Although lots of persons were still enjoying David Torrens' Sentimientos Ajenos, included in his previous discographic output Mi Poquita Fé (1998), just at the edge of the new millennium's celebration, there were big expectations for his new album.
It was precisely in 2001 when the Mexican EMI Music Company launched his second CD under the name Ni de aquí ni de allá, -licensed for Cuba to Bella Isla label- and the three long years of eager expectation to know other themes by this creator, came to an end.

IA quick listening of this new album, shows how David widely surpasses his way of saying and doing in his opera prima. Ni de aquí ni de allá reflects in a clear way, what he expressed in
Mi poquita fé: his work definition within pop fusion holding a very high achievement level and surprising originality.

David, who started his work at the end of 80s, belongs to the creators group well-known today as the ''Generation of 13 and 8'' (although he never went to this already famous address in Vedado where the habitual Peñas were celebrated). The fact is that, all of them, Vanito, Alejandro, Boris, Medina... although distant, keep the same conceptual affinity in their way of approaching music, to join them more than ten years ago; precisely in this stage where there's no limit to fusion it with other genres and add it expressive musical or contextual resources, breaking with pre-established criteria and creating another way of transmitting cubaness.

In the proposal of this style, converge tradition and modernity, tenderness and violence of daily life, irreverence, the neighborhood, the marginal, love, nostalgies, Havana, rock, pop, rap, son, bolero, song, ballad, etc. But, above all, if something underscores in this album is the incredible mix between what is known as popular and what is cult, achieved by David with absolute coherence, taking as starting point his rich poetic and holding images sometimes unusual with his exquisite and non-prejudiced way of assuming music.

Works running from the David's heavy hit Quién me quiere a mí towards a more danceable tune like in Vamos a ver contrasting to the lyrism present in Serenata Telefónica or the tender Besitos, Pamela or Mayte, are present here as masterful pieces of small format offering a distinctive air to this CD.

But if we're talking about diversity, it's worthy to pay attention to Intoxícame theme, in which, with equal freshness, coherence and originality, David establishes a familiar link with Miénteme by the Mexican Armando Domínguez "Chamaco", to entwine mariachi and rock sonorities and discover an unsuspected analogy of both themes, due to the pleasure, almost masochistic for that strange love.

talking about the theme which gives title to this CD, Ni de aquí ni de allá, outcome of a profound reflection reviewing maybe, personal experiences, achieving also the mixing of pop rock sonorities with those of son which typify the pure cubaness. It is excellent the reinsertion of the Cuban singer Ricardo Bofil to reafirm his sonero tune, which could be recognizable in any part of the world as Cuban.

Máquina de amar, the unique theme which is not penned by David, is having here one of its best versions -known before by the Mexican group Kerigma and its own author José Luis Medina-. This time he manages to resume, due to his great histrionic performance and the
assimilation of this theme, all the atmosphere balanced between sensuality and sexuality coming from the originality. Maybe, it's curious the fact that in his preceding output Mi poquita fe, David also included a theme to share its authorship with Medina: "Aunque siempre sin dinero".

This CD is also including other successful themes citing Corazón limosnero, Dicen que, Por ti seré, which are classic of David's way to reflect love for a woman, unlike quite far of the latin pattern and a beautiful duet in La soledad de esa mujer together with Amaury Gutierrez, which already appeared in the homonimous record of this troubadour.

An excellent Donato Poveda's production together with David and Raul del Sol, who also are in charge of the arrangements (for Intoxícame the producers were David with Nacho Acosta).
Remarkable design related with Kitsch's conception and good taste and a sound approaching all requeriments of this expressive sources diversity.

This record is in addittion, just a sample of its protagonist's work and as many say, what is left for history.

Taken from La Jiribilla

See discography in www.discuba.com