Dellafuente has been crouching and distant for years now, the genius from Granada who does not run out of magnetism even though he lives far from the spotlight and, in general, everything. A singular artist, uncomfortable with the logic of the music industry and public exposure. Until recently also outside of concerts, ‘Lágrimas pa otro día’ is the beautiful excuse to meet again with his tireless faithful. You can get away from everything except them, and from the music that is made between four walls, where He stands out as a creator of modern songs that are born from a fusion that starts from his roots, very firm in Granada and the Andalusian tradition.
This new album, released on his own label, is forceful in his convictions. It takes a different path, experimenting and getting out of the formula (the mix of flamenco and black music, like rap). that has made him one of the most influential artists of the last decade in Spain. Dellafuente now walks, sometimes holding onto the shoulders of the right people, through a plural sound universe based in the Caribbean. Beyond his right hand in creation and production, Antonio Narváez, the urban idol brings together in many of the songs on the album carefully chosen collaborators: Ralphie Choo, russowsky and Denmark, young avant-garde that levitate the music through an intimate beauty. The first of these three also signs as an interpreter the warm and heartbreaking – “I scream your name, I scream and you don’t answer me & rdquor;- ‘Carameloraro’.
There are only eight songs in which the man from Granada conscientiously displays his motto ‘Timeless Folk Music’ by impregnating them with traditional and popular songs from Cuba or Mexico (an exercise similar to the one his colleague C. Tangana did in ‘El Madrileño’). He opens ‘Cuando la cosa no me va bien’, a poisonous and defiant ‘bossa nova’ that challenges the seven remaining songs on the album to continue at the same level.
It is not brought down by the accusing ‘3 faces’- “more of a liar than an addict& rdquor;, proclaims Dellafuente-, with some electrifying guitars that rise at the right moments, nor the beautiful ‘El camino’ before entering the Mexican regional through a lying down corrido with the redeemer ‘Ni soy santo’ (with vatocholo). “So many problems are those that I rode; that someone stayed in me & rdquor ;, admits the man from Granada. Dellafuente also takes advantage of the album to give his followers a new love song, ‘Sharila’, the first preview of this work, and to show off his status in ‘I don’t deny it to you, it hurt’. The flamenco essence stands out in ‘Pa llorar’ (with Ané Carrasco), a return to the origins to end a precise and precious exercise. Ignasi Fortuny
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From the darkness of depression he has managed to extract Matt Berninger a new chapter of The National, in which the sonority leans towards introspection and ceremonial. The National has always been a troop of the intense and affected, and here subscribe to the monologue between piano arpeggios and electronic waves, delivering scenes of serene beauty. The melancholic Frankenstein is coupled with the voices of Sufjan Stevens, Phoebe Bridgers and the liveliest Taylor Swift in ‘The Alcott’. Jordi Bianciotto
It would be easy to dispatch Rambalaya as a pleasant pastime with which seven Barcelona musicians they convey their passion for rhythm and blues straight out of the Brill Building, pre-Beatles rock and roll and the tense soul of the Stax. But with the imposing voice of jonathan smiththe talented composer of anton jarl and songs like ‘Cry’, ‘Only in my dreams’ and ‘Until I see you again’, the group long transcends the exercise of style to settle in the realm of genuine emotion. Rafael Tapounet
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‘The Smokers’
Lucia Fumero and Horacio Fumero
Seed Music
jazz and song
★★★★
Lucia and Horacio, pianist and double bass player, Daughter and fatherrecord a first album together. There are old songs from South America, their own songs that sound popular, and bold new scores. And hovering over it all, there is a shared sense of rhythm. A genuine walk, leaning towards Latin American folklore, which comes effortlessly because it is theirs. Lucia sings simple and plays light, Horacio is an oak. Pretty without being cheesy, deep without sentimentality, ‘Los Fumero’ rings true. Roger Rock
