Gabriel Garzón-Montano - Agüita

Gabriel Garzón-Montano - Agüita

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This will come as no surprise to those who’ve followed GGM since 2014’s Bishouné: AlmaDel Huila, the critically-lauded, self-produced EP that put him on the map, and served as samplefodder for a handful of popular music’s most iconic artists. His follow-up LP, 2017’s Jardin, meldedclassical and folkloric instruments with rnb, hip-hop, and cumbia, proving once again that Gabrielis totally comfortable making transformative, funky, cathartic records all by himself. Agüita, hisfirst release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthemsto string-drenched art pop ballads – a prismatic self-portrait, personal and universal all at once.The artist is present, and he is in final form.The magic of Agüita lives in Gabriel’s ability to consolidate a range of truths into a focused,crystallized idea. “Bloom,” “Blue Dot,” and “Fields” compare the growth and loss inherent inhuman life with the changing of the seasons and the life cycles of the universe; on “Fields,” Garzón-Montano evokes the despondent whimper of Thom Yorke. There are mirrors of the same themesin compositions like “With a Smile,” “Tombs,” “Someone,” and “Moonless,” a quartet of songs thatexplore the births and deaths of the relationships we have with the people we love; on “Moonless,”Gabriel explores for the first time his struggle with the grief of his mother’s passing: “Mama died/ and I was moonless in a Stygian tide...trying to hide the ripening tumor / breathing fire, love buta rumour / There’s a woman in my sky / 17 when I learned to cry…” It is to his immense creditas a songwriter that we are left with an understanding of the depth of his loss, despite havingnever experienced it. Equally impactful are the trap and reggaeton cuts – the album’s energetichigh points. On “Agüita,” “Mira My Look,” and “Muñeca,” GGM delves into club-banger territory,performing in Spanish for the first time on record.Whether you’re here for the medium, or for the message, for the man himself, or one of hischaracters, Agüita stands as the strongest installment thus far in a series of alarmingly sincere,sensationally profound works, from an artist who has sought not only to challenge establishedpreconceptions and categories, but to expose their ultimate unworthiness. From composition toexecution, the product distills the essence of Gabriel Garzón-Montano’s