MIGUEL ABUELO ET NADA

It is said that the main problem with this band was the strong inner tension established between the electric guitarist, Daniel Sbarra, who favored songs based on heavy riffage, and the Chilean cello player, Carlos Beyris, who preferred a more classical and pastoral approach, with Abuelo playing the difficult role of walking the divisory line, trying to find some balance as singer and bandleader. It is said, also, that the mentioned dispute ended up in an early disbanding, which is a very credible interpretation of the premature demise of this extraordinary group of talented musicians.

Now, if I have to give my own view of the effect that such musical difference seems to have had on the album itself, I have to say that it conducted to a fascinating fusion of both aspects, endly resulting in a completely absorbing listen.

The voice of Abuelo is maybe an aquired taste, but is also endowed with an extended register and a ductile expressive ability, and both aspects allow him to express the very different moods and energy levels successively created by a band that is always challenging his prowess.

As a listening guide, I suggest you to go for tracks 1 Tirando piedras al río (Throwing Stones To The River), and 3 Estoy Aqui Parado Sentado Y Acostado (I'm Here Standing Sitting And Lying), if you were interested primarily in the heavier side of things (even when they include also classical-like passages), and for tracks 2 El largo día de vivir (The Long Day Of Living) and 4 El muelle (The Dock), in the case you prefer to listen to the calmer stuff first (even when the last one evolves gradually to a fantastic heavy climax).

The entire album is excellent, because of the great performances, notable compositions and outstanding sound quality, and it surely worth the while taken for a careful, intimate, and relaxed listen.