Alarma entre los ángeles

The story behind

Alarma entre los ángeles is one of those songs that hooks you from the first chord: a rhythm that doesn't resolve into the predictable, as if the bass of Machi Rufino and the drums of Pomo Lorenzo were playing at destabilizing the beat without losing tension. The track doesn't move in a straight line; it circles, stretching and contracting, as if the air itself were breathing to the rhythm of the guitar of Tomás Gubitsch and the voice of Luis Alberto Spinetta, which flows between whispers and contained shouts. There's something hypnotic in that structure, as if each repetition of the main riff —which sneaks in between the verses without warning— were a reminder that the familiar can hide unexpected turns.It was recorded in the same period as the rest of El jardín de los presentes, the album that closed the second stage of Invisible as a quartet. It wasn't a polished-sounding work: the band worked with borrowed equipment and tight conditions, but that ended up being part of its strength. The song itself lasts six and a half minutes, generous time for a rock song, yet every second is justified. It's not a track you listen to in one go out of inertia; it demands attention, as if each note were a piece of a puzzle that only fits when the listener lets themselves be carried away by its shifting rhythm.