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Reseña de Winterafter “Rivers Of Memory” (2023)

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Reseña de Winterafter “Rivers Of Memory” (2023)

There are certain types of melodies that, beyond being described by the lines of the staff, seem to grow as a result of the need of certain landscapes to be reincarnated into songs. A class of compositions that accompany the career of Eduardo Orbezuawho in his predecessor project, The Shannonsdated almost two decades ago under the publication of “Scripts And Stories”, has already demonstrated his authentic devotion to exquisite harmonic lines. An essence from which he neither wants, nor possibly can, free himself, a decision, given the results obtained, of which we who listen to him can only congratulate ourselves. Despite the heritage that can be traced in their current formation, Winterafter, from that past repertoire, the inaugurated Bilbao combo emerges under its own distinguishable pace, seeking the sigh of inspiration from that terrain where pop is cited – using maximalist stylistic concepts – and folk, a demarcation fed by resources from both shores, obtaining a delicate melody wrapped in sounds of evocative nature.

Beyond references, genres and musical family trees to entrust itself to, the identity and relevance of this band is also nourished by its own configuration, where the instrumental weight of its fixed alienation, made up of JJ Espizua, Rudy Mentaly Claudio Martinalong with accurate but few collaborations, such as the always lavish guitar of Pit Idoyaga or keyboards Santi Camposan ally in past exercises and company in the poster that signals the imminent presentation of this “Rivers Of Memory”, they enhance the personality of their subjects. Because even the most layman in academicism referring to the six strings recognizes the halo of that sound attributable to the Rickenbacker brand, relevant more than in terms of a coincidence in its commercial distinctiveness in terms of its tradition linked to a subjugating electric landscape. .

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In that perfect articulation of pieces that the album manages, we must also stop at the environment where the songs have been technically developed to reach their definitive consummation. That is why the Submarine studies of Iñigo Escauriaza, stranded in the heart of the town of Munguia, are increasingly becoming a more sought-after enclave to go to if the aim is to perfectly close the circle of that creative process. A final point always certified between four walls that, in this case, is worthy of garnering flowery praise in its role as the last and perfect link in the history of an album that gives off the sensation of having followed a plan drawn up from its first draft to its final release. last detail approved.

If the musical body of “Rivers Of Memory” is anchored on a skeleton that refers to that sweet melancholy with which bands like The Byrds, Big Star or The Jayhawks have written their history, no less significant is a lyrical concept that conveys that eternal dispute between lights and shadows, a contest in which Johnny Cash, the protagonist of his relationship with June Carter from “Kingsland, AK”, was always immersed in, beyond its romantic status thanks to its symbology as an encounter with a redemption illustrated by this precious piece. Paths of salvation that a dynamic, well driven by a juicy rhythmic base, “For Every Soul” guides towards song writing as the language necessary to encounter these emotional turbulences. Because despite the placidity and interpretive clarity that Eduardo Orbezua displays, only confronted by the harsh tone of the only composition signed by JJ Espizua, “1979”, which this torn aptitude makes it link with a more painful development , that does not exempt the overall content from harboring an agitated spirit within it, despite reaching especially beautiful forms in “Sometimes” or a bucolic “In This Life”.

If the beating of the drums becomes the beat that gives more robustness to “Promise (Not To Fall)”, taking its cauterization of discouragement to more catchy postulates inhabited by Teenage Fanclub, said piece will find its contrast in the waltz step of naked character that focuses on a closing, “Years Go By”, which settles in a more twilight context shared by names like Gene Clark. Extremes of a rhythmic atmosphere between which more folk-rock gestures are inserted, expressed in “Winward”; recitative verbs, as if Lou Reed abandoned the path of the wild side for a calmer one, which help dictate an intimate “From Under Pain” or the rebound of the pop imagery that comes to “No Memories”, transported by the characteristic energy of formations like The Hollies or The Searchers, to advance along country roads. A ductile repertoire that reveals, beyond the seamless identity of the album, its graceful transition through different accents and nuances.

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There is in that chair located at the edge of the sea that decorates the beautiful cover of this album an invitation to be occupied by each listener, thus also becoming the protagonist of an exquisite soundtrack that shows that beauty can be equally shocking, as can looking out. to that immensity that identifies the ocean, capable of bringing uncertainty closer to the shore and giving us the opportunity to conquer the wide horizon that opens behind it.

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