Not many musicians present you with a film-noir story line as well as their album, but then not everybody is Arema Arega. The Cuban singer-songwriter, designer and painter currently living in Barcelona. She is a huge talent. On The Red Soundtracks, Arema Arega plays every instrument, composes and arranges each track apart from one – and delivers a two-years-in-the-making thing of beauty.
She contacted me over a year ago saying she was creating the album and, from her description, I expected Cuban jazz – always lovely but often heard. When the finished album appeared in my inbox, I was wrong, I was wrong, I was wrong. There is nothing usual, easy listening or ordinary about The Red Soundtracks. It is completely different, slightly off the wall yet so redolent of Cuban rhythms infused with mysticism, great jazz in its syncopation and altogether an incredibly positive creation.
This project was written with a film noir story line in mind, so you get a narrative too, but you do not need it. The music is alchemy – gold out of rock. There is about 37 minutes of listening, and each process is worth every second.
“Two years ago, I was trying to put all the ideas I had in my mind, not only the vocals and guitar, which is the way most people see me,” Arema Arega says. “Instead, I wanted to arrange it using more instruments and musicians. It made me consider how I could bring out the musical ideas and, thanks to my husband, we made it. I started working with native instrument libraries, producing what was for me a demo.”
She continues: “I showed it to my musician friends, thinking that maybe they would collaborate with me, but the response was a surprise because they asked who had played on the demo – who played that instrument or that one – and I realized I had found my own sound. Using native instruments, I could show the vision of my music. I now have more than 30 songs that took in many genres from soul, to jazz, bossa nova, cha cha cha and, in most cases, they are blended: That is the music I make. Those who know me know I don’t like to walk the same path all the time, and now I feel free, like a fish in water.”
The Red Soundtracks was created like a film-noir score. There is a story, and each piece tells part of it. The opening track is “Black Mama’s Magic,” an instrumental which sets the atmosphere for the musical narrative which follows. Very clever too, for the track includes chord progressions ending just shy of the major 7th – disharmonic but incredibly effective in creating atmosphere and an air of mystery and intent. Influences are felt of jazz and soul, edging each other out and creeping back in an ever-circling duel of style, and there is a Latin vibe in there too. “Black Mama’s Magic” is a highly creative opening which sets out the musical intent – and that intent comes to fruition just around the corner.
“Natural Jazz” is just under two minutes of soul-blues melded gorgeousness, driven by a strong drum measure building in the foundations. It spills over the top and then fades down again, over and under, then the vocal line finds its way and delivers the story, fading out with a beautiful brass line. “Miro Y Te Veo (I Look and See You)” sets off with ethereal keyboard over rapid, Latin-infused percussion and includes some wonderful pauses in the rhythm where everything stops still. That’s then contrasted by irregular rhythm patterns set over arrhythmic ones, creating a strange and lovely effect. The trumpet line sings out into which the vocal line drops and tells the mysterious story of this song. It’s atmospheric and very engaging.
“Moon Light Shadow – The Dream” opens with piano, then percussive rhythms set the tango and a duet begins. Arema Arega and vocalist Daniel Francis-Berenson sing in a musical drama style which could have been lifted from a Kurt Weill opera. The strength of the tango rhythm is emphasized just enough to add menace, and Francis-Berenson’s vocals intimidate further. That’s placed against the lyrical narrative of the mezzo and alto duet set up by Arema. “Natural Jazz, the Re-Mix” boasts a huge sound. Rich and layered, with a pervasive and relentless rhythm, this is simply wonderful – a highlight track of the album and one that offers more with each listen. Arema Arega casts her spell, her voice sounding at once sexual and mature and in a heart-beat child-like and naive: The whole track is completely entrancing.
“Black Mama’s Prayer” is trance-like, steeped in soul and R&B vibes, the track carries within it an energy and some intoxicating rhythms. The vocal line is superb and the use of the native instruments is inspired. The track has atmosphere, and a strong theme line set up by keyboards. The vocals – all Arema – sing off each other in one-, two- or three-line harmonies. Arema Arega has a voice which is distinctive and she uses her tremulous extensions to give the vocals a really distinctive sound. “Everybody But Me” is introduced by brass and a little spoken warning, before Arema takes the number and works it into something slightly threatening but delicious. The song is about freedom and not relying on anyone, and you can sense a strength and determination throughout. The use of brass and heavier instruments adds to the weight of this number and the ending has the voice fade out over the instruments, as if the girl finally made it on her own.
“They Call Me Groovy” is disco-funk with a blues touch going on underneath. Walk the walk, talk the talk and dance your socks off to this a great little number. There is a delightful but very subtle complexity going on with the rhythms. “Mal” is a magical track which combines flutey native instrument sounds, percussion instruments and a driving, strong rhythm. The lyrics could only be sang in Spanish, as they are the reflection of the deeply Latin-infused rhythms. But this is not a Latin number – just one influenced by any number of beats, from frevo to bossa. And a rather lovely to finish the album.
And you get a story with Arema Arega’s The Red Soundtracks, too:
1. ‘Black Mama’s Magic’: The curtains open and the play begins. It’s night time and the lights of the city are fragmented by incipient drizzle. The deserted and wet streets are the beginning of this story.
2. ‘Natural Jazz’: She walks alone through the deserted city. Her steps are insecure and her mind prefers to take refuge in her thoughts, rather than in the fear of an unwanted encounter.
3. ‘Miro y te Veo (I Look and I See You)’: Suspense, they are everywhere. They come with messages, that they never finish saying. They are the voices of many and of none.
4. ‘Moon Light Shadow – The Dream’: A tango congo for the soul, to have fun. Smiles are painted on sad faces. The dance is a duel and the duel hurts.
5. ‘Natural Jazz – The Remix’: Triumphant, confident, she will never be the same.
6. ‘Black Mama’s Prayer’: Guilt and forgiveness walk together on the path of life. Freedom has a price.
7. ‘Everybody But Me’: To be an independent and proud woman, who doesn’t care about what the people want her to be and who doesn’t need to be owned by the most popular of them, to feel fulfilled.
8. ‘Groovy’: Dressed to party, she goes dancing through the city. The music that sounds in her heart is the energy that drives her life.
9. ‘Mal’: Irreverent, she walks across the dance floor, with a drink in her hand. She speaks with all of them, but she is not with anyone. She is free … and seduces and laughs … and leaves.
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