Carlos Piñana is back, putting and end to two years of silence with his brand new album “Manos Libres” (“Free Hands”) where he applies the lyricism and modulations that define his style and make him a different and personal musician.

It’s impossible not to recall the sound from “Cal-libiri” or “Palosanto”, gathered here as the quintessence of what we call the “sound piñanero”. He has a style between flamenco and classical guitar, but not a common classical guitar at all. As a young and enterprising musician opened to the new sounds of the age he is living, he’s got the profile of a contemporary guitar composer. This is music in motion; flamenco and contemporary guitar naturally fuse together into their own sensitivity to express Carlos Piñana’s personal style.

Flamenco is present in different forms along the record: as bulerías on “Cairo” and “Bulería de Piñana”; as zapateado on “Naseer”; as guajira on “Guajirón”; as rumba on “Hacia Oriente”; as soleá on “Trianera”; as farruca on “Templanza”; as free flamenco styles as minera on “Tarantilla” and rondeña on “Con Ternura”; to end up with a fantasy called “Año Nuevo en Poznan”, a personal gift from Carlos Piñana where he respects his own tradition.

Though his guitar belongs to 21st Century, Carlos Piñana, along with his brother Curro, guest vocalist on the record, know very well by experience the weight of knowledge and the value of the legacy from former generations regarding the formation of a flamenco musician. On the other hand, the musical hybridisations on “Manos Libres” place his sound within the actual flamenco post-modern scene for different reasons: firstly, the selection of the musicians for the album, each of them coming from different musical and cultural environments, to put their creativity into Carlos’ compositions. And secondly, for the merge of uneven musical resources: from orientalisms to classical flamenco styles; from Latin sounds to blues mood.

Carlos encourages his creative streak since his own experiences, visits and concerts in Near Eastern countries, contacts with South American and African musicians in Spain, or even since imaginary experiences coming from listening to the music of different parts of the world and the possibility of DIY music given by new technology.