Album Reviews

Rodrigo y Gabriela - Area 52

Technical precision and a Cuban flare have given birth to Area 52, on which “El Rodri y La Gabi” re-examine nine songs from their earlier discs, this time accompanying them with a 13-piece Cuban orchestra. The Mexican instrumental duo, known for their masterful manipulation of the acoustic guitar, traveled to Havana to record alongside the Collection Universal Band Association (C.U.B.A.).

The collaboration results in an explosive fusion of acoustic finesse and Latin flavor. The orchestra, which includes horns, pianos, strings, and more horns, gives the music another dimension. In general, there is a sophisticated balance of rock and clave, an accented Latin beat.

Percussion remains an essential element of Rodrigo y Gabriela’s style. Roughly the last minute of “11:11” consists of African percussion and chant, a highlight of the album. “Diablo Rojo” also features an impressive percussion breakdown.

“Hanuma” is a tribute to Carlos Santana, with a provocative electric guitar solo by Rodrigo. The dialogue between piano and guitar on “Tamacun” is typical of salsa music. There are points during which the duo captures the rhythms and sounds of son so well that you almost expect Queen of Salsa Celia Cruz to yell out “Azúcarrr!”

Perhaps an occasional break from their perpetually prestissimo tempo would give both their guitars and their listeners a chance to breathe; at times, the music is so rich and fast that it doesn’t allow proper appreciation. “Logos” is one exception, with a noticeably more relaxed melody. Even then, placed in the last third of the album, listeners might already be exhausted to keep up.  

Despite the Afro-Cuban sounds that penetrate each piece, Rodrigo y Gabriela manage to maintain their identity throughout. With Area 52, these musicians expand their repertoire, emphasizing their versatility while exploring a sound that gives them a much more diverse feel without sacrificing their distinctiveness.

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