At this point, it is clear that Cristóbal Briceño and Ases Falsos handle redundant indifference codes in the integrity, and a strengthened musical path although surrounded by a certain comfort after six years of trajectory.

From time to time, Cristóbal Briceño (33) leaves the great capital to disconnect in bucolic landscapes. He lived in San Carlos at the time of Fother Muckers, the previous incarnation of Ases Falsa.

Now, without Internet, he lives in Limache. Mala fama fourth title of a discography that religiously releases new albums every two years, was recorded on the shores of Lake Llanquihue and was released live in Concepción on Sunday, September 24. Despite the geographical distance, the isolation imposed by Briceño in different phases of his work, signs of rejection of Santiago and the centralist tradition if we want, this album repeats the need of the famous controversial musician to comment on the contingency because it is part of a conscience called questioning all raises dust, offers flanks, has trouble with colleagues and parts of the public to say what you think.

Bad Fame is a record that costs to chew and swallow. Since the previous title, Man Can (2016), False Aces has developed a certain subordination of music to lyrics. As an author, Briceño shows a growing interest in texts rather than accompaniment, causing the feeling of being in front of a musical or singing chapter of 1945-19005 Glee where worms are extended and the metric, sometimes fanciful.

Radio programmers have historically criticized the singer's diction with reason. It's still work and a real contradiction for the listener to understand what a music artist says by putting the emphasis on the word. At this point, it is clear that Cristóbal Briceño and Ases Falsa handle redundant indifference codes in the integrity, and an entrenched musical path but surrounded by a certain comfort after six years of trajectory. They are more knowledgeable than skillful musicians and where only the singer claims notoriety, the same as in Maroon 5, an anguished but illustrative example.

In a thorough interview for larata.cl, the leader reviews each of the thirteen revealing themes. Tasty details like "Nothing I doowe" were composed with the idea of ​​being played by Zalo Reyes. It would be great if one day the popular idol included it in its repertoire, because it's a perfect piece of romantic music in Spanish, and an exception in the album for its direct character and round.

He opposes a significant part of Bad Fame, occupied by songs whose instrumental environment is a secondary accessory material, pieces that move by inertia as "The wind will blow "; "What will he do with me" and his sloppy intro to the drums followed by spaced chords where nothing happens; "Jhendelyn", a lucubration on the figure of Jhendelyn Núñez with discreet arrangements; the kitsch guitarist phrase that directs "Nace has counterattack", which is found in particular in the chorus that after two and a half minutes of litany.

This discreet environment of musical half-tails can be summed up perfectly in cuts like "Films" and "My tribe". In the first, while Briceño sings "a study has shown that reading a study causes only confusion," the disheveled accompaniment resembles the moment when a soloist presents the musicians in a show. In the following, the structure is the same, a long text impossible to keep with a languid instrumental environment.

Only in the last third – the opposite of what happened in Man can die towards the end – fama gathers songs with better balance and efficiency: l & rsquo; Immediacy of "La casa"; tunes to Queen in "Siempre nueva"; "88" in reference to the era of the glory of the Latin ballad in the 70s, and the song that gives its name to the album, a friendly combination of lyrics and music.

By the way, the first cut "That's how it ends", connect with this most attractive part of the album, funk combined with soul. This is a known flavor and made in False Aces, inserted into the type of letter that Briceño wrote after watching the news, as in the past, he wrote about the tragedy of the Red Brothers or the kidnapping of the sailor Eddy López. Now, it is the city of Santa Olga ravaged by the flames.

The themes remain the same since Conduction (2014), a kind of slap on the ears of this environment full of morality and slogans. Cristóbal Briceño, convinced that the marches do not convince anyone, worried about the context of the claims. An interesting debate that deserves better music.

<! –

Read more

-!>