Video: Torreblanca - "1000 Fantasmas"

The frame opens with two adolescent girls entering a door and quickly surveying their surrounding. Director Benjy Estrada doesn’t immediately follow their personal eye line. Instead, he presents the place where the girls will be sheltered through a high shot that slowly descends into the characters’ eye level. There is contrast and content in the making of this decision. The offering of an aerial shot tells us this is a clip of magnus scope –which you may read as the view God would have when looking over these young ladies. The sinister music and adolescent themes quickly refer back to the films of Carlos Enrique Taboada (Hasta el viento tiene miedo, Más negro que la noche). And as the melody of Torreblanca’s “1000 Fantasmas” progresses, we find ourselves presented with a phantasmagoria –one with plenty of space for explorations of the heart and the flesh. A promising premise for the visual attachment to the first single of Torreblanca's forthcoming album, El Polvo en la Luz.

The name of the clip's producing company, Los Niños Perdidos, sure is fitting. The teenagers soak in water for the thrill of the splash, but also for cleansing. Affording such a retreat means these kids belong to the bourgeoisie. And yet, they show little refinement, manifesting violently in frustration. Perhaps negotiating their newfound social interaction outside the virtual networks. When contained in the pool, the kids revolt. When out in the lake and nature, they exercise their fears and encounter their roots. This presentation of a colossal youth acquiring self-worth and knowledge goes in deeper into the personal ghosts of Juan Manuel Torreblanca. “Pobre de tí,” he sings with a wounding tone over and over –perhaps singing as a way of negotiating and reconciling with his own adolescent years. At the end of the clip, we see the same girls leaving the magical place. One girl looks back over her shoulder, glimpsing at what she’s leaving behind, just as the music leaves us on a key of unsettling suspense.

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.

Video + MP3: Natalia Lafourcade & Various Artists - "Un Derecho de Nacimiento"

It’s been crazy in Mexico ever since the electoral campaigns began. Sick of manipulated information and biased content generated by Latin America’s largest television network, Televisa, which has manifested an evident tendency towards presidential candidate, PRI’s Enrique Peña Nieto, the movement #YoSoy132, led mostly by young people and students, has grown into a consolidated cause over the whole Mexican republic, demanding impartiality in information and condemning the imposition of a presidential figure by corporate media.

Aware of this alarming climate, many Mexican musicians (#MúsicosConYoSoy132) have joined the movement. Brilliant composer Natalia Lafourcade has been a strong supporter. On May 9^th, through her Twitter account, the songstress announced her followers she would write a song “asking for positive things in the country” and invited them to contribute ideas. One month later, “Un Derecho de Nacimiento” was born. Originally premiered at a #YoSoy132 concert on June 16^th at Distrito Federal’s main square, this first take had Lafourcade hypnotically looping her vocal melodies into a raw, conscience-awakening, awe-inspiring chant. The final version, featuring some of our favorite artists (Carla Morrison, Juan Manuel Torreblanca, Marian Ruzzi, Vicente Gayo, among others) is more conventional without losing any ounce of impact that the first live recording transmitted. In fact, hearing all these figures collaborate together in such a uniting manifesto, results in something hopeful and deeply touching, despite what certain outspoken bands may think about the authenticity of their endorsment.

Today is the elections day, and “Un Derecho de Nacimiento” came in the perfect time, resounding as an awakening anthem for this transcendental date. Myself, being a Mexican, living in this beautiful country and having the chance to vote today, feel profoundly moved by this hymn and, with all my heart, expect the change our beloved country deserves, finally arrives. Today’s citizen's participation is decisive for Mexico’s course. And, as the song’s chorus affirms, “Yo no nací sin causa/Yo no nací sin fe.” Let’s make our voice count. It’s truly a birth right.

♫♫♫ "Un Derecho de Nacimiento"

MP3: Coyoli - "Jofredesa"

A relatively new act within our circuit, Mexican musician Oscar Coyoli has been composing engaging folk music for a couple of years already. Listening to his 2007 release under the unpronounceable and ungoogleable artistic name ((( ))), Una tarde de domingo en la isla de la Grande Jatte (named after Georges Seurat’s iconic painting), the first comparison that came to mind was Phil Elvrum’s work (particularly because their voices sound very similar), mixed with a splash of Beirut’s Gulag Orkestar. It's a heartwarming effort that remains an underground gem.

Almost five years later, with the help of skillful producer Juan Manuel Torreblanca, Coyoli presents “Jofredesa,” the captivating first cut off his group's second EP (and first simply as Coyoli), Bémot. A breathtaking work of pastoral folk, “Jofredesa” is a piece that beautifully relies on silences and their contemplativeness, which transmits a domestic feeling of somehow, somewhere, having already heard it, as if it had been integrated to your memories for ages and you didn’t even think you'd remember. With the addition of singer Pilar Hernández's significantly moving leading vocals and Andrea Balency’s serene assistance on accordion, “Jofredesa” stands out as a radiant new beginning to a candle-lit path to greatness.

Torreblanca - Bella Época

Bella Época, Torreblanca
Arts & Crafts, México
Rating: 79
by Enrique Coyotzi

With exceptional talent, determination, and passion for creating music that transmits vivid imagery and sensations through finely crafted melodies and precisely chosen words, Torreblanca has rapidly become one of the most imaginative bands in Mexico, delivering highly complex pop music combined with confrontational structures that incorporate a great palette of musical influences like swing, jazz, and alternative rock. Ever since last year’s stupendous Defensa EP, there has been great anticipation surrounding their first proper LP. After craving for months since ferocious first single “Lobo” was released, Torreblanca’s first full-length, Bella Época, is a captivating work crafted by a five-piece of distinguished musicians that, under the direction of visionary leader Juan Manuel Torreblanca, have created a record whose compositions, with a certain level of obscurity and irony, remind us of past eras that appear to be distant, comfy, and sometimes scarily violent.

Blissful opener “Las Horas” is the perfect example of how connected the band is now. The song starts with Torreblanca’s soft hypnotic piano playing that gets more dynamic, while Andrea Balency softly captivates with her accordion entrance. Alejandro Balderas intensely erupts with saxophone energy, then Carlos Zavala and Jerson Vázquez, with bass and drums, both smoothly adapt. In the first seconds of this song we appreciate a top-notch quintet that have found harmony and the virtue of sounding like a solid group where each of its members contribute and stand out. While Torreblanca is the author, the one who sculpts the backbone of these songs, it’s evident how the band members have gotten to know each other and have contributed more directly in aspects of arrangement, execution, and development of the pieces, never losing the essence of the original sketches. Under the assistance of Café Tacvba’s Quique Rangel, the group finally sounds like a complete ensemble, as every single instrument employed in the mix shimmers. While Rangel is not as bold a producer as his bandmate Meme, utilizing a more conservative and grainy, not so risky production, this kind of retro conservative approach works with the theme of the album, which also recalls vintage appreciation based on the record’s artwork: old photographs and warm nostalgia through cursive lyrics on the booklet (written by Torreblanca’s grandmother), conducting us to momentums that feel surprisingly like home.

Torreblanca has one of the most divisive voices, and many people I know will reject his voice almost immediately just for how unconventional it is. Truth is, in the great tradition of unique vocalists like Björk, Rubén Albarrán, or Tom Waits, Torreblanca belongs to that group of edgy, one-of-a-kind voices that may be be so uncommon, so different, audiences will dismiss it without allowing many chances to decipher its real beauty and the intense emotions he proportions throughout, establishing himself as a daring singer in the current indie panorama. The vocalist also possesses a fascinating capacity of painting different characters in each of his tracks, as well as adopting their personalities through the striking vocal interpretation and versatility he gives to every number. He also has a facility of creating situations that are kind of cryptic (“Hueco” and “Lola en el Sillón”). Some of the themes are completely relatable for almost any public (“Si” and “Roma”), still, the words employed invite the listener to personally interpret the meaning of the message and create hypothesis with the richness of the writings. “Dejé de Ser Yo” is a tale of a gentleman that loses his reason after meeting a courtesan. It’s impressive how Torreblanca picturesquely delineates characters, such as the woman with a “cinturita de reloj de arena” – a rich employment of language that sharply draws detailed contexts about lasciviousness and desire.

On the other hand, more straightforward songs don’t get too complicated and simply hook with the universality of their message, like in “Roma,” colored by delicious brass sections – easily the quintet’s most joyous tune, one that you’d long to dedicate at one time in your life. “Lodo” is a bitter realization about getting old while still living in a puberty mindset, with the track's choruses resembling Café Tacvba's golden age. “Otra Decepción” surpasses the demo version with its cathartic declaration of “¡no voy a dar lugar a otra decepción!” And, though the strong presence of flute after the first chorus is missed, Balency’s accordion is a fine replacement. For a record titled Bella Época, whose title may or may not be ironically related to Mexico’s current violent landscape, “JB” is a completely depressing, low-key conclusion that flirts with PJ Harvey’s To Bring You My Love era. To me, it is the voice of the omnipresent nature manifested by vulnerable areas, hinting at the destructive power that’s inherent in them. Featuring an engrossing collection of inventive songs, including multiple highlights, Bella Época is a wonderful achievement that’s not precisely groundbreaking, yet it’s a mesmerizingly composed LP that exudes delightful quality and provides extraordinary touching feelings throughout its assorted stories from beginning to end, condensing Torreblanca as an atypical band in matters of unusual confection, obtaining bewildering results. Despite minor production flaws, Bella Época is a record that reflects its concept ambitiously, offers unconventional creations, and manifests the loving labor that went into it.

New Single: Torreblanca - "Lobo"

Lycanthropy has been a recurring topic in arts for ages; contemporary popular music isn’t an exception in that matter. Many musicians have approximated the well-known myth of the werewolf and wrote songs about it, whether it’s Michael Hurley’s folky cult favorite “Werewolf”, La Unión’s rock bar anthem “Lobo Hombre en París” or Shakira’s italo-disco hit “She Wolf”, a great number of artists over the time have shared with the world their view over this immortal legend through diverse stories. Torreblanca is the most recent act to be inspired by this figure in “Lobo”, first single from their upcoming release Bella Época, the follower to their much lauded impressive Defensa EP. Instantly appealing, featuring a stellar execution by the 5-piece band and a fascinating vocal performance by Juan Manuel Torreblanca, “Lobo” surely will raise expectations to the roof about Torrreblanca’s soon to be released new material.

It is very probable now onwards Torreblanca will be recognized like a full ensemble rather than simply a band led by Juan Manuel under his last name; this doesn’t mean they hadn’t proven this already in Defensa EP, yet there’s plenty of rich dynamism in the instruments used in “Lobo” where you can distinguish indubitably the contribution of every member in this project at their best; check out that immediately grabbing saxophone menacing opening, Andrea Balency’s dominion of accordion, the last blissful thirty seconds where the whole band double pace. Still Juan Manuel steals the show with his vocal delivery; he sounds agitated, even kinda sexy narrating his tale about new found freedom by looking into the moon to metamorphose during nights, converting this transformation exercise in his way out of daily social convention practices like religion and politics.

Via NPR's AltLatino

Video: Torreblanca - "Parece Navidad"

Just in time for Christmas, one of Mexico breakthrough bands of the year Torreblanca has a new video for their album’s ultimate highlight “Parece Navidad.” Director Floria Gonzalez helms a freaky video full of crystal surfaces, including the scenery of Christmas in plain decomposition (worms included). At different moments, the clip brings back images from Citizen Kane and Pan’s Labyrinth (difficult childhood-themed movies). We described this piece as “a rich textured song where the orchestral passages parallel to the on&off switch of a light bulb”, indeed, the video embraces this mournful side of Christmas. When the ghosts of the past come back to hunt you, find a way out, burn the memories.

Video: Torreblanca feat Turra Medina & Sonido Landon - "Por La Ventana" (Gepe Cover) / Fonogramaticos Vol.10

When we made the call for entries for our upcoming Fonogramaticos Vol.10 compilation we weren’t expecting any videos, but our dear Juan Manuel Torreblanca surprised us with this fun, self-claimed ridiculous video. This very special video is a surprise and is filling our hearts with joy. As you can see from the awesome t-shirt he’s wearing in the clip, Juan is a big fan of Chilean pop astro Gepe, and we can’t think of anyone more suitable to cover Gepe’s catchiest song “Por La Ventana.” Torreblanca recruited his Mexico City-based Chilean friends Sonidolandon and Turra Medina to craft this very hip, amusing and gripping version, by far, one of the most joyful tracks in the compilation.

This video was shot by Jimena Montemayor as the group of friends met to record this awesome version. We told every band participating to have fun, and if all the other bands had half as fun as these guys, we couldn’t be happier. We’re not sure what’s up with the banana motif, but great job recreating Gepe’s awesome video, the guys sure look sexy with those wigs (and that La Rosa de Guadalupe moment is priceless). We'll unveil more tracks this coming week through a set of bootleg promo videos, all framed by great Latin American movies.

New Single: Andrea Balency Trio - "Una Linea Va"

Last year, prior to recording the sublime Defensa EP, Juan Manuel Torreblanca couldn’t hold his contentment when the up and coming Andrea Balency showed up with a jaw-dropping cover for his long-time revealed “Parece Navidad.” In the following months, Balency appeared as a guest musician of our dear visionary to eventually, become part of one of the hottest new bands around. The gorgeous singer has an album ready to release and is ready for her own project to breakthrough, the Andrea Balency Trio. “Parece Navidad” is such an important piece to the Torreblanca and Andrea Balency Trio projects, an inevitable bond they share that now finds a place in an equally stunning new song titled “Una Linea Va.”

Andrea is the owner of a gifted voice and a natural ability to own words, and utilize them to dispatch her feelings to incredible places. If like us, you agree Balency’s heartbreaking line “que me quema los ojos y me quiebra los pies” is one of the year’s most beautiful layers, than you’ll love every second of “Una Linea Va.” A track about self-remorse and the agonizing fear of love, to feel love, “quiero cegarme y no ser.” The song reaches monumental value when Torreblanca’s calming back vocals show up to in to reinforce the mutual soreness love leaves behind when the line (of living in uncertainty) goes on.

Defensa EP, Torreblanca

Defensa EP, Torreblanca
Independiente, Mexico
Rating: 85
By Carlos Reyes

It was around 2007 when I first came across the music of Juan Manuel Torreblanca, an instant MySpace music crush that turned into friendship. It’s hard writing objectively about a friend’s music, it’s even harder if that friend happens to be an occasional (sharp and amazing) contributor to your website. Have no doubt, there’s sentimental tissue here that tunes my senses into Torreblanca’s music. Instead of trying to approach this as an outsider, I’ve decided to embrace the proximity between the ‘critic’ and the artist, not allowing such conditions to overthrow this review’s sincerity and heartfelt study.

Juan Manuel has come a long way since cutesy songs a la “Pancakes” or “Nada Me Saca de la Cama”, his music has evolved into songs that are hard to spoil, between the brimming and the transcendental, and the nihilist soundscape. Under the format of a band, Torreblanca exclaims autonomy in all four tracks that comprise the captivating and far-fetched debut Defensa EP. And it doesn’t hurt to have Andrea Balency as a member of the band; she does some of the most outstanding vocals I’ve heard in a while. This is a pop record worth of investment on just about any of its layers; it’s polite, agonizing, audacious, but most of all, an overture of music’s very own virtues and contradictions.

First single “Defensa” is a puzzling rare track, a sort of extravagant shout on guilt and pleasures hard to resist. Defensa EP is built on beautiful struggles and unconceivable victories. Despite its warmth, I found the overall journey to be a riveting violent record, only subtle to those “in the mood for love.” Torreblanca holds its romantic spirit in its classical and ravishingly modern constitution. Particularly in the richly textured “Parece Navidad”, where the orchestral passages parallel to the on&offs of a light bulb. Either as a mournful welcoming of Christmas (“te digo la verdad, yo me porte muy mal”) or a moment of meditation (“mentiras, mentiras, mentiras, ya no!”), the song is an absolute beauty.

“Largo” is collaboration with best pal Natalia Lafourcade, and another page in understanding Defensa’s curiously uplifting strength. It’s a deliciously painful song, “tengo miedo tengo mucho mucho miedo”, comforting and distressing at the same time. The song is well-grounded, unfolding its leaves on a “me quiere no me quiere” fashion which is as terrifying and faltering as silence itself, hearing Juan singing “algo, digan algo” brought me to tears. Torreblanca proves to be dynamic in the bombastic “Nunca Acabo Lo Que Empiezo” featuring LoBlondo from Hello Seahorse! Like Patrick Wolf or PJ Harvey, Juan Manuel Torreblanca’s vocals flirt with music in unexpected manners. The song’s imaginative and dripping brushes reconcile Torreblanca’s anxiety to portray pain as a valuable, healing and untamed resource for inspiration. A wonderful, edgy and ferocious debut.

♫♫♫ "Parece Navidad"
MySpace

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.

Video: Torreblanca - "Defensa"

The stunningly gorgeous website Oh Colour Me In premiered Torreblanca’s very first music video “Defensa”, the first single from the band’s upcoming Defensa EP. The video is as intense as the song, inquietante. Well, things get even more exciting as the same website is also streaming the 4-track release. The physical release should arrive soon. As stated before, the album features collaborations with Natalia Lafourcade and LoBlondo from Hello Seahorse! From initial spins, we can pretty much predict that we’ll be listening o it a lot. We’ll be reviewing it soon, but pay close attention to “Parece Navidad”, heart-trenching!

Video: "Cursis Melodias", Natalia Lafourcade

Hu Hu Hu's charm just keeps growing, much of the transcendence of an album is handled by its music videos and Natalia sure knows how to own her videos. I'm not a fan of the "Ella Es Bonita" clip, in fact I hate it, but this new video for "Cursis Melodias" is anything unlike that first video. This is a cute and grainy (almost vintage) video, very happy framings of Paris that do justice to the song. It would’ve been cool to see our Juan Manuel Torreblanca dancing around her, but it’s ok, she’s never looked so beautiful and they probably had a blast filming it.

Vive Latino: Review Day 1

VIVE LATINO 2009
10th edition of “festival iberoamericano de cultura musical”
first day (long day – long review)
by Juan Manuel Torreblanca

Pictures by Pnacho

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Gepe

I got there a bit late, I must confess, but I managed to get a good glimpse of this first day. I must say that I felt this time the sponsors and the efforts concerning all the inside little shops, stages, art installations & ornaments were much more visible, making it a more spectacular festival. My entrance to the “foro sol” was distracted by a voice that I (sincerely) confused with Mexican pop star Belinda, but I said to myself “it seriously can’t be her… it was to early for a Moderatto surprise appearance anyway. So I looked into the Red Stage and it was Satin Dolls. Nope… I decided to just get inside to get a better view of the main stage. I caught a bit of San Pascualito Rey, it was sounding nice but I wanted to check out Gepe (I’m a big fan) so I made my way to the Carpa Intolerante “intolerant tent?” it sounds a bit like a tongue-twister… well, I got there and it was almost empty, 30 persons tops. I bumped into a couple of friends there and stood in front of the stage, really close, eating gummy bears (that I had brought along from home) until Gepe (joined by the wonderful Pedro Piedra) stepped onstage. They blew my mind away. I had seen him live a couple of times before here in Mexico City (at La Faena and el Centro Cultural España) but he had never sounded so great, he owned the stage, filled it up with his voice his unique dancing style and his folkloric electro-pop; and the tent continuously saw more and more people join the party. We all danced and sang along. They truly lifted our spirits. That’s what a music festival is supposed to do, I’d say. Gepe made me fall in love with the Vive Latino.

After that, I headed to the Red Stage to catch the Simplifires. That stage had a bit of a Coachella thing going on. The green grass, the palm trees surrounding it, the sun. The neo-hippies scattered all over the field. The Simplifires took the stage and Dave O took off with that outrageous yowl he delivers out of nowhere. His deep lyrics floated over their tight rock beat & despite a slight lack of presence of the guitar (talking about the mix not Shine’s performance here), the audience responded with warmth and a grateful ovation. They also went from a middle sized crowd at the beginning, to a rather big and captive bunch when they said their goodbyes.

Little Joy

I had to walk to the opposite side of the stadium to get to the Blue Stage where I wanted to stay for Little Joy, Ximena Sariñana and Hello Seahorse!

I got there and Little Joy had already started. I enjoyed them a lot! They had such an ease and an indescribable grace to them that it was just beautiful. Rodrigo Amarante’s voice has all the flavor of the Brazilian giants. He even sang some Gilberto Gil and kept me smiling all through it, under the partly-cloudy sun. Fab Moretti (beyond famous thanks to the Strokes) and Binky Shapiro (with her blonde hippie-chic chick glamour and sweetness) complete the band; but they fill it out for their live performances with Todd Dahlhoff and Matt Borg from The Dead Trees (on bass and guitar, respectively), and Matt Romano from Albert Hammond Jr's band (on drums). They’re delightful.

They had warned (on their MySpace) that Fabrizio would be busy recording with the Strokes for most of their June dates, but (unless my glasses aren’t working anymore for me) he was here with them.

I got to see a bit of Kinky’s set through the screens while they were prepping everyting for Ximena Sariñana. It looked cool and it was probably a blast (as usual). It was also fun for me to see how impatient people were with the unavoidable burden of reconnecting and line-checking (the nightmare of festivals, for the staff)… however the creativity shown by their desperate yells got more than a couple smiles out of me.

After a bit more than expected, Ximena Sariñana and her band of virtuosos took the stage. She opened with Eric Couts’ cover of “Rara” and the first thing that made my jaw drop was her drummer Hernan Hecht’s amazing strength as he drove the song into a version that’s a million times more energetic and interesting than the album’s (that sort of happened to me with all of their arrangements for her live performance), Aarón Cruz (on bass) kept up and took the jazz concept of the “walking bass” to another level, one where it was more like dancing and hopping and painting the harmonic structures of the song surprising colors. And, of course, there’s Ximena. Her beauty and undeniable charisma really shone beneath the evening sun. Her voice was full and healthy (though the mix on it was a bit low at first) and she was really confident and enjoying herself. Visibly nervous and excited to be playing her first Vive to a medium-sized crowd which (nonetheless) sang along LOUDly to all her songs. I especially enjoyed the brief moments in which she improvised a bit and just let go. She ended her set (a bit short due to the problems they had setting her up) with a slightly faster take on “Vidas Paralelas” and I loved it like I never loved the album version.

Hello Seahorse!

Then came the time for one of the hippest bands playing this festival to take the stage: Hello Seahorse! I have believed for some time that, in the end, it doesn’t matter all that much how beautiful or charismatic the frontman (or frontwoman) of a band is; it doesn’t matter how well he or she might sing or how cool they might all be; it’s the songs that matter. And Hello Seahorse! have risen to a new level thanks to a bunch of really good songs, increasingly better with every release; but mostly, thanks to one song that really conquered the airwaves the past months, "Bestia", and it’s been said before, but it was so clear to see now. The people were really excited to see them, and they asked for that song from the first moment. So, I must add that they too had some problems getting everything ready, and it took enough time for me to catch a bit of Zoe on the screens (boy, they had some gorgeous visuals) but back to HSH!, once they got going, it was up up up… Lo Blondo’s voice was awesome and present (in her ethereal high & crystalline almost soprano style), her face couldn’t hide her joy & wonder at such a warm reception from the crowd, well they were all SUPER happy to be honest. Oro de Neta had the coolest little red keytar and he rocked it like it was 1985, I was so jealous hehe… and he & Bonnz provided the powerful thread that managed to join the old and the new HSH! into a mature young band, darker, fresher and promising. Unexpected but fun was the guest appearance of Niña Dioz rapping to the early hit “Cassette” a bit awkward to see the hip-hop young star jumping to the happy twee of that song once the rapping was over, but they really pulled it together to end it cool and tight.

I meant to race back to the “Intolerant Tent” (hehe) but I had to eat something so I made a stop and had some tacos & soda before I got to see Los Dorados. I might dare say that tent was my favourite. The lighting with them was brilliant, they really evoked a fire: smoke that erased the limits that draw walls and roof and orange and neon yellow lights that found glimmering ways between the musicians. Demián (the guitar player) had just played with Ximena (as part of her virtuoso band) and here he was really letting himself go crazy. Dan Zlotnik is probably my favourite sax player in the world, and the rhythm base created by Rodrigo Barbosa & Carlos Maldonado (plus the DJ and his excellent scratching) is a fantastic mix of Radiohead and Jazz and godknowswhat… it made me think about a quote I heard not long ago (& sadly I forgot who said it but) it said “all music is experimental, really” and I believe it’s a bit true…anyway… Los Dorados had a full tent and the people were really into it… I started hearing the rumour (Austin… Austin…) so I guessed Austin TV would be the surprise this year… and apparently they were going to play that tent just then… and they did.

Austin TV

Austin TV were announced as Zanate y asociados, and somehow fans (I am, obviously, not one of them) figured out it was them. They took a stage that was half electronic devices, half a tropical jungle, donned in their little green grass smurfs masks, with cool Victorian school-boy (and school-girl for Chiosan) outfits. I must say I wasn’t expecting what I saw then. It was the wildest crowd of the night. They LOVE Austin, capital letters, absolute devotion. The kids give their all onstage, and they sprinkle the songs with heart-felt speeches in-between. The audience clap to the rhythms, they draw all the melodies on the air with their hands (Austin brings the orchestra conductor out in most of them). And despite it being an instrumental project, with no singing and no lyrics, people sing along to the melodies and “hey hey hey” and “ho ho ho” whenever it fits. It is amazing. They played two covers, first “around the world” originally by Daft Punk, and near the end a bit of “el baile y el salón” originally by Café Tacvba (for which they brought onstage Rubén Albarran) it was a highly exciting moment. Everyone burst into that anthemic “papa rupapa eu eooo” and sang along, even though the structure of the song was very different and it was just a fragment of it, the rest was those ups and downs in intensity that drive Austin TV fans crazy. Mosh-pit-slam-jump-up-&-down-scream-your-lungs-out crazy. I must confess that, personally, I don’t quite get it. I mean, they don’t do it for me. BUT it is a phenomenon to watch. And it also proves that an audience fully involved makes a concert huge like no one other performance can. So it was a nice surprise, when it ended, people were happy, you could hear comments on how “cabrón” it was etc.

And then it was time to head to the main stage, the Green Stage, to see Andrés Calamaro. It was dark and I could appreciate some details better before he appeared onstage; like the Olympic flame that lit the middle of the arena or a series of 6 really iconic Mexico City buildings that stood on one side of the seated area (the VIP area) and beautifully lit you could see the Torre Latinoamericana alongside the Monumento a la Revolución & others. I believe this is the nicest Vive Latino so far. By the time Calamaro & his band took the stage, I was rather tired and I had to watch the first part sitting down, but that didn’t make his concert a bit less spectacular nor less worthy of a headliner’s position (i.m.o.).

It was the perfect example of a mature and ripe show. Everything in its right place, every song a great song. A grateful crowd enjoying the presence of a poet & pop-star (all in one), of a master of hooks & an expert craftsman when it comes to the architectural side of songwriting. An Argentinean friend told me during his concert that Calamaro was such a prolific giant that in 2000 he released a CD that included more than 100 songs (well, it was 5CDs actually) and it was called “El Salmón” because it made reference to those who swim against the current… ain’t that cool? It was a brilliant, exciting and moving show. You could tell that time and life have given him quite a ride and his voice the raspy color of experience, of tango, of cante flamenco & -of course- of old-school rock & roll. He made a couple mentions of Michael Jackson. He quoted (musically & lyrically) Led Zeppelin’s Stairway to Heaven. Above us a sky that remained cloudy but spared us the burden of rain. And Calamaro gave all until the end. He sang about La Alta Suciedad, he sang La Flaca and to finish Sin Documentos. He kneeled, he owned every corner of the stage, he harmonized beautifully with his bandmates and he won his crowd with his colossal talent.

I had to catch the subway to get back home and my feet were starting to ache by then, so I decided to pass on La Castañeda and, the IMS (I had seen them before at Pasaje America and danced –what seemed like– all night to their music, I felt I wasn’t going to die for missing them this time. So that was it, my first day, and now it’s almost 3am and I don’t remember what the Matchbox 20 song said about that… but I know that once I’m randomly rambling, it means I must get some sleep.

If your poor and humble servant gets tickets for tomorrow, I will gladly send another review… if I don’t, then that’s that!

a vive latino hug

juan

Featured: Juan Manuel Torreblanca

Juan Manuel Torreblanca was once inducted on our now gone Artist of the Week section, with so much charm and compositional reach it was inevitable to have him back now with a featured song. He is part of Natalia Lafourcade’s band and to our pleasure working on a first official production that will be released later this year. To me, he has got to be one of the best individuals in Mexico’s current pop. He’s currently also promoting and performing his appearance in En Petit Comite, which invites artists to produce a session of songs in a single day! But for our feature we have decided to share a gorgeous piece (actually a demo) we’ve been listening to for more than a year, but it's a great introduction for those unfamiliar with him, “Nada me saca de la cama” is a collaboration with Ximena Sariñana and let me tell you, it’s a charmer. A great anti-lousy tune almost anyone can relate to. 

Club Fonograma Features: 
JUAN MANUEL TORREBLANCA. 
Track: "Nada me saca de la cama" featuring Ximena Sariñana
Album: None
Label: Independiente
Country: Mexico
>>> MP3
MySpace

Some of our favorites tell us their favorites... best of 2008

Don’t get tired of Best of the Year lists so soon (there’s much to come), as promised, we asked our favorite artists of the year to tell us their favorites. A big bunch of artists didn’t respond and so we don’t like them anymore, just kidding, we know how busy people are. But very special thanks to those that did help us out. We asked for a Top 3 or a Top 5, limited to albums made in Iberoamerica. Notice the presence of Hello Seahorse!, a band I absolutely love and was part of my Top 10 of 2007, but I realize the album got a commercial release just this year and so most people would consider it a 2008 production.

AUSTIN TV. One of our favorite bands and Mexico’s most important band today. Fontana Bella is a spellbinding absolute masterpiece that will for sure provide us with some singles for our year’s best songs of the year. We can’t wait for their next one, quality assured.

• ·         Mexico, 1982. – Hummersqueal
  
• ·         La Cura- Raton Perez
  
• ·         Vicente Gayo
  
• ·         Hoy a las Ocho EP – Hello Seahorse!
  
• ·         Well, Well, Mr. Whale – Suave as Hell 

HIDROGENESSE. They were my musical radicals last year, a spot now replaced by their fellow Joe Crepusculo, which happens to be one of their favorites this year. Their last album Animalitos is great and had very little attention in the Americas, hopefully it won’t happen with Bestiola, which made my list this year too.

• ·         En la isla de las bufandas - Lidia Damunt
  
• ·         Escuela de Zebras / Supercrepus - Joe Crepusculo
  
• ·         Pianistico – Single

JOVENES Y SEXYS. They made my 4^th favorite album of the year, and shockingly all of their choices ended up in my list, wonderful taste chicos! (note that they sent their list way before my post). They are currently busy playing in Mexico, for those lucky ones living there enjoy their sexy melodic pop.

• ·         Alegranza! – El Guincho
  
• ·         Un Dia – Juana Molina
  
• ·         Presente – Ulises Hadjis
  
• ·         Fledermaus – Domingo en Llamas
  
• ·         Bam Bam – Bam Bam 

JUAN MANUEL TORREBLANCA. He was featured as Artist of the Week back in May, we are very happy to know that he is finally recording an EP which should be out next year. He’s a great singer-songwriter that happens to enjoy great music too.

• ·         Quieres Estar Solo – Pol
  
• ·         MTV Unplugged – Julieta Venegas
  
• ·         Mediocre – Ximena Sarinana

LOS FANCY FREE. This is Jean’s favorite Mexican band along with Austin TV, I love them too. I was a bit confused on the dates of the two volumes of Never Greens and so I excluded them from my list, but they were on Jean’s top 10 list. This is one of the most exciting and energetic acts to see in concert.

• ·         De Repente – Monna Bell (re-edicion)
  
• ·         Heartbeats – Los Guanabana
  
• ·         Rocanrolandia – Los Margaritos
  
• ·         Percusiones – Gustavo Pimentel
  
• ·         Down! – Mockinpoint
  
• ·         Taras Bulba – Jessy Bulbo
  
• ·         Homanaje – Brownout

MARCELO CUNNING. His selection of music always intrigues me, same would go to his partner Amylu from Nacotheque, New York's hottest party hosts. 

• ·         Bestiola – Hidrogenesse
  
• ·         Taras Bulba – Jessy Bulbo
  
• ·         Manuel del Perfecto Cardiaco – Virus
  
• ·         La Reina del Palenke – Afrodita
  
• ·         Debut – Davila 666
  

QUIERO CLUB. Their sophomore album Nueva America is truly dynamic and Luis Ezquivel was nice enough to represent his band and send us his also dynamic list.

• ·         MTV Unplugged – Julieta Venegas
  
• ·         Contrabanda – Pato Machete
  
• ·         Hoy alas Ocho EP – Hello Seahorse!
  
• ·         EP – Los Butcherettes

TWEETY GONZALEZ. Nowdays a top producer, Sonic 360 released a Greatest Hits album for his now dissolved electropop act Acida. Honestly, we didn’t know about Acida until this record, and the album is impressive to say the least. Tweety tells us that while he was listing he couldn’t be too objective.

• ·         Mediocre – Ximena Sarinana
  
• ·         Los Senderos Amarillos – Loli Molina
  
• ·         Un Manana – Luis Alberto Spinetta
  
• ·         Barracuda – Kinky
  
• ·         Pon en practica tu ley – Lucas Marti

ULISES HADJIS. He quickly became a favorite, and is still one of those I’m digesting. Presente made my list at #26 and his single “Lunes” is getting lots of hits at our Rocola. He is currently playing along Jovenes y Sexys in Mexico and includes Lisandro Aristimuno in his selections, another one from my 2007 list.

• ·         39 – Lisandro Aristimuno
  
• ·         Sou – Marcelo Camelo
  
• ·         Bruno EP – Jovenes y Sexys
  
• ·         Avion – No Lo Soporto
  
• ·         Papa – Varias Artistas 
  

MONARETA. Another one that made my list, they are part of an electro-tropical hybrid that bring much of Colombia's powerhouse. They gave us a list of international artists that included Vampire Weekend, Ratatat, Be Your Own Pet, Dub Specialist, The Bug, Roland Alphonso and Menahan Street Band. monamo

• ·         Tijuana Sound Machine – Nortec Presents Bostich + Fussible