One of my favorite EPs from last year was Sonido Landon’s picturesque Pequeños Defectos, which, for whatever reason, was never properly released. He teased (some) listeners with the mellow pop rock “Sombras y Ramas,” (also one of my most beloved tracks of 2011), then made the EP available on his SoundCloud. But later on (for remastering reasons), he made it private again. Andrés Landon, accomplished multi-instrumentalist (responsible, along good friend Juan Manuel Torreblanca, for producing Carla Morrison’s first full-length, Déjenme Llorar) hailing from Chile and residing in Mexico City, has become well-known for accompanying Carla Morrison as the bass player in her live band.
When the video for the gorgeous folk pop standout cut “Melancólico” was released, I couldn’t have been more excited. Firstly, because I went to Landon’s SoundCloud and found out the whole EP is available once again. Secondly, because I hadn’t heard these songs in a while and, as safe as they might seem at times, revisiting them makes me realize how fresh and comforting they sounded when they were a new discovery, and how they keep a current quality within their casual '90s alt-rock revivalism and funk-nourished spirit. And thirdly, because I’m convinced Sonido Landon’s moderate fame should resonate more in his personal work rather than on the collaborations he’s become known for (Orlando’s cover of Los Rakas' “Abrázame,” Torreblanca’s rendition of Gepe’s “Por la Ventana,” but principally his work as producer and band member with Morrison). “Melancólico” is a beautiful introduction for those who are not familiar with Landon’s solo work, delightful singing, and charming tunes.
Directed by Guillermo Llamas Altamarino, this pretty clip finds Landon as a piñata-human under the Melancólico tag at a shop window. He’s selected by a girl, who is later revealed to be piñata-headed, just like her friends, who beat the sweetness out of Landon at a backyard birthday party, literally extracting candies and tearing his body apart. It's depressing and amusing at the same time. The conclusion, with the singer's body parts strewn on the ground, is somehow reminiscent of Yeah Yeah Yeahs’ “Heads Will Roll,” but with some real depth attached to its development.