The new album of Indio Solari was presented: "The nightingale, love and death"

It happened. With the expectation that it would generate. And what has it generated? It was presented to FM La Patriada, the release of the fifth solo album by


Indian Solari

The Nightingale, Love and Death . This was done in a friendly climate, that is, not critical. And also with an independent (cooperative) imprint, such as bringing back to life the origins that motivated the "big", the most important conformation of Indio Solari (subject and object of this presentation): Los Redondos [19659003] the whereabouts, the discussion within the group, about being or not being principal. But you also understand the gesture of presenting an album that sells or sells well, in an alternative place, far from the lucrative. His fifth solo album of singer Paricio Rey and his Redonditos de Ricota is out. And, although two songs have already been officially released ("Stranger Danger" and "The Witches' Hammer"), there was also the circulation of a third track, which gives its name to the album. And more: other leaks through the networks.

In general terms, the album feels empathetic with the listeners. Not complacent, but more familiar (if this term empathically defines) with the public. Before Marcelo Figueras' program, radio broadcasts anticipated what would happen in Big Bang, the driver's program. It has happened that the voice of


Andrés Calamaro
(one of the radio orchestra conductors, he recited a personal and previous selection of Solari themes (which were heard later).

And, at 10 pm, as a Cinderella front , the world stopped and what was evolving was detected (will it be like that?) In birds: birds (leit motiv from the previous album, to the nightingales, which guide the new

Among other things, many of them have been interpreted or sifted driver of the show (clarifying, obviously friendly but mostly badytical of the scope of the figure and the work of Solari), we find that the emerging atmosphere oscillates between the festive and the dark, which speaks and is embodied in the idea of ​​death, that there is rock and pop, and that the voice of the # 39; Indian is as present as hidden, as if it gave rise.

This is obvious because the volume of the singer is covered in front of the instrume In his majority of themes, and also, returning to the gesture, it is obvious where he starts as a singer. As in "The Alley of Miracles", which shows a kind of barrabravas chorus and in which Solari is one more voice.

Figueras speaks of dissociation between joy and what he tells. Real. And money. Alive, as in other titles: "Darkness", "The Nightingale, Love and Death", "The Hammer of the Witches", "Ostend Hotel".

A certain artifice present in other solo albums seems to fade in the authenticity of the proposal. Such is the case, which brings us back to the most emblematic and recognizable characters of Los Redondos: the crápulas. Because the protagonists who circulate in the musical themes (from the first to the last album of their original band), show characteristics shared with the new themes: they are singas, chess, cynics or frauds, or all these characteristics like the postulates Jorge Monteleone in his essay, "Figuras de la pasión roquera"). And the idiosyncratic relationship comes back, beyond the various production contexts of the song over time. The "laborious traitor" is in tune with the characters he's used to reading in the black detective novel and in the corrosive cartoon (to which he pays homage on behalf of Robert Crumb). Of course, to these ways of constructing it, or to these people, is what tribute to Carlos S. Country: to his parents (in the cover of the disc) and to his artistic influences, to his elective affinities: as Robert Crumb. And others: musicians, visual artists, filmmakers, writers

"There is the desire of the Indian to withdraw so that nothing interferes with the essential power of the song", summarizes Figueras. And the album ends with "The one that the dry fills", the popular mandate that dictates that the one who consumes the last drink, is obliged to replace it. Neither more nor less than the beginning or the end. Or the respectful and bittersweet artistic uncertainty that allows the Indian to radically change the lyrics of his last song, to make the message ambiguous and, in turn, to convert "loves always intersect with sadness ", in a way that crosses" with joy ".