WE ALL KNOW THAT there is a proper format for each type of critical essay or review. And I am happy to review Bajofondo’s latest album, and happy to have been asked to do so. But I won’t be hitting that expected “music critic” format, because, as the person who wrote me put it, “we [...]
WE ALL KNOW THAT there is a proper format for each type of critical essay or review. And I am happy to review Bajofondo’s latest album, and happy to have been asked to do so. But I won’t be hitting that expected “music critic” format, because, as the person who wrote me put it, “we know you don’t normally do this type of thing.” Which I do not. But I am a musician, and I enjoy Bajofondo, and here I am with the new disc.
First off, I think this is a fantastic album and really does deserve review from every type of person or occupation who can interpret it. Because I think it would hold up under examination from many angles. I think it’s brilliant work and mostly because you don’t need a $160,000 degree to understand that or come to that conclusion.
First off, I am loving the cover photo. If you’ve seen my flickr account, then you know I’m a big fan of presenting abstract angles of familiar objects; Photography that focuses on composition and form. And that’s just what we get with this photo. I would guess that it is the crease behind someone’s knee who is wearing fishnet stockings. But it’s a very simple composition, solid in a black and white bisected frame that is yet further wrought with finer delineations within. Reminds me of their music. Strong and competent and at the same time, complex and decorated with many layers of tonality. The net hints at sensuality, and we could easily say the same of many of Bajofondo’s musical moods.
The first track, Grand Guignol, weighing in at right about the 5 minute mark, gets right to work. The galloping beat doesn’t let up from the start and the first thing that occurs to me is that this is great driving music. The strings in it remind me, strangely, of my childhood; of the disco era! That time when vocals took a backseat to the music much of the time, and it was not uncommon to hear strings over a beat like this. Of course, the recurring keyboard trills that dip into something that feels like an augmented ninth are off-kilter in that lovely BajoFondo way. Sprinkles of second thought, deep lavender draught. And of course that characteristic accordion is not far behind, the feel of nostalgia dancing with every note.
I like that about Bajofondo. They often exist in a timeless place. It could be the romantic past, it could be a spacey new futurescape being painted by the odd violin spiraling into the corners and urgent piano chords.
This is a song for nights you are painting anything the color of neon dawn and keeping it to yourself.
Cristal is almost the same length at 5:22, but begins much lower key. A good shift in pace. If that last piece was for driving speedily through a secret pass between golden mountains, Cristal is the part of the soundtrack where your partner passes out and you are driving alone at dusk. With a lot on your mind. Elegant strings in this one, too. Very suave. This is music for the truly international man of mystery. I see a James Bond sort, but with a thin mustachio, and tightly combed hair. And a briefcase and a bright blue flower in his lapel. Okay, there’s a cat with an accordian trailing him, too. At 3:56 or so, someone waves a wand and little viola staircases are struck into the sky. Really nice.
It isn’t until :23 into Ya No Duele (”It no longer hurts”) that we hear that fantastic voz again. Bajo a tomar un café… he moves smoothly and swiftly throught the verses, and it’s the softly sung but poignantly rushed chorus where melody takes hold finally. It’s a song about pain and loss…and rain and nostalgia, and about being free from pain, too.
Ya no duele el corazón y esta noche ya no sopla el viento del dolor
Ya no duele el corazón y es un amargo bandoneón lo que amaga en mi canción(it no longer hurts the heart, and tonight already the wind blows no pain
it no longer hurts the heart and it’s a fake accordian that plays bitterly in my song)
Pa’ Bailar - “For the dance”? I’m a little unsure on this translation. Pa’ is a written contraction of “Para” which is usually something like “for” and “Bailar” is the infinitive “To Dance”. So someone with better Spanish can help me out here. But that’s what it feels like. A tango for sure, a Bajofondo classic. Fantastic. So rich with flavor I want to clench this tune between my teeth. And what is that? It sounds like a distorted guitar motif, but…is it keyboard? A fuzzy keyboard riff? Amazing! I love it. Feels like a angry spy’s kazoo being played by a horde of lovestruck mosquitos.
Pulmon: This one blends in from where Pa’ Bailar leaves off. You might not even notice the change. It feels like a break or a bridge that cuts in far before you are tired of hearing Pa’Bailar. There is a lull and then the song kicks in again and you’re off, dodging the black piano keys and accordian blasts that fly sideways like tropical bee swarms.
At 2:30 we return immediately to clenched teeth and roses. And are only perplexed because we cannot find the host to whom we might express our gratitude.
to be continued
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