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Napoleonic maximizations

In Los madriles (i.e. Madrid) there was a strong will to relish Napoleón Solo again. With 3 great albums in their backs, it was time to present the freshly baked songbook, perfectly flanked by their preceding hymns. It was a brilliant, model show where the andalusians threw themselves into the protagonists: the songs. Being carried along by magical haloes, they prolonged and savoured the songs, not failing to care for every intro with unprejudiced interregna, relishing every chord.

The highly compensated concert was going to be unfolded into 3 acts. At about 10:30 pm, the quintet gradually penetrated into absolute darkness, preceded by attractive, random, atmospheric distorsions.

After the double album Antes de que ocurriera and Si el mundo no se acaba, together with El intercambio to complete the initial triptych, the band would make a magnificent gesture by chronologically playing all songs from their last album on end. As Alonso noted, the aim was to embody the translucent and marvellously cryptic cosmovision of Máximo Ruiz Ferrer. In a more than appropiate and heartfelt praise, they scrutinized every single sensation of the new repertoire.


Matamuertos y La cruel, a penetrating and memorable song, pure granadino charm, broke through in the stage’s elaborated darkness where the napoleonic frontman would drift in the saddle of his Gibson, among bursting flashes and visual spams that leaded an epic moment of distortions within a succesful performance.

In the interpretation of Emilia y Pepe, José Ubago Bonaparte would step in to complete a well packed guitar 6x3 joining Jaime and Alonso.

Yuliana, Juliana reached a peak, 4 guitars extended its final stages with Lori Meyers-like na-na-nas, claiming even more so with all its freshness and verticality.

After the playful, danceable Ramira and the tremendous smash of Desastre número 1, it would be the time for the operatic Perdiendo el tiempo, which, before the second charge of hits, would grow due to another strong, epic enlargement, one of those that make you want more.

To culminate the ample score of codas they would choose a glorious set of aces made up of consummated compositions for the festival of guitars, choirs, increasing rhythm changes, magnetic choruses and brutal punch.


After Sueña conmigo the room would come down with the most demanded Lolaila Carmona and those magnificent falsettos.

Aproaching the definitive triplet, the would derail Sospecho sospecho, Tiene que acabar and Adiós (a positional success), that in a double percussion ending (Luis Miguel beating the drumsticks and Miguel Ángel playing with a new toy) would melt together a singer committed to the last frames.

Wherever the decimononic, postromantic, advanced-to-his-time Ruiz Ferrer relished the event, maybe in company of a good wine, it was made crystal clear that he could return, blessed and cheerful, to his interesting, interstellar parallel world.

A group of youngsters and artists best in short distance. This was how the Napoleons would sign a superb, colossal gig, with such moments close to those shows of megalytic combos like Los Planetas, Nirvana, and Queens of the Stone Age.

Sala El Sol


Saturday, 21st March 2012