Can the world dance itself into a more compassionate social conscience? I would like to think so, but the jury is still out on that. One thing is certain: if it is possible, then Baracutanga will be the band that dances us there. Their new album, Volver atrás, is, quite simply, the band’s masterwork, and they will be celebrating its release this Friday, August 27.

Baracutanga
Volver atrás (Symphonic)
A review
Baracutanga first made its mark as a live band, merging irresistible rhythms with a social conscience to make dancing an expression of hope, resistance, and determination. Its first album, Importados, released in 2015, faithfully captured the band’s live energy, its blend of the folkloric and electric, and its concerns with social issues, in particular immigration—not surprising, given that the band is composed of members originally from Bolivia, Ecuador, Perú, and the United States.

Volver atrás takes it all to another level. As danceable as the live show—believe me, I’ve been dancing to it at home for a couple of weeks now—it offers exceptional sophistication in the songwriting, the arrangements, and the performances. The social messages are more pointed, mixing anger and compassion in almost equal measure. The band also explores personal issues of love and loss with a tender and sometimes heartbreaking honesty.

The album’s title, which translates as “turn back,” is drawn from a concept of the Aymara, an indigenous people of the Andes. “For the Aymara, ‘qhip nayra uñtasis sarnaqapxañani’ is interpreted as ‘the past is known, therefore it is in front of us, while the future is unknown, and thus behind us, where we cannot see.’ We walk with the past before our eyes and the future to our back,” writes Kilko Paz-Rivera (charango, drum set, vocals, and album coproducer with Baracutanga). Therefore, the past must be used to navigate the future.

“We have gone too far thinking about the future and progress without even looking at the past,” says Paz-Rivera in a phone interview, “and I think we are lost because we are destroying our planet, and we have this incredible pandemic that hit the entire planet.”

The pandemic actually contributed in an important way to the album, giving the band time to take a deep dive into the various rhythms it employs. “This CD took a long time, because we did research about the rhythms,” Paz-Rivera says. “We went really back to the origins of those rhythms, and we put those rhythms into our workshops. This CD, it has a research process before each song.”

That no doubt contributes to the album’s tight arrangements and its rhythmic complexities, which feature caporal, cumbia, samba, huayño, reggae, reggaeton, vallenato, conga, forró, and bundé rhythms, to name a few—and some of these can be subdivided by region. Paz notes that while people often refer to Baracutanga as a fusion band, he thinks of it more as layering than fusing. You can hear it immediately on the opener, “Cuidas tus espaldas” (“Watch Your Back”), whose cross-rhythms layer the Afro-Andean caporal with cumbia and samba—with a touch of East L.A.—and whose lyrics speak of the anxiety of undocumented immigrants and family separation. Micah Hood and Paul Gonzales contribute searing statements on trombone and trumpet, respectively.

“Arroz con leche, no me quiero casar” (“Rice Pudding, I Don’t Want to Get Married”) addresses the subject of domestic violence, a topic “close to my heart,” says Paz-Rivera, who wrote the music and lyrics and declares himself a feminist. “It’s important that we as men recognize the problem,” he adds. The song, riding a cumbia and written from a woman’s viewpoint, encourages women to recognize their power and assert their independence.

“Culebra Mala” (“Poisonous Snake”) condemns anti-immigrant, racist policies and attitudes, with a fierce performance from Jackie Zamora, the band’s powerful lead vocalist. “Bailando contigo” (“Dancing with You”) finds in love and dance the answer to hard regimes and violence.

The instrumental “Horizonte” is a musical interpretation of “Kilko en la raya del horizonte” by the Bolivian writer Porfirio Díaz Machicado. Featuring the zampoña of guest artist Andrés Morales Vega and the terrific drumming of Nick Baker (drum set, marimba, percussion, accordion, vocals), the song tells the story of a young boy from the country who longs for the big city, gets there, and ultimately returns home.

The remaining four songs take a personal turn. “El regreso” (“The Return”) speaks of the longing for the land left behind. The slow samba “Si tengo sus besos” (“If I Have Your Kisses”) is a testimony of love and fidelity. “De qué sirve” (“What’s the Use”) questions a failing love, and “Sístole y diástole” (“Systole and Diastole”) chronicles the painful marital breakup of two people in love who understand the need to let each other go. (The album’s lyrics, in the original Spanish and in English translation, will be available on the band’s website via QR code.) Trying to pick a favorite song from this album is a lost cause. Your favorite is likely to be whichever one you happen to be listening to.

Baracutanga’s members bring a unique combination of instruments that defines its sound. In addition to Paz-Rivera, Zamora, Gonzales, Hood (who doubles on tenor horn), and Baker, the band’s core lineup on Volver atrás includes Carlos “Kalin” Noboa (electric bass, vocals, quena, zampoñas). They are supplemented by guest artists whose instruments range from cello to cavaquinho, from voice to baritone sax. The band’s current core lineup now includes Paz-Rivera, Zamora, Noboa, Hood, Casey Mraz (electric guitar, accordion), and David Flores (drum set, percussion).

The CD release party takes place at the Albuquerque Museum Amphitheater, doors at 6:30 p.m., music from 7:00 to 10:00. Joining the party will be Son Como Son and DJ Pancho. Tickets are $18 and available here.

You can purchase the CD and/or download here.

Check out the limited-edition T-shirts and 
fridge magnets at the Musically Speaking store.
Your support is much appreciated.

© 2021 Mel Minter