BICICLETA

We see here a second classic (overall, it is a third great one from the band, I only contest, a bit, the value of the debut) by Serú Girán and the leading idol Charly Gargia. Though creating using a total of styles that could be counted on the fingers of one hand, everythign sounds highly evolved, thus it is pleasant, palpitating, has lots of qualities and gifted sensations. It isn't much of a real improvement from the previous one (which handled an astonishingly inspired craft, plus plugged a lot of Argentinian fans to listen and love); it has the electric goodies from Grasa de las Capitala, driving only into more attractive, profound, energy-revolting and unique blushes of creation and interpretation. Affirming, once more, the pure beauty inside a rock of nice templates.

Bicicleta's main appreciable character inerts on the shoulders of the artists, who tender towards art and a full vigor of sensible accuracy, yet all this balance of music and very slow ideas is also made of an un-deteriorated fluency that the music has. The material, without being exquisite, is natural and resembles even better (actually, better than ever) the whole ideals of rock 'n' roll, strong art, by perfect tones and some traditional accents that prevent the music from being a minor tuned rock concept. The music reflects the artists, the artists sturdy back on the music, so both reach out to the listener - quite like this does it all happen. Bicicleta is an album reaching popular intensity, brave rhythms of music, but also is an artistic flake.

The relaxed work combines composition with interpretation (the latter having more spontaneity), rock with a fuzzy poetry, lightness with darkness, intensity with straight good feelings, jazzy and romantic tunes with dramatic or bit distorted tones. It is quite the best an album can express, with a bottled up ostination. Yes, this album, more than all the others, can be progressive, stirring up a lot of a rock fusion. Cautions are, however, the general lyricalness, the dry instrumentality, plus different eccentric notes that embrace a jolly rock independent taste.

I'll give a walkthrough try, in the end, because each piece sounds well composed and even winds up its own share of the classy style. A los jovenes de ayer actually is surprisingly perfect, being a blusterous dream of jazz-moody ambiances on a choral of dark-nuanced work, with special instrument takes. Cuanto tempo mas llevera is a movement of vocal profoundness, on top of serene melodic and obscure shifts coming from the instruments' own poetry. Cancion de Alicia... is more impressive if you enjoy some curious texts and distinct emotions: sounds like a ballad losing its shine, but it is cajoled with melancholy. La luna de Marzo only whispers an introduction to Mientras miro las nuevas olas, who is a bit unimpressive rock dynamic fleet and bang. Desarma y Sangra already reduced Serú Girán to flavor rock and poetic passion play; a bit too much new-wave. Tema de Nayla is a long cool-air slow fusion, most interesting being a couple of moments when the band experiments rhythm. Encuentro con el diablo is pop-soul, so it can pass. Fun to hear it though.

Serú Girán's finest and purest album, all in all.