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Produced by Tino di Geraldo and Guillermo Quero
[Warner Music – 2003]
Months later, with the onset of summer 2003, the group has released
their first recording where they show off their special approach to flamenco.
Stylistically they come on with the image of a typical Spanish souvenir
flamenco dancer doll immersed in a washing-machine where part of the percussive
sense of Mártires del Compás, the aroma of Triana whose
music they claim not to know, the captivating impact of El Barrio, forms
of Antonio Orozco and the essence of Navajita Plateá are centrifuged.
With so much mixture, curiously enough, we end up with a new product without
any really obvious similarity to the any of the above.
The work starts out with the percussion number «De colores»
which dissolves into «Once farolas» that stake out a territory
halfway between Antonio Orozco and the group headed by Jesús de
la Rosa, with the presence in the brass of Jorge Pardo. From there it
moves on to some «Tanguillos nuevos» in which the highly personal
voice of Miguel Campello mixes with the soft depth of Eva Durán
singing, with an important metal backup creating the context. «De
los malos» is the title of some catchy tangos which lead into some
easy-going bulerías titled «Pa ti» in which the presence
of the maestro Carles Benavent is more than essential with his accustomed
falsetas and compas marked out on the bass. «Mama Dolores» is,
as far as I'm concerned, the main experimental novelty of this recording;
some very commercial «ida y vuelta» tangos from the American
point of view (although it all really has the same African roots), suited
to all kinds of listening preferences because it gets you hooked from
the start. After this high point the strongest thing on the record is
called «Locura», with excellent production. Once again the voice
of Eva Durán playing around with Miguel Campello and a well-inserted
violin played by Ara Malkirian. «Bulería del día»
with brass and a rather strange ending…from there on to «Entiendo»
and a little jewel called «Letras» which turns out to be a bulerías
with lots of compás (not surprising considering they've got Diego
Carrasco and dancing by Tomasito). «La noche» and «Albadulake»
show us the fresh instrumental side of the group at the same time serving
as wrapping for the tasty filling that is a rhythmic version of the famous
song «La bien pagá» which at moments borders on being
bulerías. To finish up, a cosmonaut who appears to be having imaginary
sexual experiences at the Morón military base. The bottom line
is, it's an interesting record. It's not poetically great although it
has some interesting surrealistic touches, but it does come off as thoroughly
original and full of personality (which is no small achievement).
Text
Jacinto González 'Jaci'
s
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