Appointed day at the Coliseum. One project, Fuerza Nueva, presented a homonymous album that was released on October 12 and whose initial circulation was 1,492 copies. In times when raising blisters is as easy as for a child to rub their knees while playing, there were blisters everywhere, particularly in Catalonia, where the review of Els reapers He reminded us that not only the church sanctifies its little things. The response at the Gran Via theater left no doubts: there are times when evangelization only reaches the already converts, and when the time comes for the hymn, with a lyrics by Guy Debord that at its peak throws “with the gun, brothers proletarians, with the pistol ”, the applause of the attendance wanted to explain to Fuerza Nueva that they had not been carried away by misunderstanding. “An intelligent public,” said El Niño de Elche, flattering, very much in his almost religious role of distributing blessings. Yes, the concert, which filled the venue and would do it again the next day, put a pike in the Flanders of closure and immutable truths.
Putting noses in their tracks, let it be true, Los Planetas and El Niño de Elche thought of their day when they launched this project. A natural meeting place for artists who feel devotion to popular tradition, religion from the point of view of spirituality and cultural identity, rock and flamenco. And his staging was magnificent, including Franco, the NODO, the crucifixion and the chotis that sounded before the concert. In addition, there were five white hoods that decorated the stage, a symbol here not so linked to racism, but also, as with the passion of Jesus. And as a script for the political artifact, a cross between noisy rock, psychedelia, popular song and flamenco. Complaint and distortion. All this served between couplings and the steely voice of El Niño, splendid in imposing itself on everything in Song for the workers of the Seat (Els Segadors), With Romance of Juan de Osuna, theme of the repertoire of Planets, stars of a starry night with pieces like Song of the gypsies, a revision of his hymn, a chilling adaptation about the persecution / misunderstanding / mistrust that this town suffers, has suffered and all indications will continue to suffer. The condemnation of the different.
Point and apart in the resignification of meanings that this project addresses, already started with its own name, was The boyfriend of death stripped of the nihilist militarism instilled by Millán Astray, who by the way will reign again in the Madrid street through the courts, to be almost a pop hymn in which the muted tone of J when singing it squeaks with the combative spirit associated with the body , heeling it towards a simple love song, as J. sees it. And when the voice of the Child entered the chorus, the theater made the song its own, speaking of the importance of contexts and senses, of the fickleness of words and how to neutralize symbols. And so, at the encores, two of the musicians put on their caps, there more extravagant hats than evocations of passion. Things are, but not always the same, what does freedom mean now? And in the hands of political action the senses can be altered. Is Warhol’s Mao Maoism? Probably only for square Maoists and obtuse anti-communists.