Raúl Monsalve y Los Forajidos have crafted a record that functions less like a standard studio release and more like a celestial event. With ‘SOL,’ the Paris-based bassist and his ensemble move beyond the groundwork of their previous efforts to create a sound that feels entirely liberated from geographical or temporal constraints. Under the production guidance of Malcolm Catto and Yann Jankielewicz, the album captures the heat of the Venezuelan coast and the cool precision of European avant-jazz, allowing these seemingly disparate worlds to harmonize with startling naturalism.
The record initiates its ascent with “Fuego al campanero,” where the shimmer of bells and synths mimics the first light of dawn. As Carlos Tález leads a call-and-response chant over a bassline reminiscent of late-nineties funk, the track establishes a percussive gravity that defines the entire experience. This momentum carries into “Como el sol,” a piece that reinvents Coltrane’s melodic sensibilities through the lens of Mwandishi-era electronics. Here, master percussionist Gustavo Ovalles provides a rhythmic foundation that allows the synths to swirl and expand, creating a prayer for abundance that resonates with ancient weight.
A defining characteristic of this collection is the rhythmic interplay provided by drummer Mario Orsinet and guitarist Kiala Nzavotunga. Their experience within the lineage of Fela Kuti’s Egypt 80 injects a specific Afrobeat architecture into the arrangements, particularly on “Machete no hace piquito.” On this track, the steady, driving pocket of the West African tradition merges with the tambor mina patterns of Barlovento, creating a polyrhythmic density that feels both ancient and futuristic. This collaboration ensures that the pulse of the album is never static; it shifts and adapts, allowing the brass section led by Andrés Vela to float over a foundation that is as sturdy as it is complex.
The middle of the album offers “Ofrenda,” a track that strips away artifice to focus on the raw power of the drum. By isolating the percussion against pulsing electronic textures, the band highlights the deep-rooted African and indigenous traditions that form the backbone of Monsalve’s vision. The influence of the Egypt 80 members is felt here in the subtle shifts of emphasis that keep the repetition from becoming hypnotic in a sedative way, instead pushing the listener toward a state of active engagement. This sense of cultural memory continues to materialize in “Recuperar el vuelo” and “Tiempo que se va no vuelve,” where the themes of rebirth and the passage of time are explored through arrangements that never feel cluttered.
The core band of vocalist Lya Bonilla and keyboardist Edgar Bonilla provides a melodic glue that holds these ambitious explorations together. Even in the hypnotic suspension of “Hamaca,” where UK producer Emanative contributes a guest interlude, there is a clear sense of direction. As the record reaches its conclusion with “Calipso Time,” the brilliance of the ensemble’s collaborative spirit is undeniable. By merging the spiritual fervor of Saint John the Baptist celebrations with psychedelic funk and experimental electronics, Raúl Monsalve y Los Forajidos have documented a process of cultural alchemy. ‘SOL’ is a vibrant, essential document of the Venezuelan diaspora, proving that tradition is a living, glowing force that persists regardless of distance or displacement.
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