Tricky (★★★★✩), a very loud silence and other albums of the week

One of the legends of trip hop, British producer Adrian Thaws, breaks his discographic silence after six years since Fall to pieces (although it has been a period of time he has invested in exploring different projects and even parallel identities, such as Lonely guest or Theis thaws). A wait that, as the cliché goes but is true, has been worth it, since the 14 tracks that bring the brand new album to life invite you to enter its interior. One of the pillars in his day of British trip hop – it has already been 31 years since the release of the iconic and fundamental album Maxinquaye –, if something has always characterized the work of the Bristol producer is his ease in changing styles and genres without causing cataclysms.

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And, without a doubt, in this Different when it’s silent those characteristics that framed Tricky’s sound reappear, that is, from the challenging to the melancholic and melodic, from the full of nuances and textures to the raw, passing through the boost of joy or the provoker of pain. Alongside this rich music honeycomb, the voice of Mitch Sanders stands out especially, a basic pillar, since his falsetto voice not only fills the songs but easily moves the listener as in Because I don’t know, while in the splendid I’m yours the tone swims in a sea of sharp guitars. An arc that closes with the punky Out of place, this time with Tricky himself and his usual collaborator Marta Zła­kowska.

The singer from Barranquilla takes a step further in her reworking of Caribbean sounds, intertwining Afro-American tradition with a pop pulse that has always avoided the mainstream. And on this occasion, as a tribute, the title of the volume adds the name of the Irish singer Enya, whom she considers a faithful reference to her extramusical line, the Colombian-Canadian shows herself this time especially critical of Caribbean stereotypes, claiming her national and cultural-musical identity, and criticizing colonialism and racism. The brilliant duet with Nelly Furtado in the addictive cumbia Hoy por ti stands out.

One of the most unique recent projects is the double album made by the macrobanda Companyia Les Solidàries in close collaboration with musician Guillem Caballero and writer Tuli Márquez, where they put the figure of the anarchist Buenaventura Durruti into perspective, in punk, surf rock, pop or Kurt Weill key… in their own way.

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The son of Pau Riba sets music and feeling to half a dozen poems by his great-grandmother Clementina Arderiu. A tribute and at the same time a reminder of an author and a raw material of indisputable first order, which Caïm has built in close complicity with clarinetist Teresa Nogueron from a sonic look at the present. 

This implies a splendid coverage of varied stylistic range since it proposes the rock pulse in A l’ombra verda or the Brazilian aromas in El nom. They also recover Arderiu’s voice – who passed away half a century ago – in Els ulls and Nova lletra al cant dels ocells.

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