The virtue of sharpening their sound with viperine sap
In the shelter of danger, in the Madrid night, Pablo Garnelo (Biznaga, Ardora) and Marco Lipparelli (Being Berber, Gut Derby) met Álvaro Marcos and David Moralejo from Atención Tsunami. After the initial dazzle, the friendship opened a period of unfaithful and intermittent reunions that lasted throughout the pandemic and, whose impros and first rehearsals, led them to a dead end. That is, to become a band with a handful of songs and the possibility of a studio.
Recorded in three live sessions with an old 8-track Tascam at Metropol, Charnego’s first album is a forceful declaration of intentions. Songs at point-blank range and no mercy, although insurgency appears assembled to a sonic gear of Swiss watchmaking. ‘Regreso al futuro’ has been composed and recorded like a goldsmith’s rapture, on a featherweight rhythmic base -that reverberates throughout the room- and guitars that are surely the best sharpened of recent times.
Now and as a reflection of this century of lights (in the plane of our screens it refers, of blinking notices that appear from left to right, in deviation, drift and constant confusion), Charnego unfold before us a big party, so take out the confetti because ‘Regreso al futuro’ is like a Gramscian parade of floats with giants and big heads. A long catwalk of monsters in majesty, belonging to that male world, Marca España and so obsolete that broadcasts itself in sordid live, that speaks to us smugly and overacts shamelessly, splashing like a child in the puddles of lies.
