{"id":4751,"date":"2020-01-15T00:00:17","date_gmt":"2020-01-15T05:00:17","guid":{"rendered":"https:\/\/magazineampm.com\/?p=4751"},"modified":"2022-05-04T16:38:29","modified_gmt":"2022-05-04T20:38:29","slug":"carnal-repetir-formulas-o-ser-bocado-del-mercado","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/carnal-repetir-formulas-o-ser-bocado-del-mercado\/","title":{"rendered":"Carnal \/ Good Faith"},"content":{"rendered":"<p class=\"translation-block\">As a prejudice open to the middle is this disc, which of the flesh is raised 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 them and mixing them in an adequate sound dramaturgy like the one proposed by <i>Carnal<\/i>, the most recent album of Good Faith, where it seems that the band - as the theme that gives title to the album suggests - agreed to be mouthful of the market jaws.<span id=\"more-4751\"><\/span><\/p>\n<p>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 <i>track<\/i> <i>catrina<\/i>.<\/p>\n<p class=\"translation-block\">The <i>Carnal<\/i> theme is a visceral and very personal dissection of believing even if there is a lack of motives and deserters of hope. This is confirmed by the letter: It does not matter, we go again ... \/ To try to understand what happened \/ To be the owner of what will come \/ the imposture is suicide in full sun \/ no way does not make it personal.<\/p>\n<p>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>i&#039;m in love with the night<\/i> (in <i>Pataki of Freedom<\/i>), <i>Who I am<\/i>, title in addition to the eighth <i>track<\/i> from the album (a typical pop ballad, where Ricardo Arjona&#039;s shadow lurks?); you too, <i>not one more<\/i> and <i>Carnal<\/i> 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.<\/p>\n<p>The album also gives Yoel Mart\u00ednez the opportunity to corroborate that when he assumes the leading role as a singer \u2014in his case, the vocal solos, with guitar backing and without too much background orchestral sound\u2014 it suits him well. On this occasion, it becomes a tailor-made gift for your daughter Mia.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/UghHtGihYjs\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>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.<\/p>\n<p class=\"translation-block\">What began as a duo, almost entered the year 2000, has mutated in a band that returns to the root with the piece <i>Blues de guateque<\/i>. It is the claim, without forgetting, with the Guantanamo land and the East that saw them born. Thus, the group returns to the identity thematic line of Israel Rojas and Yoel Mart\u00ednez and then reaches the capital through<i>Mujer ciudad<\/i> .<\/p>\n<p class=\"translation-block\">On the other hand, in <i>Cuatro cuentos<\/i> the neighborhood narrative is used as a common thread to sing, making visible the sui generis situations of a community. The proposal is a photograph of the neighborhood culture, that to which it is necessary to return again and again to understand the national culture.<\/p>\n<p class=\"translation-block\">The pats, meanwhile, are the portico of the theme <i>Ni una m\u00e1s<\/i>, a resource that in the past also assumed the group in titles such as <i>Catalejo<\/i>, of obvious popularity, and which also repeats in <i>M\u00fasica <\/i>v<i>ital<\/i>. The conversations at the beginning of the titles and the environmental dialogues without musical intervention are verified again in <i>Madurar<\/i>, another formula explored earlier in interpretations such as<i>Ojeo<\/i> and <i>Se bota a matar<\/i>, which belong to <i> Dial, <\/i> the band's eighth record production.<\/p>\n<p>In short, the group rereads its own work without big surprises. An album where more orchestral, sonorous work is given more preponderance, and\u2026 when it seems that the lyrics are going to connect with poetry to think \u2014the aesthetic resource and creation of the group\u2014, 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.<\/p>\n<h3><a href=\"https:\/\/amzn.to\/37ZPxSr\" target=\"_blank\" rel=\"noopener\">Listen <em>Carnal<\/em> here.<\/a><\/h3>","protected":false},"excerpt":{"rendered":"<p>Como un prejuicio abierto a la mitad es este disco, que de la carne se levanta con una idea transversal: el universo como fuente humana para cuestionarse la libertad. Una selecci\u00f3n de canciones cuyo eclecticismo radica en escoger puntos de vista, ideas y valoraciones sensoriales que son compatibles, \u00fanicamente, combin\u00e1ndolas y mezcl\u00e1ndolas en una adecuada [&hellip;]<\/p>\n","protected":false},"author":1449,"featured_media":4755,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[25],"tags":[],"coauthors":[5666],"class_list":["post-4751","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-resenas"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2020\/01\/Carnal-buena-fe-portada.jpg?fit=1241%2C698&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/4751","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/users\/1449"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=4751"}],"version-history":[{"count":1,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/4751\/revisions"}],"predecessor-version":[{"id":11105,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/4751\/revisions\/11105"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/4755"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=4751"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=4751"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=4751"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=4751"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}