Concierto de Cimafunk en La Tropical. Foto: Abel Carmenate / Magazine AM:PM.

The Cimafunk phenomenon

by
The Second Clock Hand

What a way to surprise us the different ways in which artists launch themselves to fame and take off their careers. There are those who play a song and never listen to them again, some make several albums and like the third they find a way to show, others for twenty or thirty years delight us with their music and there are those who, with a first album, move the foundations of Havana . Cimafunk is of the latter.

We have been receiving a year Terapia by Erick A. Iglesias. I discovered that it was something serious when I stopped listening to it on my phone or live in Bertolt Brecht and they put it between the playlists of the bars where before only reggaeton and salsa appeared, or when I saw the seller of my agromercado dispatching while she was wagging with I'm going. It has transcended ages, consumption spaces and sociocultural guilds. We could dare to say that their music unifies creative traits, codes that are specifically valued by our society as attractive and delightful: they dance like a good mix of marked rhythms that fuse the funk of the seventies with cha cha chá, son, rumba, conga and why no, a little bit of reggaeton; has devotional melodies of our long songwriting tradition and other very reiterative ones therefore molto contagious; picaresque letters, with stories, funny, overturned in the dialogue of the newspaper and in real contexts, playing with the double meanings that identify us so much; and quotes or parodies of those signs that are like brands for Cubans, as close as our Elpidio Valdés.

We are all guilty if we listen to Cimafunk. In several conversations held with friends and musicians has come the idea that he has managed to fill an empty space in our music scene. But what exactly represents "emptiness in our music scene"? I want to think that it is a barrier of communication, of those lines that are concrete sociocultural to define whether friquis, intellectuals, reggaeton, distributors, rockers, salsa, school or street, institutional or independent. The important thing is not the genre nor its rhythmic cell, but its value as a sound result, not isolated from reality, but a reflection of a country and its development spaces.

Cimafunk broke record of public entrance in the Factory of Cuban Art and has just given a concert for thousands of people in the Salon Rosado de la Tropical. The valuable thing in front of this, at least for me, is not the numbers, but the test to be able to realize who we have declared ourselves patients. Cimafunk throughout his presentations has put a mirror before everyone to show us who we are today, what we maintain and what we have left behind.

We are finishing another year and, as I mentioned earlier, we have had Cimafunk in the house at all times. What comes after this brilliant start? What happens after the therapy? These questions are motivated by different reflections and mainly by the great desire that history does not come to an end, or at least not to a bad end. Why? Because there are other things that accompany success and talent. The album that we have danced to satiety and that has circulated almost psychically achieved its purpose of popularity, but from now on no one will expect less from this high stop. There is nothing to worry about knowing that new songs have been released at the last concerts, but are they really new? Or do they sound quite similar to their predecessors?

I have also noticed changes on the stage, there are new members and this always requires a great effort to achieve coupling, development and growth. But certainly the sound of the band has not been the same lately and here is another point of attention especially when the live performance has been another of the successes in this year.

In music as in life there is a cycle and I think that for Cimafunk it is time to go back to the beginning. Go back to listening, to sound, to ideas and mature with the appropriate help in a new production that questions what is next. It is the moment of self-criticism, of thinking music not as an end but as a journey and to know that the audience is not a static achievement but very susceptible and timeless. Finally, it is time to know how to join the creative to a projection of your career as a local artist or an international strategy and know how to achieve this.

I believe that its merits, in addition to the musical ones of course, lie precisely in having covered that "empty space", in the renewal of a proposal for all, in eliminating the barriers created by ourselves. We want a renewed Cimafunk and with all the originality you can achieve, not a recycled one. We prefer to wait a period without seeing it, to begin to decrease the numbers in their presentations and to change the general opinion.

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