{"id":2268,"date":"2025-11-25T09:49:25","date_gmt":"2025-11-25T08:49:25","guid":{"rendered":"https:\/\/cafeycorcheas.es\/?p=2268"},"modified":"2025-12-08T04:15:03","modified_gmt":"2025-12-08T03:15:03","slug":"lux-sexo-violencia-y-llantas","status":"publish","type":"post","link":"https:\/\/cafeycorcheas.es\/?p=2268","title":{"rendered":"Rosal\u00eda, LUX: \u201cSexo, violencia y llantas\u201d"},"content":{"rendered":"\n

<\/p>\n\n\n\n

Funcionalmente, la pieza act\u00faa como un Preludio: apenas dos minutos largos, s\u00ed, pero de una elegancia que merece una ovaci\u00f3n cerrada. Su funci\u00f3n es clara: tender un puente entre la sem\u00e1ntica de Motomami y el universo reci\u00e9n abierto de LUX<\/strong>. Y lo hace con un gui\u00f1o nada casual: \u00abSexo, violencia y llantas\u00bb bebe directamente de los materiales simb\u00f3licos y musicales del disco anterior.<\/p>\n\n\n\n

Arranca con un fragmento pian\u00edstico construido sobre la archiconocida cadencia andaluza, progresi\u00f3n usada hasta el extenuaci\u00f3n en el flamenco y en buena parte de la tradici\u00f3n espa\u00f1ola. El aroma es inmediato: Alb\u00e9niz, Turina\u2026 pero sobre todo Enrique Granados<\/strong>, con ecos de sus Danzas Espa\u00f1olas y su Danza Oriental<\/strong> en cuanto a la t\u00e9cnica, con ese uso del pedal que envuelve unos arpegios amplios, suspendidos. Un rubato moderado va dibujando un paisaje inquietante, como si alguien hubiese abierto una ventana al patio interior de la memoria musical del nacionalismo rom\u00e1ntico espa\u00f1ol.<\/p>\n\n\n\n

I love you, Granados. Tela.<\/p>\n\n\n\n

La cadencia, en este caso, cae en Re menor, tonalidad fetiche del disco \u2014ya lo vimos en Berghain o Mio Cristo Piange Diamanti. As\u00ed, la progresi\u00f3n (I\u2013VII\u2013VI\u2013V) se despliega: Rem \u2013 Do \u2013 Sib \u2013 La. Sencilla, s\u00ed, pero cargada de historia y de simbolismo.<\/p>\n\n\n\n

Tras la introducci\u00f3n, entra la voz sobre los mismos acordes:<\/p>\n\n\n\n

\u201cQui\u00e9n pudiera vivir entre los dos,
primero amar al mundo,
y luego amar a Dios.\u201d<\/em><\/p>\n\n\n\n

Acompa\u00f1ada probablemente solo por un cello (aunque quiz\u00e1 se me escape alguna cuerda m\u00e1s, viol\u00edn\/viola discret\u00edsimos), Rosal\u00eda canta aqu\u00ed en un registro donde, en mi opini\u00f3n, su timbre brilla m\u00e1s: con m\u00e1s cuerpo, m\u00e1s calor, m\u00e1s verdad. Pura belleza.<\/p>\n\n\n\n

\u201cQui\u00e9n pudiera venir de esta tierra\u2026\u201d<\/em><\/p>\n\n\n\n

Aparecen efectos electr\u00f3nicos en su justa medida, sin excesos, pero que rompen con las l\u00edneas t\u00edmbricas que llev\u00e1bamos hasta el momento. Si este disco es sobresaliente es precisamente por eso: por la cantidad de recursos que evitan la monoton\u00eda y que aportan elementos sonoros puramente descriptivos. Despu\u00e9s llegan los coros flamencos, que dan una vuelta de tuerca m\u00e1s \u2014si es posible\u2014 a la emoci\u00f3n, hasta erizar el vello.<\/p>\n\n\n\n

La siguiente estrofa introduce un recurso descriptivo precioso. Cuando menciona elementos terrenales, la voz cae a registros m\u00e1s bajos:<\/p>\n\n\n\n

\u201cEn el primero: sexo, violencia y llantas,
deportes de sangre, monedas en gargantas.\u201d<\/em>

Registro grave, terrenal y carnal.<\/p>\n\n\n\n

Pero al pasar al plano simb\u00f3lico y divino, el registro vocal asciende hasta el l\u00edmite:<\/p>\n\n\n\n

\u201cEn el segundo, destellos, palomas y santas,
la gracia, el fruto y el beso de la balanza.\u201d<\/em><\/p>\n\n\n\n

La sombra de Monteverdi es largu\u00edsima.<\/p>\n\n\n\n

Aqu\u00ed encaja mucho m\u00e1s peso que \u201cbeso\u201d, y todo apunta a una errata: el peso del alma \u2014esos m\u00edticos 21 gramos\u2014 mencionado en alg\u00fan otro tema del disco. O incluso una referencia a la mitolog\u00eda egipcia: Anubis pesando el coraz\u00f3n del difunto en una balanza frente a la pluma de Maat. Si pesa m\u00e1s que la pluma, no hay para\u00edso posible.<\/p>\n\n\n\n

Si es as\u00ed\u2026 qu\u00e9 cosa m\u00e1s bonita, co\u00f1o.<\/p>\n\n\n\n

Regresa entonces el estribillo:<\/p>\n\n\n\n

\u201cQui\u00e9n pudiera vivir entre los dos\u2026\u201d<\/em><\/p>\n\n\n\n

Pero ahora con el piano sum\u00e1ndose a las cuerdas, demostrando que este disco no sabe lo que es quedarse plano: siempre hay un color nuevo aguardando a la vuelta de la esquina. Bien por ti, Rosal\u00eda. Ignoro si eres el cerebro detr\u00e1s de estos arreglos, pero incluso si no lo eres, el disco es tuyo y el buen gusto musical es evidente. Mis respetos y el cr\u00e9dito a sus autores.<\/p>\n\n\n\n

Y aqu\u00ed llega la \u00faltima sorpresa: no resolvemos en Re menor, que ser\u00eda lo habitual, sino en Re mayor. El viejo truco barroco \u2014el divino Bach lo utilizaba como quien respira\u2014 donde un acorde mayor final enciende la salida del tema: menor para lo terrenal, mayor para lo celestial<\/strong>. Como si, al final de todo, se abriese una ventana hacia el cielo mientras se pronuncia la palabra \u201cDios\u201d.<\/p>\n\n\n\n

Un \u00faltimo efecto atmosf\u00e9rico y un corte seco \u2014\u201cah\u00ed queda eso\u201d\u2014, y la invitaci\u00f3n evidente: \u00bfqui\u00e9n cojones abandona el disco despu\u00e9s de esto y no salta de cabeza a \u00abReliquia\u00bb?<\/p>\n\n\n\n

Pues eso.<\/p>\n\n\n\n

Todo esto\u2026 y apenas han sido dos minutos. Qu\u00e9 grande es la m\u00fasica.<\/p>\n\n\n\n

El pr\u00f3ximo an\u00e1lisis (y probablemente el \u00faltimo) no ser\u00e1 tan amable: hablar\u00e9 de lo que tiene de chungo el disco; porque, siendo globalmente una joya, hay tres o cuatro temas que no est\u00e1n a la altura.<\/p>\n\n\n\n

\u00bfIntrigados?

https:\/\/www.youtube.com\/watch?v=m6z1sW_qtyg<\/a><\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/a><\/p>\n\n\n\n

<\/a><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Funcionalmente, la pieza act\u00faa como un Preludio: apenas dos minutos largos, s\u00ed, pero de una elegancia que merece una ovaci\u00f3n cerrada. Su funci\u00f3n es clara: tender un puente entre la sem\u00e1ntica de Motomami y el universo reci\u00e9n abierto de LUX. Y lo hace con un gui\u00f1o nada casual: \u00abSexo, violencia y llantas\u00bb bebe directamente de […]<\/p>\n","protected":false},"author":1,"featured_media":2269,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44],"tags":[],"class_list":["post-2268","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analisis"],"yoast_head":"\nRosal\u00eda, LUX: \u201cSexo, violencia y llantas\u201d - Caf\u00e9 & corcheas<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cafeycorcheas.es\/?p=2268\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rosal\u00eda, LUX: \u201cSexo, violencia y llantas\u201d - Caf\u00e9 & corcheas\" \/>\n<meta property=\"og:description\" content=\"Funcionalmente, la pieza act\u00faa como un Preludio: apenas dos minutos largos, s\u00ed, pero de una elegancia que merece una ovaci\u00f3n cerrada. 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