Classic, Intocable

Classic. Intocable
Sony International, Mexico
Rating: 63
By Carlos Reyes

Intocable’s conception of ‘classic’ is very out there; considering they’re always aiming for reinvention it’s not that big of a shock that their latest album cover references the counter-culture movement in the most miscellaneous of ways. It’s this kind of detailing that reinforces the group’s sense for uniqueness, something truly noticeable in their beginnings and not as prevalent nowadays. Like Pegasso did on its time, Intocable’s songs are inclined towards a sort of alternative audience but keeping their arena-size reach also in mind. Classic isn’t necessarily a change in sound but a return to an earlier Intocable (Fuego Eterno, Otro Mundo), which most people never really new in the first place. Before all the cutesy songs (and a couple of anthems), this band from Zapata, Texas had much of Los Tigres del Norte and Cornelio Reyna in them. The same way they are declared fans of The Smiths or Jay Z, their music has never really shown such eclectic inspirations but it has led them to explore new lands. They quickly lost the ‘Tejano’ tag to own a spot as one of Norteño’s most engaging and influential names, ever.

It’s hard to think of Intocable as a Mexican-American act, they’re fully embedded in Mexico’s hot-selling industry, perhaps the only Regional Mexican group with constant Top40 (pop) airplay. In such way, it’s not all surprising that they have ended up collaborating with Ricardo Arjona or AB Quintanilla, their incursion to Latin Pop has not been very fortunate, but it’s nice to see them try. If anything, it has been nice to see their songs on the hands of people like Natalia Lafourcade, Tego Calderon, Jumbo and Kinky. And let’s not forget that lately, Volovan sounds just like them. Through the last decade or so, we’ve seen hundreds of groups picking up their aesthetics, it will be interesting to see just how much Classic affects them, for one, it’s like the album Intocable had been trying to avoid. First single “Hay Ojitos” is a chart-topper, an endearing song that sums up what Classic sounds like. Other standouts include “Tu amor y mi amor”, “Rompiendo el Retrato” and the really weird “Estamos en Algo.”

Monterrey’s Luis ‘Louie’ Padilla gave them a bunch of hits, but lately the group was sinking in its own mellowness. Their country album, Crossroads being the excuse, it was refreshing, but also misunderstood. It would’ve been nice to see them explore that channel even further; instead, they have tightened their outfits to sing ranchero songs with Norteño instruments and techniques. In Classic, they team up with legendary Ramon Ayala and pay homage to their idol and Los Relampagos del Norte. The result is a bit too conservative and respectful but nonetheless, these guys are damn classy. Ayala was on charge of the album’s well adjusted production, Intocable is recognizable but a bit restrained. But asking them to suddenly transform themselves is harsh, still, I was hoping for something as magical as “Estas Que Te Pelas” or at least for them to take notice (and apply) Michael Salgado’s tricks, if you’re not aware yet, the guy is Norteño’s most exciting persona.

Classic is obviously another effort to prevent Intocable from settling in, and it works fine, I’m just not caught-up to the rushed rhymes of Norteño’s standardized pace. But my dad loved this, meaning Intocable accomplished their goal of breaking continuity, and that’s always a virtue.

Indies Love Intocable. Best of Regional Mexican Music 00-09

You may not know it, but I used to listen to a bunch of Mexican (Grupero) music when I was on High School. Most kids follow this genre because of their parent’s like towards these traditional (popular) songs, in my case, I just knew the pop music on local radio and broadcast TV was to crappy to swallow. Strangely, I found Norteño music very edgy, but I never liked the songs my parents played. For example, I still don’t get why my parents discuss about narco violence and the dangers of going back to Mexico while playing a narco-corrido on our living room stereo.

Andrew Casillas, a member of this blog, once called me a pussy when I told him I wasn’t into Los Tigres del Norte but I loved Intocable. He was being funny of course, but he’s right, I’m a softie with this genre. Lyrically, my favorite Norteño songs are formulated on pop standards; that’s why it is so damn easy to like Intocable. They could be the most mainstream group out there; my theory is that they could be Regional Mexican’s Reik, only awesome. It’s not surprising to hear their songs on Latin Pop Airplay. I don’t have a problem with Los Tigres del Norte as story-tellers, but their recycled composition has been stuck for way too long. Intocable is starting to get too repetitive too, but hey, at least they’re attempting to step out of comfort every now and then; like recruited Lloyd Maines (Dixie Chicks producer) to craft Crossroads: Cruce de Caminos, a great country exploration (and their most overlooked album yet).

And there’s stuff that’s just so effortlessly awesome like Joan Sebastian, Vicente Fernandez, Ramon Ayala, Los Alegres de la Sierra, Michael Salgado and basically anything related to Luis “Loui” Padilla (La Firma’s frontman, and Intocable’s head songwriter). Hope you don’t mind me saying it, but Ana Barbara is like Shakira and El Pasito Duranguense equals Reggaeton. Everything progresses and I actually find groups like Colmillo Norteño and Los Pikadientes de Caborca to be very creative, reminds me of when A.B. Quintanilla was actually interesting to listen to. It’s highly unlikely the genre will reach the fans of Nortec or Los Macuanos anytime soon.

Through the years I’ve found most non-Mexicans hate Norteño, Banda and Grupero (Tejano is dead); no one can really resist Ranchero, especially now that Mr. Fernandez’s Para Siempre has raised the bar as a career-best major achievement. Some of my friends like Jean-Stephane Beriot and the We Like It Indie staff were discussing about our admiration towards Intocable, so I found this post to be a good idea. Here is a list of songs I recommend, honestly, I only have two of them on my iPod, so I’m probably not your best source if you’re looking for a passionate list or a reference. Hope you're able to take the challenge, and by that I mean to watch these videos, horrible stuff, but good tunes! We’ll get into our Favorite 100 Songs of the Decade special really soon.

01 Intocable. “Estas que te pelas”
02 La Firma. “Con la intención de lastimarte”
03 Intocable. “A Veces”
04 Vicente Fernández. “Estos Celos”
05 Graciela Beltrán. “Eso es cosa de el”
06 Siggno. “Pero Hablame”
07 Solido. “Dile la verdad”
08 Los Palominos. “Me vuelvo loco”
09 Ana Gabriel. “Con las alas atadas”
10 Michael Salgado. “Sangre de Rey”

11 Joan Sebastian. “Sentimental”
12 Intocable. “Eso Duele”
13 Arnulfo Jr. “Adultera”
14 La Firma. “A mí que me importa”
15 La Firma. “Le Dire”
16 Los Pikadientes de Caborca. “La tenia mas grande”
17 Tigrillos. “Mira Oye!”
18 Colmilludo Norteño. “Hotel El Cid”
19 Intocable. “Es mejor decir adiós”
20 Limite. “Ay! Papacito”

Minis #1

Too many times we’ve started writing a review without finishing for several reasons: lack of time, lack of inspiration, and boredom. MINIS will be occasional posts with mini-reviews; from my part at least it is the most convenient way to talk about mediocre albums that don’t deserve a full review. Also, the fact that EPs are multiplying in numbers deserve a glance of our attention.

Minis #1 by Carlos Reyes
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Imprevisto, Nina Pilots (Movic Records, México) **

Nina Pilots is an all girl rock pop band that struggles to visualize its own aspirations. Imprevisto is an unsecure debut album that appears to be fresh among the commercial audiences, but it’s nothing more than a less inspired Paramore. But this is not a complete disaster; it is a well intentioned approach to popular music. In their MySpace they list bands like The Killers, No Doubt or The Strokes as their biggest influences, their music doesn’t even scratch those important bands but at least aims to get there. First single “Estas” steps right away into silly territory, at least is a straightforward single of what to expect in the exhausting 14 track LP. The band has not exploded internationally yet, but it might just get the undeserved attention of radio stations that program this teenage bands to fill their quota for rock programming. Add Nina Pilots to that list of weak and immature bands that reach the masses: Allison, Nikki Clan, Kudai, Don Tetto, etc. But isn’t the album cover lovely? I think so, bonus points for that.

Key track: “Estas”
Numeric Rating: 48
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Amigos EP, Nuuro (Poni Republic, Venezuela) ****

Alejandro Ghersi is an 18 year old Venezuelan genius of music software. Poni Republic released during the summer his return to the Spanish language. A sensational three track EP consisting of pure fun, upbeats and the transformations New York is inputting in his music. Nuuro is one act to follow, particularly during this early stage of musical ambiguity where we can see him falling and rising with plenty of revelation. Amigos EP is nothing like his full length album All Clear; his first jewel recorded when he was only 16 years old. This EP isn’t a contemplation search constructed of cohesive pieces, this time we get a refreshingly linear session of illuminated pop. “Diamante” is a blast of colors, “ABC” is freaking dazzling and “Un Paseo” has to be one of the most charming songs I’ve heard this year, great to play around your date. Just like most of the Poni Republic releases, this EP is available for free download at the label’s website.

Key track: “Un Paseo”
Numeric Rating: 87
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Dame Mas, Sussie 4 (Home Records, México) **1/2

Dame Mas is the new EP from Sussie 4, the much acclaimed electronic act that enjoyed fame with its previous installment Red Album (2006). Their music always demands careful listeners; I’ve always found their music very hard to digest. But the talent is undeniable; they seem to be in control of their musical ornaments that may scare too many people off. Dame Mas is probably the only release that will not deliver extremist opinions, it’s drastic enough to please the conceptual critics and sufficiently classy to keep the purists happy. And that opens spaces for the intermediate reactions like mine; I hear a middling product from two gurus with a lot more potential. “Dame Mas” is the song that gives title to the album is one of those songs that tries too hard to be different (on all six versions of it), that it transforms into a mechanical hybrid that has no fuel to work properly.

Key track: “Wanna feel you”
Numeric Rating: 58
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2C, Intocable (EMI Music, México) ***1/2

Intocable is in my opinión, the most important regional Mexican group nowadays. Don’t get me wrong, Los Tigres del Norte did their thing decades ago but their music has got stocked right after their classic “De America Yo Soy”, a song that would supposedly internationalize norteño music. The music of Intocable shows clear influences from popular norteño, but also registers a great amount of conjunto bands from Texas, and the defining melodies that Ramon Ayala brought to accordion. It is perhaps the only norteño band that keeps evolving. Their previous release Crossroads was an unprecedented encounter of norteño and country music, a majestic work from Dixie Chicks producer Lloyd Maines. A misunderstood album that I’m sure will serve as a base for future generations of Mexican-Americans. Their 12^th studio album is a comeback to traditional music, but always improving acoustics and doing wonders for the genre. The opening (Estela) and closing (Como me las pongan brinco) tracks are two extraordinary instrumental pieces of folka (polka+folk). My only complain is its weak lyrics, Intocable has an established group of songwriters and it is time for them to chase new waves, let their music also evolve lyrically.

Key track: “Que fácil es amarte”
Numeric Rating: 74
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Indienella, Indienella (Unsigned, Spain) **1/2

I didn’t catch the wordplay behind the name of this new pop duo from Spain until I visited their MySpace. Argentina’s Pimpinela (also a male/female duet) was a sensation during the 80s and 90s, back on the day when labels didn’t care about age. I always found Pimpinela very lousy and excessively lazy; Indienella’s music isn’t so distanced from the topics handled by their godfathers. Debut albums should be anything but safe. Indienella fails to contribute anything new to Spain’s exciting indie movement and ends as a forgettable phonogram. For those wound up about its happy pop and garage premise I suggest to jump on the NIZA wagon, one of the great kitsch bands early this decade. A very flawed album in production and lyrics, but at least they maintain a level of confidence in their naïf punk, something quite rare in first productions.

Key track: “Secretos de Belleza”
Numeric Rating: 56
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