Here is an interesting equation: Simon and Garfunkel + Kylie, the Stock, Aitken and Waterman years ÷ (Spanish inspired guitars and percussion + Acoustic Guitars + folk rock) – ABBA = The fresh ‘Stay in the Shade’ EP from .
‘Stay in the Shade’ is an effective introduction to the music of the 25 year old Swedish born performer . It is an informative, coherent, concise and most importantly excellent first impression that cuts swiftly through all the mire clogging up the radio airwaves.
On this five track EP González offers an alternative to the over orchestrated, over conceptualised, over packaged volume of the mainstream. The subtle tones of the vocals and acoustic guitar accompaniment make this EP a distinct and worthwhile musical pause. González’s earnest vocals complement his lyrics and musical compositions exhibiting how genuine emotional and intellectual engagement on the part of a performer and/or composer is still possible. Stripped of the vocoder and affectations of most contemporary music this is proof that (real?) music can still exist. Unintentionally, González pulls apart and breaks down all the vacuous notions of over inflated studio productions and million dollar tracks, proving that one man and his guitar is still really all it takes in spite of technology and S Club 7.
is the son of Argentinean parents and the music of South America is evident in this EP. There are shades of Latin American percussion, tango, flamenco and tropical guitar flair, but like everything about Gonzalez’s music it is all very subtle. The implicit intricacy of his music emanates from the seamless blurring of all his influences (pop, folk, rock, flamenco etc.) into tight organic compositions. No one influence is overbearing or out of place. Avoiding the inclination to attach himself to a particular trend or premeditated vision of musical progression, ‘Stay in the Shade’ exemplifies the effectivity of simple production and compositional selectivity. I’m in no way saying that this is not a highly skilled production, of course it has a high production value, but the intention is not distraction via sound effects or loud crash, banging or bleeping. Everything here is intended to draw the audience into every song not divert from lagging vocals or less than superb melodies. Sonically, intellectually, emotionally and imaginatively you are invited into the ‘shade’ with , and your presence comes with pre-requisites – that you listen and at least try to hear beyond the music.
For instance González takes Kylie’s 1980’s hit ‘Hand on Your Heart’ and totally reinvents it without changing the vocal melody (much) or structure. The most important differentials in this rendition is the intention of the singer and producer, indicating either S/A/W’s un-credited song writing skills or how totally empty, hackneyed and pointless their productions were, you decide. González’s take on the song is a haunting acoustic break up song of unrequited love, lost love and undying love - totally not what I got from Kylie. If this can be done with early Kylie just think of the possibilities for Jason Donavan’s ‘Nothing Can Divide Us’ or Hazell Dean’s ‘Who’s Leaving Who’. (N.B. Archive pop knowledge for the musical freshmen among us to go and research.)
For some reason González has the affect of evoking the spirit of 60’s folk. Without being overtly political or social the musical demeanour is inadvertently nostalgic. It harks back to a time of musical freedom and abandon, when there had to be a connection between composer, musician and audience. Some people may explain this away as boring, drab or plain, do not listen to those people. His melody is complex and contradictory it is at once sunny and pure with dark melancholic undertones. Fine and nurturing, it reaches into you and draws you emotionally and intellectually into each song. It is a signpost of ‘Music’ rather than the ‘business’ of music which we are being increasingly convinced is the primary concern of composition today.
In the hyperactive hypersensitive music business González is the ultimate threat. Why, because in his intimate artistic world music is not an artificial stimulant, but a homeopathic remedy. Through his creative forethought, depth and musical intention there is a well needed, much welcomed space of still and quiet engagement in which ‘We’ the audience, have to shut up and listen. Thankfully there are indications that this is being recognised. Over the past six months the impressive González has defied the stringent selectiveness of the radio playlist and has been featured extensively across the BBC radio networks – he has had more airplay on Radio 1 than many play listed records. And O.C. fans may recognise González’s song ‘Crosses’ (not on this EP) from the season finale. If you want more of González’s work look out for this EP, as well as his album ‘Veneer’ and the upcoming work with his new band Junip.
Record Label: Peace Frog
Release Date: 15th August 2005
Words By: Rachel Webb
