Carnal / Good Faith
Like a prejudice opened in the middle is this album, which rises from the flesh with a transversal idea: the universe as a human source to question freedom. A selection of songs whose eclecticism lies in choosing points of view, ideas and sensory evaluations that are compatible, only, combining and mixing them in an appropriate sound dramaturgy such as the one proposed Carnal, Buena Fe's most recent album, where it seems that the band —as the title track suggests— agreed to be a bite out of the jaws of the market.
The phonogram is based on experimentation with sounds that mix percussion and electric strings, 14 pieces with a pluralistic notion where all voices fit, as evidence, for example, the use of synthesizers and the Scandinavian strength of the track catrina.
The topic Carnal It is a visceral and very personal dissection to believe even if there are no reasons and plenty of deserters of hope. This is confirmed by the letter: It doesn't matter, let's go again…/ To try to understand what happened/ To be the owner of what will come/ Imposture is a suicide in broad daylight/ There is no way I can't make it personal.
As a common denominator, in all the cuts of the CD there are short verses, just monosyllables or phrases that the group extends in chorus. Phrases like: i'm in love with the night (in Pataki of Freedom), Who I am, title in addition to the eighth track from the album (a typical pop ballad, where Ricardo Arjona's shadow lurks?); you too, not one more and Carnal confirm this choral treatment in the use of voices that distinguishes the album and where, for the first time in the history of the group, they incorporate the voice of a woman in the choirs that, of course, offers another coloratura to the final product.
The album also gives Yoel Martínez the opportunity to corroborate that when he assumes the leading role as a singer —in his case, the vocal solos, with guitar backing and without too much background orchestral sound— it suits him well. On this occasion, it becomes a tailor-made gift for your daughter Mia.
That is also the name of the song composed and performed by Yoel and that serves as a thematic bridge and turning point to tell individual stories written by Israel Rojas. The first four themes of the album revisit social conflicts: racism, the idea of freedom, the individualism that manifests itself as the poison in society, love for Cuba, faith, and the ability of its people to survive. The rest of the musical proposals individualize the stories, always from the artistic sensibility and especially body with which the Cuban present is enjoyed and suffered.
What began as a duo, almost in the year 2000, has mutated into a band that returns to the roots with the piece party blues. It is the vindication, without forgetting, with the Guantanamo land and the East that saw them born. Thus, the group returns to the thematic line of identity of Israel Rojas and Yoel Martínez to later reach the capital through city woman.
On the other hand, in four stories the neighborhood narrative is used as a common thread to sing, making visible the situations sui generis of a community. The proposal is a photograph of the neighborhood culture, the one to which it is necessary to return again and again to understand the national culture.
The claps, meanwhile, are the porch of the theme not one more, a resource that the group also used in the past in titles such as Spyglass, of obvious popularity, and which is also repeated in Music vitalian. The conversations at the beginning of the titles and the environmental dialogues without musical intervention are confirmed again in To mature, another formula explored before in interpretations such as I look and It goes to kill, which belong to dial, eighth record production of the band.
In short, the group rereads its own work without big surprises. An album where more orchestral, sonorous work is given more preponderance, and… when it seems that the lyrics are going to connect with poetry to think —the aesthetic resource and creation of the group—, the compositions resent the lyric level of fall into a good dose of ease and have little of that sharp and critical depth of the beginnings of the duo.