Venezuelan and former front man of the band Telegrama, YEI, releases debut album today in all digital retail stores, revealing itself as one of the greatest musical discoveries out of his country in 2016. An amalgam of folk rock, ambient and pop paving the way for a new musical era!
A collage of unexpected sounds. A door is opened…musically and aesthetically refreshing, eclectic, colorful, postmodern, and avant-garde, at the forefront of contemporary.YEI’s musical compositions travel without direction, triggering emotions and inciting moods. Fleeting. Sudden.
Making his debut as a solo artist, Javier García, former lead singer of Caracas based band Telegrama, flies high with his first album. The quantum leap of his musical maturity can be appreciated from the first seconds of this impeccable work recorded in Barcelona, Spain under the production of Leonardo Aldrey.
Inside the album’s artwork the artist sends a message, “Thank you for listening to this album.” The artwork, which was beautifully designed by VAM, is a multicolored, abstract and intimate trail of individual works of art which embody YEI’s imagination. Cigarettes. An iPhone. His keys. A bottle. His two passports. A condom. A picture. It highlights the artist’s openness and candor, evident throughout his debut musical project emerging from the Venezuelan pop-rock genre that sprouted in the last few years.
Barriendo Escombros Después de la Fiesta (Sweeping Debris After the Party) takes us into a new universe of sounds making it difficult to draw a comparison. Rickety folk rock. Ambient-Indie music originating from Chacao, a municipality within the untamed city of Caracas. Big Beat and Roll down the eastern highway. It is without doubt a native product with an ultra modern spirit. You can easily become disoriented when listening to its first tracks. Outraged or weak. Some would even thank YEI for recording this album.
At the same time, this unexpected project that has been in the works for a little over a year. It has a place in the space and time of its historical context. It pertains to the reality of what it means to live in modern day Venezuela. Without a doubt, the album is a harsh critique of the political class known as República Bolivariana. It constructs a poetic discourse that ridicules this wounded society. YEI is sending a message. But this time it’s through an optical fiber. A direct lightning bolt into your conscious. No letters. No telegrams.
In songs such as “Los Pérez Domínguez”, a satirical narrative of military corruption and its escalation, as with the first single “El Alma Pesa” (The Soul Weighs), a stark portrayal of what appears to be a direct analogy of the famous court case about the “Narco-nephews,” we hear YEI voicing his socio-political concerns. The video for “El Alma Pesa” was directed by Jose Corredor, and was released last year on the artist’s social media sites.
The album is a glimpse of some sort of symphonic inspiration throughout its 11 songs dragging us through what feels like a strange psychedelic hot air balloon ride over the valley of Caracas. Turbulent but contemplative. Exquisite but dangerous. It is also a personal document. A vision achieved by the artist after a brief pause to contemplate a chapter of his own life. Affections and desires, misfortunes and misunderstandings. Sporadic debauchery reflected in songs like “Potser (las noches de Barcelona)” (Potser [nights in Barcelona]).
It wouldn’t be just not to mention the collaboration on the album by a group of invaluable musicians with incredible musical trajectories and from diverse backgrounds: Alvaro Casas, Armando Áñez, Eric Colón Moleiro, and Vladimir Peña, among others.
YEI is Javier García and Javier García is Venezuelan. He’s American. A father and husband. Son. And without a doubt, a prolific artist with depth who has emerged from a recondite place. Cold and devastated.
Sweeping debris after the party.
YEI is sending us a message.