Soloist: Rafo Ráez (Peru) There
a terrible problem in Peru with respect to current rock. And that problem is ignorance. If you, dear reader / listener, you stop at Jiron de la Union, a pedestrian street where hundreds pass or, rather, thousands of individuals per hour, and questions at first unaware, as a sociological institution pollster, the best young Peruvian rock, it is likely that the interviewee, very loose bone and the security of who sets out an irrefutable truth, say: Gianmarco or at best, Pedro Suarez Vertiz. Why is this happening? Why should so few possibilities for answers? And, finally, what is the reason why we, the Peruvians have a taste as doubtful, to say the least? As well, in my opinion, the main culprits are the media, which reduces the musical choices to a handful of perpetrators of crap sound, and, acting in the manner of the worst dictators, cast into oblivion or into exile to the real talents accusing the underground, difficult or even unpleasant. Why communicators take the privilege of choosing from the masses? Why not act more transparently and distribute all the cards in the game-that is, each and every one of the paths used by different musicians, and wait for the public, guided for mere intuition or aesthetic preference, choose the hand that will be discussed in the world of musical preferences? I do not know. May have economic interests behind. Maybe (which is most likely) have just plain stupidity on their heads. And then this nonsense that keeps in perpetual ignorance to the public which, hopefully in the supposed good initiative from the media, choose only from what is offered them, and believe in a kind of cultural blindness that the world contemporary rock is so basic and grotesque as the aforementioned offering and Pedro Suarez Vertiz Gianmarco.
But you, dear reader / listener I wonder then: what are the other alternatives in the current Peruvian rock? Well I'll tell you that for a long stretch of time, it is no secret under unbroken key, but still fails the explosion of popularity and recognition his work deserves. And the artist in question is Rafo Ráez.
Rafo is true that no work has a consistent quality. In its constant search for new sounds, sometimes dropped in the dark pit of failed disk. An example of this is his penultimate work, Chasqui Change, in which, for trying to master the keys, designed songs that skirt the abyss of horrible. However, if we do the addition and subtraction, we get a result positive in regard to what was done by Ráez. This has been the architect of record as round as Suicide of 16, The Madman and the Dirty, Mud Fish (co-authored with the splendid poet José Watanabe), and this summit is the gift melodious.
Rafo But the best is not alone in the past. Well, in line with the above records, a few weeks ago released the Pastrula Queen, who, no doubt, is one of the best products of the year not only in Peru but also throughout the English-speaking world .
With an unprecedented sounds, ranging from the playful to the lawless and violent, and go through the tender, raving and reflective Ráez has composed a mix of melodies and rhythms that come, at times, and a bewildering flow at peak of genius rarely found in our sound habitat. And I repeat: I am not talking about the perfectly simple and talented. I note, without any hyperbole involved, which La Reina Pastrula Rafo bordering on exceptional. And this, esteemed reader / listener should be celebrated with palms, liquor and lots of rock and roll.
But let's get the details.
parts Pastrula Queen are like jewels in a box of chocolate, choose the one that always picked you'll get the jackpot. Underline first the instrumental: King Kong Palace and Fire. King Kong Palace is a jazz composition and attempts a gangster and solemn atmosphere between between celebratory and melancholy. Fire, on the other hand, is Andean winds (more precisely, Ayacucho) and closely resembles a minefield of Hearts, an electric guitar riffs in Rafo presented Suicide 16. Fire, which is a morbid sadness, plunges the listener into the plain unfathomable loneliness. It seems to me like a gun trigger depression. In R. Pastrula there is also reflection on the national. This is in White and Red, which, aligning different vocal layers, the voice says, 'I'm Peruvian / red, white, red / passion, calm, passion. This, then, a beautiful analogy between the colors of the flag and the characteristics of the Peruvian. My Gordita find joy and good humor, connected with a dance beat that would delight any regular at club or other place of entertainment. He says the lyrics: I love her and want to eat / I love her and I have / always close to mine for fornication / near me always to talk. Funny, right? For romantics, Ráez Lovers Fire plays with power, thanks to tension syncopated guitar and drums, draw very sensual impulses that dominate the love and the push concretions the wildest dreams of pleasure. Ráez says: You want to kiss / you want to drink / you want to think / lovers Fire / are given one to one / there are one to two. The couple pursued an impossible unity until, in the disordered and demented way, reach extinction offered crackling flames. And the genius? Where's the genius? If this wish, dear reader / listener, as I invite you to pay attention to Gardener Village. In a beautiful crescendo, this song seems aimed to penetrate the soul of the listener and dominate for a few minutes until he recalled the Platonic world of ideas. Gardener Village is the vicissitudes sumun Music Ráez this disk, then, with a simplicity that moves and disturbs, makes a speech lyrical confused and wonder as the dream of thrilling romp opium or soft after the perfect love. A breakdown of the lyrics: Village Gardener is clearly the thing / the spine is the sister of the rose / is not a sacrifice / the earth is dying / will be a real gardener / if I die.
you continue, then, dear reader / listener, preferring or Pedro Suarez Vertiz Gianmarco? Will you continue to believe that the rock is limited as indicated by our communicators obtuse (for the others, the intelligent, there are also, but, unfortunately, are few and endangered)? Will you think that Pedro Suarez Vertiz is our Bob Dylan, as James once said that excellent Bayli-political journalist, but bad and worse writer, art critic? Please I hope you change your mind and give it a chance Rafo Ráez, who, surely, will not disappoint you and that after appreciate it, will not consider in any way as our national Bob Dylan, but proud and definitely as our one and only Rafo Ráez. July
Meza
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