The beach feels like a somewhat appropriate place to listen to Möreno's music, as the relaxing tones are as playful as an ocean's wave that accompanies you in your thought process, never intruding but rather inducing a profound spiral of contemplation. Founding member Giancarlo Landini (guitarist and singer) plays with dichotomies of feelings and states of minds. Here is a review of some of his most prominent albums.
Möreno (photo courtesy of Nano Santamaria)
Pica (2009) opens with a guitar melody, as Landini introduces you softly to his mood, the rhythm complimented by his matching respiration. It is a somehow reassuring experience to find yourself breathing in unison with the guitarist as he closes 'Happy Ending', a song in which the metaphors of the title provoke an action that implies life in its simple motion.
Keeping the delicate approach, Landini treats his listener with the care it seems he would want to receive himself, since the melody to 'Happy Ending' is felt as an introductory prelude, taking the listener by the hand as if he had just been woken up. After this he hits the heart directly with an impulsive charge of electric guitar in 'La Tipica Cancion del Weon que se Siente Solo' (The Typical Song of the Dude that Feels Alone).
The title track 'Pica', which is also included in his latest Möreno y La Mafia Canyengue album (2012), could be considered the cherry on the pie among the artists’ favourite songs. It leaves a philosophical feeling in some, as in the particular line that submerges you into thought: "te daras cuenta que nada es real, incluso los buenos momentos” (you will realize that nothing is real, including the good moments), going back to the dichotomy applied by the artist. The playful mix of electric guitar and its acoustic version is very soothing. The sound of rain at certain intervals gives you a breathing space.
Giancarlo Landini (photo courtesy of Catalina Gonzáles)
Domestic sounds are not a unique characteristic of this album, but in most of Landini's work they give the listener a feeling of intimacy into someone else's life, in this case the artist's: almost as a diplomatic peeping situation.
Brocha Gorda (2009) is a music album recorded in the beach town of Pichilemu, and co-written with Landini´s friend Fico. Songs such as 'Vino' (Wine) and 'Tonto' (Fool) are particular jewels but a special mention is reserved for 'Yayoo', which has a one and only striking line. Two kids, a younger boy and an older sister play around the artist. And the line goes like this: “Yayoo, where are you? I am here Nico, I love you, bye!”. This line could have multiple interpretations, but I leave you to find your own. This is one of the beauties of Landini's touch, leaving subliminal messages to play with in your mind.
And finally, what makes this album a must-have is the magnificent and one-off experience of the declamation of 'Abstinencia de su Culo' (Abstinence of her ass). A resemblance of a Chilean Bukowsky, with that very humane feeling of the loss of a loved one, together with the crudity that this represents, and which nobody is ever willing to accept.
The album includes the bonus cover of Nick Drake's 'Horn', a humble wink from Landini, as it comes as little surprise that Drake is one of Möreno's key influences. It feels like a discovery at the time, very deep and to the heart.
On the Polaroids album (2010), 'Sereia' (Mermaid), a seven minute lullaby, is a word that in itself induces the listener into a hammock pushed by the breeze of the Atlantic sea, warm, salty, fresh. Distant Sereia singing somewhere from the horizon or hidden in the mangroves. With its references to a mythological creature, 'Sereia' talks about a love not yet found, her singing transmutated into the guitar melody. An oasis that you see, when thirsty for love but, although you can hear it, you can never reach the oasis, or in this case your beloved Sereia.
Chica by Giancarlo Landini (image courtesy of Lautaro Vera)
A personal favorite is the Humano Pequeño album (2011). You will find that on 'Ginger' there is a constant flickering of pages, which even if they are not present after the first 30 seconds, will remain in your subconsciousness as a delicate structure of the song and mood when listening.
On Möreno y La Mafia Canyengue, I am not sure if it is the combination of artists or the particular mood of Landini at the time he made the record that gives it its high energy levels, as if someone had woken up to conquer the world. The songs challenge the world in itself, in time and air, fighting with the primordial elements, and finally achieving a peaceful concord amongst them.
The live concerts promoting this album, in venues such as Bar Loreto in Bellavista, were full of people in the same synchronized mood as the songs, very friendly, energized, and absolutely up for dancing. You could see Landini giving all his energy in every stroke of his guitar. Drummer Alvaro Troncoso's presence is key to the rhythm machinery that gives the album its impulse. Same as the bass player, Matias Hidalgo, and chorus girl, Catalina Gonzalez.
Möreno's latest album, Hueon Colores (2012), is a combination of Landini's paintings and music skills, and it is an album that takes you into induced higher states of mind, as if meditating against your will. This is projected in the artist's abstract paintings full of colours and textures. It should be clarified that this album is a conversation between visual art (paintings) and music.
The dichotomy of being in the present and contemplating the past. Choosing what memories make you happy. You can find all Möreno's albums on the Mozcu site.