There was a time when Aldo made me cry by throwing it a capella. This Aldo transmits little and is supported by good choirs and music.
There was an Aldo that I was still focused on and it's hard for me to finish hearing it.
There was an Aldo who helped build me. This one that sounds is Aldo built.
Raymond Daniel had collaborated with Los Aldeanos in 2014: they made Crazy, the most sincere topic of those three or four that shared Bian and Aldo while they finished separating. The riff of the guitar entered beautifully in a beat simple; small single closing. By then, Aldo had begun to kill his flow: from one of the most frank in Spanish, to those tedious and derogatory forms. By then I had also begun to review choirs, to make melodies probably to compensate for the lack of good phrases. However, I still had strength in issues where it came to the case that flow new, that has intention of war, but it is disdain and that it is terrible in sad songs, of conscience, that were one of its forts.
So Aldo was accompanied by Raymond Daniel on this album, Lulo (2019), and Raymond creates some riffs great with his electric guitar that surrounds in effects of nature, bells, pianos, vocal arrangements, strings.
But Aldo has finished killing his flow: now it's flat: nothing. He tries to talk but manages the air very badly; he tries to be sad, ends up correctly using the formulas of sadness: he puts all the voices in his place -he already knows how to do second and third-; he does not have fun either. As there is no fight or tear or anything to change, it releases us an album about the spirit of the environment: Lulo is a tree. "I visit him with my little son, we used to hug him and communicate with Mother Nature through him," he said.
The disc is simple. Very predictable rhymes that compose songs of book of self-help, songs of book of sayings, another one on their goblins, Fuan fuan -a Chie chie with laziness-, one who wants to be anti-racist on a black woman who dances, one who is on the best rhyme of her last days (Ayahuasca), and padding: sweetheart: "Sorry for some time in which I was not sincere / understands, I love you / me without you a world I do not want", "And I want to make love to you / I want to make you happy / give you a flower / show you yes. "
In addition there is a remake of In case tomorrow I'm not, that seraphic theme of 2008 where he told his son that the first thing is to be honest with mom and the seventh, not to leave school in seventh. In this he advises his youngest son not to act with ego -he also advises us on track 3: The ego- and always fight for what you want. That. And as he and Raymond were sure it was going to be the hardest part of the album, it was what they most meticulously built: the melody of the chorus, the carefree timbre in the rapeos, the tones and effects of the guitar, the simplicity of the piano. We already know that they dominate the formula, and that would be fine if it were not for everything that the Villagers represented at the time: strength, disobedience, spontaneity.
Years have passed, things have changed: Aldo is not Al2 although he keeps trying, and looking for him in Lulo It's like crying with Reik or Prince Royce or Arjona: you can, but one in the background knows that they are artificial tears, a plastic flower to make you happy.
Jesus Jank Curbelo
Reportero de Periodismo de Barrio. Columnista en El Toque e Hypermedia Magazine. Ha publicado Los Perros (novela, 2017).