A golpe de látigo

One year after their spectacular debut Cuentos de ayer y de hoy, Ñu returned to the studio, and released their second material, titled A golpe de látigo , which didn’t exactly follow the same path as the debut, because the band focused a little bit more in the melodic field, and so, the result is a less aggressive release. There were some line-up changes, but I believe it didn’t affect the final product at all. Eduardo García is the new guitarist, and he delivers fresh and powerful guitar solos in songs like “A la caza de Ñu”, “La llegada de los dioses”, and “Velocidad”, turning them into the heavy metal part of the album. If Jethro Tull’s influence in the first album was more than evident, we find the same tone and melodies in this one as well, albeit the sound in general is somehow different, more direct, straight-forward, and it doesn’t get lost within a vast ocean of bizarre arrangements.

A golpe de látigo features a very soft instrumental folk intro, full of keyboards, flutes, and the traditional mellotron, which the band continues to incorporate in their music. Then, the title track rises with heavy guitar screeches, which show a very pissed off Molina, who sings, shrieks and make us feel as if he’s about to punish his worst enemy with a powerful whip, which resounds throughout the song with growing fury. “A la caza de Ñu”, is next, and it starts in the same way as the title track, only that the flutes have much more participation, and, it includes more progressive elements, catchy riffs and Molina takes his pipes to the limit. This is one of the most diverse songs in the band’s history, and one of the highlights of the record, which turns it into an instant heavy metal classic. “El flautista” is an acoustic beauty, full of all the instruments that Ñu likes to use, brings the medieval scenarios back to life, as well as the ancient tales of the magical flautists who freed the lands from the attacks of rebel rat swarms.

“La Galería” is one of Ñu’s most miserable and dark songs, where the listener gets a chance to portray a gallery full of colorful and vivid paintings from the most remarkable artists in the world. As the song flows, and the guitars reflect the singer’s despair with gloomy solos, we visualize human portraits showing real emotions, and sculptures waking up and dancing all over the place. Every band member seems to be wasted and the short ballad ends with a quiet sob. “Velocidad” is very interesting, since it’s the speedy track in the repertoire, and it’s basically pure metal, with double bass drumming and the loudest screams from the singer that you can ever think of. “La llegada de los dioses” is another heavy track, since it features a long instrumental intro, where we enjoy of solid riffs, and backing violins, which resemble the nostalgic vibe of the very early 80’s, and it’s just spectacular, not only because of its structure, but it also proves how early Ñu manipulated the first elements of heavy metal in their music, a couple of years before the Spanish heavy metal shockwave began. Fantastic riffs and thunderous drumming turn the song into another interesting tune that should never be missed.

The album magnificently ends with “El Expreso”, which combines a bit of every element that gives Ñu a name of its own. As with the rest of the album, Molina trespasses new boundaries, and sings with endless passion. A few backing vocals contribute to darken the atmosphere, and progressive flashes make us remember how brilliantly the band’s leader can alter the song’s development, twisting the common rhythm that it’s supposed to carry. But, that’s just part of the magic in this music genre, isn’t it?

José Carlos Molina has done it again. Musically, he shows one more time his incredible leadership, and despite the infamous band’s lineup changes, the final result is something that bewitches any listener who wishes to expand his knowledge and move away from the prosaic world of mediocrity where we move day after day.

Lyrically, there’s not a single displeasure that I can find. Molina is a peculiar and unique songwriter, who can’t be classified inside any of the common labels that exist. He doesn’t follow any rule, he just lets his imagination spin without control, he has the ability to convert an ordinary word into a sophisticated poem, and he creates a fictional masquerade of demons, dwarfs and ballerinas to describe the daily issues of mankind. As strange and ridiculous as it may sound, it all makes sense, once you digest every slice of this impressive record.

Ñu is, without a doubt, an aristocratic institution in which only a few clever human beings dare to venture, and that’s fair enough, because they’re the worthy chosen ones with a wide mentality who don’t find a problem understanding the true meaning of the band’s art in its entire majesty.

Progressive, heavy, and folk at times, with an enormous inspiration from Deep Purple and Jethro Tull, A golpe de látigo is not as strong and amazing as Cuentos de ayer y de hoy, but it’s still an essential cult classic, and it keeps the flavor and quality that characterizes the flamboyant art of Ñu, perhaps one of the most misunderstood, but exceptional bands ever.