Leaving the Extremoduro bandwagon aside, Robe Iniesta goes live and continues his albums and tours one after another. Two songs from Se nos Transporte el Aire had already been released during his last tour and now come together in a work that shows him and his tight band on a roll, using a repertoire of a less philosophical nature than the previous song, Mayeutics. 2021).
Steal suddenly in a maelstrom of sound as lyrical as it is gorgeous, sharing deep thoughts aloud, perhaps encrypted but rich in pithy phrases (“too many drugs even for me”, “the world doesn’t concern us at all”, “we’re going to steal a bank”), now Cicero or there is no need to appeal to Socrates. Trying to analyze We Take the Air from its lyrics is risky, but the first track was released days ago with the song Nothing to Lose, in which Robe talks about his ghosts (addictions) and the idea that he’s there after he’s fallen to the lowest point. just return. It’s a meaty song with emotional harmonic shifts, the video for which lacks a story: the band plays it during what appears to be a break from a sound check for one of their concerts.
Se nos vamos el aire balances the sonic architecture of his solo albums: Extremoduro’s riotous imprint, its crushing electric wall and neoclassical melodic counterweight, there is constant friction with guitar power with Carlitos Pérez’s dramatic violin boundaries. chords and echo of Lorenzo González’s voice. This time the pieces are not movements, but consist of ten songs. And among these floats the perception of a Robe looking in the mirror and searching for his center of gravity: “I need you to come, ’cause the air is taking me away,” he implores in the opening theme of The Birdman. “I haven’t eaten anything today either, I’ll eat tomorrow / I know I’ve gotten weak and lost my will.”
Is Robe recovering from a (new) bout of depression? The spirit shown will confront the darkness head on, though it may seem so: there is a piece that is inscrutable, crushing and angry, the playful On the River’s Edge or Make the Ground Tremble with its cathedral crescendo and final howls. And it is there, in creativity and muses, that the roller coaster of the Power of Art locates the possibility of salvation from “a still life, a sad life, a bad death.” Robe moans and shudders behind a symphonic dynamic that spans over nine minutes.
With its violent shocks, Hammond organ growls, and unleashed 70s guitar solos, Se nos travel el aire delivers an intense experience that fans will savor but may be overwhelming for others. But these are the laws of the Robe.