Showing posts with label piyama party. Show all posts
Showing posts with label piyama party. Show all posts
Video: Piyama Party - "Paz Mundial"
Piyama Party’s glorious shoegaze waltz “Paz Mundial” opened Álbum De Oro with the kind of serenity and wisdom reserved for album closers. Luis Angel Martínez took us along as he scaled that familiar “wall of sound” where a new perspective was waiting to deliver bliss. It was a bold move, but months after sifting out less essential 2015 records, one can appreciate a whole lot better.
Recently Sefárdico, pen name for Austin-based director Luis Eduardo Flores, took on the mission to deliver visuals for the underrated “Paz Mundial.” Jumping in we see a charismatic and terminally chill cult leader meditating and vegging out. His psychedelic landscape tinged in purple fauna pulls from Richard Mosse photos (h/t Remezcla), then flips to a reality where young people, plagued by failures and regret, announce their departure from the material world into a more meaningful existence inside a purple paradise. The treatment is notable because it presents a narrative that edges by, never encroaching the song’s gravitational pull and leaves us feeling as serene as the lyrics promise, “Qué bien se siente.”
Piyama Party - "Vampiros y plantas tropicales"
Piyama Party’s fourth full-length, Álbum De Oro, is finally set to arrive tomorrow (10/5) through a Panamérika premiere. First single “Vampiros y plantas tropicales” showcases a florid and hypnotic side to Luis Angel Martínez’s project, injecting dusty atmospherics and some genuine mystique. Here the titular “tropical plants” exist more as poetic mirages, adjacent to guitars and noise samples that howl through a western landscape. It’s intense, but never too harsh. Like magic hour in the desert. If the rest of Álbum De Oro supplies anything half as engrossing, we will surely have another essential record on what is shaping up to be a great year.
Piyama Party - En Español Por Favor
Independiente, Mexico
Rating: 74
by Jeziel Jovel
Piyama Party is an acknowledgement to indolence, an ode to teenage angst, and a real testament to a youth-in-verse. It’s a band that’s substantially interested in frivolity, and they make sure to remind us that we are the last generation to feel nostalgia remembering life before computers, that we are the kids of the 90’s growing up on an age of transition: from hand-written letters to electronic mail. Life, as we knew it, going from analog to digital. Piyama Party triggers the young and naïve, but above all, those who experience uneasiness from society: the upshot from combinations of cigarettes and alcohol, drugs and television, music and porn, junk food and pop culture-hoarded bedrooms. Living the days like we’re never really asleep and never really awake. All you need is love, all you want is sex, and all you have is porn.
After the preamble and curiosity introduced on their previous installment Culipandeo, Piyama’s latest record, En Español Por Favor, is a complete collection of the Piyama Party essence. Mastermind Luis Ángel Martínez continues to record at home, this time crafting a total of 17 songs that cohesively point to the future. “El único equipo en el que mejor funciono no es otro más que mi banda de rock,” sighs Martínez in first single “Compañeros,” responding to the unease of a society that pretends to be collective but who can’t behold the weird ways of a prolific songwriter like Martínez.
It’s easy to jump on the bandwagon of not taking Piyama Party’s lyrical content seriously, but some of their vernacular should be taken seriously. When Rockdrigo Gonzalez mocked himself in his 1989 ode-to-abysmal classic “El Feo,” he blurred the lines between an audience that was laughing with him, and those laughing at him. Rockdrigo since tried to disassociate from “El Feo’s” ridicule and struggled to be taken seriously until the day of his death. I’m not saying that this is where Piyama Party’s career is heading. Not at all. But as a song of by Interpol says, “If your life is such a big joke, why should I care?” It may seem inoffensive and light-headed, but this is the album where Piyama Party mediates its future (a transitory album of sorts).
Piyama Party knows there’s a right dose of humor rock and roll music can sustain. The thing is that, a constant mocking-on-yourself behavior surely affects the thematic scope of a record like En Español Por Favor. The album is weakened when the band’s known languid attitude hits the melody and harmonies. Songs like “Anti-Yoga,” “Super Junior,” and even the title track play dangerously relaxed –so much in fact, that the rhythmic continuity of the record is put at risk. On the other side, we have really high moments like the self-resolved, album-best “Ella es un diamante,” which belongs to the newer stage of Piyama Party as opposed to most of the songs included on this record which began to be recorded back in 2010.
En Español Por Favor isn’t the best album Piyama Party has made, but it’s not a regression either. In fact, it’s a bit of an essential Piyama Party album. We can certainly say it's an album for fans. This is the one record that seamlessly blends the good, the bad and the fucked up from the PP experience. This is also a reminder that they’re one of the few great bands out there with the ability of granting meaning to the worn tag of indie rock, and the true DIY blueprint.
Video: Matilda Manzana - “Ciencias Naturales”
“Ciencias Naturales,” off Matilda Manzana’s Conjuntos Cartográficos, has been materialized by artist Ouchal, with some help from his cybergang. Ouchal stays true to the bedroom pop’s natural habitat, but explores a blog-fi fantasy: What if boys ruled Pinterest? Wood could become plastic. Cats may be overshadowed by dogs. Kitsch would become our generation's source of aesthetic capital.
In this plastic-based afterlife of found and lost and found items, the value of objects rise and fall in a rich granular synthesis either through a process of interior design exercises (i.e. splashing paint about) or through an animated process of replacing and re-situating objects. Meanwhile, a product's newness might guarantee spectacular value in this bedscape. As a personal reaction to the video's content, I love my Tony Gallardo II cassette, I really enjoyed Ouchal's "Cuchillo" illustration as a t-shirt, and yes, I would totally buy that Andrew Jeffrey Wright pin, "Look At Your Stuff," for free.
As a personal take away from the entire video: Good Dog. Sad Pizza. Be Nrmal.
Piyama Party - Culipandeo EP
Culipandeo EP, Piyama Party
Rating: 84
Independiente, México
by Enrique Coyotzi
Oh, Piyama Party, how you crack me up. Sometimes, you bring about nasty, kinky feelings. Other times, you make me want to take loads of drugs (any kind accepted) and stay at home contemplating nothingness. Occasionally, it's simply the impulse to listen to some Dinosaur Jr. or Pixies and devour all kinds of junk food. Or my favorite: the image of a crusty lover, a disorganized bed, and being hella high in a favorite songs marathon til dawn. Whatever mundane thoughts they bring to mind, point is, the Coahuila idols, led by witty lyricist and singer Luis Ángel Martínez, shouldn’t be taken that seriously—at least not lyrically, even though it’s crucial to their cleverness. Piyama Party already has obtained a legendary mipster status thanks to landmark indie classics such as “Nosotros los rockers” or “Fan de Carcass.” At this stage, I’d dare to declare them the equivalent of Pavement in Mexican indie rock and, under that comparison, their so-fucking-good, constantly diverse Culipandeo EP would be the equivalent to the California heroes' magnanimously well-thought Wowee Zowee.
Upgrading the mostly unpolished, rocking spirit of Más Mejor, as well as Michael Está Vivo’s upbeat approach and appreciation of rhythm boxes and synths, Culipandeo focuses on several diverse styles that go from abrasive garage punk (“Siéntate en mi cara”), reminiscent western-like tunes (“Abridor”), insane keyboard-flavored curious mixtures (“Culipandeo”), acoustic guitar-based marvels (“Sexo, drogas y comida chatarra”), and pretty much kick ass, careless, filthy indie rock, which this time results in a softer yet frantic collection of eight essential songs that could each stand on their own, since they are stylistically all over the place. As a whole, they serve as your perfect 18-minute, strongly tied, fleeting soundtrack of what we in Mexico commonly refer to as “echar la hueva.” Hilarious opener “Elton” is a perfect example of why Piyama Party’s lyrics shouldn’t be overanalyzed, but simply enjoyed. “A ti te encanta Elton John/con sus lentes y su piano/pero yo no estoy celoso/porque es un maricón,” Martínez laughably tells his girl, who's a hardcore Elton John fan. Seriously, I could imagine a member of the "gay community" (hate that term) offended by it, or a casual listener believing it's a homophobic gesture, but it ain't. Martínez’s wordplay is ingenious, looking forward to just having some fun being irreverent. The situations he portrays are silly yet so familiar. He’s a comical, carefree, clever guy whose voice speaks through many others.
Extending on pop culture references, “Las chicas de Bret” is an exhilarating tribute to Bret Michaels’ entourage of generally wasted suitors during his VH1 reality show, Rock of Love. “Sexo, drogas y comida chatarra” is easily one of the best tunes the band has crafted throughout their abundant career. Funky guitar playing, fresh percussion, and sexy electric distortion are all present in this ardently, stimulating highlight about how to spend time with a companion in a bedroom (“vamos a ver porno, a jugar videojuegos toda la noche"). Later on, the vocalist soothingly narrates how his mind goes out of this world while driving and getting distracted with those hot girls on the street in the stupefying “Podría provocar un accidente.” Title track “Culipandeo” is a rendition of a sexually-fueled dance that basically consists of rubbing ass against pelvis (a sort of not so over the top daggering, more like perreo; check that cover!) is hugely rhythmic, richly frenetic, and ventures into uncharted eclectic territory for the group. “Abridor” commences with some latent heat, momentarily transporting to some Ennio Morricone landscape, and “Si yo fuera presidente,” an uplifting take on Argentina’s Ignacio Copani’s original piece, works as a subtle take on the country’s shitty current political panorama. At this point, no doubt Piyama Party would do better than any of the unconvincing candidates. Tumultuous, senses-hammering closer “Siéntate en mi cara” kicks everyone’s asses, evoking some of Dávila 666/Las Ardillas best moments and serving as another gold-star-on-the-forehead moment for these earnest badasses.
As I’ve read on other reliable blogs, the band supposedly/hopefully will release their third full-length this year. While it isn't official, let’s just say that Culipandeo has set the anticipation bar quite high and, temporarily, but satisfyingly, quenched our thirst. This is such a tremendous, compelling EP which I already anticipate referring to as a must in the future. Reaffirming themselves as one of Mexico’s quintessential underground bands, Piyama Party has demonstrated a jaw dropping trail, and the sparse, high-grade Culipandeo simply shines as their best release so far.
Los Mundos - Los Mundos
Los Mundos, Los MundosIndependiente, México
Rating: 82
by Jean-Stephane Beriot
“It’s just that I can’t wait to see your face again,” claim Mexico’s newcomers Los Mundos in a climatic state of angst and clouded strings. Their name might be a derived fanatic upshot for Los Planetas, and the album cover of their self-titled debut might have a post-adolescent Little Red Riding Hood on it (well, that or some type of hipster witch, or nu evangelist). Yes, there are already too many maybes up for second-hand conclusions in this review, but really, what is shoegaze more than just a hazy feeling that is also, floating in the mist of pop music, awaiting for the endorsement of a generation of romantics to swell its transcendence to the rest of the pedestrians.
Hailing from the north of Mexico, Los Mundos is almost like a super group. Piyama Party’s Luis Ángel Martínez and En Ventura’s Alejandro “Chivo” Elizondo don’t necessarily make an unlikely pair, but their two-man congregation does make for one remarkably pleasing surprise. We’re talking about a major indie romance here, considering En Ventura grabbed a spot in CF’s top ten albums of the '00s and house favorite Piyama Party, which seems destined to grab a few rankings on the next one. In a healthy year for Mexican rock (the year that holds Telememe, Futura Via, and Meaningmore), the arrival of Los Mundos serves almost like a disenfranchisement of our own knowledge of Mexican rock. For one, because for the first time this year (and in a while), we’re in club-consensus worship of an album that doesn’t carry credits from either Martin Thulin or Mou in its production tags.
From its initial spins, Los Mundos showcases a band that can evoke amorphous feelings in an effortless fashion. Whether in daydream (“No Me Grites”) or midnight doom (“Fuera de Horas”), the band crafts songs that are as noisy as they are gorgeous. Further contemplation of the album also reveals a certain affinity with tragedy themes; taking the shock factor out of them and making them feel habitual in an ultimately deviant world. Among those tragedies, “Ni un segundo sin musica” is like a dark, life-at-2:00 AM prolongation of Odio Paris’ anthem, “Cuando Nadie Pone Un Disco.” With so much confidence and good taste, it comes as an off-putting surprise they decided to self-title this album, (a no-guts, no-glory practice in the title would've been nice).
Los Mundos only suffers from two things. First, the lack of an out-of-this-world single that could’ve been referenced for years to come, and from a slight disjoint in the articulation of the music and the lyrics. There isn’t much to say about something that’s missing (although “Punk Soccer” and “El Sol No Sabe” come pretty close), but, for the other flaw, the band attributes the dislocation of its texts to the fact that this album was made at distance (with Chivo doing the music and Luis providing the vocals and lyrics, both working in different cities). Los Mundos carry their influences with so much charm that pointing them out would come off as obsolete. Impeccably timed and devoid of any fillers, Los Mundos is delightful - a work about the visibility of crescendos in a world of hazy melodies, topped by the duo’s assessment to make every action part of their idiosyncrasy.
Video: Piyama Party &. Sr. Amable - "Deporte Extremo Es Salir"
After a few years of virtual flirting and informal encounters, Coahuila’s rock heroes Piyama Party and Chihuahua’s dreamy pop escapist Sr. Amable finally made an official collaboration in “Deporte Extremo Es Salir.” While most of the bands making a commentary on Mexico’s wave of violence do it in a bleak, almost depressing manner, the bands from the northern region are wittier than their counterparts. It’s not that these two acts have accepted the violence and gone on with their lives; they’ve just reached a different phase of social clarity. A few years ago Sr. Amable captured the odyssey of the bloody events in the eerie and fuzzy weekender jam “Lo Balean y Hace Carne Asada." This new song is like its progressive sequel. “Deporte Extremo Es Salir” acknowledges its surroundings, but it doesn’t portray Mexico as the slaughterhouse that media is bombarding us with.
On my last visit to Mexico I found every newspaper featured guidelines on how to prevent being a victim. Well, this is the alternative. “Deporte Extremo Es Salir” is like a summer anthem on the dangerous act of “going out.” The idea of comparing a weekend party to an extreme sport is simply genius; a different kind of war-zone than those Jersey Shore kids, who clearly have it easy. In the act of going out, the song first suggests you could die from the heat, or from the “shooting bad guys.” In this wonderful video, Piyama Party rewards its distinguished guests as true athletes by giving them crowns, drinks, and lots of vinyl action.
Little Richard of the Valley: Un tributo a Ricardo Valenzuela Reyes
NWLA (New Weird Latin America) is the continuation of the legendary and inspirational Mexican netlabel The Poni Republic. Although the music collective has evolved into a music news portal, they’re still holding EP/album releases as their main dish. Today they released their most conceptually-driven (and wonderfully ambitious) album yet: a tribute to Chicano rock father Ritchie Valens. Trying to put Valens’ legacy into words is as challenging as trying to understand the icon died at just 17 years old. NWLA recruited nine acts to pay tribute to the artist in the album Little Richard of the Valley: Un tributo a Ricardo Valenzuela Reyes. Some of the highlights from the album include a pop (almost twee) version of “Come On! Let's Go!” by Yellow Yesterday, a revelatory “Oh Donna” by Los Macuanos, and the classic “La Bamba” by Joe Volume. Other contributing bands include compilation all-stars Piyama Party, Childs, and Ella Tiene Dos Androides.
New Dënver, Piyama Party & Balún in Plásticos y Etéreos
Spain’s Revista Plastica put out a stellar 10-track compilation last week, it’s titled Plásticos y Etéreos and is up for free download via Bandcamp. The virtual magazine focuses its content on the music made in Latin America and Spain. The comp features some very well known faces (Balún, Dënver, Los Negretes) and most exciting, a handful of bands completely unknown to us. Particularly the apparently newcomers Pegasvs, whose “La Melodia del Afilador” gets you straight to the bone. It carries what we would now call ‘the new great Spaniard rock flair’, a sort of left-field progression of rock&roll, almost satanically conceived by bands like Triangulo de Amor Bizarro and El Columpio Asesino.
But the real high point on the album arrives at the end of the compilation, with Piyama Party delivering one of the best songs in their career. “Bandas de Chicas” could be a picture of the times, embracing the reawakening of all-girl bands (Aias, Las Robertas, Ruido Rosa), but it’s a lot more. The composition of the music is frenetically rhythmic and revelatory, while the lyrics speak of the physicality of rock&roll & the sexiness of the guitar, and how everything seems to upgrade to a new level of seduction when it’s the girls rocking the stage.
Bootleg Promo: Algodón Egipcio - "Nosotros Los Rockers" (Piyama Party Cover) / Fonogramaticos Vol.10
Too many people ask us about the cute dancing girl with the cute dress, now you get to see her in motion. The footage (and iconic dance scene) comes from Azazel Jacobs’ The GoodTimesKid, featuring stellar performances from Gerardo Naranjo (director of Voy a Explotar) and the beautiful Sara Diaz.
Piyama Party - Michael Esta Vivo
Delhotel Records, México
Rating: 81 ★★★★
By Blanca Méndez
“Praise the goddess and pass the lube.” This is how Piyama Party’s latest EP, Michael esta vivo, starts and how I know it’s going to be a good time. Not that I expected otherwise, given that last year’s Mas Mejor was one of my favorite rock albums in recent memory. The band’s playful DIY style even inspired the theme of the soon-to-come 10th volume of Fonogramaticos with their anthemic “Nosotros Los Rockers.” Michael esta vivo isn’t as overtly rock and roll as its predecessor, but it is equally witty and charming.
The appropriately fuzzy “Mal Porno,” opens the album with a lo-fi attitude that evokes the shoddy camera work of comically amateur home movies, perfect for a song about outdated porn on VHS, featuring girls in out-of-style lingerie. Also in the same vein is the slightly scatterbrained garage rock tune in which the band asks the late King of Pop, “Por que te hiciste blanco?” For “Historias feas” the band leaves the garage and heads to the rodeo for a twangy western of a tune about the border and horror stories warning people not to travel to those parts because it’s not worth the risk just to go the mall for some T-shirts.
Piyama Party’s trademark humor is best showcased on “Canciones que me hacen sentir guapo,” a song about exactly what it sounds like it’s about. When I heard the first part of the song and how it’s hard being modest when you look so good I couldn’t help but think, mamones! Then came the line “yo te entiendo si piensas que soy mamon,” and it was perfect. “Rapera,” featuring the band’s fellow Coahuilense Pipe Llorens, is the classic tale of Rocker Dude falling in love with Rapper Chick. In between Pipe’s verses, the song is surprisingly and pleasantly soft. And the bird chirping around the time that Pipe calls his rapper love “mi pajarita” is one of the highlights of the album, conjuring a very Disney-esque image. If you think about it, the love that isn’t meant to be storyline of this song is kind of perfect for a Disney movie. I’d watch it.
And “Rapera” isn’t the only love song. The electro-tinged “Tus padres estan mirandonos” is adorably awkward, like the tough guy who can’t properly express emotions showing up at your door with flowers because he thinks that’s what he’s supposed to do. Then he realizes that talking to horses with you is a much better idea. “Hablas con los caballos, tambien yo voy a hablarles, de ti yo voy a contarles” might be the best moment on the album. And “Tocayo (version brownie magico)” is the perfect note to end on. The hazy retelling of a house party with fireworks leftover from December is what every post-holidays party is like where I’m from (minus the whole incestuous porn part).
In terms of musical style and subject matter, Michael esta vivo is all over the place, which is actually quite impressive considering that the EP is only seven short songs. The way it goes from garage rock to hip hop to country to electro and covers everything from porn to border violence to love and self-esteem might be confusing to some, but it makes perfect sense for these irreverent rockers. There’s no such thing as compromise in rock and roll.
By Blanca Méndez
“Praise the goddess and pass the lube.” This is how Piyama Party’s latest EP, Michael esta vivo, starts and how I know it’s going to be a good time. Not that I expected otherwise, given that last year’s Mas Mejor was one of my favorite rock albums in recent memory. The band’s playful DIY style even inspired the theme of the soon-to-come 10th volume of Fonogramaticos with their anthemic “Nosotros Los Rockers.” Michael esta vivo isn’t as overtly rock and roll as its predecessor, but it is equally witty and charming.
The appropriately fuzzy “Mal Porno,” opens the album with a lo-fi attitude that evokes the shoddy camera work of comically amateur home movies, perfect for a song about outdated porn on VHS, featuring girls in out-of-style lingerie. Also in the same vein is the slightly scatterbrained garage rock tune in which the band asks the late King of Pop, “Por que te hiciste blanco?” For “Historias feas” the band leaves the garage and heads to the rodeo for a twangy western of a tune about the border and horror stories warning people not to travel to those parts because it’s not worth the risk just to go the mall for some T-shirts.
Piyama Party’s trademark humor is best showcased on “Canciones que me hacen sentir guapo,” a song about exactly what it sounds like it’s about. When I heard the first part of the song and how it’s hard being modest when you look so good I couldn’t help but think, mamones! Then came the line “yo te entiendo si piensas que soy mamon,” and it was perfect. “Rapera,” featuring the band’s fellow Coahuilense Pipe Llorens, is the classic tale of Rocker Dude falling in love with Rapper Chick. In between Pipe’s verses, the song is surprisingly and pleasantly soft. And the bird chirping around the time that Pipe calls his rapper love “mi pajarita” is one of the highlights of the album, conjuring a very Disney-esque image. If you think about it, the love that isn’t meant to be storyline of this song is kind of perfect for a Disney movie. I’d watch it.
And “Rapera” isn’t the only love song. The electro-tinged “Tus padres estan mirandonos” is adorably awkward, like the tough guy who can’t properly express emotions showing up at your door with flowers because he thinks that’s what he’s supposed to do. Then he realizes that talking to horses with you is a much better idea. “Hablas con los caballos, tambien yo voy a hablarles, de ti yo voy a contarles” might be the best moment on the album. And “Tocayo (version brownie magico)” is the perfect note to end on. The hazy retelling of a house party with fireworks leftover from December is what every post-holidays party is like where I’m from (minus the whole incestuous porn part).
In terms of musical style and subject matter, Michael esta vivo is all over the place, which is actually quite impressive considering that the EP is only seven short songs. The way it goes from garage rock to hip hop to country to electro and covers everything from porn to border violence to love and self-esteem might be confusing to some, but it makes perfect sense for these irreverent rockers. There’s no such thing as compromise in rock and roll.
Mi Abuela es Jazzista. Fanzine #3
♫♫♫ Bam Bam. "Hi-Q"
Video: "Nosotros Los Rockers", Piyama Party
Here is the charmingly explicit new video by Piyama Party, who recently released one of the year’s best rock albums (review + download here). “Nosotros Los Rockers” is the opening track from Mas Mejor, and I guess this video would make it the third single from it following the very awesome “Solo te veo en bodas” and bestoftheyear contender “Fan de Carcass.” The two cute cats and the dog wearing pajamas on the album cover are injected some stop motion in this animated short. Loving the modularity of the video, the cardboard look and the Sonic Youth poster, oh those naughty rockers. Not to repeat myself, this is an excerpt from my album review regarding this song. “Nosotros Los Rockers” is a bittersweet manifesto to anyone who has been on a band; it really puts the audience at the same level by telling us about their bootleg disc by The Strokes and their need for guitars and a new amplifier. It really establishes an eye-level agreement that is respected all throughout the album.
Más Mejor, Piyama Party
MAS MEJOR, PIYAMA PARTY
Independiente, Mexico ****
Rating: 85
By Carlos Reyes
Piyama Party’s second LP comes in at full force to claim a spot as one of the year’s rock albums. In fact, I think this is my second favorite album ever included on the Delhotel Records catalog, after Los Gandharvas of course. It’s not as unexpected as one would think; their self-titled debut was a standout but it’s clear they have been polishing their craft capturing the scene around them, they’re also the first Mexican band to sound like Spain’s indie rock virtuosos, from Sr. Chinarro, AMA and very much the entire catalog from Gramaciones Grabofonicas and Producciones Doradas, with that said, this is an album mostly about stories, which requires lyrical efficiency and a ‘pure’ human touch that is able to keep these anecdotes (whether true or not) at bay. This is ultimately Piyama Party’s most attractive virtue; their songs are reachable without sounding less complex than the progressive-wall-of-sound acts around.
Someone not familiarized with the Mexican culture will not contemplate Mas Mejor at its fullest; it’s a lot more than a generalized survey, even the album’s title would be hard o swallow. Let’s not tag these songs as part of a subculture, they are part of the big picture outsiders hardly visualize and I get a feeling much of Mexico’s population would neglect too. Being part of the culture is the last thing on their mind, becoming part of a cult however is a consequence of their genuine pop and rock songs. So let’s get to it already. The opener “Nosotros Los Rockers” is a bittersweet manifesto to anyone who has been on a band; it really puts the audience at the same level by telling us about their bootleg disc by The Strokes and their need for guitars and a new amplifier. It really establishes an eye-level agreement that is respected all throughout the album. In the next track “Jesus en Las Vegas” they claim Jesus is at a box match, with Maria Magdalena toasting for world peace, love and rocanrol. First single “Solo te veo en bodas” handles its romance with prolific care, plus “quedate al menudo” (common dish the morning after a wedding) has to be one of the best lines of the year.
There’s humor in every song, fortunately they are no clowns but practitioners of self-destructive criticism and sarcasm, from “No Mas Pasteles” about an overweight issue, to the phenomenon of la “Frontera” which warns that the bridge is falling and ends up telling us the prices of meat at Ruteria La Hacienda. But there’s nothing like “Fan de Carcass”, I wouldn’t be scared to call it an immediate classic and one of the most alluring songs of the year. It’s the fable on how a guy became a hardcore fan of Carcass after listening to one of their cassettes, this encounter redefines him completely, and he goes dark! “dicen que son cosas del Diablo, por eso me gustan, por eso yo las prefiero.” They decide to skip purgatory in “Atajo al Infierno”, taking a shortcut by having more fun and less time for Church.
“Edecan” sounds quite dusty with its circular strings, it’s like a criminal poignant romance with some narco references hidden in there (or not). But the established practice doesn’t always work, “Olimpiadas Alveolares” and “Tocayo” drown around memorable songs and are even obstructive to the overall adventure. I was scared to hear how they would close this, the culminating “21 horas no son suficientes” is the most hormonal and effortlessly moving piece on the album. Mas Mejor needs some vocal dexterity here and there, perhaps fewer songs, but this is a material to hold on to. Piyama Party has found a way to keep a pedestrian sensitivity while sounding like rock stars; it comes in a folder with 17 tracks inside, a beautiful booklet (on PDF) and one of the most generous musical offerings 2009 keeps for us.
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