Arriesgaré la Piel (I Will Risk My Skin)
By Inti-Illimani
Xenophile Records through Festival
Review by Barry Healy
If Augusto Pinochet is the great survivor of Chilean right-wing politics, then surely Inti-Illimani rank with the great survivors of the left. In fact, the band survived Pinochet's 1973 coup only because they were touring Europe at the time.
As part of the explosion of Latin American radical popular music in the late '60s and early '70s, exemplified by the work of Victor Jara, Inti-Illimani identified themselves with the struggles and aspirations of the oppressed. They adopted the musical instruments of the landless labourers and articulated revolutionary ideals.
During their decades of exile, based in Italy, they incorporated a vast array of musical influences but always found a typically Inti-Illimani way of expressing them. Among others, they engaged in musical experiments with Spanish guitarist Paco Peña and Australian classical guitarist John Williams.
So the question is: have Inti-Illimani softened either their political or musical radicalism as they journey through middle age? The answer provided by this collection is that they have maintained both their rage and their courage.
From one track to another, they take on a range of Latin American musical techniques, from Venezuelan rhythms and Bolivian folk to Cuban beats and, of course, both traditional and modern interpretations of the Chilean national cueca style.
The title track, an extraordinary, dream-like love song, is sung in the manner of Mexican mariachi — a style easily turned into a tired caricature. Not this passionate, elegant waltz, however: again Inti-Illimani show how Latin American music can be renewed while staying true to its roots.
The subject matter of their songs covers environmental destruction and social justice, and there are numerous songs about relationships. There is passion aplenty and some beautiful musicianship.
"Canto de las Estrellas (Song of the Stars)" clearly comes from the heart; the words were improvised by the popular poet Moisés Chaparro during a purification ritual of the Chile stadium, the notorious death camp in 1973.
The song is a declaration of fealty to the ideals of Victor Jara, and shows that while Inti-Illimani have matured, they have not surrendered. "I sing because of feelings", they say. "I sing due to pain, because the chains have loosened up from the people, I do not just sing for singing."
Inti-Illimani prove they are masters of Latin American music. They are relaxed yet exacting; what they may have lost in youthful exuberance is matched by musical sophistication.