Reflejos De Lo Eterno＜限定盤＞

Singer, songwriter, and producer Draco Rosa has been on a relentless path of creative discovery since releasing 1996s Vagabundo. He glorious stylistic and production excesses consistently crisscross pop, funk, jazz, indie rock, Afro-Latin grooves, prog, and electronica in search of the "new. His diverse catalog reveals limitless creativity. Reflejos de Lo Eterno is composed of covers of some of Latin rocks most emblematic songs -- interpreted through Draco Rosas idiosyncratic musical lens -- whether they come from Mexico, Argentina, Spain, or Colombia; all were originally released between 1988 and 2003. The opener is a cover of Los Rodriguezs international smash "Sin Documentos." The band, based in Madrid, featured musicians from Spain, Argentina, and Puerto Rico. Rosas take is slower, sparser, and heavier, darkly atmospheric. Its less a jaunty cumbia than an elegiac processional. His vocal aches with amorous desperation as wafting organ, droning bass, minimal percussion, and ethereal brass buoy his delivery. The reading of "La Negra Tomasa," by Mexicos Caifanes from 1988, remains a cumbia here, but compared with the jaunty original, its brooding, gray, and desolate as the protagonist seeks connection with the subject. Soda Stereos (Argentina) "En Remolinos is a blissed out, scorching rocker. Rosas take keeps the propulsive bassline up front but sends the vocal through reverb chambers, layered organ, synths, drums, and sampled brass. "Eres" was released by Mexico Citys Cafe Tacuba on 2003s Cuatro Caminos. Rosas read is quite modern yet faithful; its tempo is somewhat slower, mixed with the emotionally resonant vocal way up front as Jebin Brunis keyboards and a drum kit create sonic tension to embrace the romantically delirious lyric. While Manu Chaos "Me Gustas Tu" is a jaunty reggae jam, Rosa follows with the steamy rock-cum-reggae vibe offered by the Police. 1991s "Kumbala" is among the biggest hits ever released by Mexicos Maladita Vecindad. Like Cafe Tacuba, they are among the longest-standing rock bands in the nations history. Rosa maintains the tunes mariachi roots, but weaves it through smoky jazz, deep hypnotic rhythms, slithering brass, psychedelia, and ranchera. Argentinas Los Fabulosos Cadillacs began life as a ska band in the early 80s but eventually wove cumbia, vallenato, mariachi, rockabilly, and psychedelia into their sound. Their "Padre Nuestro" (1995) weds ska and cumbia. Rosas version stitches them in with dramatic, mischievous flair before closing with the title track of Jarabe De Polos haunted, obsessive "La Flaca," an homage to a Cuban woman who has claimed the protagonists devotion. Rosa delivers it with aching determination; its an homage to the bands late songwriter and guitarist Pau Dones. Theres swing in Rosas take as he gets to the nocturnal groove underneath the progression and coaxes it to the fore. Draco Rosas achievement on Reflejos de Lo Eterno is in showcasing the diversity, musical imagination, and inspiration of historic Latin rock, applying sonic experimentation and musical innovation in a document that testifies to the enduring relevance of these songs. ~ Thom Jurek