The untimely departure of the singer-songwriterr Palo Pandolfo (1964-2021) left a void in common music that his posthumous work Servant, from as we speak, out there on digital platforms, repairs ultimately.
A piece that managed to be concluded due to his street ebook through which Palo Pandolfo specified needs about this materials, which his workforce managed to seize to present the ultimate contact to this album that preserves its freshness and an intact creativity.
Fito Páez, Santiago Motorizado, Hilda Lizarazu, Sofía Viola and Mora Navarro collaborated on the album. There are eleven songs that describe his important dedication to freedom.
Palo Pandolfo, on the Lollapalooza. An unbeatable artist. Photograph Fernando the Order
Servant might sound like an correct synthesis of the creative historical past of Pandolfo, there’s a sustained rhythmic from the River Plate that converges in an natural means with the people, pop and rock airs, at occasions virtually a witness to the alchemy of this composer.
The album opens with Double coronary heart, a theme of time marked as a backup to a verse that feels like a mantra “I have no home / I am not jealous / my whole life in a flower / I cover my face with a handkerchief / I keep the breath of my heart / I don’t feel like walking around the ground / I feel the snow of heartbreak ”.
The lyrics take us via completely different atmospheres through which the rhythmic power acts as a automobile.
Eyelids It has an preliminary ska stroll that dissolves into rock with a seventies taste. The voices of Pandolfo and Paéz, who added it after the artist’s loss of life, make up a strong refrain that takes power and turns into a freed trackr, festive like that music of The Guests.
UFO it feels like a backwater; an introduction on guitar whereas Pandolfo, supported by a string association, tells us that “The moon gives us / in the water gives us / makes us think / freedom”.
The cut up soul places a nostalgic accent; Accompanied solely by the guitar and comfortable percussion, he tells us that “I’m crying my broken soul / I’m crying without hope”, his voice with a digital camera creates a local weather that offers this story the style of a goodbye.
Palo Pandolfo died abruptly, on the road, on July 22, 2021.
The thought takes the trail of a exact story, with a lyrical flight that contrasts with that style for the marked occasions; chiaroscuro that have been one of many hallmarks of Pandolfo’s music.
Comply with Demonized, with an introduction through which voice and guitar make a call-reponse that modifications to a pop air that’s reworked in numerous climates all the time across the voice; an artist who doesn’t reply to covers, reasonably, a freethinker with out prejudice that opened his music like an infinite fan.
On Wind the flamenco air of the voices shakes this 6×8 chacareroso within the method of this genuinely eclectic artist.
Your love is a marked pop, with an association of voices, that feels like native influences like these of Garcia and Spinetta; nonetheless, Pandolfo’s music has that authenticity of origin and this track manages to displace darkness and goodbyes for a second to open that window of hope. “The whole universe has your love, your love / the whole universe has your love, it has your love,” he sings to us.
A bohemian. Palo Pandolfo all the time proclaimed and was constant together with his freedom. Photograph Silvana Boemo.
On Religion, the guitar deconstructs a milonga whereas the singer plunges into an intense story as a consequence of his dealing with of his voice and tempo. A lyric that runs via areas and moments whereas insisting: “Singing in the fire, beginning to enter.”
Close to the disc closure, Madrigal introspective, sung in a parsimonious means “Nochero, anointed, moreno” with an association of keyboards that covers the refrain and an agitated Smoke within the air through which percussion and voice drive one another and it’s the harmonica that units the melody.
“Smoke in the air / from the electric cloud / tell me something I don’t know / Sunday I started the week.” Nothing is the way it appears in Servant, a compelling album because of the huge stylistic vocabulary of this troubadour who left as a legacy that music doesn’t acknowledge borders.
Reference from clarin