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Between the mystique and the shout

Logotipo de La Vanguardia La Vanguardia 30/05/2014 Ramon Súrio

Among the huge offer included in the Primavera Sound there’s music for every taste, although this year’s edition wealth of local outfits is quite remarkable.

STANDSTILL. Standstill offered a mix of “Cénit”, the show that serves to present their seventh record “Dentro de la luz”, and a selection of older tunes. All in all, a dozen songs that inform a progressive crusade firmly conducted by Enric Montefusco, a guitarist and singer totally committed to make a bunch of cryptic histories that speak of feelings with a tragic grandiosity credible.

All to emphasize a music that resorts to tremendous crescendos as a sharp contrast to the tense calms that precede them. In this game of opposites resides the emotional efficiency of a band that sounds both compact and versatile. Thus, Montefusco, with his acoustic guitar, is bound to seem both a beatific singer-songwriter and a possessed spirit, as is the case in “Que no acabe el día” and “Conjuro de todos los tiempos”, the two new songs they used to start their sound and vision show. In other instances, the catharsis is reached through repetition, as in “Tocar el cielo”, the end to the first half of a performance that got the best response from the fans when they recovered “Adelante Bonaparte” and, above all, the amazing “¿Por qué me llamas a estas horas?”, from their classic record “Vivalaguerra”.

COLIN STETSON. Saxophonist Colin Stetson made Canada his adopted country and in his brilliant CV we can find him as a musician for Arcade Fire and collaborating with Tom Waits, Laurie Anderson, The National or Bon Iver. He came to the Auditori to show his solo work, whose experimental sound is based on the circular breathing technique that allows him to play without a break for long periods of time. On top of that, his electronically modified saxophones project the most singular sounds. His improvisations turn into loops over which weird croaks, howling outbreaks and hitting rhythms crop out. A strange and seductive mishmash that makes you feel you are listening to several people playing at once a music that places itself between repetitive minimalism and cacophony.

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