Caifanes -founded in 1987, is a rock band that achieved fame throughout th… Read Full Bio ↴Caifanes -founded in 1987, is a rock band that achieved fame throughout the late 80’s and early 90’s in Latin America and gained recognition in the U.S. The band formed in Mexico City - Mexico and its original lineup consisted of Saúl Hernández (vocals & guitar), Sabo Romo (bass guitar), Alfonso André (drums) and Diego Herrera (keyboards and saxophone). Argentinean guitarist Alejandro Marcovich joined in 1989. Caifanes are considered to be one of the most important Latin American Rock groups to emerge from Mexico and an important reference point in the Latin American Rock Music (Rock en Español) genre. Caifanes’ style can be described as a hybrid of British new wave, Progressive Rock, Latin based rhythms mixed with the and deep, somber, uniquely Mexican lyrics and vocal style of Saúl Hernández.
The name Caifanes is derived from 1940’s Mexican Pachuco (zoot suiter) slang "Cai fan" , it’s equivalent in English would be something like, “cool dude.” The word has also been used to describe the proverbial Mexican Pachuco, delinquent, or outsider.
Early Years:
The seeds of what was to later become Caifanes was planted in 1984 in the band Las Insolitas Imágenes de Aurora (Aurora's Unusual Images), a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, this project started out as a side project for the purpose of performing as a party band for the filming of his brother’s Carlos film projects. (Carlos Marcovich went on to direct various videos for Caifanes).
At the time, both Hernández and Marcovich were playing in different bands. The members enjoyed the experience of playing in "Insolitas" and decided to continue. As the seriousness of the project grew, the band began to play in different spots in Mexico City like Rockotitlán, High Tower, and El Jabalí. In May of 1986, Insolitas recorded a live demo performed at Rockotitlán. By then the band had developed a strong cult following in Mexico City.
"Insólitas" broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax.
Caifanes’ first live show was April 11, 1987, in Rockotitlán. Expectations were high, the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980’s. At times the image and the sound were considered radical for a very conservative Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four song demo for the band using "free" studio time at night at Arco Studio (where Aceves was chief engineer). The demo was showcased in independent radio program Espacio 59 (Space 59), a show that promoted up and coming rock bands. With the demo under their arms Caifanes approached CBS Mexico. According to sources, Caifanes’ were not treated nicely. The musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They dressed in black suits and sported frizzly hair and makeup. This was too radical for the Mexican CBS executives. Upon hearing the demo of “Sera Por Eso?” (Is It Because of That?), the CBS executive uttered these words, “At CBS, our business is to sell records, not coffins.”
Nevertheless, the movement of Rock en Español (Spanish rock) or rock en tu idioma (Rock in your language) was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show. The show brought Cafaines to the attention of Miguel Mateos’ producer Oscar "Cachorro" Lopez. Oscar fell in love with the band and took them to the studio to record a demo. Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums.
Caifanes’ debut album, the self-titled Caifanes (also known as Mátenme Porque Me Muero, or Volumen I) was released in August 1988 by RCA-Ariola. The LP was preceded by an EP made up of three songs. This was in order to test the market. The immediate sale of 300,000 copies of the EP cemented the bands appeal. The first single “Mátenme Porque Me Muero” ("Kill Me Because I'm Dying") became a minor hit in Mexico City. With the release of their first album Caifanes became notable trendsetters in and around central Mexico. The first three singles garnered sufficient radio play. In December of 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe’s classic tropical dance song, “La Negra Tomasa,” (Black Girl Tomasa) as a maxi Single es: La negra Tomasa. The song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad.
Mexico’s Most Important Band:
By 1989 Caifanes had emerged as one of the hottest rock acts to come from central Mexico. In June Caifanes played two sold out shows at Mexico’s Auditorio Nacional (National Auditorium), a 10,000 person venue – a first for a Mexican rock band.
In late 1989 Caifanes began to record their second album in New York City. The record was produced by Oscar Lopez who was aided by Gustavo Santaolalla and Daniel Freiberg. El Diablito (The Little Devil) was released in July of 1990 through BMG Records. The most notable change for the band was the addition of former Insolitas guitarist Alejandro Marcovich. Marcovich’s textural guitar work considerably changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Celula Que Explota” (The Exploding Cell), with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets became both a signature of the band as well as a massive hit. Hernandez’ lyrics and somber vocals complemented Marcovich’s lyrical playing. The haunting “Sombras en Tiempos Perdidos” (Shadows in Times Lost) and the ethereal “De Noche Todos Los Gatos Son Pardos” (All Cats Are Dark at Night), give the album a most sublime imprint.
By this time Caifanes along with Maná, Fobia, Maldita Vecindad y los Hijos del Quinto Patio, La Lupita, and Cafe Tacuba helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990’s.
In 1992, Caifanes released El Silencio (The Silence). Recorded in Wisconsin and produced by the prolific guitarist Adrian Belew, of King Crimson fame, "El Silencio" further cemented the Caifanes sound and had and a more direct guitar driven sound. “No Dejes Que” (Don’t Let It...”), “Estás Dormida” (You’re Asleep), “Debajo de Tu Piel” (Under Your Skin), and the soaring “Nubes” (Clouds) would go on to become Mexican rock staples. The influence of Belew, who also played guitar on the album, was felt strongest in “Hasta Morir” (Until Death), “Tortuga” (Turtle), and “Vamos a Hacer un Silencio” (Lets Make a Silence). With its string of hits, its multi-ethnic hybrid of rock and traditional Mexican music, El Silencio is considered to be on of Caifanes’ best albums and one of the most influential records of the Rock En Español genre.
Caifanes toured extensively in support of the album. By this time, the group had started to make inroads into Central and South America as well as in the United States. In August of 1992 Caifanes sold out the Hollywood Palladium. In 1993 Caifanes became the first Mexican rock group to sell out Mexico City's Palacio de los Deportes (Sports Palace).
By late 1993 Caifanes became a three piece with the exit of Romo and Herrera. Federico Fong and Stuart Hamm filled in on bass and Yann Zaragoza played the keyboard. No one knew what to expect of Caifanes after the loss of two founding members. 1994’s El Nervio Del Volcán (The Volcano’s Nerve), released by BMG exceeded the expectations of both critics and fans alike. El Nervio showed Caifanes at the height of their power. With a heavier more progressive sound, "El Nervio" highlighted the musician’s virtuosity as well as their tight playing and arrangements. Signature elements, Marcovich’s staccato guitar work, Alfonso’s polyrythmic drumming and Hernandez’s brooding and haunting vocal style were even more prominent. “Afuera” the first single seamlessly fused distinct rock grooves with an ethnic inspired guitar solo. “Aquí no es así” (“It’s Not Like That Here”), and "Ayer Me Dijo Un Ave" (“A Bird Told Me Yesterday”) became radio favorites. “Aviéntame” (Throw Me), is as dynamic and powerful as the best American and British prog and alternative acts.
1994 was a stellar year for Caifanes, who were at the height of their popularity. Caifanes along with Maná was one of Mexico's premier stadium rock acts, selling out stadiums in Mexico and large venues throughout Latin America and the United States. At this time Caifanes had cemented their reputation as one of the most important Mexican rock bands of all time. They were a staple in Latin MTV, Rock en Español radio and appeared regularly at music festivals. In 1994, Caifanes opened up for The Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival.
Breakup:
1995 would mark the end of Caifanes. According to various sources, Hernández and Marcovich’s relationship was strained. On the 18th of August 1995 Caifanes played their final show in the Mexican city of San Luis Potosí. A legal scuffle over the name “Caifanes” ensued forcing Saúl Hernández to choose the name Jaguares (Jaguars) for his new project, which built on the legacy of Caifanes, as it was not too much of a radical departure of the Caifanes sound. Hernández was joined by former Caifanes and Insolitas drummer Alfonso André.
Reunion:
On December 14th, 2010, it was announced by Twitter that the band would be reuniting for the Vive Latino festival and the Coachella Festival of 2011, after a reconciliation between Hernández and Marcovich.
Some of Caifanes' Guest Musicians and Collaborators:
Chucho Merchán (bass), Federico Fong (bass), José Manuel Aguilera (guitar), Stuart Hamm (bass), Gustavo Cerati (guitar), Adrian Belew (guitar), Yann Zaragoza (keyboards), Cecilia Toussaint (backing vocals).
Studio Albums:
Caifanes or, (Mátenme Porque Me Muero / Volumen 1) (1988)
El Diablito or, Volumen 2 (1990)
El Silencio (1992)
El Nervio Del Volcán (1994)
The name Caifanes is derived from 1940’s Mexican Pachuco (zoot suiter) slang "Cai fan" , it’s equivalent in English would be something like, “cool dude.” The word has also been used to describe the proverbial Mexican Pachuco, delinquent, or outsider.
Early Years:
The seeds of what was to later become Caifanes was planted in 1984 in the band Las Insolitas Imágenes de Aurora (Aurora's Unusual Images), a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, this project started out as a side project for the purpose of performing as a party band for the filming of his brother’s Carlos film projects. (Carlos Marcovich went on to direct various videos for Caifanes).
At the time, both Hernández and Marcovich were playing in different bands. The members enjoyed the experience of playing in "Insolitas" and decided to continue. As the seriousness of the project grew, the band began to play in different spots in Mexico City like Rockotitlán, High Tower, and El Jabalí. In May of 1986, Insolitas recorded a live demo performed at Rockotitlán. By then the band had developed a strong cult following in Mexico City.
"Insólitas" broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax.
Caifanes’ first live show was April 11, 1987, in Rockotitlán. Expectations were high, the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980’s. At times the image and the sound were considered radical for a very conservative Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four song demo for the band using "free" studio time at night at Arco Studio (where Aceves was chief engineer). The demo was showcased in independent radio program Espacio 59 (Space 59), a show that promoted up and coming rock bands. With the demo under their arms Caifanes approached CBS Mexico. According to sources, Caifanes’ were not treated nicely. The musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They dressed in black suits and sported frizzly hair and makeup. This was too radical for the Mexican CBS executives. Upon hearing the demo of “Sera Por Eso?” (Is It Because of That?), the CBS executive uttered these words, “At CBS, our business is to sell records, not coffins.”
Nevertheless, the movement of Rock en Español (Spanish rock) or rock en tu idioma (Rock in your language) was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show. The show brought Cafaines to the attention of Miguel Mateos’ producer Oscar "Cachorro" Lopez. Oscar fell in love with the band and took them to the studio to record a demo. Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums.
Caifanes’ debut album, the self-titled Caifanes (also known as Mátenme Porque Me Muero, or Volumen I) was released in August 1988 by RCA-Ariola. The LP was preceded by an EP made up of three songs. This was in order to test the market. The immediate sale of 300,000 copies of the EP cemented the bands appeal. The first single “Mátenme Porque Me Muero” ("Kill Me Because I'm Dying") became a minor hit in Mexico City. With the release of their first album Caifanes became notable trendsetters in and around central Mexico. The first three singles garnered sufficient radio play. In December of 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe’s classic tropical dance song, “La Negra Tomasa,” (Black Girl Tomasa) as a maxi Single es: La negra Tomasa. The song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad.
Mexico’s Most Important Band:
By 1989 Caifanes had emerged as one of the hottest rock acts to come from central Mexico. In June Caifanes played two sold out shows at Mexico’s Auditorio Nacional (National Auditorium), a 10,000 person venue – a first for a Mexican rock band.
In late 1989 Caifanes began to record their second album in New York City. The record was produced by Oscar Lopez who was aided by Gustavo Santaolalla and Daniel Freiberg. El Diablito (The Little Devil) was released in July of 1990 through BMG Records. The most notable change for the band was the addition of former Insolitas guitarist Alejandro Marcovich. Marcovich’s textural guitar work considerably changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Celula Que Explota” (The Exploding Cell), with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets became both a signature of the band as well as a massive hit. Hernandez’ lyrics and somber vocals complemented Marcovich’s lyrical playing. The haunting “Sombras en Tiempos Perdidos” (Shadows in Times Lost) and the ethereal “De Noche Todos Los Gatos Son Pardos” (All Cats Are Dark at Night), give the album a most sublime imprint.
By this time Caifanes along with Maná, Fobia, Maldita Vecindad y los Hijos del Quinto Patio, La Lupita, and Cafe Tacuba helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990’s.
In 1992, Caifanes released El Silencio (The Silence). Recorded in Wisconsin and produced by the prolific guitarist Adrian Belew, of King Crimson fame, "El Silencio" further cemented the Caifanes sound and had and a more direct guitar driven sound. “No Dejes Que” (Don’t Let It...”), “Estás Dormida” (You’re Asleep), “Debajo de Tu Piel” (Under Your Skin), and the soaring “Nubes” (Clouds) would go on to become Mexican rock staples. The influence of Belew, who also played guitar on the album, was felt strongest in “Hasta Morir” (Until Death), “Tortuga” (Turtle), and “Vamos a Hacer un Silencio” (Lets Make a Silence). With its string of hits, its multi-ethnic hybrid of rock and traditional Mexican music, El Silencio is considered to be on of Caifanes’ best albums and one of the most influential records of the Rock En Español genre.
Caifanes toured extensively in support of the album. By this time, the group had started to make inroads into Central and South America as well as in the United States. In August of 1992 Caifanes sold out the Hollywood Palladium. In 1993 Caifanes became the first Mexican rock group to sell out Mexico City's Palacio de los Deportes (Sports Palace).
By late 1993 Caifanes became a three piece with the exit of Romo and Herrera. Federico Fong and Stuart Hamm filled in on bass and Yann Zaragoza played the keyboard. No one knew what to expect of Caifanes after the loss of two founding members. 1994’s El Nervio Del Volcán (The Volcano’s Nerve), released by BMG exceeded the expectations of both critics and fans alike. El Nervio showed Caifanes at the height of their power. With a heavier more progressive sound, "El Nervio" highlighted the musician’s virtuosity as well as their tight playing and arrangements. Signature elements, Marcovich’s staccato guitar work, Alfonso’s polyrythmic drumming and Hernandez’s brooding and haunting vocal style were even more prominent. “Afuera” the first single seamlessly fused distinct rock grooves with an ethnic inspired guitar solo. “Aquí no es así” (“It’s Not Like That Here”), and "Ayer Me Dijo Un Ave" (“A Bird Told Me Yesterday”) became radio favorites. “Aviéntame” (Throw Me), is as dynamic and powerful as the best American and British prog and alternative acts.
1994 was a stellar year for Caifanes, who were at the height of their popularity. Caifanes along with Maná was one of Mexico's premier stadium rock acts, selling out stadiums in Mexico and large venues throughout Latin America and the United States. At this time Caifanes had cemented their reputation as one of the most important Mexican rock bands of all time. They were a staple in Latin MTV, Rock en Español radio and appeared regularly at music festivals. In 1994, Caifanes opened up for The Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival.
Breakup:
1995 would mark the end of Caifanes. According to various sources, Hernández and Marcovich’s relationship was strained. On the 18th of August 1995 Caifanes played their final show in the Mexican city of San Luis Potosí. A legal scuffle over the name “Caifanes” ensued forcing Saúl Hernández to choose the name Jaguares (Jaguars) for his new project, which built on the legacy of Caifanes, as it was not too much of a radical departure of the Caifanes sound. Hernández was joined by former Caifanes and Insolitas drummer Alfonso André.
Reunion:
On December 14th, 2010, it was announced by Twitter that the band would be reuniting for the Vive Latino festival and the Coachella Festival of 2011, after a reconciliation between Hernández and Marcovich.
Some of Caifanes' Guest Musicians and Collaborators:
Chucho Merchán (bass), Federico Fong (bass), José Manuel Aguilera (guitar), Stuart Hamm (bass), Gustavo Cerati (guitar), Adrian Belew (guitar), Yann Zaragoza (keyboards), Cecilia Toussaint (backing vocals).
Studio Albums:
Caifanes or, (Mátenme Porque Me Muero / Volumen 1) (1988)
El Diablito or, Volumen 2 (1990)
El Silencio (1992)
El Nervio Del Volcán (1994)
Hasta Que Dejes De Respirar
Caifanes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Antes de irme déjame elevarte
Tocar tus senos hasta las costillas
Siente mis dedos como una rara esencia
Sobre las aguas flota tu miedo
Entre las olas se remueven tus vicios
Hunde al hombre que no te reacciona
Antes de elevarnos deja te digo
No tengas miedo tú estás conmigo
Antes del sueño déjame elevarte
Tus oraciones todos tus deseos
Hasta que calmes tu tempestad
Hasta que dejes de respirar
Déjame el vino que corre en tus venas
Dame el manto que te cubre de vida
Que necesito verte por dentro
Que necesito cambiar desde adentro
Ya no te muevas por que no reacciono
Mi espuma te esta refrescando
Mira mis manos dejaran de temblar
Cuando tú dejes de respirar
Antes del sueño déjame elevarte
Tus oraciones todos tus deseos
Hasta que calmes tu tempestad
Hasta que dejes de respirar
Antes del sueño déjame elevarte
Tus oraciones todos tus deseos
Hasta que calmes tu tempestad
Hasta que dejes de respirar
Tocar tus senos hasta las costillas
Siente mis dedos como una rara esencia
Sobre las aguas flota tu miedo
Entre las olas se remueven tus vicios
Hunde al hombre que no te reacciona
Antes de elevarnos deja te digo
Antes del sueño déjame elevarte
Tus oraciones todos tus deseos
Hasta que calmes tu tempestad
Hasta que dejes de respirar
Déjame el vino que corre en tus venas
Dame el manto que te cubre de vida
Que necesito verte por dentro
Que necesito cambiar desde adentro
Ya no te muevas por que no reacciono
Mi espuma te esta refrescando
Mira mis manos dejaran de temblar
Cuando tú dejes de respirar
Antes del sueño déjame elevarte
Tus oraciones todos tus deseos
Hasta que calmes tu tempestad
Hasta que dejes de respirar
Antes del sueño déjame elevarte
Tus oraciones todos tus deseos
Hasta que calmes tu tempestad
Hasta que dejes de respirar
The lyrics to Caifanes's song "Hasta Que Dejes De Respirar" are about a lover who is asking their partner to trust them completely and let themselves be vulnerable. The song starts with the lover asking to touch their partner's breasts and feel the fear that they are experiencing. The lover promises to be there for their partner and tells them not to be afraid because they are with them. The song then goes on to talk about the lover wanting to see the real person underneath and needing to change from within. The lover is saying that they will be there for their partner until they die and will help them through their struggles until they can finally find peace.
The lyrics are very poetic and use metaphors to describe the emotions between the two people. The "rare essence" that the lover's fingers create represents the intimate connection the two share. The "waves" represent the partner's flaws and the "man who doesn't react" represents someone who doesn't care about the partner's well-being. The song is also about the lover's desire to know their partner completely and be a part of everything they are, even the wine that runs through their veins.
Overall, "Hasta Que Dejes De Respirar" is a song about unconditional love and devotion. It is about two people who are willing to go to any lengths to be with each other and help each other through their darkest moments.
Line by Line Meaning
Antes de irme déjame elevarte
Before I go, let me lift you up
Tocar tus senos hasta las costillas
Touching your breasts to your ribs
Siente mis dedos como una rara esencia
Feel my fingers like a strange essence
Sobre las aguas flota tu miedo
Your fear floats on the water
Entre las olas se remueven tus vicios
Your vices are stirred among the waves
Hunde al hombre que no te reacciona
Sink the man who doesn't react to you
Antes de elevarnos deja te digo
Before we lift, let me tell you
No tengas miedo tú estás conmigo
Don't be afraid, you are with me
Antes del sueño déjame elevarte
Before sleep, let me lift you up
Tus oraciones todos tus deseos
Your prayers, all your desires
Hasta que calmes tu tempestad
Until you calm your storm
Hasta que dejes de respirar
Until you stop breathing
Déjame el vino que corre en tus venas
Let me have the wine that runs in your veins
Dame el manto que te cubre de vida
Give me the cloak that covers you in life
Que necesito verte por dentro
I need to see inside of you
Que necesito cambiar desde adentro
I need to change from within
Ya no te muevas por que no reacciono
Don't move anymore since I'm not responding
Mi espuma te esta refrescando
My foam is refreshing you
Mira mis manos dejaran de temblar
Look, my hands will stop shaking
Cuando tú dejes de respirar
When you stop breathing
Antes del sueño déjame elevarte
Before sleep, let me lift you up
Tus oraciones todos tus deseos
Your prayers, all your desires
Hasta que calmes tu tempestad
Until you calm your storm
Hasta que dejes de respirar
Until you stop breathing
Lyrics © Peermusic Publishing
Written by: Alfonso Andre Gonzalez, Alfonso Hernandez Estrada
Lyrics Licensed & Provided by LyricFind
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Diana Martinez
Antes de irme déjame elevarte
tocar tus senos hasta las costillas
siente mis dedos como una rara esencia
sobre las aguas flota tu miedo
Entre las olas se remueven tus vicios
hunde al hombre que no te reacciona
antes de elevarnos deja, te digo
no tengas miedo, tu estás conmigo
Antes del sueño déjame elevarte
tus oraciones, todos tus deseos
hasta que calmes tu tempestad
hasta que dejes de respirar
Déjame el vino que corre en tus venas
dame el manto que te cubre de vida
que necesito verte por dentro
que necesito cambiar desde adentro
Ya no te muevas porque no reacciono
mi espuma te esta refrescando
mira mis manos, dejarán de temblar
cuando tu dejes de respirar
Antes del sueño déjame elevarte
tus oraciones, todos tus deseos
hasta que calmes tu tempestad
hasta que dejes de respirar
none
Antes de irme déjame elevarte
tocar tus senos hasta las costillas
siente mis dedos como una rara esencia
sobre las aguas flota tu miedo
Entre las olas se remueven tus vicios
hunde al hombre que no te reacciona
antes de elevarnos deja, te digo
no tengas miedo, tu estás conmigo
Antes del sueño déjame elevarte
tus oraciones, todos tus deseos
hasta que calmes tu tempestad
hasta que dejes de respirar
Déjame el vino que corre en tus venas
dame el manto que te cubre de vida
que necesito verte por dentro
que necesito cambiar desde adentro
Ya no te muevas porque no reacciono
mi espuma te esta refrescando
mira mis manos, dejarán de temblar
cuando tu dejes de respirar
Antes del sueño déjame elevarte
tus oraciones, todos tus deseos
hasta que calmes tu tempestad
hasta que dejes de respirar
RGB2- 64
Por alguna razón, a esta canción yo no le encuentro un mensaje de sexo. Lo veo más bien como un psicópata hablándole a su victima que esta torturando y a punto de asesinar, por ejemplo:
-Antes del sueño déjame elevarte: Se refiere a que lo deje hacerle sentir un dolor intenso que la haga elevarse (delirar).
-Tus oraciones todos tus deseos: Las suplicas de la victima a dios o sus deseos de que alguien la salve.
-Déjame el vino que corre en tus venas: La sangre derramada.
-Dame el manto que te cubre de vida: Abrirle la piel con algún objeto punzo cortante.
-Mira mis manos dejaran de temblar, cuando tu dejes de respirar: Se refiere a que una vez la victima muera, las manos del asesino dejaran de temblar porque se le baja la adrenalina.
-Hasta que calmes tu tempestad, hasta que dejes de respirar: Se refiere a cuando la victima deje de gritar y retorcerse, y por consiguiente, muera.
Tal vez algunos me tiren de loco, pero estoy segurisimo que en alguna presentación, Saúl dijo que esta canción hablaba de "un psicópata". Así que tal vez no este tan perdido.
Rogelio Aranda
este es un Rolon que no ha sido muy apreciado por los fans pero sin lugar a dudas una de las mejores de caifanes. a huevo!!
Karina Morales
Los verdaderos aliados claro que si, entendemos está poesía 🖤🖤
Leinhart Woolfer
Corrección: los escuchas casuales no aprecian, los fans sí que la apreciamos
Dorian Rodrigo Cruz Cuevas
La mejor rola de los caifanes.
Gio Beal
Yo lo apresio ❤️
Alejandro Nuñez
esta rola esta bien cabrona!! desde un punto pasional, pero si llevas a su interpretación más oscura describe el placer de un femicida, el nerviosismo, la sangre y ver por dentro a su víctima, el placer que siente de acto atroz, que fuerte!!
kkckdbb
hasta para hablar de satisfacción sexual se necesita clase, no como el reggaeton :0
Jorge De La Cruz
Así es kkdb, caso contrario al reggaeton, se requiere de mejor vocabulario, estilo, conocimiento... para generar este tipo de arte musical, y apoyándote vs reggetonero herido me molesta porque simplemente por donde volteo, esa asquerosidad de escándalo me lastima mis oídos.
LAILA BETSARI PIEDRAS CANO
otro que va a directo contra el reggaeton, no pueden ver algo porque "No como el Reggaeton", la neta ya cagan rockosos
Elizabeth Sernas
😍👏🍻