GRASA DE LAS CAPITALES

A second album within this band's discography walk, closing up to be a classic, or just combining thundering qualities with the best brewed emotions. Much of Serú Girán's imagination, in this rock powerful genre, stands similar to any foreign band's national and traditional breaks: light as a feather rock, a couple of finely expressed (even artistic) ideas, plus a blush, either dramatic either realistic, of a sincere opened play, the way a trademark/tag can't enclose it. Serú Girán plays a music of perfect style, mostly on this and the next album, even if that means only a perfect tempo and stepped rock that's purely based on their limits and on the more naive high emotions within the genre. Though I can't say how much of an eulogy towards Argentinian music it is (not that it sounds cheap, still...), Serú Girán's music certainly fits well the country's sphere of rock.

La Grasa de las Capitales is not on everybody's taste, it may not even warm enough the heart of gentle rock preferences and pleasure, but it certainly hasn't got anything revolting and distant in it. Part creative part fully relaxed, the album has fantasy and also plays the music of a diverse, just not complex and criminal mark. The lack of complexity actually shows Serú Girán in no need to brink any rock galore, since they embalm and enchant with what they have as sweet art, powerful expression and native sense. Just like always, it would be wrong to find this rock profoundness as a masquerade of artifices and a cold-styled music, because, by their firmest albums, Serú Girán play a polished and charming special harmony of rock. And, a bit, prog.

If some allusions might confuse the music with retro and plain rhythms and accents, the artists (and enough of the best moments they compose in this album) will tell differently the essence and chrysanthemum passion of Serú Girán. Stimulating, again, a lot of personality, the artists are also tenacious and experienced, doing a fruitful kind of rock orchestration with few aneurysms or slow lurks. The guitarist does a couple of excellent broadenings, on both acoustic and electric, flaky or aromatic levels. The lush arrangement of the keyboards is something to endlessly like, combining a lot of heavy notes and music ideas and yet sounding remarkably caustic. Charly Garcia, finally, has a golden voice. The album, though with enough soft and diverse spots to ruin any deep nuance, has some cheerful symphonic rock ethers and rock atmospheres, plus enjoys very much to balance pure music with bright modulations. It is simple music, that sounds anything but dry.

Recommended are Perro Andaluz for its cheerful rock daydream, Frequencia Modulada for a bitter lemon harmonic dance and beat rock, Las Sobrevivientes for a saucerful of music simplicity doing a large impression of full emotion, Paranoia y Soledad for a lovely sadness and distant glow. Other pieces have some peculiar instrumental arrangements, while the first two pieces are working on more pop-rock.

A beautiful and peaceful album, quite recommended for all rock lovers; even if simplicity and haze will break many complex expectations, this is very good and amazingly talented.