Mariel Mariel - Foto Pa Ti

Foto Pa Ti, Mariel Mariel
Pan Dulce Productions /
Cosmica Records, Chile
Rating: 67
by Carlos Reyes

The first time Mariel Mariel contacted us she introduced herself as “Mariel, la chilena chilanga.” The title fits her well. She’s become a distinguished musician for Mexico’s cream of the crop indie acts (particularly as part of the band that accompanies Carla Morrison) and has slowly, but determinedly, pushed inward her solo project. Although she has yet to massively breakthrough in the same way her peers or compatriots have, Mariel Mariel has built a bit of a cool underdog status (something that has allowed her to venture from one genre to another). Mariel’s latest EP Foto Pa Ti is a significant departure from the disco diva and melodic chanteuse paths she’s surveyed in her two first references, No Me Despierten! and La Musica Es Buena. And it’s an abrupt, head-scratching (yet smart) reconstruction. Her crossing over to urban pop opens a query on credibility, posture, and appropriation, all of which seem to be confronted (to some degree) in her new EP, the very entertaining Foto Pa Ti.

There’s no denying this new phase of Mariel Mariel is in need of articulation. “Foto Pa Ti” (and its accompanying lyric video) screams Rita Indiana in both sound and aesthetics (who could ever forget that video for “El Blu del Ping Pong”?). But stripped down from its tropical frenzy, “Foto Pa Ti” is still admirable in structure and its tailored wittiness (besides, EPs are meant to be vessels for confessing the references upfront). Songs like the seductive “Noche Noche” and catchy first single “Tirame Un Beso” reveal a lyrical imagery that is sensual and populist, but it’s missing that tragic resonance that recent mantra mavericks (Leidi Li, Valentina Fel) have delivered to us. Foto Pa Ti (produced by Latin Grammy winner Sonido Landon) also includes a collaboration with the EP’s executive producer Carla Morrison (under her Pan Dulce Productions imprint) and a quite amusing maximalist cover for Juan Cirerol’s narcotically poetic “Toque y Rol.” It will take Mariel a proper full-length album to aptly resolve the eyebrow-raising query, but the potential for something big (and geographically significant) is certainly there.

Video: Sonido Landon - "Melancólico"

One of my favorite EPs from last year was Sonido Landon’s picturesque Pequeños Defectos, which, for whatever reason, was never properly released. He teased (some) listeners with the mellow pop rock “Sombras y Ramas,” (also one of my most beloved tracks of 2011), then made the EP available on his SoundCloud. But later on (for remastering reasons), he made it private again. Andrés Landon, accomplished multi-instrumentalist (responsible, along good friend Juan Manuel Torreblanca, for producing Carla Morrison’s first full-length, Déjenme Llorar) hailing from Chile and residing in Mexico City, has become well-known for accompanying Carla Morrison as the bass player in her live band.

When the video for the gorgeous folk pop standout cut “Melancólico” was released, I couldn’t have been more excited. Firstly, because I went to Landon’s SoundCloud and found out the whole EP is available once again. Secondly, because I hadn’t heard these songs in a while and, as safe as they might seem at times, revisiting them makes me realize how fresh and comforting they sounded when they were a new discovery, and how they keep a current quality within their casual '90s alt-rock revivalism and funk-nourished spirit. And thirdly, because I’m convinced Sonido Landon’s moderate fame should resonate more in his personal work rather than on the collaborations he’s become known for (Orlando’s cover of Los Rakas' “Abrázame,” Torreblanca’s rendition of Gepe’s “Por la Ventana,” but principally his work as producer and band member with Morrison). “Melancólico” is a beautiful introduction for those who are not familiar with Landon’s solo work, delightful singing, and charming tunes.

Directed by Guillermo Llamas Altamarino, this pretty clip finds Landon as a piñata-human under the Melancólico tag at a shop window. He’s selected by a girl, who is later revealed to be piñata-headed, just like her friends, who beat the sweetness out of Landon at a backyard birthday party, literally extracting candies and tearing his body apart. It's depressing and amusing at the same time. The conclusion, with the singer's body parts strewn on the ground, is somehow reminiscent of Yeah Yeah Yeahs’ “Heads Will Roll,” but with some real depth attached to its development.