40 years after “Clics Modernos”, the revolutionary work of Charly García

Possibly, no one managed to comprehend as accurately the magnitude of what the country was facing as those artists who were able to put into words the suffering of an entire society. In a period of history when Argentina was seeking to recover from a decade marked by oppression and censorship, Charly García, from the other side of the continent, wrote a testimony of resistance and freedom of expression that changed the history of national rock after the Falklands War. That encounter with the microphone, in addition to turning it into a cultural reference of global reach, confirmed the beginning of the sovereignty that democracy promised. Because at the end of the day, the album “Clics Modernos” is and will continue to be, precisely that: an echo of the history of an entire nation in search of its voice. Produced in New York and consolidated in Buenos Aires, the album represented a radical break with the music that had preceded it. Argentina was emerging from a dark period of military dictatorship. During that time, repression and crimes against humanity had left an entire country desolate. However, the election of Raúl Alfonsín as president in 1983 marked a turning point, signaling a return to democracy and a new beginning for the nation. And, with the restoration of the popular government, a new stage full of promise was opened, and Charly was at the epicenter of that transformation.” I decided to change, to be in a place where no one knows me, where I can play for free in a square if they sing to me. I have an immense stage at my disposal, and all hours of the day and night. The setting is called New York,” said Charly in a monologue published in La Semana magazine on August 8, 1983. From the bustling Yankee streets, the liner notes and lyrics that would bring the album to life began to take shape, imbued with the energy and spirit of change that characterized the city. Settling into his loft in Greenwich Village, a neighborhood that had been the epicenter of the local counterculture, Garcia immersed himself in the Big Apple’s avant-garde. Their choice of location was no mere coincidence; a few blocks away was the iconic Electric Lady Studios. This recording studio, founded by the legendary Jimi Hendrix in 1970, had become a symbol of the American city and an epicenter of musical creativity. It was the first of his albums with producer Joe Blaney, whom he met in that studio. A notable aspect to highlight is that, with the exception of Pedro Aznar, the performer chose to work with American session musicians, a decision that brought an international dimension to his musical project. Among these prominent figures are saxophonist Doug Norwine, guitarist Larry Carlton, and drummer Casey Scheuerrel. Charly’s direction was unconventional, but very inspiring. Rather than imposing rigid control, he encouraged artists to unleash their creativity and play freely. It gave them the confidence to explore and experiment, encouraging them to reach new artistic heights. Fusion that led García to become a great catalyst for two genres that border on sound: rock and electronica. The A-Side: A Musical RevolutionThe album opens with “Nos Sigue Pegando Abajo,” a song that sets a powerful and frenetic tone. Originally titled “Mortal Sin,” it was censored due to its criticism of the military regime. However, Garcia refused to give in to self-censorship and kept his message intact. The theme refers to the violence and repression exercised by the “Men in Grey“. Rather than accepting the official narrative that attributed violence to problems such as drug abuse, the lyrics point directly to the authorities as responsible. Musically, the melody stands out for its innovation and expansive sound. In the 80s, very few Argentine albums managed to achieve the same quality of production and sound definition. Continuing with the sounds of the Roland TR-808 drum machine, “No soy un extraño” is presented, the second track of the album, where García mixes elements of tango with the electronic avant-garde. However, it is the lyrics, marked by an advanced vision with a gender perspective, that become the great driving force. “Two, zero, one (transas),” it follows and is named after the exact time of the song (2 minutes and 1 second). The song is Charly’s response to his audience, after being accused of selling out to the market for including the sponsorship of a popular jeans brand in the promotional poster of his show in Ferro in December 1982. “He got tired of making protest songs and sold out to Fiorucci“, he sings. After the first trilogy, comes “Nuevos trapos” a Creole funk that, as it progresses, questions society’s apparent indifference to traumatic events, pointing out how, despite this, people continue to dance and enjoy life. This duality between the past and the present is integrated with a catchy rhythm, closing with Norwine’s free saxophone at the end of the song, and which opens the way to: “Bancate ese defecto”. The track stands out for its satire and critique of society and conformist attitude. The phrase “It’s not your fault if the nose doesn’t match your face” became the focus of the song and is a call for self-acceptance and resistance to prejudice. Hungry for freedom of expression, Charly welcomes the B-side of vinyl with “No me dejan salir,” the anthem of the beginning of democracy in Argentina. From the beginning of a new era. The song features a “complicated” musical structure that includes choruses, choruses, and a distinctive guitar riff that form the heart of the tune. And as an almost impossible task, the official music video, directed by Renata Schussheim, gives more meaning to the lyrics with bright colors and extravagant masks. Modern Clicks reaches its climax with “The Dinosaurs”. “Friends in the neighborhood can disappear” sings to the twinkling melody on Carlton’s piano and guitar. ” I swear I didn’t think about the military when I wrote it… The lyrics had more to do with the feeling of absence that occurs in one when one loses something, from a love to a toothbrush,” he said in an interview with Rolling Stone in 2007.In the last minutes of the album, you can listen to “Silvered on silver (footprints in the sea),” a song that raises the reflection on the transience of existence and the paradox of looking for the distant when true fulfillment it is in the present. However, the perfect finale comes with “Ojos de videotape”, where Charly offers a melody that evokes cinematic images and a gradual effect that anticipates the denouement. The rhythm machine sets the beat as the piano and guitar seem to merge into their own chords, leaving us with a sense of reflection and farewell. Resistant to the passage of time, it is a chronicle that is more alive than ever. Its influence and relevance are still as relevant as they were on the day of its launch, 40 years ago. The 34 minutes of music are much more than just songs; They are a constant reminder of the importance of democracy and the fight for freedom of expression. The history of Modern Clicks It remains a close echo of the Revolution, a masterpiece that urges us to cherish and preserve our hard-won sovereign achievements.

Original source in Spanish