Nacho Vegas, like any self-respecting indie totem has practically set of previous releases their advocacy groups and roofs, making it quite difficult to try to change position to either of them. But perhaps the case of the Spaniard's record that can best serve as a gateway to those who had not received communion with him is possibly the nicest drive, accessible, simple and light, both for the musical direction ( basically a hard voice, acoustic guitar and keyboards), for some letters (which are not as dramatic and stark, as if to peel off the label "fucking loser" who accompanied him.) The fact is that this shift for me has been a pleasant surprise.
I am aware that many you will be disappointed with an album that does not appear the electric side and tormented by Nacho Vegas, and, among other things, I look like a boring album. But for all those of you bored façade of loser, always defeated and a step of drugs, here you can find a different man, more everyday, relaxed, and relieved of that burden of transcendence dark dens inhabitant of smell snuff and whiskey.
Here, you have that whiskey is served with ice, is a one-room cottage with a fire burning in a winter evening, and the home version of Nacho (With satin gown? with jersey turtleneck?). And for me is a hit. The songs, naked and direct, take advantage of the warm cushion of piano and other keyboards that brings Abraham Boba, and subtle guitar arrangements to Xel Pereda for Nacho to focus on conveying a magnetism almost jovial, with a voice that, except in the failed 'Fire', stands within its limitations, always at the service of a vocation is essentially narrative.
Combines the folk heritage that reached its heights in the disk with Luke 15, with a growing vocation singer-crooner, who might please fans of other authors traditionally more accessible, Quique Gonzalez, Bunbury or Consequences . Nacho Vegas - The final big joke (Youtube) The disc kicks off with 'When you get tired of me, "confident that, with its soul of fado, conveys a natural way how to deal with loneliness, highlighting the fragility personal relationships.
As on other albums this would to a heartbreaking song, here victimhood does not show up, and follows the scent of self-assertion more evident. Without delay, get one of the highlights of the album, the single 'The final big joke', extremely recognizable and identifiable with the author's discography, but that does not detract from a song in this ever-expanding and, I suppose, will become, Eventually, one of the emblems of this album.
Nacho Vegas - Clock without hands (Youtube) Having a 'Fire', that server is weakest of the lot (a song that you are too the seams, and the worst singing of the entire disk), arrives one of the highlights, 'clock without hands', in which the dance rhythm of the piano, the warmth of his guitar and a crooner voice surround, draw the most beautiful song on the disc, which is appreciated the concise (2 20).
Its opposite side is the lengthy 'Taverners', which despite a chorus that wins a lot with the help of Pauline at the beach, but would be grateful, which serves as both a lament in solitude, friendship tune to proclaim the out of the bars. Nacho Vegas - Perplexity (Youtube) In addition to the female vocals, Nacho takes advantage of children's choirs (perhaps too obvious a trick, but extremely effective) to enrich the chorus of 'Perplexity', which reinforce vigorously, or to inspire affection in beautiful and moving "What we eat witches, separated by the pessimistic 'Human Comedy', perhaps too apocalyptic to go between the two songs that contain more hope for the record, and that dwarfs between positivism unusual in Gijón.
Nacho Vegas - Things you do not count (Youtube) The final disc is marked by the unnecessary inclusion and more by apposition that relationship and internal consistency with the rest of the songs, the meandering "The market of Sonora," which on this disc is isolated, desconextualizada, and, relatively speaking, remember to Bunbury Trip to nowhere.
As the only minimally rock song and dangerous, it breaks the magic of a comfortable and rewarding album. For the record, not a bad song, but stylistically not congenial to her companions, and would have been better left for another disc (album or EP). It would be much more sensible than the clip to put an album as 'Things that do not count', dark, deep, and transcendent, almost like a declaration of intent.
I suppose it will be a matter of record that everyone expected from Nacho. I welcome the acoustic approach because it is more nuanced with the contribution of increasingly stable partner (Abraham Boba), and the homogeneity of the album because I interpret as an expression of folk as a vocation, valid for the relief of a friendly nature to the licking of wounds and the drama of previous albums were souring.
I like the maturity in the approach assumes this new phase, a much sharper than the uneven and somewhat inferior 'The manifest disaster', but of course miss some surprises and some grip on the disc. May no longer need to burn stages and that from now on, only need to go tweaking its formula and giving us some songs regularly to keep faith in him.
On this album, there are sufficient to maintain the illusion, and I am more than convinced that it will gain much if they are performed live. So yes, good news: Nacho is in shape. 
I am aware that many you will be disappointed with an album that does not appear the electric side and tormented by Nacho Vegas, and, among other things, I look like a boring album. But for all those of you bored façade of loser, always defeated and a step of drugs, here you can find a different man, more everyday, relaxed, and relieved of that burden of transcendence dark dens inhabitant of smell snuff and whiskey.
Here, you have that whiskey is served with ice, is a one-room cottage with a fire burning in a winter evening, and the home version of Nacho (With satin gown? with jersey turtleneck?). And for me is a hit. The songs, naked and direct, take advantage of the warm cushion of piano and other keyboards that brings Abraham Boba, and subtle guitar arrangements to Xel Pereda for Nacho to focus on conveying a magnetism almost jovial, with a voice that, except in the failed 'Fire', stands within its limitations, always at the service of a vocation is essentially narrative.
Combines the folk heritage that reached its heights in the disk with Luke 15, with a growing vocation singer-crooner, who might please fans of other authors traditionally more accessible, Quique Gonzalez, Bunbury or Consequences . Nacho Vegas - The final big joke (Youtube) The disc kicks off with 'When you get tired of me, "confident that, with its soul of fado, conveys a natural way how to deal with loneliness, highlighting the fragility personal relationships.
As on other albums this would to a heartbreaking song, here victimhood does not show up, and follows the scent of self-assertion more evident. Without delay, get one of the highlights of the album, the single 'The final big joke', extremely recognizable and identifiable with the author's discography, but that does not detract from a song in this ever-expanding and, I suppose, will become, Eventually, one of the emblems of this album.
Nacho Vegas - Clock without hands (Youtube) Having a 'Fire', that server is weakest of the lot (a song that you are too the seams, and the worst singing of the entire disk), arrives one of the highlights, 'clock without hands', in which the dance rhythm of the piano, the warmth of his guitar and a crooner voice surround, draw the most beautiful song on the disc, which is appreciated the concise (2 20).
Its opposite side is the lengthy 'Taverners', which despite a chorus that wins a lot with the help of Pauline at the beach, but would be grateful, which serves as both a lament in solitude, friendship tune to proclaim the out of the bars. Nacho Vegas - Perplexity (Youtube) In addition to the female vocals, Nacho takes advantage of children's choirs (perhaps too obvious a trick, but extremely effective) to enrich the chorus of 'Perplexity', which reinforce vigorously, or to inspire affection in beautiful and moving "What we eat witches, separated by the pessimistic 'Human Comedy', perhaps too apocalyptic to go between the two songs that contain more hope for the record, and that dwarfs between positivism unusual in Gijón.
Nacho Vegas - Things you do not count (Youtube) The final disc is marked by the unnecessary inclusion and more by apposition that relationship and internal consistency with the rest of the songs, the meandering "The market of Sonora," which on this disc is isolated, desconextualizada, and, relatively speaking, remember to Bunbury Trip to nowhere.
As the only minimally rock song and dangerous, it breaks the magic of a comfortable and rewarding album. For the record, not a bad song, but stylistically not congenial to her companions, and would have been better left for another disc (album or EP). It would be much more sensible than the clip to put an album as 'Things that do not count', dark, deep, and transcendent, almost like a declaration of intent.
I suppose it will be a matter of record that everyone expected from Nacho. I welcome the acoustic approach because it is more nuanced with the contribution of increasingly stable partner (Abraham Boba), and the homogeneity of the album because I interpret as an expression of folk as a vocation, valid for the relief of a friendly nature to the licking of wounds and the drama of previous albums were souring.
I like the maturity in the approach assumes this new phase, a much sharper than the uneven and somewhat inferior 'The manifest disaster', but of course miss some surprises and some grip on the disc. May no longer need to burn stages and that from now on, only need to go tweaking its formula and giving us some songs regularly to keep faith in him.
On this album, there are sufficient to maintain the illusion, and I am more than convinced that it will gain much if they are performed live. So yes, good news: Nacho is in shape.
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