and spot-on vocals. Add to those attributes a danceable, driving groove and fine production work by Chad Hugo (of the Neptunes), and "Someone Who Can" continues to deliver consistency. "I Want You Back" trades in the dancing shoes for a more soulful sound—think Corinne Bailey Rae as a comparison. Vocally, Yuna remains both clear as a bell and nuanced. The soulful soundscape is perfect accompaniment to this yearning number, where Yuna seems desperate to get her lover back ("You're the best thing I ever known / Close my eyes and hold my breath, hoping that we pass this test"). Desperateness certainly makes for a captivating showing. "Come Back" is more enthusiastic than the former cut, even as Yuna seems concerned about keeping her man for numerous, relevant reasons. Ultimately, she believes once she "comes back," everything will be fine.  Regardless, there's no major rub about the song.

Love continues to dominate Yuna's thoughts on "Colors", which again embraces an alt-pop quality. The chorus and the production both shine, even if "Colors" isn't necessarily among the top tier cuts of. "I Wanna Go" was penned solely by Zarai, who particularly sounds in top-notch singer/songwriter mode. As the penultimate track, it certainly propels the momentum to the close of the album. "Escape" closes Nocturnal well, though perhaps fails to match the same excitability and energy of the valedictory opener. 

Ultimately, Nocturnal is a well-rounded album with legitimate crossover appeal. Chill and hip enough for the soul lovers yet singer-songwriter enough to appeal to the indie crowd, Nocturnal is an effort that shouldn't be underrated in the least. The album may grow a bit same-ish over its course, but overall, it holds up magnificently.

<b>Yuna</b>: Ain&#39;t No Mountain High Enough | JUICEOnline.com

Posted: 21 Jan 2014 07:21 PM PST

by Celeste Goh on Wednesday, 22nd January 2014

source: Verve Music Group

This interview with the country's favourite hijabster has been a long time coming, much like her music career. From the shy and young girl capturing our hearts with 'Deeper Conversation' and 'Rocket' to becoming Malaysia's hometown glory when she was picked up by the New York record label FADER (now Verve), to seeing her on our televisions performing with Owl City, to watching her perform live on a festival stage meant for big acts like Sigur Rós and Sheila Majid. Despite being worlds apart from Yuna, JUICE has pulled many strings for a chat with her, proof that "ain't no river wide enough, to keep me from getting to you" – that and of course, the wonderful invention called the Internet.

It has been one helluva journey for you since you signed the deal with New York based record label FADER in early 2011. At what point of your music career in the US did you realise that you can definitely get used to this?
I think it hit me when I performed The Croods' theme song 'Shine Your Way' with Owl City on The Jay Leno Show. Being a part of the Dreamworks animation film, performing with Adam Young, and not to mention, on a talk show hosted by Jay Leno that's broadcasted on national television – everything about it was just so cool!

Have you gotten used to it all then?
To be honest, not really (laughs). I still get star struck and excited about a lot of things!

We read that the FADER management actually flew out to Malaysia to convince you to sign with them! How was that like?
At first, of course I was a bit suspicious. My management label was really new back then, so much so that they didn't even have a site up yet! But my manager Ben was an understanding fellow, and he flew out to Malaysia to talk to me, instead of getting me to go to them. I thought it would be great for my career, so I went for it. They're really cool for being so supportive, and they really believed in my music.

How was the transition like for you, from being an indie local musician here in Malaysia, to an international singer-songwriter?
It was easy, really. I travelled a lot, and took part in exchange programs when I was younger, so I was able to adapt to things quite easily. As for creating music, in the beginning, it was a little bit of a challenge. I was not used to getting into a studio, and writing music with other people, and over in the US that happens a lot. But I grew to love it, and to not fear it. It's always amazing getting to work with creative people. You kind of expand your horizons creatively with them.

The beginning is always the hardest for any indie musician, not just in Malaysia. It was definitely no overnight success for you, since you started your music career back when you were just 14. How did you keep your passion going during the initial years, when no promises of a bright future had yet been made?
What mattered most to me in the beginning was just the fact that I was able to write music, jam with my band, and perform a few shows along the way – that was it. I never really pursued it as a career, but I knew back then, that if I were to focus on it and, like what my mom told me, just do it sincerely, it will take me somewhere.

Now that you have achieved international status, how do you keep on progressing from here on out?
I try to find new projects to be creative in, be it music, fashion, or collaborating with another artiste. It helps to keep your fans excited with whatever you are doing.

Like producing your 2012 debut single 'Live Your Life' with the Pharrell Williams? What was it like, working with a "Grammy Award-winning producer"?
Oh, he was super sweet and super supportive. He is a very down to earth guy, and he loves working with new artistes like myself. I feel that he is where he is now, because he really works hard, and he is constantly involved in super cool projects. I learned from him to not be afraid of trying something new when it comes to music, and making it entirely mine, or in accordance to my music style. It was really inspiring working with him.

There was a time, when your fans in Malaysia get to see you live for free at acoustic gigs. Now, not only do they have to pay to see you live – on a bigger, headlining stage, might I add, local organisers too have to go through the usual formalities with you, as they do with big, international acts. How do you feel about this change of status into something foreign but better, in the eyes of the people from a place you called home?
I don't think there's a change of status at all! I think every artiste strives on progression, and I am no different. Years ago, I used to perform at gigs with no one making sure the sound system is right. There were limited resources, and I probably lacked in confidence, commitment, and experience. I went through that for years, and I had to work hard to progress as an artiste, but now, I am thankful I'm in a position where I can give more to my local fans, who have been there since the very beginning. I'm even able to get a reasonable budget for my band and crew as well! I have gained a lot of experience and confidence in putting a show together, and all these things that makes a great show – it is all for the fans. If there's anything that has changed for me, it's not a change of status, but the ability to offer a better and bigger show. It just so happens that I'm based in Los Angeles now, and that I'm signed to a major label, and everyone that I work with… these formalities are called for. Only so my team and I can continue to work efficiently, and I'm able to continue being creative, and perform at more shows. Other than that, I'm still pretty much the same girl (laughs). It's for the better, not just for me, but for all music artistes, be it local or international; they should be taken care of.

You have recently released your second full length studio album, Nocturnal, under Verve Records, spearheaded at the creative front by multiple Grammy Award-winning producer David Foster. Was it pressuring this time around, especially with the record label switch and global anticipation of it, compared to Terukir Di Bintang some two years ago?
The pressure was there obviously (laughs), but everyone, including the label, was super supportive, and they wanted what I wanted as well. They just thought that first and foremost, it is important that I feel good about making the album, before anything else comes into the picture. There were a lot of good vibes, from writing a song, to producing, to recording, to deciding how the album cover would look like… Everyone was just great throughout the process.

Tell us more about Nocturnal.
I wanted a more solid body of work. I wanted to make a pop album with a lot of strings arrangement in it, and I also had in mind that I wanted to write songs that would be a lot of fun performing live. This time around, there was better planning coming from my side, and I took control of the music direction for Nocturnal. There were also discussions with my manager and producers of my visions for this album, and it was completed within six months! So, it was really great to be able to come up with this project, and have a window into what I was feeling musically at the time. It helped build my confidence a little bit more and above all, Nocturnal was created in clarity.

You have come this far and achieved this much in the span of 13 years. Looking back now, after knowing where you will end up, what would you tell the 14-year-old you, who still had no idea that all of this is going to happen?
(Laughs) Wow. As a 14-year-old, I used to get bullied so much that I dreaded going to school every day! Writing songs and poetries was my outlet those days. If I were to tell the 14-year-old me something, it would probably have to be, "Hey, don't be so sad. Those kids who are so mean to you now, they are going to treat you very nicely in 10 years' time whenever they see you in your neighbourhood! So, stay kind and stay true, and most importantly, stay connected to your feelings and keep on writing." 

Yuna will perform with other stellar international acts at Future Music Festival Asia 2014's main event on Saturday 15 March '14 at Bukit Jalil National Stadium.

www.futuremusicfestival.asia
www.yunamusic.com
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