Hi Trinchera, Babasónicos ’new album

At this point in his career, although the musicians were not fighting anyone other than their own work (“let’s stop fighting ourselves”, says Adrián Dárgelos in “Vacío”), the Babasónicos faced a crossroads typical of a project with a massive (and iconoclastic) past and there is a glimpse of another path into the future.

Its the be holy and vain (and defeated against the system they fought — a battle not free from paradoxes and tensions- since its inception) under the undeniable costume of the classics or constantly forming ruptures of some kind, changes in state and interfering in the present from dissidence (“Pasó su vida making an ideological wooden boat”, they say at one point).

Trinchera, her new album — it came out this Friday, April 29 —, in this sense, continues the intensity of the questions opened on the theoretical equipment of Debatable: Does the stone have any cultural value? How to generate transcendence when people leave everything in the hands of algorithms, playlists and collaboration (the feat)?

But that’s not all, because it is also from the sound that the Babasónicos are trying to be conceptual with his previous job.

It’s as if they raised a strategic flag (think of the iconography on the cover of Alejandro Ros) on their journey into maturity: especially as the internet is full of increasingly fleeting stimuli, they expose a stripping that tends to beauty, uniqueness and sharpening. of intuition.

Where is the value of the Trench

Value is not given to greed and energy (which guide them to a pre-Jessica), but in the wisdom of lyrical and sonorous choice: the beginning of hug is hug, with its captivating dialogue between guitar and voice, is an accurate gateway to that matter. And so accurate and nocturnal geography began to describe (left of the night is a position take) of this album.

This is understandable. Babasónicos is a project born as a parricide -speaking volcanic eruption (they told D-Generation: “Because my generation / Today agrees with your opinion/Because of my generation/Something is happening ”) and each album is an accumulation of layers of meanings that form a captivating excitement.

grass, zombie trance, dopadrome, Babasónica Y Miami it is, perhaps, the most rare string of a group in a democracy and, on the other hand, it strengthens the artistic credibility of the group. Those were the years where Babasónicos overcame all fear, tried every possible life and understood that. he just needs to land in elusive popularity.

It’s like Palo Pandolfo said in an interview: “The Babasonicos in the 90s tried to suck my mind.” And there is something to that. So the look of Jessica marked an aesthetic, poetic and musical destiny powered by Infamous, Last night, many, By the way, Romantic seismic and that is what has brought them down to this day Trench.

Personal, but no mark

As a band that seeks to establish a personal territory, the Babasónicos work from the detachment of simple classification despite the fact that their songs have a very marked personality in their 21st century version.

In the song Nordic lies says: “Let me reject your project/I’m not good at fullness.” This is the dialectic of the group in the sense of the innermost part of the lyric: it favors a rhetoric of confrontation, failure, nonsense and confrontation with a dominant moral (“Love me or throw me away, decide now”, is heard in The beautiful Luxury).

That’s why the nocturnal reigns as the perfect setting to Trench: this is a scenario where a performance jouissance is put into operation where obscenity, confusion and the eternal present manifest themselves to recreate bonds.

they said to affective capital (a kind of counterpart of the popular affective responsibility prevalent on social networks): “Who will notice that I’m leaving?/Who? Who’s keeping track of those things?/Who will notice that I’m gone?/Who? It escaped in the shadow of one hand ”.

Sa Trench That repertoire of characters that Dárgelos was so fond of is no longer there. And that leaves room for some textures where the reflection is dense, but it doesn’t run out but stakes everything on the suggestion: “Who can smile incessantly all the time? / Know that death works,” he said to Paradoxically.

Which is why we think of this album as a series of exhibitions of interiority and mental journeys with their fair share of corporality where the instrument is based on sensuality that Dárgelos never leaves and that leads to the extreme in Anubis (with these extraordinary and fascinating verses: “You are one of the first flowers taken from Abasto / In the depths of Burzaco the gates of Anubis are open”).

doIt has to do with what it consists of and recorded in a pandemic And in your own studio? The truth is Trench it establishes a vitality in abandonment and impermanence. So the first cut is goodbye (also tour name): “Make love to me hanggang madaling araw / And then bye bye, don’t follow me / I have important business to attend to.”

Borges said his virtue was to speak and filter emotions through symbols. This means never falling into sentimentality or corniness. Babasonics with Trench speaks of fragility and inconstancy around. And this is the way they found to talk about death.

But it is a symbol covered by many uka, captivating rhythms, subtle settings, decadent beauty and songs that wrap ideas in gold cellophane and in the spirit of a (pagan) mantra. Sa goodbye They say: “If this world were still standing.” Babasónicos when in doubt, dance. And invites bodies to come dancing. Even just one piece. And then leave yourself without guilt.

It remains to ask:forkIs this a new album or another Babasónicos album? Maybe the answer is in the song Air and water: “I keep a dream for a long time / Against all odds”.

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