Based on their lovely catalog of bands, Nacional Records could be considered one of the best U.S. based labels of Latino sounds. At least it's one of our favorites. So it's extra special when the label reached out to us to premiere the new Torreblanca video for "Como un Amigo" off their sophomore album full of pop bombs, El polvo en la luz. With the help of Hector Castillo (Glass Reworked), MASA and Didi Gutman (Brazilian Girls), the album perfected the polyphony of past records and found room for Juan Manuel to expand his impeccable sense for melody and consistency beyond his strength as a chronicler of the exhausting contemporary situation, expanding them into emotional worlds unto themselves.
This is particularly true in "Como un amigo" and its video is no different. The clip showcases a soap opera scenery, using nature as both prop and setting, that adjusts really well with the folklore theme and acoustic sound of the track. Juan Manuel and his band plays in this gorgeous amphitheater while a man is searching for a meaning, a reason of happiness. At the end the clip embraces the idea that man should not ask what the meaning of his life is, but rather must recognize that it is he who is asked. Or as Viktor E. Frankl puts it, "Happiness cannot be pursued; it must ensue.”
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.
After the epic failure that was searching for free day shows, I was convinced it was an omen of horrible things to come on my first South By experience. Luckily, the first showcase located at Buffalo Billiard's alleviated all doubts and provided some great music. While in line, I did my share of creepin' on people's conversations just to get a feel for who people were most excited to see. Early birds, of course, were all talking (and for good reason) about Andrea Balency.
Per usual of South By showcases, the show started like 10 minutes late. When Andrea finally took to the stage, it was clear from the arsenal of vocal loops, effects, and keyboards that we would not be receiving a huge orchestral performance, but instead an intimate and experimental solo show. The first two songs were a little awkward, in that things began with a looped whisper instead of bang. Nevertheless she was still able to hold her own extremely well. By the time she played, "Delia," an epic french-language track, she had won us all over. Over the course of the 40-minute set she became a confident performer, commanding a huge selection of sounds to the point where it was easy to forget she was the only up there.
Torreblanca began his set promptly right after and delighted the crowd (and some very cool musician friends) by playing songs from his latest album, Bella Época. Accompanied by a full band (clarinet player, what’s up!), it was great to hear the big sounds from his record translated into a live setting. Even tracks I had pegged as fillers like “Dejé de ser yo” sounded incredible. In all honestly, I almost preferred it the studio versions where things sound a bit too clean and polished for my taste.
Following the show, my girlfriend and I stopped for some gyros and contemplated what to see next. When it was clear that waiting in line and spending more money for the ACL Live show was not an option, we abandoned our first pick (Next time, Terius) and went to see Los Rakas. We definitely made the right choice. As #PincheAndrew pointed out after, this concert really deserves its own post. Suffice it to say that Los Rakas were AMAZING. So much great energy from both performers and audience. These guys had us all dancing as they spit rhymes and navigated through beats from Dr. Dre to Kreayshawn. What was even more surprising was how many people were mouthing along to the lyrics (good to know i'm not the only one who's memorized a few verses from their version of "Gucci Gucci"). The Fonograma classic "Soy Raka" closed things off, and it was the absolute best way to finish the first night at SXSW. Almost like Austin's way of welcoming Club Fonograma.
In this clip for the single "Sí" director Benjamín Estrada attempts to translate the rich soundscapes and theatricality of Bella Época into something visual. We see Torreblanca and crew performing for a young bride on what is presumably her wedding day. Things start off pretty well, the girl is wrapped in some dreamy lens flares (think Beyoncé/Halo taken down a few notches) as she walks down the aisle. Just as the chorus takes off, the drama unfolds: the bride flees and we get some gorgeous black and white (very filmic) exterior shots intercut with all kinds of colorful objects. Most impressive, however, are those artwork-inspired animation bits, adding just the right element to the clip. Sure the photography is all over the place, but if it works in Torreblanca's music, then it definitely also works in this video.
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.
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 BellaÉpoca, 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.
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.
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.
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 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.
Featured: Torreblanca - "Defensa" Defensa EP, Independiente
Torreblanca es una banda. It’s been a while since we got to write about our dear Juan Manuel Torreblanca, people could say we’re bias for obvious reasons (he’s one of us) but such assimilations can be easily wiped out if you actually listen. Truth is, we’ve been fans for years (if you search you’ve found some stuff we wrote way before he joined us), and it’s finally great to see he will be releasing something. He’s one of those individuals with the whole artiste package, singer-writer-illustrator-multi-instrumentalist-sweetheart, and a great friend. The project is getting a formation under Torreblanca, turning into a band or something very close to it.
Seriously, it felt like a long time but he’s finally doing it, he’s releasing his long awaited Defensa EP and we’re really excited about it. He’s got that deep range rarity in his voice, truly heart-trenching lyrics and a humble but projective aura. After performing with the lovely Natalia Lafourcade for quite some time, it’s time to take on the challenge. “Defensa” is the title track and first cut from the upcoming EP, let me tell you it’s weird (in the kindest way). A few weeks ago when he shared it with us he did warned us about it, it’s a poignant and bold piece aware of its own shadow, “no te sorprendas si me voy volviendo un poco extraño.” It took a few spins for it to reveal itself as an elaborate, eye-popping dazzling song.
