Much as this blog’s raison d’etre is to keep an eye on what’s happening now, the past is littered with unfairly overlooked albums. One recent one, from 2011, is Rima Fand’s Sol, Caracol (Spanish for “Sun, Snail”). It comprises many of the songs from her theatrical project Don Cristobal: Billy-Club Man, which sets Federico Garcia Lorca poetry to frequently haunting, flamenco-tinged original music. This is the closest thing to an original soundtrack recording that exists, part dark flamenco rock, part noir cabaret, part chamber pop. Besides playing violin, the Luminescent Orchestrii co-founder distinguishes herself on mandolin and keyboards as well, accompanied by an all-star cast from many styles of south-of-the-border and Balkan music.
Although Don Cristobal and his sidekick Rosita are a Spanish version of Punch and Judy, there’s very little here that’s vaudevillian, consistent with Garcia Lorca’s full-fledged rather than one-dimensionally farcical depiction of the characters. The opening track, Midnight Hours, sets a dramatic lead vocal by David Fand over a spiky blend of the bandleader’s mandolin with Avi Fox-Rosen and Chris Rael’s guitars, a soaring choir behind them. You might call this art-flamenco. Lucia Pulido sings the dynamically charged Replica, Rima Fand doubling on mandolin and accordion. Cicada, a shivery, hypnotically suspenseful string piece, blends her violin with those of Sarah Alden and Not Waving But Drowning’s Pinky Weitzman and Matt Moran‘s vibraphone.
Justine Williams sings the creepy, marching Rosita’s Song. The choir returns for Don Woodsman-Heart, a moody flamenco vamp lit up by Quince Marcum‘s alto horn, morphing into a dreaming, longing waltz. Pulido takes over the mic again on the terse, minimalistic Confusion over My Brightest Diamond cellist Maria Jeffers‘ bassline. David Fand returns to imploring lead vocals on the insistent Abre Tu Balcon (Open Up Your Balcony – that’s Don Cristobal imploring Rosita to have a word with him). They follow that with a cartoonish miniature, Te Mate and then Hat-Ache, another flamenco-tinged, angst-fueled, love-stricken ballad.
The album’s centerpiece is the macabre, carnivalesque Billy-Club Ballet, the bandleader on piano with guitar and percussion, Fox-Rosen’s jagged electric incisions adding menace up to a twinkling piano interlude and then back down. They follow a brief mandolin waltz with La Monja Gitana (The Country Nun), rising from another austere 3/4 rhythm, with a rich, bittersweet vocal from Rima Fand.
Eva Salina Primack and Aurelia Shrenker a.k.a. innovative Balkan/Appalachian duo AE sing the sweeping, tensely moonlit Lullaby for a Sleeping Mirror, building to a lush, anxious round. The album ends with the towering overture La Cogida y la Muerte, sung pensively in English and Spanish by Abigail Wright, the acidic close harmonies of the string section contrasting with Katie Down‘s anxiously dancing flute and the distantly circling trumpets of Ben Syversen, Sarah Ferholt, JR Hankins and Ben Holmes. Surreal, sad, eclectic and vivid, it more than does justice to Lorca’s equally surreal, sad, ironic poetry. The album comes with a useful lyric booklet including English translations.