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Reviews Detail of the cover of the album For the Wait, by Silvio Rodríguez, based on a photograph by Daniel Mordzinski. Photo: Ojalá Studios. Detail of the cover of the album For the Wait, by Silvio Rodríguez, based on a photograph by Daniel Mordzinski. Photo: Ojalá Studios.

For the wait / Silvio Rodríguez

With Silvio Rodríguez I have a relationship sui generis. I have a picture of him on my back and I don't consider myself a silviophile. His songbook —autographed, by the way— is one of the few objects that will always be with me, although I will never finish reading it. I admire his positions and I think he acts more out of conviction than convenience, but I have reluctance to the excessive layers of politics (with) that cover him. I treasure their albums —on CD and vinyl— and more than 200 unreleased songs that I haven't heard. On the other hand, despite the fact that I love many of his clean guitar works, I prefer those in which he breaks away from the troubadour archetype, such as Causes and chances (1986), Expedition (2000) or Second date (2010) in which he explores the symphonic format, jazz or Afro-Cuban rhythms.

for the wait (2020) is, for several reasons, a Rare avis in the singer-songwriter's career. It is the first composed of demos —hence he is responsible for everything that is heard. They are also discarded topics, but unlike the discards (1998) the albums they were excluded from have not yet been put together. And, finally, it is his first phonogram released exclusively through digital platforms, since for the moment he has not decided to release it in physical format. That is why I received with equal doses of emotion and skepticism the announcement of his first sole proprietorship in 24 years.

To the new work of this ancient troubadour It is surrounded by a certain darkness that, in principle and based on its cover and dedication, it is easy to associate with death. However, knowing that La Parca barely touches a few songs, it is not fair to hold her fully responsible for it. It is rather a breath of decadence and loss that most of the texts give off and, in turn, is intensified by calm arpeggios with the absence of high notes and a parsimonious way of singing. This, needless to say, is not negative per se. In fact, personally, I find it extremely attractive and I think that one of the greatest successes of these works is that they manage, most of the time, to spread the emotions they carry.

the riddle it is a minor topic, almost childish, but as an introduction it works. Despite the fact that its core is an invitation to discover love, the tired tone with which it is interpreted gives it a somber touch that could arouse some suspicion in those who listen to it. In Although I don't want to, I see that I walk away the opposite happens. Sonically it feels fresh and clear, but the story it tells is that of a farewell at the wrong time —according to its creator, due to the death of the protagonist. It's a beautiful song —one of my favorites on the material—, which well deserves a more finished version.

If I had to predict which theme would become a classic, able to stand next to Whoever it was or butterflies, without a doubt it would be endless night and sea. It may not be the best text or the great arrangement: it is in the union of all its parts that the magic happens. Silvio faithfully x-rays again —as he did in the aforementioned themes— a group of complex emotions and feelings in a simple but shocking way. In this case (re)treat the healthy, the yearning and even a bit of impotence/resignation when a loved one is lost in the immensity. A song that, being so authentic, feels as if it had been invented at the very time of recording it. Moreover, if someone told me that after listening to it they did not feel deeply touched, I would advise them to urgently visit a cardiologist. The night it was released as a single, I found it hard to sleep. Rereading this paragraph I see that perhaps empathy and sentimentality won me over: I can't separate this song from the memory of my grandmothers' departure.

The fifth cut is one of the most expected (we) in the concerts in the neighborhoods. However, in his recording part of his appeal seems to have been diluted —and I say it seems because it is surely the fault of so much expectation. The thing is coming can be seen as an antithesis of Unicornio. If in the 1981 song the mythological being served as a metaphor for utopias or the longed for, the indeterminate entity of 2016 stands as a representation of a feared threat armed with lies. The lurking and deceitful will reappear later in A shadow, the shortest and most minimalist track on the album, perhaps one of the best. Not only lyrics, music and voice make this an overwhelming song, the fact that its author is Silvio adds an important share of uneasiness: the poet who once destroyed snakes posing a truth with a verse, falls defeated before a surreptitious presence that this time has managed to trick him and devour his love. From unicorns to shadows, from winner to loser, from utopian to dystopian... Times have changed a bit, haven't they?

Unless you are very young, we all drag the corpse of some other chimera. Faith is a complex function that depends, among many other variables, on time. the bittersweet we played god it puts the focus on those primal dreams that have twisted over the years under the weight of mistakes that we insist on not recognizing. A look, crossed by remorse, at times of greater naivety. A belated desire to amend what, inevitably, has already escaped us.

after living is obviously the most direct in addressing the topic of death. Although rather it is a reflection on the right moment to prepare the luggage for the new journey. A kind of declaration —or ratification— of principles whose beauty and emotionality, even without reaching the grandiloquence of Fool, are unquestionable. Very well placed as the last song in the narrative of the album that closes with end page, instrumental piece played by the influences that the sunsets bring. It works as a kind of coda, which blends perfectly with its predecessor.

It's no secret that even on the best records, there are tracks that serve only to complete the track list. Of for the wait It could be said that he is a good anti-disco: many of his songs taste like filler. Of course, not in vain the creator himself has decided to exclude these works from larger works. However, it is no less true that, after a few passes —and especially if you read the lyrics— good texts are discovered here and some of these themes would improve after a good production job —remember that these are raw pieces practically newborn. And it is that these recordings cry out for a producer who, in addition to being good, is willing to take risks and push Silvio as hard as it takes to get him out of his comfort zone. Because in general some passages give the impression that the troubadour of San Antonio has ended up influencing himself. It is little less than impossible to listen to this album and not remember the trilogy formed by Silvio (1992), Rodríguez (1994) and Domínguez (nineteen ninety six). And this does not respond to the fact that they are similar in terms of instrumentation, since the same does not happen when listening to At the end of this journey in life (1978) nor Women (1978). Now, unlike those three, where music and poetry flow smoothly through us —and vice versa—, in for the wait listening gets bogged down at times, hindering our progress due to its 13 pieces.

However, this phonogram is what it is and you can't ask for more. Interesting material —since it allows us to peek into the creation process of one of the greatest singer-songwriters of all time— but it will probably end up boring us after a few plays or we only include two or three tracks in our playlist daily. Perhaps a diversion to alleviate the anxiety of a wait that was already getting too long.

Listen for the wait here.

Ivan Eged Iván Egüed collector music lover Auto engineer and other nonsense. Inveterate child. Soursop addict. Always Happy, never unFeliúz. Sometimes with my feet on the ground... More posts

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  1. No Binario says:

    Good prose, keep it up

  2. Leticia marquez says:

    I can assure you that this was a sublime album written with the soul. You have not been able to capture so efficiently the feelings of those who listen to it in each song. There are three that made an admirer of his talent cry

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