Let there be no doubt that Rodrigo Sanchez and Gabriela Quintero are wizards when it comes to playing the guitar. The core directive of their band, Rodrigo y Gabriela, has always been that every sound on their records comes directly from the acoustic guitar – not just the strumming and plucking of the stings but also the percussion played directly on the body of the instrument. It was this musical philosophy that has helped to take them from low-tier heavy metal bands in Mexico to being a world beating acoustic duo. To some, the intensity of their performance and lack of vocals has been a bridge too far to cross while others are (rightly) floored by the musical mastery. 9 Dead Alive is their third full-length studio album and it reminds us what we love about them while still opening up new possibilities at every turn.
While their self-titled debut adhered
strictly to that strict doctrine regarding guitar sounds, 11:11
allowed hints of other instruments to creep in around the fringes:
piano, violins, and a searing electric solo on Atman courtesy of Alex
Skolnik from Testament. As it turned out, none of these extra touches
diminished their prowess or watered down their ethos one iota. 9 Dead
Alive pulls an even more audacious trick by inclusion of (gasp)
voices on 'Sunday Neurosis'. Before anybody brandishes a pitchfork
it is worth pointing out that the voices come from a sample of
Richard Dawkins and other modern philosophers discussing the
perennial conundrum of God. The voices seem alien at first but they
play beautifully off the David Gilmour motifs and muted organ of the
bridge. Then there is the hushed studio chatter that bookends album
closer 'La Salle Des Pas Perdas'. Their bi-lingual banter is very
cute and it gives the piece a loose, off-the-cuff feel – like we
are peering behind the curtain to steal a peek of The Great and
Powerful. For such a simple addition to their sonic palette the sound
of the human voice has completely altered the mood of these
compositions.
Every track on 9 Dead Alive is a
tribute to somebody (or something) from history that has had a
profound impact on the 21st century. They range from
authors and poets, to philosophers and luthiers, social
revolutionaries, and even nature itself. You don't ever need to know
the inspiration behind a song to appreciate it fully but some of the
subjects are interesting to ponder in relation to the music. The fact
that 'The Soundmaker' was inspired by master guitar craftsman Antonio
Torres Jurado makes sense as you're listening to it. 'The Russian
Messenger' is dextrous, surprisingly heavy, and cast in the shadow of
Fyodor Dostoyevsky's weighty prose (he's the guy who wrote 'Crime &
Punishment' - a book as cheerful as it sounds).
Even with all these additional elements
and concepts the focus of the album is still firmly on the duo's
unabashed worship of the six-string. Whether they are playing gently
or exploding into furors of intensity it is absolutely spell-binding
to behold. What is surprising is that the quieter, more thoughtful
compositions are more striking than the dextrous outbursts and stick
with you longer. On tracks like 'Sunday Neurosis' and 'Megalopolis'
they force you to lean in a little closer as you can no longer rely
on loudness to tell the story. These subtleties show a maturation in
their approach to the craft and speaks of boundless future
possibilities.
Quintero shines just as much from her
rhythm guitar position as Sanchez does in lead. Her percussive touch
helps them stand out from any old wistful string ticklers. She has a
palpable energy and attitude that makes her style thrilling and
instantly identifiable. Technically they are as flawless as always but they are
never forced to rely on their talent as a crutch. They can evoke such
emotion and narrative without ever needing to say a word. 9 Dead
Alive is another impressive record in Rodrigo y Gabriela's already
stellar catalogue. It pushes the duo to explore new areas in their
existing range. The album and the audience alike are better off for
it.
Rating: A-
Recommended tracks: The Soundmaker, Sunday Neurosis, The Russian Messenger
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