Rodrigo y Gabriela “11:11″ Review

The prospect of writing a review for the new Rodrigo y Gabriela album in anything but the first person is a daunting and formidable task. A shining gold medal is due to anyone who can keep their composure while listening to this album, let alone attempt to objectively qualify its musical merits. Forget about the gut-wrenchingly amazing technical skills of the bad-ass flamenco rockers that will already have your ears in ecstasy, for the lascivious threads of balmy South American nights intertwined with hard rock influences are guaranteed to leave listeners wondering how they got to heaven, and how they can avoid being sent back to earth. Simply put, if this album doesn’t rock your world, there is something wrong with you. Seriously.

That being said, nothing is perfect, and 11:11 is no exception. While your feet might not stop stomping, nor your hand stop making that devil’s-horns rock ‘n’ roll gesture, the album may be too intense to handle straight through in one sitting. Not bad, but intense: many songs on 11:11 seem like they could be part of a single colossal medley. And those privy to the dynamic force that is Rodrigo y Gabriela will surely be familiar with the amount of suspense that occurs in each individual song: jam-induced tension that builds and builds almost to the point of musical blue balls before a mind-blowing climax of woody rhythms, 16th note triplets, and relentlessly spiraling chord progressions. It is this roaring process, a reconstruction of “Diablo Rojo”‘s glory for example, that will be found on the majority of the tracks on 11:11.

Yet, three tracks do stand out and seem to obviate the risk of guitar solo-overload: “Logos” is a soft and smooth groove combining arpeggiating guitar and modulating keys that evokes the spirit of passing Mexican landscapes. After a while a slowly sustained and high pitched wail sinks in and settles into the song’s melody, though it slowly begins to bloom again and soon segues into the next track, “Santo Domingo,” a wry, fast paced classical guitar sounding shuffle.

“Chac Mool” functions similarly, leading into “Atman,” but is comprised of more somber elements. The melody is comprised of a low lulling guitar dancing in the desert moonlight while a subtle rattlesnake rhythm slithers in the shadow of Rodgrigo’s guitar playing. A sitar-sounding groove transitions the track into its successor.

The last shift in sound comes from the title track which closes the album. Flamenco hand-clapping guides the guitar with a riff that sounds like the wind teasing the shaky sands of Mexico’s mountain ranges along a northern city like Hermosillo.

Die-hard Rodrigo y Gabriela fans will have no qualms with 11:11. While epic crowd-pleasing covers are absent, the album promises more of what the duo’s debut LP had to offer, as well as some subtle changes in style and approach. Those looking for a taste of Rodrigo y Gabriela’s signature flamenco rock will be satisfied with the opening track, “Hanuman,” the sequel to Rodrigo y Gabriela‘s “Diablo Rojo,” which will likely soil at least one unsuspecting fan’s underwear upon first listen. Seriously.

[Review by guest contributor Dan Bindschedler.]