Peperina

About

Peperina is the fourth album by Argentine rock band Serú Girán, released in 1981. Recorded at ION Studios and mixed in Los Angele, Peperina shows Serú Girán at the height of their popularity, but also marked by internal tensions and the imminent departure of Pedro Aznar. It's an album that breathes the heavy air of the end of the military dictatorship, disguising its criticisms with subtle irony. It's the last studio album before the group's first major breakup. A flawle, brilliant, and sophisticated album that, even today, still sounds modern. The title track begins the sonic journey. It tells the story of Patricia Perea, the Córdoba correspondent for the magazine Expreso Imaginario. Whenever they played in that city, she described the performance as embarrassing. It's said that when she first heard the song, she remarked that she still didn't like Serú Girán, but that García was a good sociologist. The verses begin gently until the rhythmic intro that completes the group. It rises powerfully to its magical interlude, then suddenly disappears with forceful word. Allready setting itself apart, “Llorando en el Espejo” represents the voraciousness of the lyrics in a robust ballad, always adorned with invaluable cosmic melodie, amidst powerful accompaniment. Now, “Parado en Medio de la Vida” is a river of constant tempo between the lead vocals and an acoustic guitar embellished by a brilliant electric piano. “Cara de Velocidad” awakens with a clear display of classical music and instrumental power. It moves vertiginously, leading to an impetuous guitar solo without losing its speed. Then, abruptly, comes “Esperando Nacer” , which navigates between melancholies unleashed by nostalgia and the colors of the decade captured in slash chord. Without further ado, a frenzied solo lifts us to the final intense minute. Here, another bewildered piano pays tribute to “Veinte Trajes Verdes” , which travels sidereal way toward the evocative images of a film. Like “Cinema Varieté,” which describes the allure of the ephemeral world in its most abundant verse. Arpeggios of eminent harmony woo the vocalist, drawing us into a myriad of passages enveloped in nuance. “En la Vereda del Sol” showcases ambient and cinematic sound, giving the work its character. Vocals flow freely, and inevitably, a joyful air pervades the verses and choru. In “José Mercado,” the percussion is merely a detail, making room for a solid electric groove. Experimental sounds from various synthesizers permeate the lyrics in every phrase. “Salir de la Melancolía” is a showcase of bass virtuosity. It move, shaping the harmony and marking the rhythm with the drum. The arrangements stand out for the relentless execution of a marvelous fretless guitar. “Lo Que Dice La Lluvia” is perhaps an unpredictable ending to such a magnificent collection of transcendent composition. With a perceptive piano, joined by synthetically triggered melodie, it's an incandescent conclusion of spatial euphonie, layered by a solicitous mind. .

via Last.fm

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