(Photos: Cris Sille)
Always from the margins of the alternative, the rapper Dillom recreated this Wednesday night from the stage of the mythical Luna Park the fantastic universe of his feature debut “Post Mortem” with a staging that tinged with horror and humor the repertoire that emerges from a work that “is no longer just an album” to “transcend as a movement”.
“This year was a very special year for all of us because out of nowhere the public increased like ten times. We are very happy; when we were making this record we never thought this would happen. It did not cross our minds, it was just a A very distant dream that we did not know was going to materialize. It’s fucking crazy, brother. I can’t think of another example of another album that has generated all this, “the protagonist reflected in his final monologue.
At that time of the night, the effect of his proposal had already penetrated deeply among those present, and the emotional farewell with “220” remained: “This goes beyond music. Let everyone come here with the painted shirt, make us the endurance everywhere, that there are rags and that it is generated as a brotherhood among all, is something that is great,” he said.
“This year was a very special year for all of us because out of nowhere the audience increased like tenfold.” Dillom
Dillom, who since his first steps in the urban scene has been radicalizing his proposal to locate himself in the periphery, is located within the “counterculture of the counterculture”as he summarized days ago in a radio talk with Gillespi about whether or not he belongs to the trap movement that has emerged in the last five years.
To maximize the senses awakened by his praised and disruptive first full-length material, the musician took advantage of the immensity of Luna Park to recreate a new nightmare on stagewith the background of having recreated his own wake in the April and May presentations at the Vórterix Theater.
Along with the public that provided blood-red ‘glitter’ and stained T-shirts and the hanged ghosts that hung from a rope at the top of the stalls, the huge screens served to give power to the story and the theatricality from the beginning, with the arrival of the protagonist on stage later during the introduction of “Amigos Nuevos”, with which he decreed the beginning of the evening before the appearance of the hoarse and distinguishable voice of Mario Pergolini as narrator in “Demian”, with which the rapper broke another mold of the predictable.
Photo: Sille Cris.
The horror story was completed with the first verses of “Post Mortem” and the celebrated “my friends are dead, I accidentally killed them” that preceded the celebrated “Pelotuda” and the tribute to Pity Álvarez with “Una Vela” that hooked up with “Rili Rili”.
From there, the proposal ended up becoming more explicit with the sharp distortions that placed the sound plan, sometimes within the alternative metal of artists like Marilyn Manson or Slipknot, and at others closer to the ‘horror punk’ of Misfits, artistic references that also connect the music with the universe of John Carpenter’s horror films or the written works of Stephen King and HP Lovecraft.
The show continued with “Dúo”, “Piso 13” and “Side”, the latter with a mysterious guest who projected his voice like a ‘death metal’ singer: wearing a scarecrow mask, similar to that of the character played by Cillian Murphy in Christopher Nolan’s Batman movies, the audiovisual producer Andrés Capasso (alias NoDuermo) did his thing from the anonymity of the costume as one of the first guests of the night.
Dillom took advantage of the imposing Luna Park to perform “Latas” for the first time with K4, premiered days ago on the platforms, and also share with Muerejoven, a member and ally of RipGang, the bars of “1312”, “Coach” and “A$ap”, the latter two more related to the sound of trap in the that sometimes it is tried to pigeonhole.
Along with Broke Carrey, he performed a fiery version of “Organiko” with which he made many dance and which, opportunely, hooked up with “Hegemónica”, his collaboration with L-Gante, absent on stage but with his voice present from the tracks.
With the piano playing over the harmony and Gillespie’s trumpet drawing an improvised melody, the young Dylan León Masa disappeared from the center of the stage to make a surprise appearance near the first row of the stalls.
Up on a stage that emulated a dock in a state of abandonment, he sang an emotional version of “La Primera” with which he lowered a few decibels and which he sang until the end in unison with the public who, in addition, collaborated for his return to the main stage. from an inflatable boat with which he sailed above the human tide.
Photo: Sille Cris.
“Dudade” and “Bicicleta” came before “Dos”, the collaboration with Miranda!, which had Ale Sergi and Juliana Gattas as guests to recreate another story of stalking and a bloody tragic ending, although with the contrast of the melodies and the recognizable pop imprint in the productions of the duo who, like him, know how to connect humor, music and nostalgic cinematographic references in the same combo.
After the parochial and ironic warning from Bohemian Groove -the record label and self-management that brings together the talents of the Rip Gang-, he sealed a “fake” version of his BZRP Session, always reviled by the music producer’s fans, and continued with ” Opa”, “Reality” and the extended version of “Amigos Nuevos”.
“Rocketpowers” along with Saramalacara, “Sauce” and “220” were the triad that he would leave for the definitive end before shooting some ‘selfies’ with the public as a record of his night before almost ten thousand people who, for an hour and a half, immersed themselves in their virtual tour of cemeteries and enchanted forests.
“I love that this has been generated. I think ‘Post Mortem’ is more than an album because it has transcended to more than that. Now it’s a move“, he closed, reflecting aloud on his rising relevance and on the impact of a work that defines him as a complete and conceptual artist in times of ephemeral songs.
