Christian Machado is a vocalist that needs no introduction at this point. Christian’s work in Ill Nino has always had his own signature voice of pure aggression and serenading harmony. Singing in multiple languages, he was always able to convey multiple narratives, interpretations and many forms of imagery. With the delivery of his new solo album Hollywood Y Sycamore, Christian continues to surprise us once again by showing another side of his voice, lyricism and persona. There is a lot of darkness and agony expressed both lyrically and musically on here, but it also shines a glimpse of light to let a listener know that darkness is only temporary; a message that is needed more than ever right now. 

The emotion and imagery demonstrated on this album proves without a doubt that acoustic albums can be just as heavy as anything else. Completely raw with emotion and intense with energy and expressive in all forms, this album showcases another side of Christian we haven’t seen before and proves that with all his contributions to the world of music, he has a lot more left to say. 

Opening with Say Hello Again the acoustics  incorporate a lot of emotion right out of the gate. Combined with orchestration, there is constant melody present. The guitars, vocals and orchestration at first have their own melodies that work super well together but then fall perfectly in place together in the chorus. It Has something both very optimistic but also melancholy about it which starts the album off on a great narration. In the first single Die Alone, the acoustics are combined with pianos which creates a completely different vibe. It continues the flow but the pianos instantly deliver another emotional aspect behind it. Christian’s  vocals are sustained perfectly to create harmony. Better you Know has a similar atmosphere as Say Hello Again with its use of orchestration but this time, it is much more melancholy and minor. The vocals have a subtle aspect that gently guide you through the composition. The acoustics later are more hard hitting its chords which gives it a tad more oomph. Blame it on Me utilizes more keyboards once again which delivers a serenading melody and is a tad more atmospheric and the vocals take a little bit more of the spotlight. Every note in its melody is another step into the track so every element counts. The vocals go full range and the composition is more hard hitting, giving a slight essence of intensity. Bring you Home incorporates a very familiar acoustic chord progression and melody that sets a narrative right before the vocals come in. The vocals go full on in its pitch again and deliver another intense and soothing composition. It ups a little but more in rhythm towards the end to end it on a slightly more suspenseful note. Good Mother has multiple usages of the guitar demonstrated at first, then the vocals really deliver both the goods and the blues with full range and pitch right out of the gate and this time its the voice that instantly pulls you into the composition. It continues a great and easy flow. The acoustic solo nearing the 4 minute mark really drives the point home even further. 

Weeds is way more atmospheric and much more delicate and keyboard driven while the vocals take the full spotlight. It stands perfectly on his own but it also serves as a buildup to something else. Pase Lo Que Pase incorporates another tender melody, taking a smilier use of the voice from the last track and sings it over a different form of instrumentation. While it has a similar style as the last track the results are completely different. Now in the album, we turn the clock back to 2003 with the Ill Niño classicHow can I Live. The classic track from Confession and gains a whole new lease of life. This completely brings a whole new vibe and emotion to a track that we have been jamming for many years. The notes are a tad different (maybe some majors and minors incorporated) This is a bold move and a big risk, but in the end, a big time reward and it isn’t the last of this element you have heard on the album. Welcome to the Machine has machine like sound effects for the first minute and a half before Christian’s vocals come out over it and then the acoustics chords soon follow. It is a very interesting way to continue an acoustic album and bring a whole new layer of atmosphere behind and maintains a mysterious aura behind it. Just when you thought this album said everything it has to say, there is more to be explored.  Carazon en un Cajon has a beautiful and tender aspect of the acoustics once again. It brings an element of light to shine on the darkness that creates multiple emotions once again. Before we conclude this emotional adventure of an acoustic album, we get one more reinvention of an Ill Niño classic. Returning back to Confession once again Numb brings a whole new lease of life over a classic track. Being that the track had acoustic elements before, there wasn’t too much of a need to change the overall arrangement, but it brings a fresh twist on something familiar. Translates beautifully full on acoustic. 

Christian Machado has always demonstrated that he can sing over multiple styles and sounds. From classic Ill Niño tracks as serenading as With You, to a track as relentless as Re-birth, Christian is always able to showcase multiple emotional in multiple languages, both lyrically and technically. Hollywood Y Sycamore is an acoustic album that will immerse you into a realm of darkness that is beautiful and comforting.