Belén Aguilera has announced these days the launch of his new album, ‘Annela’. The album tells “a story about dreams, desires, the search for identity and the consequences of pursuing something blind.” The album “goes from life itself in the most surreal and magical sense, of listening and trying to understand and dance with chaos and accept intensity.” The release date is unknown for now.
‘Labyrinto’, the first advance, is surprising. The melody is elegant and classicist, as expected from this teacher of pop composition. However, the production of Lionel Cresta takes breast and points to the EBM of the 80s. Electronic dance music “that created authentic cathedrals of darkness. ‘Labyrinth’ follows that line and some production ideas – like the slightly defined melody of the chorus – flirt with gothic aesthetics.
The Gothic and industrial sound of ‘Labyrinth’ makes sense, since the song resorts to ‘The phantom of opera’ to tell the story of a character trapped in the “labyrinth” of the music industry. As in ‘Galgo’, Aguilera confesses slave of art and portrays the industry as a place full of “mirages” that has left him injured, and from which he can no longer leave. In ‘Labyrinto’, the phantasmagoric choirs seem to represent those ghosts that stalk the artist.
The only ‘labyrinth’ stumbling is a line that resorts to the stereotype of the “gypsy” that throws the letters, when in ‘the phantom of the opera’ there was no character of this type. The figure of the gypsy fortune teller has been used for centuries to exotize and discriminate against the Romaní population. Wasn’t there a less uncomfortable expression to rim with “apple” and still respect the theme of the letter?
‘Annela’:
l. Born to die
ll. Penthouse
III. Dramatic
LV. Maze
V. Eclipse
Vl. Rescue
Vll. Lady in trouble
Vlll Loneliness
lx. Mutants
X. How can I go back
XL. Witch
XLL. Now that I’m fine
It stays inside
Charging …