By José Gandue @spinning zone
A few years ago I had a discussion with a musician friend about his way of composing, I, who of course am not a musician and cannot ring a doorbell without sounding off-key, I asked him why he didn't follow what other colleagues did, which was to pick up his acoustic guitar and build his songs from the ground up, adding the necessary instrumentation as needed, and then finishing with the sonic details, as if they were supplementary elements. He, obviously more versed in the subject than I, replied that the difference lay in the textures, that for him, the emotion stemmed from that detail and not from the overall construction of the melody. The light originated in the noise, that was the basis. At the time I didn't understand it, perhaps because I didn't see much progress in his work. But that was a separate issue and not relevant here.
I remembered the conversation in question while listening to the new album for the first time. Blond, called Venus & Blue. This album (and I don't think it will surprise you that I say this), It is another masterpiece of Chilean music by Fran Straube. But I would add the following: Venus & Blue It's a different galaxy from their previously published work, because there's a curious combination of a bold and experimental attitude, coupled with an understanding of and affinity for popular expressions. However, their identity is never lost, never compromised. the initial spirit that the artist has always defended.
The basic sound (or, rather, the sum of sonic textures) of this compilation is an invitation to a very particular auditory jungle, where at times there are flirtations with urban expressions such as reggaeton, and other similar genres, But with the intention, instead of adapting to what each musical label demands, to make what is expressed one's own, containing the whole in one's personal stamp. Straube understands the tools used by exponents of these fashionable styles, but he turns everything on its head and molds it, establishing his own rules, his own claim. Examples of this are the ninth track, Spring Blue, Roller coaster, either Cry, his current promotional single.
I've always associated Rubio with the best moments of nineties trip hop, but here, more than ever, It is clear that there is a unique brilliance, a way of approaching life with a different spirit. In her music there is nostalgia, but also a need for bodily movement, for personal dance. Euphoria is reserved for very particular moments, and, rather, This is where the need for hugs, kisses, and moments of intimacy arises: «"I want to sing to you, my love/ that I feel in my ear/ and at night when the wolves come out with me/ I breathe your scent/ It's your sweat with me." (Your scent), (fifth track). Furthermore, the lyrics are closely linked to the sound; the words flow not only as a resonant rhythmic accompaniment: Rather, they proclaim a forceful personal manifesto.
The best moment (how reckless to say this, given what is such an impeccable production!) is When the sun goes to sleep. Perhaps, at the risk of distorting the meaning of the recording, we can describe this moment as a ballad. This song has an overwhelming tenderness, yes, but it's a mature composition., Made by someone who, instead of resorting to clichés, confronts the listener, turning their vulnerability into an unbeatable strength. However we love, it doesn't matter., Living it and expressing it saves us from misfortune and indifference.
Yes, my fandom for Rubio continues. This album confirms it (and I repeat, as if it needed to be said) that Fran Straube is a great master of living sounds and of a grateful, profound emotion., entities with which he confirms he is at the best moment of his career.