Video: Chico Unicornio - "Ahora Te Puedes Marchar"

Pop always proves every generation’s need to revive the memory and legacy of the dead or seemingly retired idols. As Jean Baudrillard once said, “every possible art form has already been explored. All that’s left is to deconstruct an play with the pieces.” Strange and colorful, Chico Uniconrnio has subscribed to this exercise by reconditioning one of Luis Miguel’s most renowned post-childhood hits, “Ahora Te Puedes Marchar” from one of his first mature records, Soy Como Quiero Ser released back in 1987.

The video directed by Chilean Andrea Guzman (who is also Chico Unicornio’s drummer), shows a character that, consumed by stifling routine, is falling into insanity and gets disconnected from reality and the people around him. These are witty images that are very well connected with the sound. Completely different from its original, the Peruvian band turns to a lo-fi arrangement, transforming the pop cues into rock, and the rock cues into punk. Without the intention to sound fatalistic, the verse “si no supiste amar, ahora te puedes marchar” transfers in this narrative as an advice for this quirky young man –it pushes him to either escape and never look back, and presents him with the ironic option of committing suicide. A nice addition to accompany other covers like that of Capullo’s “Déjame Vivir” and Los Abandoned’s “Como La Flor”.

La Lá - "Animales"

Coming along like a moment of nostalgia on Papasquiaro, "Animales" reminds us that with an irresistible hook, the neo-folk genre didn't really die a decade ago, we just got over-saturated by it. Everyone was doing it; just like we'll soon see everyone dabble with dubstep. And while bands start trading pot for chemicals, Peruana, La Lá, is pure of any trend. Her debut LP, Rosa, is a straightforward ode to her country - Andean folk pared back to singer-songwriter lamentations, with licks of jazz. It's a pleasant record, and sure to please fans of the genre, but the real find here is the effervescent, and tight "Animales."

With an off-kilter melody, La Lá creates an easily imagined jungle brimming with beasts of desire. From just an acoustic accompaniment, the song creates drama and tension other songs would use lush instrumentation and lumbering horns for. As the artist describes on her website, the pseudonym 'La Lá' comes from the inexplicable visceral 'emotion' of a song: that... that je ne sais quoi. It's that lovely tremble of excitement as you see your lover's naked body for the first time; it's that terrible pang of dread, realizing you've projected an entire fantasy life onto a date; that thing that makes you heady and fragile and brave - and retreat all at the same time.

Video: Las Amigas de Nadie - "Should not let it go"

Human Dress is the title of Las Amigas de Nadie’s follow up to their very impressive breakthrough record, Sincronia. Having resolved an identity as a rock band, and distilling all the kitsch of their past, the Peruvian band is holding on to momentum. The band has unveiled “Should not let it go” as a sampling of what’s to come. Their sound had never been this vulnerable, and although the hooks don’t amount to much, they’ve chosen to strengthen other elements of their discourse. More than aesthetically pleasing, the clip for this track amends the mundane melodies Las Amigas de Nadie have chosen to present us. Directed by Andrea Martorellet, “Should not let it go” plays with composition and space through the embedding of a pink-spandex character that enjoys contemplating a plate of raw meat next to a glass of milk, and whose mere consciousness provokes alienating terror.

MP3/Video: Eva & John - “César Gutiérrez” / “Ciempiés”

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.


♫♫♫ “César Gutiérrez” / Bandcamp

Las Amigas de Nadie - Sincronía

Sincronía, Las Amigas de Nadie
Mamacha Productions, Peru
Rating: 78
by Pierre Lestruhaut

On the cover of their previous record Cápsula, Las Amigas de Nadie were brandishing an image that could easily fall somewhere between Spice Girls going artsy in “Say You’ll Be There,” and kitsch kings Afrodita going futuristic. And just like its cover, the album itself was far from being sonically devoid of any eccentricities. Despite largely exhibiting cleanly executed escapist naive pop, something at which it generally succeeded fairly well (especially in uber catchy almost trip-hopesque “Doce Pasos”), the kitschiest end of it (a rap-rock number, some guest rapping in an alt rock track, and a surf rock closer about wanting to be hardcore) exuded an overall impression of careless scatteredness.

Fast forward to 2012 and lead single “Espiral,” a jazzy spy music-inspired chorus-less song with an accompanying Bergmanesque video presents a Las Amigas de Nadie very different from the ones we remembered. They were also inevitably viewed by the general opinion as something like experimental pop, for lack of a better term. While the rest of Sincronía very often simply erases the memory of the band that was making easily digestible pop last year, it also showcases how much better they’ve actually gotten at doing just that. “Cronos” is well tailored for straight-out tuneful pop music: a succession of well-placed hooks that don’t wear each other out in exhaustive repetition, but rather linearly build the anticipation for the next one to come, eventually beating “Doce Pasos” in terms of catchiness.

But the album quickly starts to evolve in unexpected directions. “Tronador” at 4:23 feels like an eternity in the midst of a 7-track, 21-minute record, aided by the fact it has so much going on in such a time frame: grunge basslines, proggy guitar jams, new-wave synths, a chart pop chorus, and the best vocals we’ve heard from the band so far. “Un Posible Final” takes what sounds like recordings for learning English and reveals their formal qualities by putting them in front of a chaotic backdrop of dissonant beats and synth lines in an odd effort at musique concrete, while “Algún Día” is as cute, innocent, and catchy as any track from La Reina Morsa could be. And finally “El Niño” sees them plunging into lo-fi Andean folk mode, in a track that’s as warm and intimate as it is cold and abstract, contrasting folk ideas against electronic ones.

In general, Sincronía works much better upon initial listens simply because of its strikingly contrasting aesthetic. Building its own narrative in such chaotic elegance, listeners will be surprised, perhaps even awed, but definitely curious enough for rediscovery. With repeated listens, though, as its surprise factor begins to fade away, and the more puzzling elements start to become more familiar, the album starts to feel rather even, and qualifies better as an immediate experience rather than a lasting one. Although it does't really have any weak tracks in it either (thus working fairly well as a collection of tunes), it also exceeds too much in contrast, thus lacking in connection, and left us wishing it would showcase some content in sacrifice of its own indulgence. It’s in the clash between the upsetting sounds and the melodies that Sincronía stands out as a truly distinguishable work.

Video: Pamela Rodríguez - "Ligera Love"

“It takes me back to so many artists I like that it’s impossible not to surrender to her charms,” says the always spot-on El Amarill0 referring to new Peruvian indie-pop darling, Pamela Rodríguez. She’s got a little of Natalia Lafourcade, bits of Francisca Valenzuela, and seems to be a very close cousin to Ana Laan. A best new artist nominee at the 2006 Latin Grammys (seriously, who knew?), she seems to be on her way to finding the cultural and critical credentials most LARAS members don’t ever aspire to. Folk-inflected pop is greasy enough by itself, but it’s even more dangerous when you add colorful feathery aesthetics to the equation. Being the visual-invertebrate buff that I am, I was ready to hit Safari’s red bubble very early in the oh-so-catchy “Ligera Love.” The flowery setting was expected, but when that synchronized mask hop showed up, well, let’s just say it’s a regression from our quest to find pop progress. Thankfully, director Anais Blondet juxtaposes the sugary sequences with other sexually suggestive shots that are worth the washing machine ride. "Ligera Love" is open for download (in the exchange of an email) and is the first single off Rodríguez's third album, Reconocer.

Los Protones - Hijas del Diablo

Hijas del Diablo, Los Protones
A Tutiplén Records, Perú
Rating: 77
by Carlos Reyes

Surf music lives within the context of our modern age as the sort of syndicated genre that has aged along with the sensibility of the wavy '60s. On their sophomore album, Hijas del Diablo, Peruvian all-instrumental quintet Los Protones grasps onto the swirling infrastructures of metric and periodic strings given shape by the likes of surf apostles Dick Dale & the Del-Tones and The Ventures. It would be somewhat scratchy to approach an up-to-date record like Hijas del Diablo with the resulting nostalgia sensed from the age when analog technology revolutionized politics (and thus the common household), and yet, its release couldn’t have had a better timing.

When trying to distinguish period recreations from genuine novelties you come to realize that it takes more than mere disposition for a band to carry on with a genre as focused and aesthetically confined as surf rock. Unlike lauded contemporary surf acts like Los Straightjackets and Los Gatos, this Peruvian band levels musical bravura with the mysticism of the genre. Los Protones, as the passionate and subatomic band they’ve come to be known as, comes to grips with the thorny trail of establishing a trademark very early in the album. Opening track “La Hija del Diablo” displays a marathon of fast tempo harmonies lining up to the sound of waves and eventually amplifying into a tongue-in-cheek sequence of tremolo picking and rockabilly revivalism. This is an appealing dualistic intro especially for those film buffs out there whose image of Silvia Pinal as the devil in Luis Buñuel’s Simón del Desierto is forever ingrained in our contentious judgment of good and evil.

Los Protones might do very little to contemporize surf rock as an odd shell of dance music, but somewhere between the reverence of cavernous bass and cultural affectations, they manage to cultivate their own inbreed of seeds. Take album highlight “Chichasurf” as an example. Here we have a song that syncopates the Amazonian Chicha music of Peru with the rudimentary 12-bar blues sections that trace back to Orange County. With so many fast tracks in its middle sections, the album does suffer from the dissonance of custom percussion and echoing, but surf ballads “Mescalito” and “A La Deriva” serve as optimum breathing lungs. (Not that you wouldn’t be tempted to smoke afterwards because this is the kind of album that asks for either a cool haircut, or a bit of your soul in the exchange for arpeggio reverb.) Perhaps it's the wordless vulnerability of instrumental albums, but I’ve culture-referenced too many outsiders in this review. Oh well, it wouldn’t hurt to say this is as good as any of those very handsome albums by The Drums.

Fifteen Years Old - The Image Lovers

The Image Lovers, Fifteen Years Old

Buh Records, Perú

Rating: 78

by Carlos Reyes



Fifteen Years Old self-describes as “melodramatic pop and biographical indie from Lima, Peru.” Unmistakably dark and melodically uneasy, Peruvian newcomer Solange Jacobs walks on isolated grounds in her debut The Image Lovers. Photographer by profession and former vocalist of the rock band Tonka, Jacobs is taking chances under the moniker Fifteen Years Old as her country’s newfangled enfant terrible. Featuring dog barking, church prayers, and macabre monster laughs in the background, The Image Lovers is conceptualized as a family memory box. The six-track, all-English language EP is strikingly confessional, haunting, and almost witchy at times.



Jacobs’ surfacing in the emergent Peruvian indie scene is completely unexpected; she’s one of those few artists that can honestly brag about doing something entirely different from the rest of her peers. But outside Lima, Fifteen Years Old has more than a few references in the fast-growing world of eerie and evil-looking new pop divas that include Grimes, Dani Shivers, and Zola Jesus. Jacobs might have the contained and probing vocal chops of a quinceañera, but her topics resonate to the posture of an experienced and well-traveled individual making half-allusive, half-satirical music. Fifteen Years Old brings some of the year’s most theatrical numbers, making a grand entrance with “Imaginary Vals.” This track swings back and forth and side to side as layered harmonies and wraithlike loops synchronize into a wonderfully dramatic Viennese waltz.



The Image Lovers never hides its ambition; in fact, it self-commends when given the chance. Neither a minimalist nor a maximalist, Jacobs is appreciative of a synthetic and architectural presence that enables her to operate between personal anecdote and fictional realism. So, if the menacing “The Beautiful Tailed Vixen” or the motion-forward “The Object” appear to belong to a third person objective reality, it’s because of Jacobs' stretchy disposition. While the emotional clarity and arousing music is hard to resist, the beauty is slightly wounded by the artist’s sketchy enunciation of the English language. I’m not a purist regarding language, but much of the passages here are incomprehensible (especially when you decide to whisper poems along with everything else). The Image Lovers has some clear affected areas, but as a whole, it’s quite impressive and moving. A temporary show-stopper and, at least for us, a serious candidate to take Kanaku y El Tigre’s place as this year’s Peruvian breakthrough.

♫♫♫ "The Object" | Stream Album | Facebook

Kanaku y El Tigre - Caracoles

Caracoles, Kanaku y El Tigre
Ombligo Records, Peru
Rating: 70
by Carlos Reyes

“If we suddenly learn to kill and go hunting, I wish to give you a flower for every one of my nightmares.” That’s a picturesque line from Kanaku y El Tigre’s hit single “Caracoles,” the relentless title track of what’s likely to be the most lauded Peruvian release of the year. As wandering folk goes, these Peruvian newcomers are bubbly songcrafters whose well-trod melodies spoil their resourceful dynamics and enchanting camaraderie. Caracoles is an intriguing debut even within its flaws.

Kanaku y El Tigre bring the bouncy and pastoral frost to our beloved indie fruit punch, yet much of the pieces on their debut tackle the sadness derived from failing to rise. If we were to dissect “Caracoles” into pieces, these would come off as rumbling strips about loss and echoes, a complete contrast of what you actually get as a whole. “Caracoles” succeeds because of its sheltered warble and heart-consuming hopefulness. Even if the song is all about self-vicious realization and lament, its sudden rhythmic movements push that song into a resolution: “ya no hay nada mas simple que echarme a reir.” Caracoles points to all the right places but occasionally finds uneven ground whenever the band strips down to its fundamentals (“Lucia”), sounding merely languid. The duo’s sympathy towards immediacy matches their aspirations, and this is bittersweet news for those of us inclined toward a progressive rustic vein of folk rather than something discrete or circumstantial.

The band sounds the brightest in album highlight “Tu Verano Mi Invierno,” a track with breezy back vocals that bring the andino fondness afloat in the best of “Chipi Chipi.” Also very appealing is the adjacent tone of Kanaku y El Tigre’s broken-vibrato voices, both as vulnerable and nostalgically South American as those from Fernando Milagros and Prietto Viaja Al Cosmos Con Mariano. Crowd favorite “Bicicleta” points out their ability to tell a story, but their instinct towards stomping walls into every strum shows just how tight their compositional skeleton is. Yes, a limited soundscape, but audaciously crafted. Bruno Bellatin and Nicolas Saba employ DIY convention, yearning lyrics, and rhythmic lines of bedroom pop and campfire folk. Although often unfocused and metrically defenseless, this first reference should earn them the Most Likely To Succeed plaque, at least locally.

♫♫♫ "Caracoles" | Stream Album | Facebook

Featured: Víctor Hugo - "Así es como se arruina un verano"

Featured: Víctor Hugo - “Así es como se arruina un verano”
Fuego Amigo Discos, Peru
by Pierre Lestruhaut

Considering Víctor Hugo used to sing in Mi Jardín Secreto, an indie rock band from Lima packed with Planetas-infused upbeat riffs, his latest single and closing track on Fonogramáticos Vol. 12 “Así es como se arruina un verano” is a considerable shift in musical style. Nearly every single person I’ve shared this great track with has had the same instant reaction of pointing out just how evocative it is of Ennio Morricone film scores. Only seconds into the track, you can almost feel the tension of an old spaghetti western duel building up. The initial heavy pounding beat and steady guitar strumming are joined by an almost frightening backing vocal harmony. Then the track morphs into a stunning series of chord progressions leading us into the inevitable grandiose climax and finale.

Most music that I would qualify as somewhat cinematic, such as Portishead or early Wu-Tang records, usually exercises itself in being sonically evocative of films and their scores through the heavy use of samples. Víctor Hugo instead directly embraces the same compositional form and structure of great Morricone climactic tracks like “L’Arena” or “The Ecstasy of Gold” in order to create something that emotionally brings us back to the experience of watching films. Released through Fuego Amigo Discos, “Así es como se arruina un verano” is unlike anything we’ve heard from the Argentine net label (and maybe even anything that’s ever been covered on CF). Yet this young label has already given us great singles by favorites like Los Migues and Luciana Tagliapietra, and it might just be starting to become the home of a series of interesting bands to watch.

♫♫♫ “Así es como se arruina un verano”
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Video + MP3: Francois Peglau - "We Know We Won't Make It"

In the last year, Peruvian singer-songwriter Francois Peglau has acquired a great amount of international attention, enough to signal him as Peru's most lauded export. Almost every publication out there claims he makes lo-fi indie music, but actually, all of his songs are like quirky slim boleros (at least like those documented on 80's Television). Peglau's methods of composition might not be the most intricate, but they're sharp enough to tell a story. As seen on his new clip "We Know We Won't Make It" (from his album The Imminent Failure of Francois Peglau), Francois has the personality of a well-collected stage comedian; he's so charming I want to hug him. The clip sets up a sort of 2011 Cinderella story (or maybe closer to Betty La Fea), where a girl finds gets to live her fantasy when she breaks 'the fourth wall', finding her freedom, a new look, and the boy of her dreams along the way.

♫♫♫ "We Know We Won't Make It"
Bandcamp

Video: Kanaku & El Tigre - "Caracoles"

Peruvian newcomers Kanaku & El Tigre seem to be on their way to become one of this year’s indie-folk standouts. They might just have the right amount of tools, skill, and passion to internationalize their music as some of their fellow compatriots have (Francois Peglau, Resplandor, Turbopotamos). Officially a duo comprised by Bruno Bellatin & Nico Saba, the band makes full-panorama songs with a wide range of instrumental assembly. “Caracoles” is the band’s new great video, and the leading track off their self-titled debut. The clip directed by Mike Stornfelt features a splendid art direction as a group of friends reunite for a meal. And well, one of the friends involved seems annoyed, actually, she's having a little too much fun drinking. She goes on a riot. What follows is a nest of dark humor in the best of British sitcoms (with some blood involved).

Via El Amarill0

2012, Turbopotamos

2012, TURBOPOTAMOS
Independiente, Perú
Rating: 78
By Carlos Reyes

Los Turbopotamos loose a bit of their rockabilly edge in 2012, an album that supposedly signifies a change on how they approach music. I’m guessing this is the last album before they make the big transformation, because they sound exactly the same. Sure they seem more mature but it’s only a natural response to the almost inevitable claim that they are today’s best Peruvian rock band (although fellow alt-rockers Resplandor could totally surprise us). They pick up on the vivacious spirit of “Terrorize You Disco Flor,” pushing everything forward but keeping the inner adolescent guy in them. This will hardly make them new fans, but they’re definitely ready for them.

The opening instrumental title track is very Quentin Tarantino like; actually, it’s got that adventurous noir resemblance to Tomoyo Hotei’s “Battle Without Honor or Humanity” at a higher speed. For those not following their career, they had a big hit a few years ago with “No Love”; what’s special about it is that it’s such a romantic song taken into street setting. Something I really admire in “Bigote” which they mistakenly left out of this album. But there is a cutesy song that could help to balance Turbopotamos’s very masculine songs; “Una vez al mes” asks for more love encounters as it slides within fine guitars to later explode in big-band cacophonous glory. “Shake it” in the other hand, is a lame dose of reggae and Blink182 urgencies, luckily, they’re competent enough to make good cloying stuff with them.

“Basta” is spectacular; it streamlines a bouncy pop tune with ska, synths and delightful grooves. This is the kind of song one would expect from them, and what we admire so much about from bands like Los Romanticos de Zacatecas, Piyama Party and yes, Vampire Weekend. The chorus “Basta ya que va a estallar el amor que hay entre tú y yo” is a beautiful shout to that thing people call love but sometimes hurts people so much. The album never reaches this kind of cosmopolitan qualities, but for an EP this makes me overpass a song as unfortunate as “Little Whore.” The finishing piece “Maria Dub” is a truly warm, toe-tapping song that should prove they’re ready for a massive scale pop audience.

♫♫♫ "Basta"
download EP
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Francois Peglau - "One Minute to Midnight Dream"

Francois Peglau is one of Peru’s MAP (Music Alliance Pact) inductees and has been featured in a bunch of our favorite blogs from South America. He’s been sending us material for quite some time but I guess it got lost in the massive amounts of emails we get from bands. I’m not saying he isn’t memorable; it’s just that I wasn’t totally hooked up on a song to really care to write about him (although his personality is freaking cool). Peglau is from Peru and he was the lead man of Los Fuckin Sombreros, he is now standing alone living in London and writing sing-along love songs. His latest track “One Minute to Midnight Dream (so sad)” is very engaging and yeah, kind of sad (in a very good way). This is actually quite depressing but I guess it makes sense; he grabs my attention/like with a sad song. It’s very Beatlesque and the dusty recording rounds it up nicely.

♫♫♫ "One Minute to Midnight Dream" (right click, save as)
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Warmi, Magaly Solier

WARMI, MAGALY SOLIER
Phantom Records, Peru
Rating: 74
By Carlos Reyes

Magaly Solier should be a familiar face for us Latino Cinema enthusiasts, with only two films under her filmography the 22 year old beauty has become Peru’s dearest actress. I remember watching the brilliant Madeinusa helmed by first time director Claudia Llosa and watching the promising girl that carried the difficult movie with plenty of command and charm. Early this year La Teta Asustada won the Golden Bear at the Berlin Film Festival, during her acceptance speech she sang part of a song in Quechua that gave everyone shivers and left Berlin’s jury president Tilda Swinton in tears, their second film working together brought all the attention and the opportunity for Solier to fulfill her dream of making music. Cutting away the Cinderella story, Magaly Solier is a solid debut that is fortunate for the most part; it doesn’t lack ideas and breaths beautiful moments of indigenous and provincial outreach. The album is mostly in Quechua, and of course not knowing the language or the culture, there is that expected distance that although is fascinating to discover, it becomes an alienating experience. The album is heavy on charango, quenas, and violins; Solier is the mind behind it all and the sensitivity in her voice is beautifully naïf. She sings about her people for her people, and it’s wonderful that it never steps in encyclopedic ambition; although I did learn that ‘warmi’ means woman and so it does have an unconditional sense to make people aware of the culture. The first song “Citaray” takes you right into the sound, yes it is traditional Peruvian folk but Solier’s playfulness with vocals approach the alternative scats of Lila Downs. “Para Para” is like a gigantic celebration and the album’s most vibrant piece. Among the songs in Spanish, the clear standout is “Porque me miras asi”, which is very sweet and the one song that could actually make it into regular radio. But there’s a song that is really captivating and a revisit to Madeinusa, “Ripu Ripusajmi” is a jaw-dropping protest song for the Quechua woman, the musical accompaniment is exquisite and up to the moment as it tells the story of a girl escaping from the physical abuse of her father: “seguro tu padre borracho, seguro tu padre machista, cuando decidiste marcharte .. siempre te golpea tu padre.”

♫♫♫ "Ripu Ripusajmi"
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MP3: "Bigote", Turbopotamos

The new single by Libido leaked last month and I must say I’m profoundly disappointed, the kind of song you can almost tell they sharpen a bit too much to get it into radio. While I can’t deny they will continue to be Peru’s most valuable asset (you can’t ignore history or “tres”), it’s time to shift our way to the next big thing, they are already big in Peru, but los Turbopotamos are taking way too long to internationalize. We talk plenty about them only because they ought to have some love from these grounds. They have a new song and are glad to share it with us; “Bigote” will bring out the insecurities of all the guys who, unlike me, couldn’t grow a mustache in their teenage years and somehow got offended by it. It’s a song about lament, masculinity and first impressions.

♫♫♫ "Bigote"
MySpace

Turbo Raros, Turbopotamos

Turbopotamos is one of our most beloved bands here, and we’re always wining about the lack of excitement for this project outside Peru. Their double feature “Terrorize You / Disco Flor” was one of our first features and I even went on a limb naming them the band to watch this year. While we wait for their third album to show up, I found this rarities album among my library, it contains two tracks from their sophomore album No Love, and other unrecorded stuff. I’m also including what’s probably their anthem song, “No Love” … “they say I make cocaine, but girl I’m not like them, just freaking lies." This short set was uploaded by the band itself, so enjoy it. 

♫♫♫ “No Love”

Download Turbo Raros

Gabriela

Adicto

Bad Blues

Right string but the wrong yo yo

Overdose

No me meto (Acustica)

Features: Turbopotamos - BAND TO WATCH 2009

Turbopotamos: BAND TO WATCH 2009

Every year I ask myself what band we should watch out for, I have run out of possibilities with Turbopotamos, I cannot understand why this awesome Peruvian band is not getting much attention in say Mexico for example. Honestly, they are not the best relatively ‘unknown’ band out there, but they have the potential to become HUGE, as I’ve been saying they should start by heading north, risk it and invade the Aztec country. I mean, this is a band destined to at the very least participate at a Vive Latino very soon, their rockabilly would work wonders among the chilanga banda crowds. Not to undermine several new bands that will breakthrough this year, I am hoping this is the year Turbopotamos gets its deserved attention outside their country, break them into big proportions. And I’m not trying to get all dictatorship on you, but there are people that follow this blog that have the possibilities to at least test their music. We give them our stamp of quality, their album No Love is quite a jewel for generic rock. A new record is soon to come, while we impatiently wait for it, let’s feature one of the best singles of 2008: “Terrorize You / Disco Flor”, a double feature turned adventure. Not only a feature, but it’s our official ‘Band To Watch – Most Likely to succeed for this 2009, wishful thinking?

“Well I cried and tried and cried and tried not to die, still I lied and lied and lied, till I saw the size of her knife.” 

Club Fonograma Features: 
TURBOPOTAMOS. 
Track: "Terrorize You / Disco Flor" 
Album: Disco Suite
Label: Discos Gordos
Country: Peru
>>> MP3
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