Rodrigo y Gabriela and C.U.B.A. - Area 52 (08/03/2012)
Diverging from their well-worn path of nylon-stringed guitar sounds, Rodrigo y Gabriela included the instrumentation of the thirteen-piece orchestra C.U.B.A. (Collective Universal Band Association) on their fourth studio album Area 52.
With each track a remastering of works originally released on their Rodrigo y Gabriela and 11:11 albums, Area 52 stands to completely redefine the works of Rodrigo y Gabriela. This album presents a meld of Cuban, African, Hindu and of course Latin sounds, along with influences from blues, classic rock and jazz styles. However, despite the unique and varied influences, as a whole, it works in creating a spectacularly diverse album.
Under the production of Peter Asher, the original guitar parts of each song were re-recorded, creating a cleaner sound much unlike their earlier, rawer works. That being said, the organic nature of Rodrigo y Gabriela’s work is still there to be heard under the layers of new instrumentation.
The orchestral presence throughout these pieces serves as a balanced counter-point to the original acoustic guitar sound, creating a blend of the old melodies with the new layers of music. The most significant change in the sound from this album is through the inclusion of addition percussion that, with the restraint shown in recording, combines with the guitar percussion style of Gabriella’s playing, to accentuate without overpowering.
One of the standout tracks of this album, 11:11, maintains the strong influence of classic rock through the well-known rock chord progression. It is the ability within this track for the two guitars of Rodrigo y Gabriela to remain at the core of this piece despite the piano and bass accentuations from the beginning and the later inclusion of horns and electric guitar.
Featuring the least instrumentation from C.U.B.A. is the track Logos. Performed as a ballad, with only light accompaniment of piano, bass and percussion under the guitar melody this track certainly stands alone on the album. Another of the tracks that presents a sound dissimilar from what we have come to expect from Rodrigo y Gabriela, is Ixtapa. This track features Anoushka Shankar on the sitar and highlights a Hindi influence, while still maintaining the strength of the original guitar melody.
This album also includes a behind the scene DVD that gives a fascinating view into the process of making this album. The footage gives an insight into, not only the inclusion of new instruments and their playing style, but also into the learning processes of both Rodrigo y Gabriela along and the orchestra which occurred through playing differing styles together. Some of the most intriguing footage is that of the musician’s attempts to come to grips with the fast-paced and precise rhythms of Rodrigo y Gabriela’s work.
This album stands to redefine the sounds we have to come to expect from Rodrigo y Gabriela, and also to highlight the true extent of their own musical growth from playing in a local metal band. With the musical remastering of their earlier work, we can only wait and see what they pull out next.
Bethany Williams
With each track a remastering of works originally released on their Rodrigo y Gabriela and 11:11 albums, Area 52 stands to completely redefine the works of Rodrigo y Gabriela. This album presents a meld of Cuban, African, Hindu and of course Latin sounds, along with influences from blues, classic rock and jazz styles. However, despite the unique and varied influences, as a whole, it works in creating a spectacularly diverse album.
Under the production of Peter Asher, the original guitar parts of each song were re-recorded, creating a cleaner sound much unlike their earlier, rawer works. That being said, the organic nature of Rodrigo y Gabriela’s work is still there to be heard under the layers of new instrumentation.
The orchestral presence throughout these pieces serves as a balanced counter-point to the original acoustic guitar sound, creating a blend of the old melodies with the new layers of music. The most significant change in the sound from this album is through the inclusion of addition percussion that, with the restraint shown in recording, combines with the guitar percussion style of Gabriella’s playing, to accentuate without overpowering.
One of the standout tracks of this album, 11:11, maintains the strong influence of classic rock through the well-known rock chord progression. It is the ability within this track for the two guitars of Rodrigo y Gabriela to remain at the core of this piece despite the piano and bass accentuations from the beginning and the later inclusion of horns and electric guitar.
Featuring the least instrumentation from C.U.B.A. is the track Logos. Performed as a ballad, with only light accompaniment of piano, bass and percussion under the guitar melody this track certainly stands alone on the album. Another of the tracks that presents a sound dissimilar from what we have come to expect from Rodrigo y Gabriela, is Ixtapa. This track features Anoushka Shankar on the sitar and highlights a Hindi influence, while still maintaining the strength of the original guitar melody.
This album also includes a behind the scene DVD that gives a fascinating view into the process of making this album. The footage gives an insight into, not only the inclusion of new instruments and their playing style, but also into the learning processes of both Rodrigo y Gabriela along and the orchestra which occurred through playing differing styles together. Some of the most intriguing footage is that of the musician’s attempts to come to grips with the fast-paced and precise rhythms of Rodrigo y Gabriela’s work.
This album stands to redefine the sounds we have to come to expect from Rodrigo y Gabriela, and also to highlight the true extent of their own musical growth from playing in a local metal band. With the musical remastering of their earlier work, we can only wait and see what they pull out next.
Bethany Williams