El Ejército del Amor, Mario San Miguel: También… y no sólo

El Ejército del Amor, Mario San Miguel: También… y no sólo
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Canción de autor y fusión-simbiosis- de sonidos y registros diversos. Una ruta de 10 temas nacidos de un corazón verde con elipses chulonas, o espirales, más una animación excelente de dibujos en el libreto.

1.- Corazón.

Ya se me va pasando el cansancio físico tras la minigira por Cantabria con el recuerdo del éxito mediático, la participación de la gente en las actividades, la venta de libros y, sobretodo, la amistad de un montón de buena gente.

Siguen los días socialmente en claustros de exterminios varios y en un reciclaje del absurdo aumentando el paro en España, las empresas políticas distantes con sus dislates, más asesinatos de la OTAN en Afganistán y más hambrientos en una diáspora atlética. Por todo esto, y mucho más, el corazón es un óleo de amor y de humanidad. Y eso es lo que Mario San Miguel nos da en un azul verdoso de la portada de su cd, formato digipack, y en los dos saludos y la breve conversación que mantuve con él en Santander los días 24 y 25 de febrero, con su banda, su fondo hippy de poeta y seguro que con todas sus letras y sonidos en fusión sólida. Lo iré viendo…

2.- 10.

Son 10 temas, con letra y música de Mario y sus sensaciones. También ofrece sus sentimientos y creatividad Miguelo- bajo y coros-, Jon Manjón -guitarra y coros, teniendo el billete de la percusión, la armónica y la batería Natxo Miralles.
Multitud de gente sigue a ésta gente en sus directos y su insumisión es palabra, decir, voz en una ruta de 10 temas nacidos de un corazón verde con elipses chulonas, o espirales, más una animación excelente de dibujos en el libreto.

3.- A navegar.

Con los datos de la VI Feria del Coleccionismo Musical de Zaragoza los días 17 y 18 de abril para la que busco sponsors para poder mantener el stand, y la propuesta por FICOMIC -invitación- para que acuda a la rueda de prensa en la cual se presenta el 28º salón internacional del cómic de Barcelona de 2010 me mezclo con estos cuatro jinetes románticos, que sin duda lo son, entrando en el primer corte de este disco grabado en Sono Arc -Cantabria- de una banda fundada en 2006, con estupendas e impagables colaboraciones.

Me zambullo en “re-evolución de amor” con sus cuerdas, frase introductoria y un sonido ameno y suave tras “el regalo de la canción”. Son así unos primeros 18s con algún arreglo de fondo y acordes traviesos, batería desde una base reggae hasta los 52s. Poesía que va a ser caudalosa, voz personalizada en trayectos. Al 1m09s prosigue esa calidez jamaicana con una escala de más volumen -y soñar, no es mala idea- hasta el 1m29s. Aleación de acordes de guitarra eléctrica hasta el 1m50s (aprox). Ágil combinación instrumental con buen teclado bien metido. El bajo será murmullo durante todo el disco y músculo en gran parte de él. Retorno al sonido nodriza del tema en una brújula personal abierta. Sobre los 2m34s la sonoridad reggae y a los 2m56s una guitarra respondona. Hasta los 3m12s un punteo encadenado de sazón minimalista -minuciosa-. A partir de los 3m20s la voz de Mario abona un tono mestizo que demuestra su amplitud de registros. Sección de vientos sobre los 3m49s y a los 4m05s guitarra acompañando hasta el final.

4.- A la calle.

Me voy a una librería y a comprar cartuchos de tinta para la impresora, así que espero escuchar un tema en algún bar y seguir el reportaje, y esta vez será en uno que no se fuma, ¡bien! Atrás quedan dos rubias alemanas con sus minfaldas, unos cuantos macarras en la Ronda San Pedro y unas cuantas prostitutas al lado del PC city. Cojo un bus y leo una entrevista a Arturo Pérez Reverte sobre su novela Asedio en la revista literaria -magazine- “¡Qué Leer!” y me zambullo en el cantábrico de “Baile con el porvenir” que es guitarras, percusión y orquestación instrumental más rockera en 26s musculosos, bien dotados, con voz elegante y un tono amable. Fuerza musical. Al 1m05s versos sobre amantes y memorias, secuelas de relación. Sobre el 1m21 línea agudizada de sonido entre el resto de instrumentos como sentido de afirmación. Baile con el porvenir es lo que es la vida. Armónica al 1m51s compaginada con el vocalista. A los 2m10s riff melódico, de armonía estética, tranquila, y otro a los 2m21s más lírico -sin brumas-. Un punto meloso. Dos voces equilibradas sin música llegan a los 2m57s. Sigue el festejo del amor y de la personalidad y entramos en “Malibú o leche” que en la web de la banda tiene su correspondiente vídeo. Senda biográfica con musicalidad alegre a base de acordes y hasta los 18s- por cierto cada canción se explica en el libreto-.

Un retorno a la infancia, temática entretenida, con auspicios del bajo, las cuerdas marcan la pauta, un cambio al 1m35s fruto de la batería en el tiempo instrumental que es una habitación con teclados y suave oxígeno a modo de metáfora del argumento rompiendo con paranoias. Rockaonrolero hasta los 2m12s, la fuerza de las guitarras es un coloso, variedad de tics instrumentales hasta los 2m29s, más teclado y sugerencias.

5.- ¿Respiro?

De aquella manera (respondo a la pregunta de este corte,je, je).

Y día de lluvia en Barcelona con el super lleno de gente contando los céntimos a la hora de pagar, devolviendo productos que superan el presupuesto, estúpidas ofertas que ponen la segunda pieza de un mismo producto más baratas y la tercera de regalo quedando así la 1ª, que es la que necesitas, más cara, y las cajeras en pie de guerra por lo maquilladas que van. Una de ellas hasta me ha asustado, os lo juro.
Parece ser que “Los Monos”, la banda cántabra de Torrelavega, informa The Bordeline Music, que es una productora andaluza, presentan nuevo single y que María de Medeiros, guapísima, por cierto, presenta “Penínsulas y Continentes” en Barcelona el 26 de Marzo en L´Auditori, o sea de aquí a poco tiempo. “Hace un tiempo”, es otro tema del disco.Vuelvo con nuestro ejército del amor.

Percusión con reflejos, silbidos, guitarra en 28s. Una búsqueda y desencuentros. Sonidos de tierras en lamento sobre los 43s y ss. Tiempos de pasados. Sobre el 1m04s órgano, creo, sin fronteras dando apoyo y definición al mensaje cantado. Un tema esencialmente mamado desde la percusión y con la certidumbre y misterio del silbido como estribo y estribillo. Duro y hermoso verso: “leer los cuentos con ojos ciegos”. Continua la batería siendo cascabel preciso. A eso de los 2m25s guitarra y teclas y más altivez del sonido a los 2m48s. Caducidad de una relación con final necesario. Fortaleza del tema a los 3m26s con otro registro diferentes a los tres anteriores.

“La Mamá de Darío” llama a ésta puerta y camina con un ritmo bailón con la voz desde sus raíces antes que la música. Se sostiene la letra con un manantial de sonido limpio. Buenos deseos. A eso de los 30s un tiempo musical de percusiones y acordes sueltos, palmas a los 50s, flamenquillo. Tonalidad rumbera con teclas por ahí metidas, sentimientos, vida y guitarra como al 1m26s en un riff simpático concediéndole a la letra su razón. Un viaje de fantasía sobre el 1m50s, palmeo de nuevo más teclado. Sobre los 2m22s las cuerdas rasguean insinuaciones y a los 2m45s más mestizaje con un corto garbeo de guitarra eléctrica y a los 2m56s impulsos vitamínicos. Versatilidad en todo el disco, eso es muy real.

6.- Aire.

Día de trabajo en mi despacho, o sea la cutre habitación en mi casa. Muchas horas con cambios trascendentales a partir de marzo. A las 17 horas un mensajero me trajo un disco editado por Kasba Music y Mogra Records de Scurro titulado Distorsión. Otra cara de la moneda de la libertad artística. “Princesa libertad” es el 6º del trabajo que estoy escuchando desde que regresé de Cantabria. Tonadilla guitarrea, coros (-Uh, uh, uh-) en 31s. Canción positiva, órgano y batería a la par y eso que son tres ó más. Cumbre de sonido al 1m06s con un cacho de guitarra de rock urbano hasta el 1m22s y vapor de las teclas como al 1m30s. Canción colectiva, con supuestos ancestrales y virtuosismo contra el olvido. Potencia rockera a los 2m28s y cuerdas de buena hoja de acero hasta los 2m45s. Evidente base rítmica que a partir de los 3m03 es mural instrumental y vuelo de un personaje y a los 3m35s es causa común entrañable en todos los aspectos.
Y ya ha pasado la mitad del disco. Sigo mañana. Hoy ya no puedo más…

Bueno me incorporo a filas, je,je. Sol. Día primaveral en Barna. Intercambio algunos mails con mi amigo Juantxo, poeta, letrista y vocalista de la emblemática banda de ska vasca desaparecida Skalariak y hoy en en el nuevo proyecto The Kluba, sobre actividades en su tienda en Reus y alguna que otra idea más. En la panadería del barrio hoy hace calor. Un idiota que manda en la patronal española propone joder más el infectado salario de los jóvenes. Sonrío al recordarlo y compro el pan esquivando en la calle a dos chavales que se lanzan tomates robados en la frutería de un sudamericano. Hay concentración de tráfico, más contaminación, y muchos ancianos caminan sin mirar en este diario entierro urbano.

Como caldo de pollo de gusto exquisito que preparó ayer mi mujer. Ahora, por la tarde, leo unas líneas sobre el éxito de la banda barcelonesa Sacred en Londres con su disco Season 3, en el Dublín Castle (www.sacredwebsite.com).

“Baila conmigo” brota con guitarra, percusión y suavidad de 23s para bailar. Buen ritmo con aseveraciones existenciales. Variedades argumentales de vivir, frases cortas, sabias, tajantes, aforísticas. Acordes eléctricos sobre los 50s, voluntad rockera en el primer minuto para revolverse mestizo y jamaicano al 1m08s tras una pausilla. Una canción sobre el amor con una percusión acompasada y a los 2m02s se recrea más bailonga con ímpetu. Retrato personal, salsero ahora, con punteo de guitarra y más caña (2m43s). Una joyita instrumental de diversidad musical en sus tiempos. Sobre los 3m01s regreso al reggae como registro y al hogar mestizo hasta los 4m18s, arreglos y percusiones danzan en los 4m45s y hay juegos de ecos de voz, grabación y efectos. Lo dicho una joya en el disco y no hay que excavar para localizarla ya que está a flor del surco, je,je.

7.- Alguno más.

¿Entramos hoy en una pizzería?, je,je. Lo digo porque el tema se titula “Dos Cuatro Estaciones”. Por cierto, es el 8º del disco con una intro al compás de un ritmo bossanova. ¿Regalar? Poesía, melancolía, lágrima, con un compás de timbre de voz a dos bandas muy relajado. Una guitarra a eso del 1m27s. Sin miedo, ser en el viento. Teclado reconfortable a eso del 1m52s, como un guardaespaldas instrumental. Relajación (2m16s) -nada de pizzas-, un tema de una tacada con una percusión y bajo elegantes, ondas eléctricas sobre los 3m18s, perlas de sudor hasta los 3m28s. Se nos relata una realidad: tener un poco de miedo. Y el 9º es “Dios le da pan” de trepidante ritmo, con sarcasmo e ironía en los pulsos del azar y de la vida. Biografía de alguien despistado, acento flamenco de los 48 a los 53s. Broma con su mensaje, una sección buenísima en lo instrumental (1m17s). Tener y no saber tener, es una parte del mensaje, con sorna a eso del 1m55s. Un cacho de guitarra a los 2m04s. Quisquillosa instrumentación hasta los 2m43s con palmeo y tono más folclórico que avanza y llega a los 3m09s, un tema rompedor, eso sí, para llegar a:

8.- 10 de 3 en 11m45s.

El viernes pasado en una tienda de Santander, hoy, viernes, en Barcelona -cuando escribía el borrador de ésta crónica- fuí al mercado : carnicería, pollería, no había mucha gente sobre las 13 horas del mediodía. Desayuné muy tarde y escribí algunos mails al bueno de Florián y el 10º con la voz del músico, leáse Mario. Es el momento…; dos voces bien consolidadas en “De Momento”, canción que es una opción temática que se explica. Guitarra a los 21s, cumbre de soledades, un plural, de momento, abandonado. A los 56s broche eléctrico de cuerdas en tándem rockero. Musicalidad de voces, sobre el 1m15s más potencial de rockandroll con un riff de clásico sabor en las garras del 1m28ss y ss. Calma(1m47s), así pues reciprocidades y percusiones -un malabar de letra y sonido en este caso-. Juego de voces con teclados hasta los 2m28s, esperanza y oportuna actitud, más rock llegando a los 3m34s con final apoteósico.

Bonus track en la parrilla. 2º del 10º, con el cantante en una arquitectura acústica. Voz y guitarra a eso de los 4m05s con finura, brevedad, como puntos y seguidos ortográficos. Poema personal, más introspectivo, la comunicación, el devenir, las sensaciones, ser. Punteo sobre los 5m30s con un timbre de voz como viento en susurros hasta los 5m55s. Recuerdo del glorioso y genial Victor Jara asesinado por el criminal y terrorista de Estado Pinochet. Un maldito asesino somo el español y sus secuaces que mataron, encarcelaron y torturaron durante 43 años en España. Esencias y sus magias personales y así hasta los 9m18s en el encanto “difícil de olvidar” que se canta como cierre. Y el 3º del 10º con nuestro maestro productor de ceremonias y redactor jefe F-MHop, que es un sastre valiente de la programación y del periodismo musical, y mi DJ particular en Eureka. Y a eso de los 8m34s nos caen las programaciones y arreglos de Florián. Unos canales de sonidos, surcos tubulares flotantes de entramado sendero y valor con la rapidez de la voz en una atmósfera de hip hop más punkarra de los 9m20s a los 9m45s. Percusiones bien metidas, voz rápida, enérgica y hasta siempre, saludos.

Este artículo fue publicado originalmente en La Factoría del Ritmo (sección: ).

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