Thursday, February 28, 2013

MP3: Selma Oxor - "Perra Sucia"


Riot grrrl. Now that I have your attention, disregard that phrase. Selma Oxor’s latest single, “Perra Sucia” has little to do with that Pacific Northwestern third wave feminist movement. (Or does it?)

Less melodic and hook-heavy than “Dotes de cocina,” Oxor’s latest "single" (are we still calling ‘em that?) jettisons one or two social filters and goes straight for the jugular, finding her in full-on anthem mode. There is little subtlety in her verses, as she pretty much makes clear that EVERYONE AND THEIR MOTHER WANTS TO BE A PERRA SUCIA. (I hope this means people will finally stop talking about how polemic Pussy Riot is and realize there are other "relevant" feminist acts out there to talk about.) Politics aside, “Perra Sucia” also marks a clear departure from her previous, electroclash-informed sound, cause, you know, it’s not 2003 anymore. Kudos to you, Dr. Dude.



♫♫♫ "Perra Sucia" Soundcloud

Video: Matilda Manzana - “Ciencias Naturales”


“Ciencias Naturales,” off Matilda Manzana’s Conjuntos Cartográficos, has been materialized by artist Ouchal, with some help from his cybergang. Ouchal stays true to the bedroom pop’s natural habitat, but explores a blog-fi fantasy: What if boys ruled Pinterest? Wood could become plastic. Cats may be overshadowed by dogs. Kitsch would become our generation's source of aesthetic capital.

In this plastic-based afterlife of found and lost and found items, the value of objects rise and fall in a rich granular synthesis either through a process of interior design exercises (i.e. splashing paint about) or through an animated process of replacing and re-situating objects. Meanwhile, a product's newness might guarantee spectacular value in this bedscape. As a personal reaction to the video's content, I love my Tony Gallardo II cassette, I really enjoyed Ouchal's "Cuchillo" illustration as a t-shirt, and yes, I would totally buy that Andrew Jeffrey Wright pin, "Look At Your Stuff," for free.

As a personal take away from the entire video: Good Dog. Sad Pizza. Be Nrmal.

Wednesday, February 27, 2013

Quiero Club - El Techo es el Suelo

El Techo es el Suelo, Quiero Club
Casete, Mexico
Rating: 81
by Carlos Reyes

The reimagining of a continent’s melodic mapping (Nueva America) wasn’t something Quiero Club sustained merely by romanticism. The act’s surveying and contribution to a provincial melodic romance wasn’t an effort to localize the region’s new sounds, but rather, to build an infrastructure for intercontinental zeitgeist. And oh, how it paid off. Nueva America is not only one of the strongest pop records in the last ten years, but it’s also amongst the most meaningful. Seriously, these hipsters charted a soundscape and evoked Jorge González to join their party. How exactly do you follow that? There are no exact guidelines, but Quiero Club has pointed to the permutation of genres as they set themselves to create, demolish, and subvert their own trace on their third reference, El Techo es el Suelo.

Quiero Club's aim at grand lighting is as polished as ever, but they’re working on a new canvas. Whereas in Nueva America the band shot for integration (a collectiveness in themes, genres, and structures), El Techo es el Suelo is concerned with order (owning a determinate, often individualized physical space). This is not to say Quiero Club stopped extending its scope or went all Tea Party on us, but the album is assertive at owning its soundscape, and that’s an introspection that allocates to a physical space where literally, the ceiling can be the floor or vice versa. Charmingly confessed very early in the album, “this beat goes to the deepest places of the human soul.” It’s hard not to affiliate Quiero Club with abrasive, pool-of-music narratives, but they’ve tweaked their expedition for an intrinsic search, and that’s a choice that’s nothing short of commendable.

Last year, when the band unveiled their trippy, neon-puking clip for album single “Cuentos,” none of us could’ve imagined this song would serve as Gustavo Mauricio’s (aka “Catsup”) farewell letter. Although present all across the creative process of QC’s third album, the band lost their most prolific member (who now ventures the language of cinema) just as they prepared to promote it. As sentimental as it may seem, the song has acquired meaning and prescience–that mournful beat and the almost-paternal recitation as he claims to be “folding the fabric of death” is truly moving. Catsup’s presence in other album highlights (the air-ripping opener “No hay nadie” and the narcotized “Ciudades”) will make this a difficult album to sell live, but that’s a challenge the four remaining members seem more than prepared to overcome.

The long gestation and soul-searching of El Techo es el Suelo seems to have impacted the band’s disposition at crafting skycraping anthems. While the outstanding title track and potential next single “Cuerpo” provide momentum and even flirt with QC’s repertoire apex, truth is, none of these tracks are as strong as previous sole-released singles “Musica,” “Las Propiedades del Cobre,” and “Que hacer en caso de oir voces.” You can’t punish a band for making their choices, but any of those tracks could have taken the place of of the scrawny paradoxes “Bite a coin, shit some gold” and “Buena amiga, mala influencia” and made for a more accessible experience. But as contested and challenging as it may sound on initial spins, El Techo es el Suelo charms more than it alienates–it’s a generous record, by Mexico’s best pop band that pours pop wisdom to those willing to do an introspection of their own.

Tuesday, February 26, 2013

Mock The Zuma x Crocat - "Caba Beach"


by Rebecca Bratburd (Guest Writer)

Juarez-based producers, Crocat and Mock the Zuma, combined forces in the collaborative tune "Caba Beach" and recently let it loose for anyone with an Internet connection to enjoy. Pitter-patter drums open the low-key tune until warm, lower-register notes wash over the soundscape and an arpeggiating melody takes the lead. Chopped- and pitch-shifted vocal samples add a feather-light vibe to the tune as they effortlessly synchronize with the melody.

Mock the Zuma's Pocketlee EP on Cocobass Records and Crocat's Meridian EP at NWLA.TV have garnered individual recognition, and with the two reunited on the Lowers Netlabel, they can now showcase their newfound collective merit. While Lowers could just as aesthetically exist in New York as it does in Mexico, it will be interesting to see how they will posture as the digital faces of, let's say, their 'troubled' Juarez.

"Caba Beach" is available to stream in the player below.


Rebbecca Bratburd is a freelance journalist with the Wall Street Journal and XLR8R Magazine and is an editor at Beautiful Savage.

Monday, February 25, 2013

Boogat - El Dorado Sunset/El gran baile de las identidades

El Dorado Sunset / 
El gran baile de las identidades, Boogat
Maisonette, Canada
Rating: 71
by Souad Martin-Saoudi

The question of identity has never been more relevant. Neither modernity nor globalization has been enough to wear down cultural or ethnic affiliations, and it seems that they have actually enabled more individualized forms of belonging to arise. Music being a necessity and a medium of expression of identity, we should look at the musician as being placed at the center of a dialect on the global/local, the universal/particular.

Born in Quebec City, Canada to a Mexican mother and a Paraguayan father, Daniel Russo Garrido cut his hip-hop teeth while attending university. He then relocated to Montreal in 2001 to pursue his ambitions. Going by “Boogat,” Russo Garrido earned a good reputation and garnered some local media attention, yet there was still something missing. After three albums, his solo concept was just not received the way he wanted, and let’s face it: the hip-hop scene in Quebec is very limited, almost sectarian (though primarily the product of immigrants). It was time to look elsewhere, to dig deeper, to reinvent.

Identity is no longer merely a question of inheritance or customs, but the subject of individual choice. And Boogat chose wisely when he decided, back in 2010, to collaborate with Montreal-based electronic producer DJ Poirier (Ninja Tune) on a dark, industrial, glitchy reggaeton track in honor of the priest in “Indiana Jones and the Temple of Doom.” Released through ZZK Records, “Kalima Shop Titi” was his turning point, as it pushed him to rethink his mode of interaction with the world. The MC’s transition towards more tropical bass sounds also led him to feature on El Remolon’s Pangeatico EP. Armed with this new knowledge and ability, Boogat dropped El Dorado Sunset/El gran baile de las identidades earlier this month. Choosing to now rap strictly in Spanish, Boogat uses language as a mediator for the construction of his own identity. Sure, the lyrics are less brainy than when he rapped in the language of Moliere, and his approach still needs to be refined, but to me, by mixing his hip-hop roots with the urban bass, electro tropical sounds of DJ/producer Poirier, Boogat may have struck gold, or at least something really pretty and gilded.

The opening number, “Eres hecha para mí,” with its excellent production, courtesy of Munich's electro/dancehall dons Schlachthofbronx, displays how dance-driven music can become a provider of cultural identity in a multiethnic Canadian society. However, on “Llévame pallá,” Boogat’s flirting with Latin music archetypes comes dangerously close to cheesy world fusion. So here I am, torn between my desire to praise his efforts to foster interculturality in a multicultural Quebec and my discomfort with the one too many cross-cultural shortcuts. Boogat’s “great ball of identities,” if any, is one where we do not know which foot to dance on. At times, it seems like Boogat has found the strength to redefine and reassert his art in the music, at others, it’s like he is struggling to sustain his self-imposed pace. Then, among the dozen richly arranged and orchestrated songs seamed with love, migration, identity and nightlife, there’s a true gem: “Único.” In collaboration with Club Fonograma favorite, Lido Pimienta, the track discusses how strangely the foreigner lives within us as the hidden face of our identity. The ease with which Boogat and Lido Pimienta tackle complex issues—like the absorption of foreignness by our Western societies and the possible coexistence of these foreigners that we all recognize to be ourselves—is truly disarming. The foreign begins when consciousness of one’s own difference emerges, but ends when we all recognize ourselves as foreign.

Part of El Dorado Sunset’s strength lies in its ability to make us reluctant to dwell on its flaws or even want to answer whether the LP is intended for Quebec or Latin America. Boogat’s music reflects his roots and his journey, as well as expressing his humanity both in its unity and its diversity—and for that, I say Merci!


Wednesday, February 20, 2013

Fonocast #13: Cheers!


Fonocast #13: Cheers!
by Blanca Méndez and Souad Martin-Saoudi


  • Pernett - "Esta Noche"
  • Jr. Ranks ft. Mach & Daddy - "Agua y Guaro"
  • Kid Sister ft. Nina Sky - "Look Out Weekend"
  • 3Ball MTY - "Tipsy"
  • Las Kellies - "Scotch Whiskey"
  • Selma Oxor - "Jungle Juice"
  • Las Ardillas - "Cancion de Luz"
  • Juan Cirerol - "Se Vale Soñar"
  • Wendy Sulca - "Cerveza Cerveza"
  • Los Tigres del Norte - "La Mesa del Rincón"
  • Carla Morrison - "Tragos Amargos"
  • Gloria Trevi - "Fue ese tequila"
  • Jessy Bulbo - "La Cruda Moral"

Tuesday, February 19, 2013

Video: Helado Negro - "Dance Ghost"



Let’s play a little free-association game. The word: Miami. Go!

South Beach. Sound Machine. Bass. The Estefans. Pitbull. Paulina Rubio. Marco Rubio. Thongs. The Thong Song. Will Smith on a speedboat. Clubbing. Calle Ocho.

Feel free to keep going, then watch the above video for CF beautiful person/Miami-bred Helado Negro aka Roberto Carlos Lange’s “Dance Ghost” (off his upcoming release Invisible Life). Spoiler alert/friendly reassurance: it features none of the above.

Director David W. Merten's video is straight up Miami, but a very different Miami—a Miami sans media(tion), bling, celebrity. Fewer boob jobs, more jai alai. Gorgeously shot in muted colors on an overcast day, we follow a man to work at a Downtown Miami nightclub where he preps everything for a night of partying. Our anti-hero is clearly an outsider; he moves among the crowds, yet interacts with no one, observant but ignored, the ghost of the song’s title.

Lange has positioned the video as a tribute to the invisible existence and thankless jobs of the immigrant workers that make up so much of Miami’s population. But this isn't a PSA or political statement, and the takeaway is a tad more nuanced. Like so much of Helado Negro's understated tropical synth, it walks a fine line between heartbreak and hope. There is alone-ness but not necessarily loneliness. And the last scene of our protagonist dancing by himself in an empty house is a thing of beauty and subdued happiness.

Monday, February 18, 2013

Megajoy - "Kamisaraki"


Since pop acts chart as Chile’s primary cultural export, we’ve had to do little digging into its metropolitan underground. Either incidental or accidental, it was a mistake, at least on my part, to not publicly react to my exposure to Megajoy’s Yonaguni, a tech-dystopic 2K12 manifest on Michita Rex. Though I have respect and admiration for the mega-joyous Hector Llanquin, specifically his enthusiasm for the digital arts, I’ll be the first to admit that his music is purely caustic, and it would be unethical to release such poison onto an unknowing CF public.

That being said, Llaquin’s emotional migration to mighty Monterrey, Mexico, has gave way to an entry point so that we can finally admire his talent. In “Kamisaraki,” we find the rhythmic pulsing of Ñaka Ñaka, an Internet2-like tinkering with world music instruments, and truly the most advanced understanding of technos that we’ve heard at Club Fonograma. As his previous work served as Global Warning, the newfound vulnerability will serve as an asset in personal persuasions of our digital plight and in due time, mass sermons.

Friday, February 15, 2013

MP3: Helado Negro - "Junes"


If we published a list of “Club Fonograma’s Most Beautiful People,” we would surely leave a slot open for Roberto Carlos Lange (Helado Negro). Though previously prodded, we’ll gravitate around his afro one more time: a dark star setting on a skin-clothed dome, housing a psychic-core of light and positivity. Looking south, down his global face, the reminiscence oh his beard to the socially-distinguishing bristles of the Castro Brothers is uncanny, while the rest of his facial profile has received as much recent attention as the likes of the Castro Twins.

And like his face, we can find similarly paired analogies to his music: being cosmic as it is political, or emotional as it is technical in craft, and then of course, folk as it is futuristic. And the gap between December’s "Dance Ghost" and this month’s "Junes," only adds to further accumulation of HN-specific binaries, which all crumble in our ears anyways. All you need to know about "Junes" is that it is an enduring emission of tingly funk jolts. Enough power to charge a discosmic trip around the world, or simply display the creation of a nearing release in the Invisible Life LP from Ashmatic Kitty Records. "Junes" is currently available for download in the Soundcloud player below.

Thursday, February 14, 2013

Teen Flirt - Essential Guide to Modern Love


If you've just found yourself and you're all alone, pull the blinds on your browser windows, dim your laptop light, and take some time to explore your (homo)sensual self with the help of Teen Flirt's "Essential Guide to Modern Love." A survey of R'N'B, both sifted for and gifted by non-Mexican vocalists, Teen Flirt succeeds in presenting his technical repertoire of styles by employing the practicality of pleasure. With some known-unknowns and unknown-unknowns enriching the mixture, I'm still marveling in the employment of the burnt culture-skewiring-slash- Chopping and Screwing of Toro y Moi. Like- what the hell does that even mean to do that to Chaz's voice? In the recent past, Teen Flirt has been essential ingredient to modern lust at Pura Crema. And since that collaboration, his status has risen within the ranks of NRMAL and has allowed him to look fairly comfortable on the Finesse Records roster. Our receptors are well peaked for TF's rolling present, truly in a state of momentum.

Me Derrito Por Ti (Un Compilado De Amor)


It’s fairly obvious that we have a soft spot for Las Acevedo, but now, we have this insatiable sweet tooth for their latest baked curation, Me Derrito Por Ti ("Un Compilado De Amor”). A couple of months ago, the Dominican twins did a call for a Valentine's Day compilation, and a handful of acts showed up. Feast your ears on a lovely melodic assemblage by Latin American indie bands, including new treats from Fonograma favorites Lucila Ines, Adrian Juarez, and El Medio. We are also hand-delivered Valentine Day’s cards from familiar voices, Loocila (of Jovenes y Sexys) and Juan Manuel Torreblanca, both finding this a good opportunity to showcase solo efforts. Thanks again to Las Acevedo for being so generous with their friends and their good vibes. Much love. Stream the compilation below, and download it HERE.

Tuesday, February 12, 2013

Iconili - Tupi Novo Mundo

Tupi Novo Mundo, Iconili
Independiente, Brazil
Rating: 66
by Carlos Reyes

Identifying what’s explicit vs. what’s implicit should be a responsibility of anyone daring to mingle with a real league of audiophiles. When a text is assumed rather than added to the investment, the music is often reduced to an easy listening experience. Some acts make the interaction simple; others make you sweat for it. Brazilian newcomers Iconili belong to that last group, particularly as their debut EP Tupi Novo Mundo is so much of a seduction and very little of an affair.

Iconili has a total of 11 members on its roster, and so it’s no wonder its composition brings an abrasive pool of sounds (most notably Brazilian roots, jazz, and dusty rock and roll), that add up to a “tropical and psychedlic sound experience.” It’s hard not to attach some exoticism to the premise, but. luckily, the ensemble is far too busy at the mass-assembly of instruments to focus on tourism. The EP’s opening number, “O Rei de Tupunga,” displays the journey of the afrobeat as it merges into tropicalia. The track’s venture is sinister but has a familiar warmth to it–we are essentially confronted with the sound of every cop/crime TV show in syndication  Eventually, this (implicit) recognition of the text becomes a pattern that’s not always savaged by nostalgia.

You can denounce Iconili for not shooting for innovation, but you can’t hide the fact the music is gleeful and flawlessly orchestrated. Particularly in tracks like “Solar” and “Areia,” where the band interplays with restraint and exhibition. Tupi Novo Mundo sounds robust and is filled with polished noise, but there’s not a lot of actual movement in the long run. Like recently acclaimed albums by Chica Libre and Onda Tropica, this is a perfectly produced and perfectly wrapped album that’s flawed only by fixity. Iconili doesn’t make its flaws obvious though; a sense of ambiguity seems to follow them at every turn, and that’s a signifier of potentially better things to come.





Saturday, February 9, 2013

Michael Mike - Música Negra

Música Negra, Michael Mike
Independiente, Argentina
Rating: 77
by Carlos Reyes

You can’t blame an indie band for trying to gain back a little of their hard-worked financial investment through the good old trick of selling music. But sometimes you have to look further and make choices that are realistic when considering your audience. Michael Mike released Música Negra last summer through CD Baby, and the response (if any) was lukewarm to say the least. With no way to stream the album in its entirety, the audience and media outlets regarded the release as something inaccessible. Then late in December, the Argentine act put a stop to self-sabotage by making public a Mediafire link to download their album on their website. And what a difference has that smart move made.

While the timing of its scratchy release certainly hurt the album’s success at zeitgest (as this is something that could’ve easily popped up on many best-of-the-year lists), Música Negra is a bold, disco-effervescent album that’s transcending the year-to-year transition by its own merit. The six-member act evolved the menacing canvas of their last record Nena o Neno, and turned into something less threatening: a nuanced pop proposition. Recent disco pop out of Iberoamerica seems to divide itself between the worldly minimal/house group (Mamacita, John Talabot, Matias Aguayo), and the more pedestrian/melodramatic songwriters (Javiera Mena, Alex Anwandter, Linda Mirada), Michael Mike make it pretty damn hard to place them on any group. Música Negra goes from tailored disco flairs (“Experto en vos”), to abrasive synths (“Caca Sonica”)–lighting and shutting off the discoball as they please.

First single “Tun Tun” was aptly described by fellow Fonograma writer Claire Frisbie, as something “to combat any impending winter blues.” She’s so right. This track is delightful in how it manifests itself–you may suit it as part of your sunny playlist, but the rise and breakdown of those cascading sequences mimic those moments where repressing pain isn’t an option. Bound to be single “Carmen” is overly staged and so scandalized in its chorus that it’s hard not to see it as a statement. Much like “Carmen,” Música Negra finds itself critically involved in the fetishization of a disco pulse as applied to emotional discourse. We'll take that over the ideologically-bruised and misplaced propositions made in that comeback album by Illya Kuryaki & The Valderramas any day. Música Negra is an example of how when the music is reachable and up for grabs, anyone can be a critic.



♫♫♫ "Carmen" Download Album

Friday, February 8, 2013

Video: Sixties Guns - "Lights"


“Lights” is our visual preview into Sixties Guns’s Cuts, a debut album from the no-border, Tijuana-San Diego outfit. The video concerns itself with a post-nuclear romantic fallout, just another statistic in the digitally-infused, globalization miasma. The opening scene is a dimunitive ultrasound, proof of a budding romantic affinity, as shown by two luminal heartbeats wrapping around each other. Immediately after the relationship’s conception, the orbitally-linked pair will be exposed to quickening layering of U.S kitsch symbolism. Heart necklaces, video games, and emoticon text messages become immediate sources of estrangement. Unfortunately, even a couple's retreat to nature cannot escape the toxicity of our air-conditioned, super-modern world. The couple is then seperately layered in a multi-colored, sludge-like cast that terminally separates from each other and the natural world. 

While a rousing bearded chorus might itch from rubbing against Matthew Dear, the group easily survive on their exemplary adaptability. Sixties Guns can co-habitate in Mexican underground house, as well as star in an L.A. contemporary punk scene. While I expect certain members of this group to be recruited for other projects, we will have to wait and see if Cuts can afford the group more time to further process their collective energies.

Wednesday, February 6, 2013

Tego Calderón - "Colabore"


“Yo se que yo me tardo pero hecho caldo (y la receta siempre me tiene guisando),” sighs Tego Calderón in his thrilling new single, “Colabore.” It’s been almost six years since the rapper released El Abayarde Contraataca, and just when it seemed its follow up would turn into a mythological release, we get an official single off the long-anticipated El Que Sabe Sabe. While Calderón focused on social globalization on last year’s reggaeton-free mixtape, The Original Gallo del País (self-assesed by Tego as his most complete work yet), the single suggests his new album will bring him back to the clubs and FM airwaves. “Colabore” is another hit in Calderón’s strong line of singles. The song starts at a rapid-fire pace, coating itself with an old friend–a clean, almost nostalgic reggaeton beat that’s serviceable for both profit and pedigree. Trying to catch up with his flow is fun all in its self. El Que Sabe Sabe will see the commercial light in May.

Tuesday, February 5, 2013

MP3: Adrián Juárez - "Calculadoras"


2012 was a rather slow period for Club Fonograma. Even though we tried to redeem ourselves earlier this year, truth is, there was a bunch more of outstanding records we didn’t get to properly review (and didn’t make our Overlooked Albums list). Adrián Juárez’s follow-up to 2011’s debut Tu nombre es fresa, the ambrosial sophomore Marimba, is one of those gems that ultimately deserved more recognition.

Good news is La Plata's winsome singer-songwriter works at a fast pace, reclaiming his virtuoso-skilled status in our blogosphere. The frisky self-released single “Calculadoras” encounters Juárez allowing new chances to his sonic explorations, embracing 8-bit rhythms along with sharp-eyed, chirpy, videogame-evocative experimentation. Preserving his signature sound while stretching his canvas, the results turn out gleefully overwhelming (think Sufjan Stevens jumping from folk to electro). The track stands in a similar territory as I.E.’s “Smartphone,” but where the frenzy of “Smartphone” recalls mental noise via gadget abuse, Juárez’s notable comfort, riding his poppy vessel, resembles commodity towards life-simplifying machines in “Calculadoras.” The lyrics (“Súbete a mi moto / Aunque tengas otro / Aunque la tristeza avance / Aunque pronto nos alcance”) exhale romanticism. Yet, despite their poignant message, the sudden desire of playing Super Castlevania IV blooms as a logical aftermath.





♫♫♫ "Calculadoras" 

Monday, February 4, 2013

60 Tigres - "Picoso"


Festival NRMAL is creeping towards us, and certain Club Fonogrammers have been scheming on how best to get to Monterrey from our various Northern North American locales and two more southern ones. My travel plans are just about set, and I am just now choosing which bands take priority in experiencing live. Word around the bonfire is that Monterrey-then, DF-now 60 Tigres will be one of the most anticipated acts of the festival.

It is as if Weinstein Co. Distribution have planned their release dates to maximize critical enthusiasm for the alt-supergroup's festival performance. Last September, the band put out EP 2012 through NWLA, which served as a half-way point to their upcoming late-February LP release, Animal. And now they've made cloud-present "Picoso," a stirring triumph for the band and their followers (that includes us writers!). First, they reassure us on our time-consuming commitment, "pensando tantos días de música no son en vano." And we agree nothing will come from listening to music, possibly the end to an exigent consumption of music. However, before any possible outcome takes place, we band together at a regional house warming, "tropezamos, levantamos y enfocamos la mirada." I can already look forward to meeting our near-future friends in Nuevo León. Can't. Hardly. Wait.

Friday, February 1, 2013

Video + MP3: El Gran Poder de Diosa - "Morí Viví"


Throughout the years, Eddy Nuñez (member of Rita Indiana y Los Misterios) has earned the respect of musicians in the Dominican Republic as one of the individuals that has succeeded at offering an alternative delivery to the island’s popular music. Following the success of El Juidero, Nuñez unveiled demo recordings of a solo project that has now evolved into the collaborative effort El Gran Poder de Diosa. The act’s introductory single “Morí Viví” is a pulsating, groovy tune that’s more meticulous than revelatory. While they keep things somewhat conservative, they’re still pretty refreshing. The track comes with a lovely audiovisual companion helmed by Engel Leonardo, director of the stunning (and controversial) “Da Pa Lo Do.” Leonardo offers a contemplative frame where seduction (of sexual and intellectual natures) is lived through a subliminal journey. It’s tragic and poetic—like Apichatpong Weerasethakul’s Tropical Malady, but more magical than psychological. Grab the MP3 HERE.