Gustavo Cerati - Siempre Es Hoy

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• CERATI GUSTAVO SIEMPRE ES HOY

Music reviews of Siempre Es Hoy

Music Review: Latin pop in Bocas and other adventures ...
Rating: 4 Stars

So, what to do, when all is said and done, when all the prizes have been won, when people from every country know either your music or your name, when you've put up a show in the Argentinian National Auditorium, of enormously successful rock'n roll tunes arranged (not just played) to a classic orchestra, and received RAVING reviews by the staunchiest musical critics: here's what: start your new album out of tempo!!!!!????

Credibility is funny. Is like a liberating weapon for the musician. No longer needing to sell, win, or prove anything, the freedom to follow your deepest musical instincts simply increases exponentially, and then, why wait, let's do it in the first song, first note: Cosas Imposibles, starts with a slow tempo mix of guitar, drum, effect, the high hat joins at an obvious destempo, which quickly accelerates, the mix accelerating tempo to catch up with the high hat a few seconds later, a base line for depth and then (welcome Gustavo) a perfect guitar rif. I mean, I thought my car CD player was broken (never make this the first place you listen to your new CD by the way). No no no, it's just Gustavo playing with whatever he wants to play with. By the way, he sprinkles a little of this on other songs too.

With an increased amount of rythmic arrangements, this production a little more pallatable for the masses than Bocanada. A coincidence, if you ask me: you're listening to Gustavo's innermost expressions (and of course, his latest games with electronic toys). But what is it here that takes you out for a trip: perhaps that mix of the always precise acoustic or electric guitar rifs with Cerati's inimitable vocals (Naci Para Esto (did you..!), or the mastery for electronic arrangements (of course maximized during Bocanada) but not missing here --> Tu cicatriz, artefacto, karaoke --> which sounds like an 80's duran duran (indeed), and also includes a out of tempo mix (very similar to the one in Cosas Imposibles). Liking Sultry is a personal journey, and I have to admit, I'm biased on this one. The conga beat is identical to the folcloric beat of Panamanian typical music (part of that common threat we call "latino"). In Camuflaje I agree with another of the reviews (the "shuma" chorus should be cut off!!), but the powerful riffs at the start of the song are a trip. Altar is my favorite song on the production: The sounds of mandoline, powerful base line, and, as attempted by Gustavo in previous songs, trumpet, but here with much better results!!!. The lyrics are poignant and a call to individualistic, inner self strength --> ... I'm my own altar ... not the sarcasm and idolatry that perhaps surrounds us all today. Vivo reminds a little of Corazon Delator --> tight ballad, with powerful distortions, and great rifs. I'll skip over Sudestada: Good for you Charlie Garcia (piano guest on this song) but not particularly interesting. Especie is like listening to song # 13 on Dynamo: powerful base line, escandalous drums (you think it's a heavy metal song in the beginning) and poignant rifs. I think Cerati's voice was made for these kinds of songs. His lyrics rhyme with the rythm, and then his voice is just another instrument, at which point, just like with Soda, the trippy lyrics become irrelevant. But it is in this way that this CD transports you: lyric comprehension is a waste of conciusness, put on your headphones and fly ...

Description of Siempre Es Hoy

International CDs

• Music > Styles
• Latin Music
• Pop
• Rock