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Never a blues band sounded blues less singing in Castilian. It may seem crazy what I say, so I will explain. A few years ago Perico de Dios (guitar, vocals), Carlos Jimena (drums) and Paco Luis Martos (low and bowl) African Traditional dusted the stake under the imprint of Guadalupe Plata, a trio that neither wanted to break the rules of a genre incorruptible or transcend mere fondness for classic patterns. Appeared without appealing to the uniqueness and without putting her exquisite sight range of aesthetic references; paradoxically true and contemporary sounding without disguising the speech with the interest rate quoted market where most of the national independent bands.
An EP and an LP released in 2009 and 2011 respectively, both artifacts presented with the group name as a single claim, served as a spur for the band to end up walking many miles, today, costs fit the way in which their four members (I include Toni Anguiano, the irreducible manager) have been unable to have a life beyond a van.
Probably motivated by an inevitable necessity exploratory, the Silver have continued braiding for another job this past year with the goal posts as always, but this time to summon a distinctly new twist of the wrist. In full year of economic downturn, the Andalusians return with another album untitled, arguing that theirs is the vintage. Although I do not buy this as a hair. And that they can cite Skip James, John Fahey and Elmore James, pull the slide bootleneck and deceive us or try to defend that theirs is old and run-down blues. But it is not so simple, because what they're up to the Ubeda is much more evolved, psychedelic and transgressive than you might reach a slipstream of his first recordings or their personal attachments. The sum of the incorrectness formal, concoction unpredictable manners, the hypnotic temperance and that humble personal discourse that characterizes them, initialed the proposal of a band with a history, yes, but with no coeval with which we can make comparisons. These guys are unique, on stage, in the studio or a Tuesday madrugá drinks at any bar in the suburbs.
"The idea was to capture that endemoniamiento secreting the blues and flamenco singing. These are generally of the music I like, that that seems out of idyllic landscapes and stems rather from shock, fire and discomfort, "says Perico graphic art referring to this new album released in two editions: one for vinyl and one for the CD. The first cover oil a work of Beatriz Sanchez with digital ink drawing painted by Perico, responsible for the iconography swampy previous albums. Two visions that are based on the same idea. "On the cover we wink at Jaen, with olive trees, the farmhouse and the Virgin of Guadalupe, patroness of our people, with their cherubs maintaining peace in a landscape chaired by a black greyhound to Julio Romero de Torres, who for me represents the Devil. It is an animal that really catches my attention. The ones I've seen are usually Ubeda dogs abandoned when their owners were no longer running. You encontrártelos elusive and frightened hovering like ghosts. I always associate that image to the essence of the blues. On the back the virgin disappears and say that brown bundles. The farmhouse just on fire and smoke was seen demons in a very Goya. In the edition of the farmhouse burns CD and the dog goes into the flames with a snake ".
Metaphors are not lacking, decorating thirteen new songs (one of them a review dragged the cut star of his first EP, Jesus is crying) that appeal to a routine where rural magic and intermingle, whether through the use of drums of Easter (present in songs like Walking or Entombment I), the insertion of the bells penitents introductory open that tune called Wailing (with Ry Cooder in a peculiar ordeal ethyl), or the constant references to Spain for secret closed crowning the obvious homage to The Holy Innocents titled Milana.
When Doors L.A. Woman crossed with Perez Prado may arise things like praying, with its crunchy guitars and wooden planks swollen by the thrill of the mambo. On the other hand, when they decide to press the accelerator, compositions like Oh My Slave Bey or just immersing yourself in an orgy pelvic which, as a friend recently commented during one of his concerts, "is a something that puts you".
Recorded live over three days in the studio of Ryan Anderson in Austin, the album features the collaboration of Walter Daniels (Oblivians, The Revelators, '68 Comeback), harmonica demon with whom he turned Guadalupe Plata particular artistic connection for several months. An inevitable cameo has been printed on the subject does not love me and two other songs that probably later be published as a single. The mixture was made in Malaga, in the study of Maxi, the frightful The Hollers, with Mike Mariconda (The Raunch Hands, Devil Dogs) celebrating his birthday after the table. The end result, in the words of the same Mariconda, is a sizzling concoction packed lysergic "killer slides" bass lines "off the charts" and martial percussion fantasize invite "a factory of Seat demon sounding blues ".
"We have the impression that the character of the recording is darker and podrío than ever, we have moved closer to involution," said Pete. And once again, do not buy their words. Because if you have accomplished this Ubeda is regress, I pray that ninety percent of the country's current bands end up going back to the Stone Age.
An EP and an LP released in 2009 and 2011 respectively, both artifacts presented with the group name as a single claim, served as a spur for the band to end up walking many miles, today, costs fit the way in which their four members (I include Toni Anguiano, the irreducible manager) have been unable to have a life beyond a van.
Probably motivated by an inevitable necessity exploratory, the Silver have continued braiding for another job this past year with the goal posts as always, but this time to summon a distinctly new twist of the wrist. In full year of economic downturn, the Andalusians return with another album untitled, arguing that theirs is the vintage. Although I do not buy this as a hair. And that they can cite Skip James, John Fahey and Elmore James, pull the slide bootleneck and deceive us or try to defend that theirs is old and run-down blues. But it is not so simple, because what they're up to the Ubeda is much more evolved, psychedelic and transgressive than you might reach a slipstream of his first recordings or their personal attachments. The sum of the incorrectness formal, concoction unpredictable manners, the hypnotic temperance and that humble personal discourse that characterizes them, initialed the proposal of a band with a history, yes, but with no coeval with which we can make comparisons. These guys are unique, on stage, in the studio or a Tuesday madrugá drinks at any bar in the suburbs.
"The idea was to capture that endemoniamiento secreting the blues and flamenco singing. These are generally of the music I like, that that seems out of idyllic landscapes and stems rather from shock, fire and discomfort, "says Perico graphic art referring to this new album released in two editions: one for vinyl and one for the CD. The first cover oil a work of Beatriz Sanchez with digital ink drawing painted by Perico, responsible for the iconography swampy previous albums. Two visions that are based on the same idea. "On the cover we wink at Jaen, with olive trees, the farmhouse and the Virgin of Guadalupe, patroness of our people, with their cherubs maintaining peace in a landscape chaired by a black greyhound to Julio Romero de Torres, who for me represents the Devil. It is an animal that really catches my attention. The ones I've seen are usually Ubeda dogs abandoned when their owners were no longer running. You encontrártelos elusive and frightened hovering like ghosts. I always associate that image to the essence of the blues. On the back the virgin disappears and say that brown bundles. The farmhouse just on fire and smoke was seen demons in a very Goya. In the edition of the farmhouse burns CD and the dog goes into the flames with a snake ".
Metaphors are not lacking, decorating thirteen new songs (one of them a review dragged the cut star of his first EP, Jesus is crying) that appeal to a routine where rural magic and intermingle, whether through the use of drums of Easter (present in songs like Walking or Entombment I), the insertion of the bells penitents introductory open that tune called Wailing (with Ry Cooder in a peculiar ordeal ethyl), or the constant references to Spain for secret closed crowning the obvious homage to The Holy Innocents titled Milana.
When Doors L.A. Woman crossed with Perez Prado may arise things like praying, with its crunchy guitars and wooden planks swollen by the thrill of the mambo. On the other hand, when they decide to press the accelerator, compositions like Oh My Slave Bey or just immersing yourself in an orgy pelvic which, as a friend recently commented during one of his concerts, "is a something that puts you".
Recorded live over three days in the studio of Ryan Anderson in Austin, the album features the collaboration of Walter Daniels (Oblivians, The Revelators, '68 Comeback), harmonica demon with whom he turned Guadalupe Plata particular artistic connection for several months. An inevitable cameo has been printed on the subject does not love me and two other songs that probably later be published as a single. The mixture was made in Malaga, in the study of Maxi, the frightful The Hollers, with Mike Mariconda (The Raunch Hands, Devil Dogs) celebrating his birthday after the table. The end result, in the words of the same Mariconda, is a sizzling concoction packed lysergic "killer slides" bass lines "off the charts" and martial percussion fantasize invite "a factory of Seat demon sounding blues ".
"We have the impression that the character of the recording is darker and podrío than ever, we have moved closer to involution," said Pete. And once again, do not buy their words. Because if you have accomplished this Ubeda is regress, I pray that ninety percent of the country's current bands end up going back to the Stone Age.
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