Barrio Lindo

https://barriolindo.bandcamp.com

Barrio LindoComposer, Producer, Luthier, and Shika Shika Collective Co-funder. Agustin Rivaldo born in 1987 in Buenos Aires Argentina. Since 2012, Barrio Lindo re sound as one of the well known southamerican downtempo producers.Since 2016 is based in Europeinstrumentospewmafe@gmail.comEspuma de Mar, released 23 September 20221. Segui (ft. Alex Musatov)2. Llegada (ft. Nico Lapine, Ignus)3. Migrante (ft. Federico Estevez)4. Azufre (ft. Camila Nebbia & Ignus)5. Periferia6. Espuma de Mar (ft. Nico Lapine, Ignus, Mariana Iturri & Rumbo Tumba)7. Oasis (ft. Nico Lapine, Ignus)8. Tac Tac (ft. Fernando Lamas)In 2019, whilst touring Japan, Barrio Lindo found himself moving away from the dance floor,instead getting lost in his headphones while listening to music that dismissed genre, oscillatingbetween jazz, chamber orchestras and electronica. As a producer at the forefront of Latin America’sfolktronica scene over the last 10 years, Agustín Rivaldo, to give Barrio Lindo his given name, hasproven himself more than adept at crafting soundscapes that can transport listeners, full of detailand nuance, but they always had to pander to the club and its duty to keep revellers energised. Theepiphany in Japan necessitated a change in direction, to make music that people could get lost in,and which also meant he could revert to his younger self, that guy in his twenties playing guitarwith his friends, just for fun. So he booked a studio on the outskirts of Buenos Aires in early 2020and invited some friends over; the idea was simple, let’s play some music and see where it takes us.Espuma de Mar is the result, those initial sessions refined over the intervening years, newcollaborators brought in where necessary, the production crafted in the same manner as his previouselectronic-focused output, but the feel here, the ambience, is completely different. Like the espumade mar, the sea foam that gives the album its name, this music has a fleeting quality, it arrives,imperfectly, and never stops transforming; it replenishes, it diminishes, it breathes.The biggest difference between this album and Rivaldo’s previous works is the increased tension,and the sense of space; whereas beats and sequencers, as per their design, propel constant rhythm,here every note has intent, only played if necessary to the composition. This is felt on “Llegada”, aminimal groove soothed by kalimba thumb piano and fidgety synths while layers of trumpet takethe lead until a surprisingly sombre piano motif brings the song to a close. The title track has asimilar feel, whereby the music sounds improvised, each instrument free to roam, yet each note hitsyou in the stomach; here, we get an ominous opener, spare notes of trumpet, charango, snare drumand heavily-reverbed piano taking their turn until a rhythm begins to develop, albeit a rhythm thatrefuses to retain its form, flutes, synths, bass and detached vocals all playing their part as the songrefuses to stand still.Rivaldo has stated that it was the sounds of German-Senegalese group Mark Ernestus' NdaggaRhythm Force and the UK-based project Hidden Orchestra that had the biggest impact on thealbum’s sound, and it is certainly possible to see the affect of the latter in the mixture of fieldrecordings and percussive symphonic jazz. For this record, Rivaldo has worked with a smallensemble of Nicolás Lapíne on trumpet, Ignus and drums and Federico Estévez on percussion, aswell as invitees such as flautist Mariana Iturri and violinist Alex Musatov. With Rivaldo himselfadding guitar, synth, bass and piano, the effect is of a modern chamber orchestra and the drama thatcan bring. Opening track “Seguí” is a great example with its crashing piano chords and pulsatingviolin, and there’s no denying the euphoria of a track like “Oasis”, whose woozy trumpets can’thelp but recall prime Beirut.But there’s a reason Rivaldo is thought of so highly within the folktronica scene, and it’s for hisattention to detail. No two tracks on the album are the same, it goes from the percussion-heavy“Migrante”, whose breakbeat and jerky synths show a love for hip-hop and 80s funk, to a beguilingtrack like “Azufre” that has a vaguely-Caribbean cadence until a tenor sax solo from Camila Nebbiatakes it into more overtly-jazz territory. Then there’s a track like “Periferia” whose use of close-mic’d percussion makes it feel like the speaker is literally shaking with rhythm, alongside “Tac TacTac” that is full of warm, reverberant bass notes, albeit offset by hand claps and the only-discerniblevocal on the album. With this in mind, it should be no surprise that Rivaldo is also a luthier, usingsome of the instruments he’s created on the album; there is a meticulous mind at work.Espuma de Mar is that rare beast, an example of an artist reinventing themselves, yet somehowsounding completely like they’ve always sounded. As Bandcamp once said in a feature on BarrioLindo, his music is “carefully composed, revealing an underlying sense of wonder and joy”, andthis continues on his latest, an album that is destined to provide someone else with an epiphany asthey get lost in the music on their headphones, whether that be in Japan or elsewhere.

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