{"id":8003,"date":"2021-05-03T00:00:43","date_gmt":"2021-05-03T04:00:43","guid":{"rendered":"https:\/\/magazineampm.com\/?p=8003"},"modified":"2022-04-30T16:29:42","modified_gmt":"2022-04-30T20:29:42","slug":"sin-comentarios-adonis-y-osain-del-monte","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/sin-comentarios-adonis-y-osain-del-monte\/","title":{"rendered":"No Comments \/ Adonis and Osain del Monte"},"content":{"rendered":"

Those who are used to listening to a good rumba are forced to return to that movement of the feet marking the key, to that rhythmic swaying of the shoulders, but above all, to the energy that stirs within the body. <\/span>spoiler alert<\/span><\/i>: that vibration that the scholar tries to contain in an attentive listening position can last for days when it comes to the new album by Adonis and Osain del Monte.<\/span><\/p>\n

Licensed by the Egrem label and recently released in March of this year, <\/span>No comment<\/span><\/i> speaks for itself. When it comes to rumba, when you carry feeling, there are plenty of explanations. Difficult task then, that of translating into words the musical richness that could only be compared with the deep mount of the orisha that names them. Without the need for an introduction, this review is nothing more than an invitation to meet a pure and up-to-date rumbera download.<\/span><\/p>\n

To begin with, the earth shook when Osain's drums accompanied Alexander Abreu. In the midst of a war for greater racial justice, an issue like <\/span>Race<\/span><\/i>, ferocious timba that emerged in emancipatory response.\u00a0<\/span><\/p>\n

Result of the happy alliance, this phonogram has the role of Alexander Abreu as music producer together with Adonis Panter in the direction and musical arrangements. The artistic cast is enriched by the presence of Alain P\u00e9rez, Emilio Fr\u00edas (El Ni\u00f1o), Rodney Barreto and Eduardo Sandoval. This team, united in musical thought to Adonis himself, finds its maximum expression in the final arrangement of <\/span>No comment<\/span><\/i>.<\/span><\/p>\n

Composed of ten themes and a <\/span>bonus track<\/span><\/i>, from the first listen, it strikes you with its technical maturity while various genres of Cuban popular music are set to accompany the rumba \u2014when the opposite usually happens\u2014. In this way, the message can embrace an audience that is not clearly rumbero, and also carry that saying-feeling of resistance towards an alter (\u201cthe commentators who talk and talk\u201d) that have marked, marginalized or delegitimized the popular essence of the Cuban rumba Although Osain del Monte's own style remains, an ascending continuation is perceived with a high degree of elaboration with respect to his first album, <\/span>pal mount<\/span><\/i> (Egrem, 2015). The coherence in the dramaturgical line is conceived in parallel in both productions, by organizing the themes in such a way that there is a great variety of nuances.<\/span> \"Sin<\/span><\/p>\n

The challenge of finding something new to say reaches its peak in the version of a theme that has been recurrent in the rumba repertoire. In this case, <\/span>Fool<\/span><\/i> (Silvio Rodr\u00edguez) makes a folkloric tour with the introduction of bat\u00e1s with the touch of Oy\u00e1, followed by that of abaku\u00e1 on the tumbadoras, to turn to guaguanc\u00f3 and finish in timba. Alexander's hand in hand with Adonis and all the semantic load of Silvio's text make the arrangement a forceful introduction, the door that opens and announces a universe as infinite as the accounts of the Yoruba idde.\u00a0<\/span><\/p>\n

From this first moment, the concept that the group has been developing has been defended: the rumba is a multicolored spectacle refined in the exchange and fusion of elements of popular music and in the constant reworkings of the musical-expressive components of the Afro-Cuban heritage, decanted in the polyrhythm of the traditional yamb\u00fa, columbia and guaguanc\u00f3 variants. With that said, we can move on to the topic. <\/span>to the godfather<\/span><\/i>, whose introduction is a recitation of the Palo Monte of the branch of Santo Cristo del Buen Viaje, accompanied by a recreation of the own touch of stick, which leads to the beats of the spiritual box and the rumba.<\/span><\/p>\n

Hispanic sonority is at the center of the album with <\/span>Hug. <\/span><\/i>The Paco de Luc\u00eda school summed up in Alain P\u00e9rez's guitar and the flamenco box drum lead the song towards another cadence to refresh the rumba. While, <\/span>No comment<\/span><\/i> and <\/span>The ebbo exploded<\/span><\/i> they present other rhythmic combinations typical of timba and conga, which give it the character of a popular celebration in the typical midday of Callej\u00f3n de Hamel.<\/span><\/p>\n