“You have to lose yourself to find yourself”, a passage from one of the poems by the Uruguayan author Eduardo Galeano, is the synthesis of the processes that were unleashed in Casa Francisco , the Francisco, El Hombre’s third album .

Resigning the negative tone of loss, members of Francisco, el Hombre they sought to lose themselves in new sounds and projects as soloists to be able to find themselves again as a band-organism. “We understood that we wanted to make an album in which we did not reinvent the wheel: we came to be Francisco, the Man”, understands Mateo Piracés-Ugarte, who is part of the group along with LAZÚLI, Sebastianismos, Andrei Kozyreff and Helena Papini.

Es así, libre de ansiedades y frustraciones individuales, que la banda compone el disco CASA FRANCISCO, que llega a las plataformas de streaming este jueves 21 de octubre (escucha aquí). Definido por el quinteto como el disco “más Francisco, el Hombre de todos”, la obra cuenta con las apariciones especiales de la cantante de la región de Amazonia Dona Onete, el carioca Rubel, los artistas catalanes de La Pegatina, la artista bahiana Josyara y la cantante Céu de São Paulo.

Casa Francisco, only what matters

Without the urge to put everything that got down their throats on the same album, the group expanded the magnifying glass to what really matters: “It was crucial that each one also develop their career as a soloist or parallel, having more creative outlets in those that focus more on what unites us and less on what differentiates us, ”explains Mateo. LAZÚLI completes: “having lived other musical projects, decanted any anxiety of each ego wanting to put everything in the same album, making us space to be at the service of music and what this moment, like
band, he asks us ”.

Thus, the processes took shape, in a more mature way, dissolving into the “Casas Francisco”, dives that ended up giving the album’s title. Throughout 10 songs, the quintet reconnected with its Latin American roots. “They never left us, it’s just that, now, with greater awareness, corporeality and organicity, we are honoring them more naturally,” says LAZÚLI.

This pillar of reconnection collides with “Loucura”, a theme that opens the work as a “call to a leap of courage”, as interpreted by the vocalist. The song even split into “Pele Velha”, an interlude to “Loucura”, which would originally be at the bottom of the song list, but ended up giving way to “Nada Conterá a Primavera”, the first single that has already been released.

In “Arbolito”, the reunion with the roots is reinforced by marking the first composition of LAZÚLI in the Spanish language. “It came as a call to earth, to be reflected in the trees and in the power that each branch has, even because the strength and lightness that comes from connecting with the earth and with the sky, you only have by existing and trusting in life. ”, Concludes the artist. Given to the senses, the group sings about the heart through “Coração Acorda”, together with the Bahian Josyara, and the fun lovesong “Océ”, a tribute to the guitarist’s partner Andrei Kozyreff.

With productions signed by many hands, intrinsic themes, such as life and death, were present in the work of “Se Não Fosse Por Ontem”, an ode to life with the participation of the singer Rubel. As a counterpoint, in “Solo Muere El Que Se Olvida”, the group treats death from an influential perspective in Mexican culture. Inspired by the “Dia de Los Muertos”, the song shows the transactionality of Francisco, el Hombre and brings the presence of the Catalan band La Pegatina.

Finally, the fusion of sensations and references that the album proposes, ranging from the Chilean Chico Trujillo to the Academia Da Berlinda, in Pernambuco, also ranges from abstractions, such as the detachment sung in “Arrasta”, a theme that brings the participation of the singer Céu, until specific moments that are part of the routine, such as running to pick up clothes from the clothesline when the heavy rain arrives, inspiration for “Olha a Chuva”, with the voice of Dona Onete.

“In ‘CASA FRANCISCO’ we build songs as if we were in our show, singing in a choir and making that union of Latin American musicalities as if they were all of a single musical genre,” Mateo summarizes about the project carried out with the support of the 4th Public Publishing House of Support for Artistic Creation – Musical Language Municipal Council of Culture.

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