The initial overview of this long-awaited return of RHCP is puzzling: where is the volatility, the testosterone, the shirtless rock, the horniness. They stay in shape, one of their proud characteristics, but the energy is distributed differently. The mood of the material is less frontal. Frusciante’s guitar emerges more obliquely, without the need to build hammering phrases, but in a decorative profile. Flea and Chad Smith operate with a similar approach, while Anthony Kiedis appeals to melody, sacrificing moth-eaten-sounding street phrasing.
If Chili Peppers music contained more energy in the past, now it proposes an emotional range of greater temperament. The sex? It’s definitely not what it used to be. That profile between passionate and violent (with some controversial episodes in his biography), has no place in this present, in exchange for a certain melancholy and nostalgia. There are plenty of songs between 17 songs and 73 minutes without the immediacy of the past, and perhaps more attack is needed in Rick Rubin’s production. But there is one thing for sure. Red Hot Chili Peppers did not get together to pay tribute to themselves, nor simulate rebellion and youth. They have new songs with newly developed codes, which just take time to be memorable.
La Brígida Orquesta is a project of experienced local musicians – drummer Felipe Salas from Como assassinar Felipes and trumpeter Fernando Carvalho from Conchalí Big Band, among others – under the direction and production of pianist Gabo Paillao. Nominated in 2019 as album of the year for the debut Corte Elegant (2018) at the Pulsar awards, they finally won the Revelation Artist award at the same award.
What does LBO propose? Take jazz, rap, trip hop and classic details with a cinematographic varnish, through arrangements that emulate the great orchestras that dominated popular music until the mid-20th century, made up of professionals with academic training, dedicated to entertaining the masses. The final touch of La Brígida Orquesta lies in the fact that the language of the street takes over the lyrics, a responsibility that falls to Matiah Chinaski, and also to Paillao and the bassist Tomás Alud, in a cross between an apparently harsh language -“I am a miserable with an absent luck”, says a verse of Rookie-, which fluidly folds into nighttime and suggestive pieces.
Some turbulence that shakes the trend of dragged times is missed, but LBO projects musical films suitable for adults with refined taste.
advance single by harry’s house, the third album from the former One Direction -the only one of the lot that has persisted with real success-, scheduled for next May 20. Five years after the hubbub around Sign of the times, the first solo single where the British press raised feverish comparisons with David Bowie, pushed by a magnificent video of a song that remains the best thing the 28-year-old star has done , as it was appeals to the same A-Ha trick in the eternal classic take on me from 1985.
The song starts and repeats every so often a jumpy keyboard phrase and sparkling first cousin of the Norwegian trio’s hit, in an immovable dance time from the drums with indie pop resonances. What suggests a party atmosphere is contradicted by the melancholic synths in the background, the echo in the voice, and the taciturn melody in the song. He seems jaded with the couple from the first verses – “why don’t we leave it at that? there is nothing to say”-, and resentments clearly surface -”you know that it is not the same as before”-. Towards the end, tubular bells ring a Phil Spector-like sixties pop magnificence. Harry Styles is never going to turn the tables, but he still plays gracefully.
We would love to say thanks to the writer of this short article for this remarkable material
Review of Marcelo Contreras albums: new airs for Red Hot Chili Peppers, La Brígida Orquesta and Harry Styles – La Tercera
Explore our social media profiles and other related pageshttps://kjovi.com/related-pages/