Supersonico : Festival Report

The first edition of Supersonico was nothing short from a hit for Cookman and Goldenvoice. Despite my reservations with about a third of the lineup, Supersonico turned out to be the fast-paced and wonderfully packed event it was designed to be. Ok, perhaps not fast enough for those that brought an appetite -the lines were unlike anything I've ever seen... worst than Disney. Shrine Expo Hall & Grounds welcomed 10,000 attendees on a sold out "cultural happening," according to the organizers. With such bright results, it's not a surprise to confirm this as the first edition of many to come.

As always, festivals serve as a grand showcase to see people. I was surprised by how many hipsters showed up (long gone rockosaurios), and surprised by the low number of anglo latinophiles amongst the crowd. Not that the festival wasn't welcoming to those curious about Latin Alternative music, but it was refreshing to see that the festival wasn't catered towards the NPR/KCRW audience as we all thought. Instead, it seemed to be an integrationist event exercising a populist approach at its very core.

It will come off snobbish and not very progressive, but our party planned to hit the event held on Downtown L.A. late enough to miss any SKA act (Tokyo Ska Paradise Orchestra), boring cultural tailoring (La Santa Cecilia), or cheesy/comic filling (Los Master Plus). But that wasn't very smart of us, as we didn't realize Ceci Bastida played really early on. Four out of five colleagues I ran into pointed to Ceci's performance as the most pleasing, if not the best of the night -which is the same reaction that's been heard from her performances at SXSW and Vive Latino.

Coming to the fest, it was no secret the act I was most excited about was María y José. After five years of blogging about him, I can say I was not disappointed one bit. Not even by his unapologetic choices, like that of singing Magneto's "Vuela Vuela" at what could be his most industry-important show yet. It was thrilling to see Gallardo own that Illuminati stage, acquiring visibility and movement one track after the other. Whatever transmutations he put into the live version of "Kibose," he needs to re-record that (as many times as necessary) -it's so good I wonder if that's been his magnus opus all along. Yes, we can be as romantic as we want applauding the orchestration/pedigree of instruments, but Macbooks can fill a room with joy as well. Also proven by fellow Tijuanenses and ruidoson makers, Los Macuanos, new digital folk should be on the agenda for future Supersonicos to come.

The other highlights of the night weren't necessarily surprising. Café Tacvba still is the most entertaining live act I've ever seen. A worthy headliner of this or any festival out there really. A lesser known band that certainly gained new fans is Bomba Estereo. Although most people didn't recognize them until "Fuego" boomed through the speakers, Liliana Saumet won that audience like no one else did on the main stage. There were also acts with less inconsistency. Los Rakas and AJ Dávila were a bit disappointing in how they decided to approach the festival. Both acts seem to have maximized their sonic output, designing it for a big crowd (Los Rakas by bringing a full funk band, and AJ Davila by choosing to shout before an almost empty stage). You can't really blame either band though. Transferring music discourse is a fragile transaction (especially if they set you up against Calle 13 on the main stage).

Fonocast #14: Now & Then

Fonocast #14: Now & Then

by Blanca Méndez, Melissa Rico, and Giovanna Sánchez

Subscribe on iTunes

Download Fonocast 14

• Julieta Venegas - "Hoy"
• Julieta Venegas - "Algo esta cambiando"
• Café Tacvba - "Aprovéchate"
• Café Tacvba - "Quiero Ver"
• Belinda - "En La Obscuridad"
• Belinda - "Ni Freud Ni Tu Mamá"
• Selena Gomez & The Scene - "Tell Me Something I Don't Know"
• Selena Gomez - "Come & Get It"
• Tego Calderon - "Los Mate"
• Tego Calderon - "Colabore"
• Ivy Queen - "Quiero Bailar"
• Ivy Queen - "Peligro de Extinción"

Café Tacvba - El Objeto Antes Llamado Disco

El Objeto Antes Llamado Disco, Café Tacvba
Universal Music Latino, Mexico
Rating: 77
by Claire Frisbie

It had been a while. Five years have passed since Sino was released. There have been side projects, other bands, social and political causes to champion, a documentary, a book, breakup rumors, 20th anniversary festivities, extensive touring, life. And now: El Objeto Antes Llamado Disco (The Object Formerly Known as a Record), Café Tacvba’s seventh studio album.

El Objeto did not take five years to make, and it shows. The songs came together early this year, and in a rather brilliant marketing move (but somewhat ineffective creative technique), were recorded in front of live audiences in Buenos Aires, Santiago, DF, and LA. Dozens of lucky fans and friends sat in on the sessions, while the rest of us followed along on Twitter, piecing together song titles and wondering what the next chapter of Café Tacvba would sound like, anticipation swelling.

And now we know: Café Tacvba five years later sounds a lot like Café Tacvba 15 years ago. Whether this is a good or bad thing is entirely subjective. Many of the songs feel familiar, but a tad less catchy, less raw. The band has returned to the pre-Cuatro Caminos four-core-members-and-a-drum-machine lineup, but instead of the quirky storytelling and earnest experimentation of Cafeta songs of yore, we have introspection and wisdom, nature and spirituality, overall self-reflection. And, alas, minimal innovation. Thirty-nine minutes with 10 tracks mostly written by Meme and Joselo, El Objeto requires some time and a bit of patience. Disclaimer: initial listens might prove unsatisfying, but somewhere around the tenth or eleventh time through, the "object" really starts to grow on you, though the objective might never be clear. It's worth the commitment.

So much of the buzz around El Objeto was tied to the recording process, the different locations, the live audience. The decision to record the entire thing in front of an audience with little preparation was bold and risky, though not unfounded. Café Tacvba’s live shows are one of the most intense, insane, gratifying communal experiences out there, so why not attempt to channel this energy, this connection and rapport with your audience, into a recorded album? But the final product reveals nothing of these intimate itinerant sessions. Not a single song is taken in its entirety from a given recording. Elements from all four recordings were instead cut and pasted to create the tracks we hear now. I’m not pining for another live album, but a bit more spontaneity, some added energy or edginess might have been nice.

That being said, the production (from Tacvba homeboys Gustavo Santaolalla and Anibal Kerpel) is excellent, and El Objeto has some truly beautiful songs. “Tan Mal” makes optimal use of the rhythm machine and Rubén’s vocal range, ebbing from soft whispers to increasingly grating falsetto, intimate and delicate, then frustrated, yet controlled. “Zopilotes” is gorgeous in its mystic simplicity. “Andamios” is classic Cafeta at their best: an upbeat track with layered beats, inquisitive, metaphorical (architectural!) lyrics, and slightly imperfect harmonies. But you almost wonder if you haven’t heard it before, maybe on Re, or perhaps Cuatro Caminos.

The most musical variation and experimentation can be found in the middle of El Objeto. The earthy “Espuma” features finger harps and other pre-Columbian instruments, but teeters dangerously close to world music/songs your mom might love. The repetitive “Olita de Altamar” has an undeniable Andean tinge, drawing from Peruvian chicha and huayno music. And then comes “Aprovéchate,” the true standout of El Objeto. A love song sung by Meme, it feels almost Argentine or Chilean in its guitar-driven rock sound and tone, but is undeniably Cafeta when it comes to the chorus. This isn’t “Eres” Meme—his voice is deeper, more forthright. The lyrics are dark, sexy, submissive. And it’s wonderful: “ahora eres tú la agresora / desquítate conmigo ahora / me puedes usar, me puedes amar / te aprovecharás de mí...”

But “Aprovéchate” almost feels out of place on the album, which brings us to what may be the main fault of our “object”: an overall lack of cohesion. El Objeto Antes Llamado Disco is a collection of ten different songs, not a cohesive album. Café Tacvba is so revered for their continuous and relevant reinvention, and each of their past albums has had a definitive theme or feel, while managing to maintain a sound that is distinctly Tacvba. But El Objeto lacks a strong identity, though one could argue that this is precisely the point: the record as we once knew it is, after all, obsolete.

Vive Latino 2012: Day Two

by Claire Frisbie

Saturday was the day to attend Vive Latino 2012—some of the most buzzed about acts of the past year were performing, Café Tacvba was headlining, tickets were sold out, and the sun was shining. We had our day mapped out to the minute.

Columpio Asesino were already on the main stage, and I regret to report they were a bit underwhelming, but to no fault of their own, really. Their set was solid, but their music is too dark for blinding sunlight, methinks. The rather lethargic crowd did rise to the occasion, however, when they played “Toro,” cheering raucously when guitarist Cristina shouted—riffing on the song’s lyrics—, “Para que ir a Berlin si podemos estar aqui con ustedes en el Vive Latino?” (“Why go to Berlin if we can be here with you at Vive Latino?”). Seriously.

Next we dashed over to the Carpa Intolerante for Perrosky, who were the revelation of the day for me. It’s incredible the layers of garage rock, blues, and rockabilly the brothers Gomez are able to generate between just the two (2!) of them—it was as if Elvis had been somehow reincarnated in these two skinny Chilean dudes. Raw and refreshingly devoid of synthesizers and other gadgets, Perrosky rocked my world with a drum set, guitar, harmonica, and maraca.

Keeping things retro, we returned to Escenario Indio Verde for Vive veterans and música surf faves Lost Acapulco. The crowd had at least doubled if not tripled in size, and everyone was bopping, moshing, and doing the twist to hits like “Olvidemos El Romance” and “Frenesick.” I genuinely appreciate their whole shtick: the luchador masks, vintage visuals of shimmying vedettes, and misogynistic-but-we’ll-let-it-slide-this-time rapport between songs, but it kind of got redundant. We were just about ready to move on when the band started in on a cover of Los Saicos’ “Demolición,” which was easily the highlight of their set for me, even if no one else seemed to know the song.

Photo by Marlon Bishop

Then it was Astro time. We power walked over to the palm tree-flanked Carpa DanUp aka la Carpa del Yogurt aka la Carpa Tropical. I couldn’t have imagined a better setting to see Astro for the first time. The four guys burst onto the stage making monkey noises and launched into “Mono Tropical,” looking like hipster Trader Joe’s employees/Miami Vice extras in loud patterned shirts, skinny jeans, and sunglasses. There were some sound issues, but their energy was totally infectious, and man, what a show! Singer Andrés’s voice is absolutely incredible (and really is that high!), and keyboard player Nicolás had the lanky dude hip shake down. To the delight of the audience, they proclaimed DF their favorite place to play, and added, “En Chile nos quieren, pero acá mucho más!” (“In Chile they love us, but here [they love us] much more!”) And how. Astro was one of the bands I was most pumped to see at Vive, but part of me had been worried that their music might not translate to the outdoor stage. I couldn’t have been more wrong. Can someone please book a Panda Bear/Tanlines/Astro U.S. tour ASAP? Thanks.

Next up was one of my main motivations for coming to Vive this year: Juan Cirerol. Chicali’s bad boy troubadour has me completely enthralled, but I can conclude with absolute objectivity that he kicked some serious ass. I mean, he was trending on Twitter during the show and, if that doesn’t justify one’s badassness, I don’t know what does. Cirerol is a beast on the guitar, his singing style is so raw and earnest. He powered through “El Perro” and “La Banqueta,” and it was hard to believe that all this ruckus was coming from just one man. His stage presence is phenomenal, doused with booze and burps, his signature scrunched brow, the occasional air-split (that would be a jump and attempted split in the air—yep, he did that!), and norteño swagger for days. The overflowing Carpa Intolerante yelped and sang along with genuine fervor and joined in for a massive sing-along to “Se Vale Soñar” (extra cheers when he wailed “todos borrachos y locos”) and “La Chola,” which closed out his set. Todo más que fine, Juanito.

Cirerol’s set left me craving a stiff drink, so we breezed past the main stage (Camilo Lara aka Instituto Mexicano del Sonido in a kilt and colorful man-tights mashing up “Alocatel” and “Hey Mickey” with the guys from Calexico as his backup band), to re-fuel with sandwiches and dranks. Then it was back to the yogurt tent.

Carla Morrison. Oh my GAWD, Carla Morrison. It was truly an impressive thing to see the thousands and thousands of fans who came to see her at Vive: teenage girls with tears streaming down their faces, families with young children, embracing couples. By the time she cooed “tu me enchinas la piel” my entire body had been covered in goosebumps for, like, ever. It was refreshing to see her with a full band—her usually sparse accompaniment translates beautifully to more complex instrumentation. In the days leading up to Vive, she’d reached out to fans via social media to bring handkerchiefs to her show, and perhaps the most powerful moment of her set came when everyone waved them in the air and danced along to her latest single, “Hasta La Piel.” Next year, to the main stage!

Then there was an audience switch-up: out with the angsty teenagers, in with the fashiony hipsters. The screen to the right of the stage glowed “MENA” and chants of “Javiera, Javiera” began. I wasn’t sure what to expect given the conflicting Festival Nrmal and SXSW reviews on this blog, but I must say I was pleasantly surprised. I should also let it be known that I am not a diehard Javiera Mena fan (gasp!), and while I thought she sounded better than on her albums, my friends actually thought otherwise. Javiera: so polarizing! As in the case of Carla, the support of a full band (Jose and Rai from Dapuntobeat, plus a female keytarist/backup singer) worked to her benefit. Real drums added a lot to tracks like “Primera Estrella” and “Hasta La Verdad,” and the keytarist helped pick up some slack on Javiera’s sometimes weak vocals. What do you think?:

Meanwhile, la Carpa Intolerante was channeling Colombia as Monareta powered an electro-cumbia dance party. I’d like to point out that there was a dude on stage who played the cowbell with sincere concentration for the duration of their set. I can respect that. We joined the dancers and cheered in agreement as frontman Andrés shouted “Que viva la Carpa Intolerante!” Amen!

Then it was Tacvba time. I think the official headcount for Saturday was 70,000, and pretty much everyone who wasn’t moshing to Hocico over at Indio Blanco was figuring out the best spot to see Mexico’s most important band from. As we all waited for them to come on stage, anticipation growing, spotlights shot straight up from the center of the stadium, and out came a stage from behind the soundboard, Tacvbos on top.

Photo by Natalie Espinosa

As Ruben, Meme, Quique, and Joselo rose from the crowds, chants of “papa-ra-papa eo eo,” queued them up for their first song. They'd been on hiatus for the past few years, and they really brought out all the hits at this show. There was no waiting around through mediocre Sino tracks for your favorites tonight. After “El Baile y el Salón” came “Eres,” followed by a reggae/dub version of “Como te extraño.” The sound was horrible, but we didn’t care! Then came one of the coolest moments of the night. Instead of singing hits by Maldita Vecindad, Aterciopelados, and Caifanes in their standard “Popurock” medley, Café Tacvba proceeded to cover Nortec Collective, Hello Seahorse!, IMS, Porter, Carla Morrison, Quiero Club, Plastilina Mosh, Kinky, Dapuntobeat, Enjambre, and Zoé. I don’t know what was more moving: the fact that these giants of Mexican music were paying tribute to the next generation that they helped establish, or the fact that everyone in the audience seemed to know the words to the songs by these comparably smaller artists.

Post-popurock, the band ran (and Rubén, still on his cane, hobbled) through the audience to the stage. Unfortunately I can’t really tell you how the rest of their performance was because, with almost 70K people singing along at the top of their lungs, I could barely hear a thing actually coming from the stage, and honestly I didn’t mind. My inner repressed sociologist couldn’t help but stop and think how bizarre and cultish this all was, and wonder why we found it so enjoyable. But I quickly snapped out of it and joined all my new friends in screaming the lyrics to “Las Flores.” Better than therapy, I’m telling you!

Photo by Natalie Espinosa

Photo by Natalie Espinosa

You can peep the full setlist here, but it is worth noting that despite his injury, Rubén pulled through and joined the rest of the guys in the “Dejate Caer” dance (easily one of their best songs live). Oh, and they did perform one new song, “Charro Negro,” which honestly sounded pretty dull to me.

After wishing us, our parents, our uncles, grandparents, friends, etc. peace and water (seriously!), Café Tacvba bid us adieu with “El Puñal y el Corazón.” “Ya no puedo más…..” Oh what a day!

Bootleg Promo: Silva de Alegría - "Lento" (Café Tacvba Cover) / Fonogramáticos Vol.10

Furland has kept momentum all year long promoting Historia de la Luz, one of our favorite records from 2009. By now, we all recognize the gifted voice of singer Sergio Silva, who’s currently working on his solo side project, Silva de Alegría. While we had a list of songs we would like for bands to cover, we were pretty open to consider anything else, including material released way before any of our compilations. No band has influenced our generation as much as Café Tacvba; the rock pioneers have set the example, here is a wonderful cover to honor our idols. Silva decided to take one of the most beautiful tracks from Reves/YoSoy, keeping it very faithful but delivering one of the compilation’s best tracks. We won’t lie to you, we are nervous about what some of the original minds might think of the covers, but everyone has reacted with positive feedback, including Joselo, the voice and mind behind all the “Lento” beauty. Video footage comes from Alejandro Valle’s VHS-fantasy film Historias del Desencanto.

Trailer: Café Tacvba. Seguir Siendo

A rock band traveling many places of the world, and on planes, buses, in hotels and dressing rooms, we discover the creative process that brings them together, their friendship, frustrations and the desire of still being a rock band, the most important rock band in Mexico, on the year that they celebrate 20 years of being Cafe Tacvba.

Here is the fantastic trailer for Café Tacvba's much anticipated documentary Seguir Siendo, directed by Ernesto Contreras (whose debut film Parpados Azules is a masterful) and the very promising documentary director Juan Manuel Craviotto (Los Ultimos Heroes de la Peninsula). The documentary has received nothing but positive comments, particularly on its premiere at this year's Festival de Guadalajara. Albarran, Joselo, Quique & Meme are true idols, the idols of a handful of generations. The doc will see the commercial light in Mexico in November 12, through the distribution of Canal 22 and Canana. Here is hoping it gets to the states soon.

Summer Jamz 2010 - Let Me Put My Rhythm In You [UPDATED LINK]

It's that time of year. Summertime. Not just the time of year when the sun begins to make you hallucinate so badly that you begin running after a paleta that's JUST OUT OF REACH. No, it's SUMMER JAMZ SEASON! The "Summer Jamz" series started out at wonderful Stylus Magazine, where the staff would create customized mixtapes based on a general mood, theme, or meditation influenced by the season. And even though Stylus lies in the internet graveyard, many of its writers still continue the "Summer Jamz" tradition through the website The Passion of the Weiss, which is run by the world's greatest hip-hop writer (and former Stylus alum) Jeff Weiss. This year's other Summer Jamz have been running on that site throughout the summer, and will continue for the next few weeks, and I'd highly recommend checking some of them out.

However, I'm here to post the entry compiled by me and Jeff Siegel, another Stylus ex-pat who's an overall brilliant and talented man. He's also responsible for that funky bit of cover art above. Our general theme was "hypnotic and lazy," and I hope we've delivered. The link and tracklist are below (with many of your Club Fonograma faves!). Please, pick your feet up and enjoy this sweet, sweet digibrilliance.

Link: Let Me Put My Rhythm In You [updated link!]

Disc One*
1) Cluster & Eno - "Schöne Hände"
2) Café Tacuba - "13"
3) Memory Cassette - "Surfin'"
4) Los Espíritus - "Pacifico-Atlantico"
5) Mark E - "Smiling"
6) A Tribe Called Quest - "Electric Relaxation"
7) Emilio José - "Rio Grande do Sul"
8) Hoahio - "Jellyfish"
9) Pérez Prado & His Orchestra - "Cherry Pink & Apple Blossom"
10) El Guincho ft. Julieta Venegas - "Mientes"
11) Horace Andy - "Money Money"
12) Loop - "Mother Sky"
13) Andrew Paine - "The Radioactive Cat"

Disc Two*
1) Los Amparito - "Los Miradas de Magaly"
2) Fantastic Mr. Fox - "Bricka-Brac"
3) Actress - "Hubble"
4) Glissandro 70 - "Bolan Muppets"
5) Prissa - "Lógica"
6) Joyce w/ Nana Vasconcelos & Mauricio Maestro - "Metralhadeira"
7) The Meters - "Cissy Strut"
8) Natalia Lafourcade & Emanuel Del Real - "Diente Blanco, No Te Vayas"
9) Four Tet & Rothko - "Rivers Become Oceans"
10) Illum Sphere - "Psycho"
11) Madame Mboty Mamy & dit Mama Tsara - "Maman Ny'Lisa"
12) Juana Molina - "El Perro"
13) James Ferraro - "Blacktop Tumble Weed"
14) Santo & Johnny - "Sleep Walk"

* This mixtape isn't really two separate folders. I just like to conceptualize it that way.

Vive Latino 2010

by Juan Manuel Torreblanca
Pictures by Dorian Ulises López Macías

Last year I wrote a rather epic account of my Vive Latino experience as just one spectator drifting in the sea of thousands. This year was bound to be different from the start. So is my tale.

I remember fondly my melancholic subway journeys to and from the Foro Sol last year. Elliot Smith in my ears then. This time it was Joanna Newsom and her Have One on Me (plus some bits of Orlando’s to-be-released Capullo). Heartwarming loneliness is the perfect water to baptize oneself as preparation for the intense adventure of the Vive Latino.

I missed Dr. Frankenstein on Friday regrettably ‘cause I had to play piano at a dance show at the Carlos Chavez hall deep in the heart of my beloved UNAM’s Centro Cultural Universitario (but that’s another story), so my chronicles will only touch the main two days of the Vive: Saturday and Sunday. I will say, though, that I was dying to hear Iraida Noriega (one of Mexico’s best singers) take on such a role and challenge, amongst a stellar cast, but there will be another chance.

So, Saturday I was invited to play one song as a guest with La Banderville, they were to take the Blue Stage for 20 mintes at 13:45. Their manager Wakks handled all the necessary information (aided by several of the band members) always with sufficient time and courtesy. So it was a pleasure to be part of their exciting Vive debut, as much as it was something born out of friendship and mutual admiration. I had been invited to play accordion when they recorded A la Distancia for their Seminuevo de Manzana album, and this would be my second time playing it with them live.

I got to the accorded gate at 11:05 (five minutes late) and waited a while with our gathering belated crew for our entrance to be granted. Engineers, dancers. Known and unknown faces, all friendly and glad to be there. The band was already in, extremely on time. After a while a couple of the beautiful girls accompanying the band came out for us and we joined them at the dressing-room. A cloudy and humid morning had turned into a sunny, bright day. And everything seemed extremely well organized and clean backstage. I was told that as time went by it became a bit more messy, but I saw nothing to complain about!

When I bumped into Daniel, La Banderville’s leader and frontman, I didn’t recognize him for a split-second. He was estrenando a mohawk hair-do: totally shaved head on the sides! It looked cool and tough, proper attire for a Vive Latino first time.

Handshakes with the rest of the band. Everyone looked like it was their birthday and the best party EVER dreamed of (forever dreamed of) was about to take place. The girls (Sofía and Ana) really get to my heart every time because they tend to look and get so nervous and so humbled by everything that’s happening to them right now. Sofia told me as we were relaxing in the dressing-room before everything got started: “I never, ever, in my wildest dreams… not even when I took up the bass… I never thought this would happen to me”… call me crazy but that made me feel no-one deserved a place on a Vive Latino stage that day more than them. La Banderville. They’ve worked so hard and so much and so long. Their songs are finally travelling the airwaves bringing smiles into lots of hearts. People are falling in love with their retro, psychedelic, sunny, folky, rock-pop songs, and they –the band– are finding their way into the soundtrack of youth for a new generation. So it was time for them to have a shot at the Vive Latino: Latin America’s biggest and most important music festival, probably.

Time to grace the stage was approaching, Joselo (yes, from Café Tacvba) got to the dressing-room and we gave our song a couple of runs. I didn’t allow myself much thought on the surreal event of me sharing a guest spot with Joselo (from Café Tacvuba for goodness sakes!) on stage, ‘cause I don’t quite get how or why or if I deserve… that happening! But let’s blame the Banderville kids for that one! And I must thank YouTube for making it possible for me to practice my accordion parts prior to that last-minute go. I have a fish-brain and I had of course forgotten it. But we played it fine and smooth and I was feeling ready to rock! Or was it the energy drink?

So, anyway, the guys rushed into their costumes. Fantastic 20’s inspired swimwear! horizontal black and white or red and white lines! The first band, Monte Negro, was almost done. Pictures were taken. Warm-up exercises began. Jumping, stretching arms, vocal warmups. Screaming a bit, why not? I line-checked the accordion just to make sure it would sound and then we were all ready to go!

La Banderville had an awesome intro prepared, mocking the intro for the classic TV show The Wonder Years. The music and a narrator’s voice introducing each one of the band members. Then, they immediately dove in. Four dancers were dressed in huge cardboard boxes with sea creatures drawn in a Japanese child-like fashion over them. It was really nice! They started dancing.

So, there I am on-stage, by the engineers. The initial crowd must have been a hundred people at most. But from the first song people rushed to the stage from a far. And I feel I must make it clear: I’m talking about hundreds and hundreds of people running to the stage. I was both outrageously happy for my friends and outrageously nervous for myself! I mean: I have to begin the song I’m invited to play solo, I was fearing a mistake in front of hundreds and hundreds of rabid Vive Latino fans. I fantasized about getting smacked on the face with a glass full of beer (hopefully) or pieces of the carpet or coins or whatever. The first guest to join the band onstage was Enjambre’s Javier Mejía and he played the gorgeous Super Pasto with them and Mandarina too. I was so happy because people kept arriving at massive proportions. It was soon a crowd of –at least– a thousand and a half. I danced, jumped, clapped, laughed, talked about it with Wakks, their manager and all the Banderville staff. And then it was my turn. I was introduced. The crowd gave me a generous applause and I felt welcome. I took my spot and looked at the guys, they were beaming. Joselo was introduced to a raving crowd, of course, and he soon got the guitar ready. Cachi (from the drums) gave me a sign for me to begin whenever I felt it. And so I did. Boy… it is hard to describe how this feels. The connection. Between the people onstage. The people in the crowd. The song binding us all together. It was a trip. I felt the train gain more and more power. I felt the joy in the people. I felt the joy myself. I danced. I played. I wasn’t afraid of mistakes. I felt I was the luckiest man on Earth to be able to share that special moment with my friends. And I truly enjoyed my performance, the chance to do it, and the room the song gave me (as the limited accordion player I am) to add some brightness to it!

I am forever grateful to La Banderville for that moment and I truly wish them many many years of success, because I believe they deserve it!

After that and after the show they went (triumphant as they were) to deal with the press. I spent some happy celebration time with the staff and friends at the dressing-room (huge sighs of relief all over) and then took off to catch a couple of gigs before I had to run to rehearse at Julieta’s.

Muna Zul and Klezmerson I caught bits of at my favorite Vive Latino spot: la carpa Intolerante. They were magical. Then I ran to make it to Francisca Valenzuela’s gig at the Red Stage, I had never seen her with a full band. Sound was crappy (as expected, I must confess), not her fault. She looked royal and miles tall and her voice was powerful and precise (even as low as they had her in the mix). Café Tacvba was represented (as non-official godfathers of this Vive apparently) here as well with performances by Meme and Quique (I love his bass sound so much)! It was a good show and then I got just the first taste of Le Butcherettes. I must say I admire that girl’s commanding presence and personality.

Rehearsal at Julieta’s was delightful. All the children of the choir sounded ready. The mood was relaxed and excited. It’s almost embarrassing to write, but honouring my teenage years and how much Julieta’s music meant to me then. It was more important than I can express, to be there, the opportunity, the surreal joy of being able to share my music with her and to share her music if even for just a moment… like that. I couldn’t wait for Sunday.

Sunday I wanted to get to the Vive real early and I didn’t want to miss Emilio Rodríguez (this child prodigy of the drums), Juan Pablo Villa (the best male Mexican singer bar none), Ventilader & Vicente Gayo (I’m DYING to see them live, BAD)… but, alas, as a guest to the main stage I didn’t own a ticket, I tried several times to contact Julieta’s production to ask if I could get my bracelet in advance so I could get there early but they never responded, so… I had to get there with Julieta’s production, when they got there, and that was around 3 o-clock. A tiny bummer, but that wasn’t all. Sadly, I must bring this up only because it’s a funny contrast with the first day. The first lovely experience. I couldn’t believe how a new band, managed by a young and less experienced staff (I’m talking about La Banderville) managed to treat all their guests so carefully, not as V.I.P.s or any of that snobby shit I don’t care about, but just as really important people, everyone. What I mean is: if you’re not important to the production, then they should say so, they shouldn’t invite you nor have you there. What’s the point? And please keep in mind. This is in NO way whatsoever directed towards Julieta who was nothing but sweetness and generousity, braveness and talent and openness… but, rather, towards some of the people in charge of her production who were hypocritically sorry to be rude to us but pretty much couldn’t care less. I know it’s a stressful situation. I know there are thousands of people to handle all the time. But shouln’t the real pros be better at it than the freshmen? I dunno.

What I’m talking about is this: we (the choir guests) were left stranded behind the stage, on the floor, underneath the sun, no place for us, not able to go in to the dressing room. And the only problem was, we had to wait there for the show to begin, under the hard sun, and today it was SCORCHING. And, did I mention the sun? All I’m saying is: La Banderville’s production managed to give us all: musicians, dancers, guests, all, the proper passes to a seat and a roof to wait. And Julieta Venegas’ production gave us half-hearted apologies and that’s that. It beats me. But I don’t want to sound sour nor ungrateful. I am fully aware of how it is and was a HUGE opportunity and adventure and moment and I am lucky and thankful and I wanted to give my best. So I was there, patiently, soaking up the sun (hello headache). And said nothing to Julieta, because I wanted to be the last one to spoil a second of it for her. I didn’t want to trouble her or stress her before her performance. But I kept it in, and I knew I was going to have to bring it out eventually. So here it is. I waited and waited. Until it was time for me to get changed into my costume and to join the rest of the choir. Now. I don’t really mind changing in front of everyone but I believe that it might make some people uncomfortable (or get me into trouble) so I approached the dressing room area and begged for a while until someone saw me and mercifully talked the security guy into letting me in for just a moment. And then I got ready.

I bumped into Ceci Bastida and asked if she had her soon-to-be-released CD with her, only because I can’t wait to hear it! She looked gorgeous and sexy as always and she said no. I was happy and able to give her a copy of Torreblanca’s EP, though.

I was terribly excited to see my friend Marian Ruzzi perform live with Julieta, I hadn’t been able to yet. She looked so big (as in brilliant and mature) and pretty and talented there! I was happy and proud.

The crowd was BIG! we’re talking about the main stage, and a full field of tens of thousands. But it was a heavy show, because some genius placed Julieta just before Panteón Rococó and obviously they share their fanbase absolutely… not. So the response was very divided.

Julieta performed like a warrior. Like a lioness ready to fight back hostility with love. And I was a bit saddened to see parts of the crowd react so poorly towards tenderness or vulnerability. Why is it so scary? Why is it so offensive to them? Why do they find sweetness so disgusting? Is it youth? Is it the political situation? Education? Is it just a matter of the Vive Latino maybe not being the best environment for someone like Julieta anymore? I don’t know…

Some technical problems made Julieta’s gig begin a little bit late, that rushed and stressed everyone, of course. That’s the downside to festivals! So when the choir’s moment came, they had forgotten to open up a space for us there, it had to be improvised, we had no microphones so Juan Martín (accordion, clarinet, flute, etc.) helped produce a couple of last-second mics (one for Carla Morrison and the other one for all the rest of us) and off we went into Revolución, a new song off Otra Cosa. The people’s response to the choir felt so strange, so mixed… I didn’t feel welcome as I had felt the day before. I really, really tried and just… gave myself to the melody.

When the bridge came we didn’t sing, that’s the way it worked, & I had worried that all that time doing nothing could make the choir look funny, frozen or it could make the kids nervous, so (during rehearsals) I came up with this idea of making flags, flags for us to raise in an innocently revolutionary way, flags depicting hearts… is there a better symbol for love? I don’t think so. And the song is a love-song after all, and, in that moment, it says:

vamos a incendiar al mundo con la convicción

de que sólo el amor puede hacernos mejor

mientras todo a nuestro alrededor se deshace

la fe en tu sonrisa me levantará, me levantará

So, regardless of the romantic aspects of the song, I connected to the fiery expression of a desperate need for love. The world is suffering and hurt by tragedies and wars of all kinds all over right now. We do need love. Period. We need to stick together and help each other. We need to fight fear and distrust with LOVE. I do believe that. I’m not perfect and I’m not always giving pure love, I’m no one to preach, I’m just human. But that topic is important. It’s neither easy nor corny to me. And translated to something visual, I really felt that the element of LOVE FLAGS would add something to the song. Well, the audience didn’t seem to agree with my idea. It was such a confusing and bittersweet moment! I held my big flag up, I told myself: don’t be ashamed! The girls looked so strong and beautiful holding their flags too! So… If we are trying to give out a message of love and it’s rejected, well, what else can we do!? A friend told me afterwards it looked a bit kindergarten-y and I doubted my idea, I thought “maybe it was a mistake” but… oh well… I saw it in pictures just a couple of minutes ago and I didn’t feel it looked that wrong. Lido Pimienta saw the pictures too and she told me: I don’t find it to be corny; I think that the way the hearts are painted says more than “I love you”, it says “my heart is in pieces… but I am trying to put them back together”.

I am too. But it’s scary when a huge crowd makes you feel like you should be ashamed to show people that you have a heart. It makes me feel like the Tin-Man in The Wizard of Oz.

So, anyway… the show ended and I said my goodbyes quickly, changed back into my normal guy’s clothes and took off to see Yann Tiersen at Mexico City’s Teatro de la Ciudad, but that’s another story too…

My final experience concerning 2010’s Vive Latino was a little bipolar. From the huge happiness of watching my friends get their first taste on a bigger success, to the more solemn and mindblowing opportunity and adventure of sharing a giant stage with one of my favorite artists ever… at this special time in her life when she’s expecting and entering a more mature stage in her life… a stage that might not be so compatible with the rabid, frantic, ska-loving, violent, young, young, young and restless stages of the Vive Latino.

I am left immensely thankful and… just… full… like after a dense, dense master-class. I have a lot to digest still… I feel older.

Los últimos héroes de la Península. Rubén Albarrán y Pare de Sufrir - "Mi Tierra Querida."

A few years ago when I was a Mexican Cinema junkie (I still am but not as passionate), I used to attend the Guadalajara Film Festival, the place where most Mexican films get premiered. If you’re not aware, Mexico is having its Documentary golden era, which is among the world’s best. Although I saw Los Ultimos Heroes de La Peninsula two year ago, I still remember it as a very charming, vivid little film about some boxing champs. You can find my review here (in Spanish). Café Tacvba’s Ruben Albarran steps in the ring with a song for the film, it’s titled “Mi Tierra Querida.” This video is gorgeous and the song is nice, you can now download the mp3 for free through MSN’s music page.

Los Odio!, Los Odio!

LOS ODIO! LOS ODIO!
Arts & Crafts, Mexico
Rating: 49
By Carlos Reyes

Los Odio! is the latest all-star ensemble composed by Paco Huidobro (Fobia), Quique Rangel (Café Tacvba), Jay de la Cueva (Moderatto) and Tito Fuentes (Molotov). First let’s mention that this is the first local release from Arts & Crafts Mexico, a very smart move from a really good label. Los Odio! will hardly breakthrough its border, so it’s highly unlikely to get a broad international run. The band sounds nothing like the current indierock scene which is totally fine, except that just like Los Concorde, this is very disappointing (and you can tell I really wanted to like it).

First, let me say I like the bands they play in (yes, even Moderatto), but while this band might reunite their backgrounds it doesn’t add up to much musically. They lack personality, signature, a distinctive sound and better stories to tell. Not to say they’re not talented, they actually get the individual execution part right, but everything else feels disjointed and just patchy. “Pelos en el Mouse” stands out right away, it’s undeveloped but funny and over the top (as it should be). It’s hilarious actually, while writing this the song shouts “que tú no eres quien, tú no puedes criticarme, tienes pelos en el mouse también.” It’s that juicy character that’s missing on the rest album, most songs sound like a lazy Fobia or a Moderatto without makeup.

It’s hard to depart their origins when the new band lacks an identity. “Cruda de amor” almost gets it right, an anthem-like almost grunge tune about a hangover, a physical state where even cumbias and mariachis are harmful. Other songs go from funky (“Superpompis”) to wacky (“Odio”), while they can provoke some head shakes and toe-tapping moments, they’re just too quick to grab them. The fact that “Disculpa Nena, Yo No Soy Un Hippie” ages from birth-to-death as one listens to it tells how transcendent it is. If anything, they do throw in a great one liner “yo soy el unico pendejo que te cre.” Los Odio! is ultimately an album run and rushed by attitude rather than musical essence.

MySpace

Video: "Quiero Ver", Cafe Tacvba

Anything related to Cafe Tacvba gets us very excited, their 20:20 Tour took off in La Paz, Bolivia early this month and today is the first date home as they take Foro Sol by storm. My friends and I are thinking of driving to either Tijuana (June 21st) or Los Angeles (June 24th) to catch one of their shows, this is too good to miss. I did a YouTube search looking for info regarding the documentary that was made in Japan by visionary director Ernesto Contreras (Parpados Azules) only to find a brand new video for "Quiero Ver", one of my favorite songs from Sino. The video is very uplifting, lacks a bit of energy at the beginning but gets magical towards the end (a la Hayao Miyazaki but in live fiction), the image quality and sound are VERY sloppy but I promise to embed a good quality rip as soon it is available.

The Mex More, Toy Selectah

THE MEX MORE, TOY SELECTAH
Mad Decent, Mexico
Rating: 75
By Carlos Reyes

Mexico’s most predominant persona in Hip Hop released through Mad Decent his latest set of remixes, a term that’s quite short for a guy proving to be a creator rather than just another DJ out there. First, let’s remind ourselves that he is the mind behind two legacies that have changed our music itself, starting with Control Machete’s demanding functionality that introduced many of us to hip hop itself. Secondly, his collaboration in one of the landmark songs this decade has given us, Celso Piña’ “Cumbia Sobre El Rio”, the one song to point at if you want to understand the sudden growth for Cumbia in the last five years or so. In The Mex More, Toy refers o these pieces as ‘refixes’ or ‘raverton remixes’, whatever direction he’s taking let’s put full attention as he is an individual to follow. This set is to die for, if you’ve been lucky enough to attend one of his performances at Tormenta Tropical you know what to expect, clattering rhythms of the most popular and accessible manners, brain-explosive shifts and frenzy nudging gags that not only make people dance but build and destroy all forms of restraint. “El Mili” by Lil’ Wayne is rushed to a place of velocity and lucidness the original track had no perception of, and it continues with the tropical burst in Devendra Banhart’s “Carmensita”, to the heroic and almost anthem-like double feature of “One minute pal Cumbion!!!” by Justice, the three exclamatory signs are not even close to exaggeration. My favorite moment arrives with Air and its ravertonic vibe in “Sexy Boy”, Toy plays with time and patterns in a very domineering structure and yet keeping Air’s spirit out of harm's way. The Mexican infusion constructs bridges, and in “Shove it” by Santigold you can almost swear it was originally designed to shine in its new clothes, but things finally get to Mexico itself as Toy remixes “Volver a Comenzar” by Café Tacvba and “Bailen el Puto” by Molotov. It’s hard to rate this particular release, we’re anxious to see the upcoming works of Toy Selectah either solo or with Sonidero Nacional.

♫♫♫ "Bailen el Puto", Molotov (Mex-More Refix)
Download LP
MySpace

The Re Album, Zozaya

THE RE ALBUM, ZOZAYA
Delhotel Records, México ***1/2
Rating: 74
By Carlos Reyes

Raise your hands if you’re favorite Latin-Alternative album of all time is Café Tacvba’s Re, that’s kind of how it works; let me join the crowd and Wikipedia in that Re is in fact the best musical contribution to come out of Mexico. Tacvba's sophmore album is also called the Mexican answer to The White Album by The Beatles, now Zozaya aka Zozaya Mariachi DJ is inspired by the highly controversial project The Grey Album by Danger Mouse to bring a disobedient but yet respectful EP that once again embraces rock and hip hop as musical forces from the same vein. I’m not sure if The Re Album works as a statement or just as novelty aiming work that happens to succeed its over-ambitious premise. Zozaya is a two member act from Monterrey (get used to it already, the scene there is hot), Bul and Porno are two highly skilled guys; the former is a top producer bringing the ‘rock sensitivity’ to the project, while the latter brings a harsh and strong character to his hip hop. “Muestrate, Apartate” is perfect for a first track; it’s a defining first impression that will separate its audience between those that will embrace them and the rest. The track is also an endearing crowd-pleaser I could totally see getting big on radio, especially that huge space in between Plastilina Mosh and Toy Selectah. “Rap en Español” manages to sneak away from the premise foundation to settle its ground and identity, reaffirming they are the stars of this show and have the package to breakthrough with their very alternative proposal. This piece also reminds us the fact that Rap itself doesn’t have a translation, unlike the RockEnEspanol tag bands are still getting stamped with by international press. Porno is a bit too obscene in “Temor de ser Feliz”, and despite the triumphant production of the track neither the voice nor the music is charming enough to pull it off like one would expect from Calle 13. “Cafeta Crashed” and “Atrapado” get just about everything right, but also distract themselves with unconvincing phrasing like “soy un cliché.” The last track “El Borrego” is a cool recount of what they are, what they like and show some delightful consciousness by saying “we like Café Tacvba, please don’t sue us." As los tacubos celebrate their 20^th anniversary with a tour, Zozaya celebrates them in a beautiful musical act with the very best intentions.  

♫♫♫ "Muestrate, Apartate"
Download EP
MySpace

Cafe Tacvba in Phoenix Tonight!

See you tonight Tacubos!
Cafe Tacvba @ Celebrity Theatre, 8:00 PM

Rio, Aterciopelados

RIO, ATERCIOPELADOS
Nacional Records, Colombia

By Carlos Reyes

How many times do we have to say it? Aterciopelados might just be the best Latin rock band of all time, but Café Tacvba is around, and so we find it impossible to decide between musical treasures. Andrea Echeverri and Hector Buitrago arrived at the right moment, with one of the most radical visions in the emerge of rock en español, and they keep delivering marvelous pieces into their transcendental discography. Ever since Gozo Poderoso (2001), the duo has taken on a search for bright themes for our earth, accentuating nature and a handful of benefits as a consequence of optimism and positivism. Andrea and Hector released solo albums a few years ago, only to comeback with the amazingly profound Oye! and now Rio, which could be read as an equally vibrant continuation.

Aterciopelados embraces social protestation with their most powerful weapons, their lyrics. Having something to say isn’t sufficient to make an artist socially conscious, but these two visionaries manifest their unconditional offerings through deep-felt beautiful poems that happen to be singed and instrumented. Many years of Guerilla resistance have imposed national and individual fear in Colombia, the music of Aterciopelados smoothens the political tension through an auditory war of its own, one of peaceful and cosmic directions. I usually don’t tolerate artists exposing their art at maximum zooming (like a photographer chasing a victim of war), even if they are well intentioned, but Aterciopelados has the sensibility to depict reality, contemplate it and provide options to form change.

First single “Rio” asks us to send our rivers some oxygen, to send prayers and hope for the fish to comeback. The song humanizes our rivers and seals a connection between nature and our bodies, both in need of clean waters. The backgrounds are particularly outstanding; Andrea Echeverri and Hector Buitrago are true mavericks of atmospheric sensibility. “Vienen las aguas del rio, corriendo, cantando! por la ciudad van soñando ser limpias, ser claras”, one of the great singles of the year. Also astonishing is “28” which shares a lot with “A Eme O” a single from Andrea Echeverri’s 2005 solo album. The title of the song refers to the menstrual cycle, “the blood didn’t arrive in the 28^th day,” pregnancy had never been so poetically presented in any song before. For those complaining that their music doesn’t evolve just listen to a song like “Vals” or “Ataque de Risa”, there is no niche in their music or a comfort zone, just a direction.

They have released a video for “Hijos de Tigre”, a song for the film La Milagrosa (Rafa Lara, 2008) about the guerrilla and military repression in their country. “Bandera” is one of the great direct songs on immigration and a strong defensive song on those limiting our path towards our dream. Rio is fun and nostalgic, and in a way a sibling of another record this year, oddly not from a Latino band but from the Fleet Foxes self-titled album (one of the year’s ultimate best). Rio is charged with folk and traditional Iberoamerican lyricism that most international media would fail to fully appreciate, but their vision is so wide that the album is not only universally appealing but a charmingly persuasive document of action.

Numeric Rating: 89
♫♫♫ “Rio” (Via People en Español)
♫♫♫ “28” (Via Latina Magazine)
Buy it @ amazon
MySpace

Best Latin Rock & Alternative Songs, Rock en las Americas

Our great friend Jose Luis Mercado from Rock en las Americas wrote a flourishing series about Latin Rock and Latin Alternative Rock. Straight from Peru, he offered an extensive special on the changes and historical movement or Iberoamerica’s rock. The last post in the series is a top 20 list that recollects this genre in all its forms; it covers a big bunch of classics, newbies and some unexpected choices. All music videos for the following list are available at his original post here.

1. “Esa Noche”, Café Tacvba
2. “Señor Matanza”, Mano Negra
3. “El Matador”, Los Fabulosos Cadillacs
4. “Clandestino”, Manu Chao
5. “Oye como va”, Santana
6. “Pachuco”, Maldita Vecindad y los Hijos del Quinto Patio
7. “Mala Vida”, Mano Negra
8. “Sube a nacer conmigo hermano”, Los Jaivas
9. “Bolero Falaz”, Aterciopelados
10. “El Muerto”, Los Fabulosos Cadillacs
11. “Sarri Sarri”, Kortatu
12. “Cumbia de los Muertos”, Ozomatli
13. “Gente que no”, Los Autenticos Decadentes
14. “Perfume”, Bajofondo Tango Club
15. “Pobre de ti”, Tijuana No
16. “Fundamental”, Puya
17. “Tu forma de ser”, Los Autenticos Decadentes
18. “Los Delincuentes”, Veneno
    
19. “Dejenme si estoy llorando”, El Gran Silencio
20. “Llegale a mi guarida”, Calle 13 feat. Vicentico

Alternative Songs: Juana Molina, Aterciopelados, Zoe & Calle 13 feat. Cafe Tacvba

We don’t usually post info about new single releases, but this week has been truly amazing. It seems like some of my favorite artists wanted to uplift my spirit this week. The startling lineup of new songs is simply jaw-dropping, most of these artists will release their albums in October, let’s start saving some cash for what seems to be the best month for Latin alternative this year.

“Un dia”, Juana Molina
I was convinced Juana Molina would change Latin American music, and the new emerge of acts influenced by her music can’t prove me wrong. Careful, I’m not talking about innovations, it’s Molina’s deep-felt emotional approach to music; the power of music lies not in what’s hidden in between lyrics, treasure is found behind lyrics. Just like cinema is a visual media, music’s ultimate command is its sound resonance. “One day I will be a somebody else, I’m going to do things I didn’t do, I won’t care about what others say, neither if they will work out, I will travel, I will dance, dance dance, I want to dance!…” Starts with truly poetic lyrics, the entrance to a world of its own, one that reunites abstract vocals, sweet fairies and factories of sound loops creating new beginnings. My friends know I go nuts about her; again I can’t handle myself when taking about the single most visionary artist of Latin America. "Un dia" is available for free at Juana Molina's official website.

“Rio”, Aterciopelados
It only took me one listen to decide that this had to be the track welcoming readers to our MySpace (replacing “El Reloj” by Jovenes y Sexys). Aterciopelados is along with Café Tacvba the best rock band Latin America has ever had (you had read this statement before, I agree). Rio asks us to send our rivers some oxygen, to send prayers and hope for the fish to comeback. The song humanizes our rivers and seals a connection between nature and our bodies, both in need of clean waters. The backgrounds are particularly outstanding; Andrea Echeverri and Hector Buitrago are true mavericks of atmospheric sensibility. “Vienen las aguas del rio, corriendo, cantando!, por la ciudad van soñando ser limpias, ser claras.” One of the very best songs of the year.

“Reptilectric”, Zoe
Zoe went from the small and shy band that would replace Zurdok, to having the all-time best selling EP in Mexico to finally becoming the most popular band in Mexico nowadays. The band has yet to fully internationalize itself, but their long titled Grammy nominated Memo Rex Commander y el Corazon Atomico de la Via Lactea earned them enough recognition for their new album to travel new territories. The title of the song didn’t make any sense to me, I tried to google it and it seems Zoe has invented a word/species/new god? : reptile + electric. “Reptilectric, welcome to earth”, the song goes from confusion to illusion, seems like Zoe is waiting for the arrival of a prophet from another galaxy. Seems like they run out of patience with other gods and have transported themselves to a new cosmos; they ask for more love and less pain, to make them forget about everything that makes suffering. I like this new messiah, this “messenger of light”.

“No hay nadie como tu”, Calle 13 feat. Café Tacvba
Some months ago Calle 13 had asked its fans at their blog for suggestions on future collaborations. Calle 13 is a very appealing act that is mainly acclaimed by alternative music followers, so it came as no surprise that Los Tacubos ended as a favorite. The bad boys for the first time have overlooked reggaeton for a first single. “No hay nadie como tu” is a catchy song about so many things, about so many people and that special individual that connects them all. Here is hoping Calle 13 doesn’t loose its delicious explicit lyrics and political commentary. The song is simply triumphant and only makes us think that we’ll be getting another jewel with Los de atras vienen conmigo.