By situating the original Cuban rhythms, like the son montuno, in a new context, Saoco went back when so many others did not know how to go forward, and the result is a collection of albums that express, like no one else did, the experiences and the saoco of Afro-Latin, Indigenous and peasant populations. The album cover designs, some of them using paintings made by their first singer —the legendary Henry Fiol— become one with the concept of each record, putting together an audio-visual resonance that takes us to the plantations and the fields, showing us what music and dance as resistance has historically meant in the Caribbean.

We believe their prayer to “Changó” not only wakes up our memory of dance as rebellion, but it is the fire and the thunder from which new sonic possibilities emerge.