Federico Aubele Albums (3)
What The Critics Say
Some listeners have a hard time comprehending or appreciating subtlety, which is why so many of the more myopic jazz critics had no kind words for jazz' Cool School back in the 1950s and '60s. But in fact, subtlety can be compelling; it has worked wonders for artists ranging from Joni Mitchell to João Gilberto to Sade to the late Chet Baker. And subtlety certainly works well for Federico Aubele on Amatoria. This December 2008 recording never shouts to get one's attention; Aubele is a master of restraint and understatement, but that doesn't mean that the Argentinean singer/songwriter isn't highly expressive on breezy, gently introspective offerings such as "Siempre Nuevo" ("Always New"), "Tan Cerca" ("So Near"), "Luna y Sol" ("Moon and Sun") and "Este Amor" ("This Love"). A wide variety of influences assert themselves on this 40-minute CD, ranging from downtempo and trip-hop to reggae, boleros, flamenco, tango, and salsa. Aubele has cited the Beatles as an influence, and to be sure, the influence of Fab Four's softer side (as in "My Michelle," "Across the Universe," and "A Day in the Life") does assert itself on parts of Amatoria (the fact that this album was recorded 38 years after the Beatles' breakup is one of the many examples of how long-lasting their influence has been). But whatever influences might assert themselves on a particular track, Aubele's songs always sound very personal. Amatoria doesn't beat listeners over the head with Aubele's emotions, but for those who can appreciate subtlety and understatement, this excellent album never fails to demonstrate that the Buenos Aires native is an artist of major depth and substance. ~ Alex Henderson, All Music Guide
'Panamericana'
Release Date 9/18/2007
Tracks 13
Label Eighteenth Street
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What The Critics Say
Federico Aubele's second album, Panamericana, features many of the same qualities that earned acclaim for his debut, Gran Hotel Buenos Aires (2004), and garnered a strong word-of-mouth following for his music. The porteño again sets his lovely Spanish-language songs against a hypnotic backdrop of Spanish guitar, dub basslines, hip-hop beats, Latin percussion, and ambient production motifs informed by Thievery Corporation, one of whose members, Eric Hilton, is credited with the album's production. As on Gran Hotel Buenos Aires, many of the songs are sung by females; in the case of this album, the dreamy voice of Natalia Clavier, a fellow Argentine from Buenos Aires, graces ten of the 13 songs, either as lead ("La Esquina," "Maria José," "La Orilla," "Corazón," "Lluvia") or harmony vocalist ("En Cada Lugar," "Tan Difícil," "En el Desierto," "Su Melodía," "La Mar"). In addition to playing guitar, along with most of the other instruments heard throughout the album, Aubele sings lead on about half of the songs ("En Cada Lugar," "Tan Difícil," "Pena," "En el Desierto," "Su Melodía," "La Mar") and harmony vocals on a few others ("Las Canciones," "Corazón," "Lluvia"). This is a key difference between Panamericana and Gran Hotel Buenos Aires, on the latter of which he performed the music but generally let a varied cast of women rather than himself sing the vocals. Also, the songs of Gran Hotel Buenos Aires were much less lyrical than those of Panamericana, with not only fewer vocals but with those vocals run through effects and mixed into the background. The vocals of Gran Hotel Buenos Aires consequently sounded like just another element in the mix, on the same level as the dub basslines and Spanish guitar. Perhaps purposefully, Panamericana is more of a singer/songwriter album, with the vocals in the foreground and Aubele stepping further into the spotlight, and with the dub aspects noticeably toned down. This may disappoint those who enjoyed Gran Hotel Buenos Aires as a lounge album, one that was beat-driven rather than song-based. These distinctions noted, Panamericana is still a fine album featuring many of the same qualities of its predecessor. Some may in fact prefer Panamericana because of its greater emphasis on songs, and perhaps because it's more conducive to live performance (Aubele indeed mounted a supporting tour, with Clavier in tow). ~ Jason Birchmeier, All Music Guide
'Gran Hotel Buenos Aires'
Release Date 1/1/2003
Tracks 12
Label Eighteenth Street Lo
See Album Tracklist and Review
What The Critics Say
Argentine Federico Aubele is first and foremost a guitar player. But inspired by artists as diverse as avant-garde tango composer Astor Piazzolla, Wes Montgomery, and Thievery Corporation, he set out to create a solo record that crossed electronica, dub, and Latin guitar music while capturing the sound and feeling of Buenos Aires. The resulting album, Gran Hotel Buenos Aires -- actually produced by Thievery Corporation and released on their label, ESL -- is like the reverse image of trip-hop. Aubele's songs are atmospheric, driven by sampled beats, and even employ scratching in some cases, but unlike trip-hop, Gran Hotel Buenos Aires is sunny, free-spirited, and celebratory. Always at the center of tracks like "Ante Tus Ojos" and "Despertar" is Aubele's hypnotic guitar. Around that he collages an entire band worth of instruments and samples and, finally, sultry female vocals sung in Spanish -- provided by friends of Aubele from Buenos Aires. The format seems ultimately liberating, allowing Aubele the ability to masterfully apply solid hip-hop beats to jazzy Latin numbers ("Esta Noche" for example) and to allow what could be Argentine folk songs to drift into the realm of electronic ambience and dub (the beautiful "Diario de Viaje"). Gran Hotel Buenos Aires is a wholly brilliant album and Federico Aubele may be to Argentina what Sigur Rós is to Iceland: the most forward-thinking and experimental artist to capture the sound of his homeland's cultural, symbolic, and physical geography. ~ Charles Spano, All Music Guide
