Home » Carlos Ares, review of his album Peregrino (2024)

Carlos Ares, review of his album Peregrino (2024)

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Carlos Ares, review of his album Peregrino (2024)

It is more than possible that the name of Carlos Ares It may not sound too familiar to you yet, but that is something that should change with this first debut full-length with which he opens a new stage in his career.

A whole process of transmutation that has led to the creation of a character, embodied in the skin of this pilgrim who is presented to us from the first song of the album. Totemic song, which opens the album with a catchy acoustic riff, which rises thanks to Carlos’s charismatic high voice, capable of going from the sweetest whisper to the most enveloping and magical falsetto. All this seasoned with a musical packaging of indie-folkie overtones that serves as a business card of what he has achieved live with his current formation with which he has achieved a complicity that disarms the most skeptical.

To all this, I still have not explained that Carlos Ares He is also a renowned producer who has worked side by side with other musicians of very different backgrounds such as Paula Cendejas, Maximiliano Calvo or Marc Seguí. Artists with whom he is fully involved, co-writing the songs he produces, getting a different benefit from them based on: the special treatment of the voice, a subtle electronic dressing and the rhythm of the percussions. And it is precisely that laboratory facet that is shown in “Speed”, the second and impetuous song on the album, in which she describes an old toxic, possessive relationship that she exposes. After this comes another of the album’s flagship songs. In “Rocios” Carlos demonstrates his ability to combine the most sensitive side of himself, with his ability to combine different tempos of percussion with the dry strumming of the strings of his acoustic. Why do you want more? if you have a winning chorus that sticks in your memory. Something similar happens with “Cicada”. “Friend”, “Odyssey” or one “Still here” which assumes a light and enveloping acoustic crescendo that explodes with a series of major chords that can connect its proposal with those of American indie folk-rock groups such as The Decemberists, The New Pornographers or Clap Your Hands Say Yeah, but with a varnish pop and modernity very successful than nickel.

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“Pilgrim” It is a very thoughtful album. Not in vain his recording has been extended a lot over time as it was made based on the economic pushes that Carlos himself was giving to the recording, as he generated sufficient income with the benefits of his productions. A process that has come together in a set of eleven songs in which there is absolutely nothing left over. Everything has a reason and everything is sifted from the deepest SELF of the artist. That pilgrim who has been built along a path, sometimes tortuous and hard, full of joys but also many disappointments. You just have to listen to songs like the delicate “Terrícola”, “No tethinké más de la tiempo” or the sweet “Pájaros”, to see that other, more intimate and fragile facet of its author who, for years, has suffered harsh attacks of Anxiety becomes your worst enemy. For all this “Pilgrim” It is presented as an absolute therapy process in which the author has freed all those birds of song, but also all his demons, to begin a new era. A stage that seems brilliant to me and that can be condensed perfectly in the last song of the album. Welcome to the new era!

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