Federico Aubele – Berlin 13

Rating:

How does one describe the music of Federico Aubele? When I listen to his baritone voice accompanied by sultry electronic beats, it’s easy for me to picture a younger and slightly less debonair version of the Dos Equis Most Interesting Man in the World crooning along to these sinister tracks, but perhaps that’s just me. However, there can be no denying the heaviness of Aubele’s deep voice makes this half electronic half Spanish club music stand apart from anything you’ve ever heard. Whether this is a good or a bad quality is purely up to you.

 As foreshadowed by the title, the time that Federico spent in Berlin certainly affected his music. In addition to the stronger emphasis on the electronic side of things, there is definitely a darker spin for this fourth studio album from Mr. Aubele. On the opening track “Berlin,” swirling atmospherics juxtaposed with flirty acoustic guitar greets you. Loops of echoed electronics adds flavor to the song as it grooves its way along, introducing you into the smoky club atmosphere that has been created. For an opening number, it is surely interesting in its unique sound, and provides that necessary hook for this album; it feels like you’ve been granted admission to a secret and exclusive party, with Federico Aubele as your gracious host. The next standout song comes on “Bohemian Rhapsody Dressed in Blue,” in which some flairs of tango creep their way seductively through the song. Some female vocals shadow that of the leading man at points, and their voices mix to create a strategically sloppy harmony that adds to the feeling of two people enraptured in each other.

However, this unique and special quality doesn’t last as long as one could hope for. After a few tracks of the same coy and mysterious beats, the smoke screen seems to fade away, leaving just a man and his elevator sounding music. Don’t get me wrong, I enjoy this album and its overall sound, but in the end, it gives that vibe of awkward long trips in that confined space. Each song blends together to give off that feeling of a continual loop of similar sounds. In other words, there is nothing to separate this sound from something else.    

While he does change things up towards the end with his featured lady, if anything, it takes away from the fancy façade that was built up earlier. Tracks like “Ojalá” separate from the rest of Berlin 13 would sound refreshingly smooth and delightful, but go missing amongst the culmination of groovy darkness.

Despite my comparison of this music to that heard in an elevator, in the end, Federico Aubele still manages to make you relax through his layers of electronic components combined with that of classic. Although it is not the most exciting of albums, it’s a good way to kick back after a long day’s work.