Rudo y Cursi Soundtrack



RUDO Y CURSI SOUNDTRACK

Nacional Records, México ****
By Carlos Reyes
Rating: 84

We never wait for albums to get released in the states to review them; some take months but most of them stay back home without much attention from international press, so we go with the original release date. But for some reason, the Rudo y Cursi Soundtrack never got to my hands until early this year, and so I decided to wait for EMI to release it only to find Nacional Records taking charge of it, and we’re glad. Let me confess that I was on the very top of excitement when I read the tracklist, couldn’t believe someone out there had such good taste and the muscle to pull it out and actually release it, especially considering the movie had box-office success written all over it. Turns out Camilo Lara, from Mexican Institute of Sound was on charge, should’ve guessed it after his equally fantastic OST for Y Tu Mama Tambien. First time director Carlos Cuaron brought the idea of having these bands singing regional Mexican songs, and they do, from classic wounding rancheras and banda dusty anthems, to the foreign inclusion of Cheap Trick’s perfectly translated “I want you to want me.”

Gael Garcia Bernal’s voluntarily humorous norteno version of this song is a popular hit, and it was the key piece connecting the original 2-disc release that our friends down the border got to hear. Whether this piece of information takes away from the album’s colossal charm is uncertain to us, one thing is for sure, these set of songs are a before and after for both the artists and Mexico’s alternative scene. After all, these are the artists of an up-to-the-minute emblematic generation; they take a step into mainstream and get kids out of the cave. What better way to transition Gael’s quirky superstar momentum than to have the same song, in its original language performed by no other than Juan Son? Attach a solidly engaging band like Los Odio to duel his voice and build the scenery for a festivity of talented people that the general audience will see as discoveries and hopefully tell the world about it.

Juana Molina’s original track “Rudo y Cursi” shines with all glory into the narrative of the film, Niña Dioz proves again she’s Mexico’s best MC today, Quiero Club show up twice in their most versatile mode yet, Jovenes y Sexys reimagine a Los Tucanes de Tijuana song, while Los Latigos without knowing, made a Grupero song that sounds just like Alberto y Roberto or Los Temerarios. Other appearances by Devendra Banhart, Black Lips, MIS and Nortec are bringing the attention of people from Pitchfork and Steregum, we’ll see if they can make sense of it. While the movie itself isn’t as interesting as the soundtrack (or nowhere near the masterful Y Tu Mama Tambien), Cuaron and his all-star of Mexican cinema wants you to have fun with the movie and the music. This is the first of five movies from Cha Cha Cha, the outcome of many Oscar nominations by el negro Gonzalez Iñarritu, Alfi Cuaron and el gordo del Toro and their deal with Universal Pictures production deal. The film will hit theaters across the U.S. very soon via Sony Classics, I’ll leave this cute video I found on Youtube, a must-see, but beware, mom is directing, and she can be... obtrusive.


En la cama con Anntona, Anntona

EN LA CAMA CON ANNTONA, ANNTONA
Gramaciones Grabofonicas, Spain ***1/2
Rating: 70
By Carlos Reyes

Is it me, or is Spain’s pop transitioning to a weird level of psychedelic bump? As soon as authors realized that they can share their songs without having a good voice, now there is this big group of guys imposing the popular demand for music that is pleasant to the ear, usually meaning a voice on pitch waiting for the musical arrangement and accompaniment to support its survival. Parents, now you can tell your kid he can be a singer even if he sounds like a rooster. I don’t want to go to Manos de Topo right now, but for those not aware of this movement I must warn you, Anntona is one of them, probably the sweetest one also. He is the guitarist of Los Punsetes, the revelation in Spanish rock last year; in this sense, he shares a lot with other colleagues who are now upfront in side journeys, like Joe Crepusculo who is part of Tarantula or El Guincho’s partner Aleix who recently formed Extraperlo. El Guincho describes this shift as “good pop singed like if they didn’t give a damn.” En La Cama Con Anntona is enganging, but let’s get it straight, even when he is talking about ugly girls, odors and porn, there’s this innocence dancing around as if it wasn’t aware to what’s been exposed or its implication with the sound. It’s really interesting how this projects approach the listener, I’m sure they don’t care too much if you like them, but they do make an effort to grab you in, and “Nunca es tarde” is like a hypnotizing session smoothing your entrance to a layer of the bizarre, and what’s more convincing to manipulate your mind than a self-reflecting song of all kinds, wants you to know of timeless youth and that it is never too late to love, or grow a beard. “Y ademas bastante fea” is been called an instant classic, I think it is way too funny to starting inflating a harmless song. Two female voices show up, both sound beautiful if you asked me, first Ariadna Punset vocalist of Los Punsetes in the pessimistic “Podia Volar” and in the best song of the album La Bien Querida in the reggaetonesque “Tu Hueles Mejor.” I’m glad to see some people are conscious of the beat and care enough to make something good out of it, remember “Cuando Hablamos” by Javiera Mena? It’s not an entirely fortunate album, some songs are heavy and dry, but I guess there is plenty of moisture to spread around through “Todo el mundo tiene porno en casa.”