It’s a long petal of wine, sea and snow according to its most eminent poet but Chile has prosaic sides to it as well. Pop music, for example. Chile is a country of songwriters with an outrageous sense for melody and a knack for the contemporary and the political. Take Alex Anwandter. His “Siempre es viernes en mi corazón”, first single from his second solo album “Amiga”, is a state-of-the-art banger that doubles as an anthem for disempowered queers.
Alex Anwandter‘s “Siempre es viernes en mi corazón” is bringing politics back into the club.
It’s time to dance for your rights, LGBT people of the world! A protest song to shake your ass to, it asserts its message of liberation through the most liberating vehicle there is: pop music. Its sleek patterns of beats and lush disco strings translate the combative spirit of the ’70s for an audience who forgot all about jumpsuits and bell bottoms but is still in dire need of freedom. The disco Era and Latin electropop, represented here by Ale Sergi and Juliana Gattas of legendary Argentine band Miranda!, are the sonic threads the song is built around. It’s Estudio 54 coming back with a vengeance, lentejuelas and a lot of glitter.
This time, it is not on a white horse Anwandter is riding into the club. He’s coming on a assault boat and has no intention to spare any institution. “The Church sent me to hell and the Congress thinks I’m sick”, Alex sings. “I don’t want to be in flames just because. If I want to set fire to something, let that be the Church and the Congress”, he sings again, and we with him. Fuck Sundays then! If Friday is our sacred day, the dance floor is our temple. If the dance floor is our temple, this song is a hymn, which we advice to choreograph with vogueing moves and raised fists.[soundcloud url=”https://api.soundcloud.com/tracks/244890317″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]
The video for “Siempre es viernes en mi corazón” was directed by Alex Anwandter himself. Aptly set in a ’70s-looking power station, it features masked and unmasked workers trying to produce energy in an environment devoid of any. The rebellious Alex acts as a disruptive force and vogues and sways and agitates. It is not all about metaphors here: the upside-down crosses and burning portrait of Jaime Guzmán show clearly who’s the real enemy. Extra points for Ale Sergi looking good.