“A mi me da igual, nunca voy a ser genial” sighs the latest single from O Tortuga. More unchained on their motto than defeated, the Mexico City act unveils another fast-paced, near furious single aptly titled “Cool.” Last year’s release of the Palma Linda EP brought the band plenty of recognition, including an Indie-O Music Award and significant play on the FM airwaves. At less than two minutes long and without much departure of what they’ve shown in the past, O Tortuga’s new single has the purpose of keeping the momentum going. The geeky and oh-so-cute “Cool” isn’t a novelty song either. This might be the most lukewarm year for Mexican rock in a long time, and O Tortuga’s new single splashes the field with shockingly vivid breeze. Download the track (name your price) through Bandcamp.
If we were to take a poll on what’s the best summer jam to have come out of the last couple of years, “Humedad” would be near the top. But was that too much of a hit? This is perhaps, a stretched assumption, but MKRNI seems to have taken solid steps to departure from the bubble-gum streak of Jumper. By the second release, Playa Futuro (released in late 2011), the Chilean act rejected pop structure –making the music more interesting, but also more alienating. They went as far as trying to change their name into the more proper, Makaroni, showing signs that they were ready to get more serious. Neither the public nor the bloggers responded too warmly to such changes.
Elisita, Roman, and Marcelo are pushing forward. We’re glad they’ve kept the MKRNI name and even happier to see them negotiating with both, pop structure and personal vision, as shown on their latest single, “Inercia.” The track starts with menacing dreamwaves dictating the melody. As the song progresses, we find that those epic synths are actually the chorus of this song –if there’s a chorus at all. Slow-paced and responding to its own echos, “Inercia” is a lovely and immaculate gem. Getting closer to what we’ve heard from Granit and Marineros than their past tropical affairs, MKRNI’s newfound introspection is surely promising. Download the track via the Soundcloud player below.
Well, we’re only about four months late on this one. People of great taste have been pointing us to Puerto Rican rock power band Campo-Formio for years, and although the pedigree has been obvious, nothing has stood up as remarkably as their latest single “Lola.” The band calls it a power ballad. Off their first full-length record here comes…. Campo-Formio! (via Dead Mofongo Records), “Lola” can be classified as a breakthrough single of sorts. The robust build up of those guitars, the brutal urgency of the drums, and the releasing of that catchy-as-hell, full-on-falsetto vocals shouting “pero yo no soy tu perro,” make up for one very memorable number. The song plays exceptionally well with bulks of grainy youtube footage (with Javiera Mena making the cut) as seen in the fan-made clip below. Download the MP3 of the song for free via Bandcamp.
Some things change, some things stay the same. Lucky for us, Capullo’s comeback single indicates their preference for the latter. “No Pases Más Por Mí” is an almost by-the-numbers Capullo track: 4/4 beat, glitchy sound effects, pop signifiers (e.g. hand claps), and disinterested vocals. Not that this means the band doesn’t have the spark—if anything, it’s a logical next step from the underrated Testigos del Fin del Mundo. To think that Capullo can still make something that sounds so effervescent and yet effortless bodes well for their next album. But please: turn up the noise with the next single, guys. Download the MP3 of the track via Soundcloud.
In the last six years of being a group, Marichalar's favorite garage punkers Novedades Carminha, have gone through most of the archetypal "garage rock band in the early 21st century" motions. Their reputation to date comes from their rock and roll nuggets and solid live shows. The spanish three-piece opt out of messing with fuzz pedals and proudly display their grime on their sleeves. But they do seem to care deeply about one thing, and that's their songwriting. "Juventud Infinita"off Novedades Carminha's upcoming album sets a strong statement from its first line “O follamos todos o me tito al río / o follamos todos o me tiro al río,” which unveils a charm behind their to-hell-with-everything swagger. Jarri, Carlangas and Xavi jams awfully hard. It's pervy at times, but man does it ever jam. Download the track on the Bandcamp player below.
Over the weekend, Camilo Lara (Mexican Institute of Sound) urged me to listen to what he claimed to be the best new wave music he’s heard in a while. To my surprise, he pointed to a band from Colombia. And I say it’s a surprise because that country’s recent indie success stories (Bomba Estereo, Systema Solar) shared an easier-to-export tropical infusion. Planes (Estudios Universales), in the other hand, will have to percolate in different ways. But let’s not underestimate the power of nostalgia (look at the rising success of bands like El Último Vecino and Univers). “Cosas Importantes,” off Planes' forthcoming debut album, Las Américas, is heart-trenching material for anyone who’s ever needed music adjacent to skylines. Those open vocal tracts in the song's bridge justify the seamless absence of a definite vocal chorus, whose space is instead, occupied by a grandeur instrumentation that raptures through melodic escapism. Grab the MP3 via Soundcloud.
“No somos y nunca seremos wavves ni de chiste” disclose Mexican newcomers Los Angreverbs. There’s little information about these guys, which makes the blogging duty a little difficult. “Monterrey,” the band’s first track is only one minute long, yet it strikes many chords in its rushed, hook-packed urgency. The track is a big tease. It recognizes Monterrey as Mexico’s top land in the hipster hierarchy as they sing about their desire to play in music festivals and one day be featured on Vice. “Tengo sed de fama, quiero dormir en tu cama,” they sing in the chorus (lyrically, it's hard not to think about Piyama Party as an influence). Judging from the recent success of fellow lo-fi noise bands like Los Blenders and O Tortuga, it wouldn’t be surprising to see Los Angreverbs checking every item off their list. Download the track via Soundcloud.
Producer, radio host, and guitarist Daniel Ortuño is one of the main voices behind the quiet but active music scene in Costa Rica. He hosts Findependiente, a radio show that exposes genres and music movements overlooked by other radio stations in the area. But Ortuño is best known for producing albums for local bands Las Robertas, Niño Koi, Zòpilot!, The Great Wilderness, and (alongside Vito Petruzzeli and Adrian Poveda) the Si San José (2011) compilation, an audio documentary of the Costa Rican indie scene.
As the San José-based producer has hopped from project to project and style to style over the last five years, he's maintained the air of an outsider. With his band Los Waldners, he channels his vagabond emotions into something universal and inviting. Of course, he couldn't accomplish this without the help of singer Luis Carballo, bassist Gustavo Quiros (Keep The Gap), and drummer Andrea San Gil (formerly of Lolita Piñata, and TGW). First single from their upcoming album due in February, "Ella Usaba Vestidos" delivers a jangly, fresh, and compact pop song with sturdy melodies and arrangements that emphasize the endearing edge of Carballo's' vocals. Download the track via Bandcamp.
It’s hard not to fervently root for the welfare of a band like Las Ligas Menores. From the band’s loopy name to their devotion to crafting lowbrow melodies, it would almost seem like they’re selling themselves short. Truth is, this up-and-coming band is conscious of the industry’s hierarchy and realize charm can take them a long way. Last year’s EP,El Disco Suplente, profiled the band as one of Argentina’s most promising newcomers. “Accidente” was a relative indie hit in Mexico’s alternative outlets, and they’re ready to give the project continuum. “Renault Fuego,” a step forward in their sound, is the first single off their self-titled debut album (to be released under Discos Laptra). In it vocalist Anabella Cartolano sings, “es que necesito decirte que en verdad me gustas." The new single sees the band pouring adolescent emotion in a simple verse-chorus-verse number that acknowledges the brevity of momentum. This time they leave behind the cache of bedroom hipness and expand into the road (an articulation that might just advanced them to transit in that league of Los Punsetes and Carmen Sandiego).
Seven out of the eight rock songs from our Midyear Report compilation belong to bands with a revivalist flair. Whether it’s a fashion of the zeitgest or a wave of distillation to detach from the aughts, the soundscape feels truly inspired. We can add Eva & John to the line of introspective revivalists placing urgency at the center of their melodic core. Plastilina Records has published their first reference, a flexi single so gorgeous, that profiles Eva & John as the most exciting Peruvian newcomers in a long time. Leading single “César Gutiérrez” surveys the underworld/paradise of a political figure from Lima who carries a bomb on his pocket and aims to be the alpha male of his city. I’m sure there’s one just like him on every city. Second track (and not necessarily a B-side) is the overwhelmingly sweet “Ciempiés” which truly melts your heart and whose video is sure to get a laugh or two from you. Eva & John carry sensibility on every dusty chord of their near-religious composition –the content is idiosyncratic but so heartfelt that it becomes universal.
Riot grrrl. Now that I have your attention, disregard that phrase. Selma Oxor’s latest single, “Perra Sucia” has little to do with that Pacific Northwestern third wave feminist movement. (Or does it?)
Less melodic and hook-heavy than “Dotes de cocina,” Oxor’s latest "single" (are we still calling ‘em that?) jettisons one or two social filters and goes straight for the jugular, finding her in full-on anthem mode. There is little subtlety in her verses, as she pretty much makes clear that EVERYONE AND THEIR MOTHER WANTS TO BE A PERRA SUCIA. (I hope this means people will finally stop talking about how polemic Pussy Riot is and realize there are other "relevant" feminist acts out there to talk about.) Politics aside, “Perra Sucia” also marks a clear departure from her previous, electroclash-informed sound, cause, you know, it’s not 2003 anymore. Kudos to you, Dr. Dude.
Throughout the years, Eddy Nuñez (member of Rita Indiana y Los Misterios) has earned the respect of musicians in the Dominican Republic as one of the individuals that has succeeded at offering an alternative delivery to the island’s popular music. Following the success of El Juidero, Nuñez unveiled demo recordings of a solo project that has now evolved into the collaborative effort El Gran Poder de Diosa. The act’s introductory single “Morí Viví” is a pulsating, groovy tune that’s more meticulous than revelatory. While they keep things somewhat conservative, they’re still pretty refreshing. The track comes with a lovely audiovisual companion helmed by Engel Leonardo, director of the stunning (and controversial) “Da Pa Lo Do.” Leonardo offers a contemplative frame where seduction (of sexual and intellectual natures) is lived through a subliminal journey. It’s tragic and poetic—like Apichatpong Weerasethakul’s Tropical Malady, but more magical than psychological. Grab the MP3 HERE.
The most defining process of global bass is the exploration of the aesthetic lower class. In an indirect search for cultural respect, we engage our sense of distaste with parody, dance, and laughter. The longer we expose ourselves to an initially repugnant aesthetic, the more likely we are to reach a social understanding. With good fortune, bass producers are afforded opportunities for collaboration, which can evolve into healing and bridging relationships (see Dre Skull and Vybz Kartel, but not Diplo, never Diplo).
For myself and, evidently, Club Fonograma readers, reggaetón remains a permissive void of culture. In terms of functionality: Why shouldn’t we be able to enjoy the music that will continue surround us? Where have others failed (mainly Jessy Bulbo), Zutzut helps us re-evaluate the genre by emphasizing perhaps what we hate most about the genre, crass materialism. “De Shopping,” features a conference panel in the middle of a discourse on the merits of excessivley spending on women. The re-crafting of the song (with vocals by Yaga & Mackie, Opi, Arcangel, J Alvarez, Farruko & Jory) is intended for the minority of readers already into Arca and Teengirl Fantasy; however, I am sure we’ll be seeing reggaetons and tons of remixes for a variety of listeners this upcoming year.
I’m a sucker for unpolished retro sounds, so let’s just say that when I heard about a Puerto Rican act who used to give himself to hip hop and R&B, but now blithely indulges in a rough-edged '60s aesthetic, I had to give it a try. Pedro Luis Muñoz Hernandez aka Unochosiete (you know, “cause it’s 187 on an undercover cop”) says his approach to writing songs didn’t change much from when he was doing hip hop, but the recording process was far more low-key. “Del uno al nueve” (Get it? Sin cero, sincero?), first track off la flor o la pólvora, is a cheeky love song fueled with enough charming nonchalance and handclaps/siren calls to make you do the twist. Recorded in his bedroom last year while on a student exchange in Madrid, la flor o la pólvora features a potent mix of bedroom-size garage, dirty ballads, and raw doo-wop, confirming that Puerto Rico isn’t done giving birth to the coolest filthy rock acts.
"The numbers are staggering: there are more and more foreigners in the world." This semantic gem, signed Luis Rego and reported by Pierre Desproges on September 28, 1982, continues to resonate 30 years later. Sudakistan, composed of five well-traveled friends—Carlos Amigo on percussion & vocals (Chile), Maikel Gonzalez on bass (Venezuela), Juan Espindola on drums (Argentina), Michell Serrano Arias on guitar and vocals (Chile/Sweden), and Arvid Sjö on lead guitar (Sweden)—illustrates it with flying colors. I’ll spare you the long lyrical surges on the globalized world and the interbreeding of different genres or styles that crossed my mind upon learning the existence of this Stockholm based act, but I’ll say one thing: wherever they hail from, their cow bell and bongo-inflicted garage rock is total dance party material. Since the online release by PNKSLM of “El Movimiento (Teenhäze Edit),” which was recorded with the help of Henry Withers (Lovvers, Sex Beet, Human Hair), the band has been the subject of many discussions in the blogosphere. And these discussions are likely to carry on, as Sudakistan will release their first 7" single early next year. With a title echoing Chicanismo, “El Movimiento” deservedly reclaims the band’s evident cultural ties with the New World and, by screaming non-conformity, somehow celebrates the cultural bringing of outsiders. The line between genius and ridiculous is often thin, especially in fusing genres, and Sudakistan seems to deliberately cruise through lo-fi and Latin heritage, creating a sound and image all their own.
After six nightmarish years, Felipe Calderon’s presidency is finally coming to an end. Still on course (until Enrique Peña Nieto takes over in December; we're doomed anyway), the president’s War on Drugs has developed into one of Mexico’s most brutal periods. Insecurity, paranoia, extreme violence, and thousands of deaths (over 70,000) have been the result of this bloodbath. Fortunately, unlike what was declared in Proceso’s article about “Generación Zoé,” there are artists who are aware and won’t hesitate denouncing their country’s deplorable situation through incisive manifestos. Tijuana’s conscience-awakening ruidosón (or should I say technosón?) prophets Los Macuanos deliver an iconic anthem for the end of this catastrophic era with "☠ / ⚑ / ✞ (Sangre, Bandera, Cruz)," an exorcising track that echoes and pays homage to all of these souls’ voices, victims of an unnecessary war governed by self interests.
Los Macuanos’ ghostly experiments have always been linked to Mexico’s deepest roots. Influences of classic authors like Juan Rulfo to contemporaries like Heriberto Yépez, sharp social critique, political awareness without being scared of defining a conscious posture...all of this fuels and nourishes the contending high art. With "☠ / ⚑ / ✞ (Sangre, Bandera, Cruz),” Los Macuanos have reached an even more elevated level of criticism that could be compared to Sergei Eisenstein’s masterpiece ¡Que Viva México!, it is that honest, inspiring, and true. "Sangre, bandera, cruz" is the mantra of a somber panorama colored in red, one that summarizes a whole population's suffering through daily exposure to corruption, oppression, bloodshed, and shameless social control through manipulated realities via television networks (yeah, mainly Televisa). "Pero a pesar de todo, México está de pie," Calderón claimed in a speech earlier in March. The song takes this quote as a naive announcement as you're losing yourself to its haunted scheme. Then in silence questions, "¿Está de pie?" I don't think we ever were. Los Macuanos, in a mourning, subtle way make it somehow clear, yet leave a small trace of light behind all this darkness for a country's wounded spirit. Download the single HERE.
September is already upon us and we can see the heat of summer vanishing. But, before we start knitting scarves in anticipation of the great cold, let us be nostalgic and longing to relive summer adventures. “Campamento de Verano,” first single from the newly established Teacher Teacher, draws directly from this youthful vigor and with humor recalls those horseback rides, canoe trips, campfire sing-alongs, and friendship bracelet-making. Teacher Teacher (probably named after’s Rockpile 1980s hit) is composed of three Madrid household names: Guillermo Farré (Wild Honey, The Mittens), María Hernández (Mittens, Charades and Las Señoras) and Cristina Gómez (Las Señoras). Embracing all at once lo-fi, fast pace, and distortion to create a juvenile pop punk, this new musical offspring is truly his parents’ child. Download "Campamento de Verano" + B-track" via Bandcamp.
Accurately described by Blanca Méndez as “an overall pleasant album,” Floating in Dreams has had us excited about Los Jardines de Bruselas since its release. On his comeback single “Why Are We Here?” (released via Bad Pop), Argentinian musician Ezequiel de la Parra raises common existential questions in a blissful manner. Breathtaking, spacey production, buoyant arrangements, colorful hooks, and De la Parra’s whimsical singing culminate in an enrapturing song that’s bound to get stuck in your brain. Improving in his songwriting skills, the artist denotes an ample self-confidence in this new single. We just hope he doesn’t remain so silent from now on.
We can’t help but wonder how gigantic Antonio Jiménez Gallardo’s career will grow from now on. With his spectacular current projects, María y José and Tony Gallardo II, Tijuana’s humble genius continues to become one of Mexico’s most important electronic acts, impressing with each of his adventurous productions. And with his recent inclusion in the lineup of this year’s edition of Mexico's hippest festival, Corona Capital, Gallardo’s desires of reaching a wider audience appear to finally be coming true.
Like something out of the Drive soundtrack, “Tormento,” lead single off Tony Gallardo II's upcoming second EP under the same title, is, hands down, one of the year’s best songs. Finding Gallardo polishing his artistry and taking it to the next level of greatness, it just takes the initial synth lines to become stupidly attached. Tijuana’s líder juvenil crushes the heart with this poisonous, aching and, self-reflective confession of a deeply-wounded relationship. “Es un tormento estar aquí. Eres veneno para mí,” he repeatedly croons in the song’s chilling mantra, where the artist expertly reserves his vocal participation for the middle section. And what to say about the spellbinding final part, where rhythm sporadically changes, turns everything light speed-like and pushes you to the highest limits of bliss ever imagined? Absolute grandiosity. It takes guts, wisdom, and unique creativity to craft such a compelling, titillating smasher. Tony Gallardo’s got it; that’s why he never ceases to impress us. And with his soon to be released sophomore LP as María y José, Rey de Reyes (still Club Fonograma's most anticipated record of 2012), out in September and this new Tony Gallardo II EP, we couldn't be more thrilled about his future.
Chihuahua’s newcomer Josué Coronado Navarrete seems to be indecisive about his persona. At least he hints in his constant changes of artistic names. From Billyonson to JacksonBillJhonson and currently simply Bill Yonson(?). Despite these confusing modifications, Navarrete’s efforts have concurred in an engaging bedroom pop full-length, LP 2012, recently re-released via NWLA. If you, like us, are in love with arresting DIY like Installed and Pájaro Sin Alas, chances are you will be conquered by Yonson’s homemade, lo-fi production spells. Preserving the purest essence of the long forgotten chillwave era, Bill Yonson evokes some of Memory Tapes' and Washed Out’s bleakest tunes. First promotional cut, “Fuera el Mar” (accompanied by asubaquatic experience clip), is an inviting entry point for this record’s tropical wizardry.Download the track here
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