mexedelic

el sitio de la musica en vivo

2006-09-26T13:16:00.000-07:00

you can now find mexadelic @

http://mexadelic.com.mx

also listen to mercado negro
@ 19:00hrs saturdays
90.9fm (mexico city)

http://radioibero909.com

gig of the week - abolipop records

2006-09-05T16:00:00.001-07:00

saturday 9 september 2006

abolipop third birthday

Jack’s son + transistor + nebula 3 + lumenlab + vector + plug + hz

Cultural roots (Free entry)

Tacuba #81, Col.centro

Abolipop records from Guadalajara come to el DF to celebrate a couple of important events. First the third birthday of the record label, started as a concept in 2001 working around the new electronic scene in Mexico before consolidating itself in 2003 to concentrate on the releasing and promotion of artists material in a more conventional label form. Also the night sees the launch of the first album and seventh release by the label “everyone has a kid inside” from Jack’s son.

Like most small labels, especially in electronica, there is a fairly promiscuous interaction between the artists. Many of the projects performing on the night will see the same people in different musical mindsets. Lumenlab represents the first project of Diego Martinez who has gone on the create Jack’s son as a solo project with collaborations from Bocafloja on the hip hop side and Ruben Tamayo (Fax) with his minimal house to produce an all encompasing "hip-funk-dub-soul-mix". In order to create more of a punch live Diego teams up with Eduardo Martinez from The Copy Violators giving the scope for improvisation on stage.

With the well respected Egar Medina (Transistor) and the return of Israel M. (Nebula3) after time on a partnership project with Susana Licana (Aeropuerto), the deconstructed jazz of Vector and finally the youthful insight of Hector Zarate (Hz) the evening is a showcase for innovative electronic talent in Mexico. The one to look out for is plug, who released some early work through abolipop but now works through konfort discos. Thus the skill sharing in this area of music in mexico is both intra and inter-label in form producing the synergy to drive both creative and technical innovation.

It would seem that Mexico's comaparative advantage lies in the genre of music with labels such as Static producing the likes of Murcof and Fax with growing international respect, Soundsister, Imeca and Konfort all producing quality innovative electronica that is finding its way to places like Japan and the UK where niche markets are still profitable and well organised. The embracement of new technolgy and the file sharing culture is something supporting the success of this sector and is futher consolidated by the regular occurance of free live events such as this one.

guide 6 + 7 + 8

2006-09-04T11:45:00.000-07:00

7 + 8 + 9 sept 2006

always check with bands and venues for final confirmation

http://myspace.com/mexadelic

thursday

el df

hocico

@ la capilla

col.san rafael

jason + lawson + kiwi

@ bar pirana

alvaro obregon #293 col.roma

sub division

@ tigre

world trade centre

insurgentes sur

nude

@ la terraza cce

guatemala #18 col.centro

los musicos de jose

@ the black horse

mexicali #85 col.condesa

friday

el df

duopandamix + kampion

@ el patio de mi casa

viscainas #22, col.centro

furland + cutlass + le coq

@ septimo piso

boturini col.centro

panda + division minuscula

@ palacio de los deportes

virusonico + zuk attack

@ bar pirana

alvaro obregon #293 col.roma

the phantom surfers + lost acapulco + los explosivos

@ cultural roots

tacuba #81, col.centro

lawson + finde + luke brodie

@ el comillo

versalles #52 col.juarez

rock unido

@ savannah bar

monterrey #148, col.roma

pastelina mosh

@ el toreo de quatro caminos

hummersqueal

@ el ghetto

lerdo #315, col.tlatelolco

nikki clan

@ bulldog cafe

rubens #6 esq revolucion

replica + holden + candy

@ factory

jalapa #37, col.roma

asterisco

@ light club

niza #19 zona rosa

silencios incomodos + jessy bulbo + robota + nos llamamos

@ multiforo alicia

av cuauhtemoc #91-a col.roma

vainilla

@ casa jaguar

donato guerra y morales col.centro

silverio + aux raus + grupo chambelan + los margaritos + cannibal pop + dear ghost + 60 tigres

@ bar rio antiguo

morelos #855, barrio antiguo

she's a tease + 60 tiges + the moment + dear ghost + muller

@ mc mullen's irish pub

diego de montemayor, barrio antiguo

pachuca

aguascaliente

9/9 @ rock si, san luis potosi

10/9 @ le cirque, zacatecas

saturday

el df

sizu yantra + la tepetokio band + flanger garden + les tragiques

@ factory jalapa #37

col.roma

las cabezas de cera + la perra + juan pablo villa

@ multiforo alicia

av cuauehtmoc #91-a col.roma

rock unido

@ savannah bar

monterrey #148, col.centro

titan + aux raus + silverio

@ la victoria

col.roma

alter + pulitzer

@ metropolis rock stage

av.ins.politechnico

abolipop records 3rd birthday

jack's son + transistor + nebula3 + vektor + lumenlab + plug + HZ

@ cultural roots

tacuba #81 col.centro

50 aNos de rock mexicano

@ el zocalo

check!

eufemia + payola + ortiga

@ pasaguero

motolinia #33, col.centro

aerobox + en proceso + foeme + justina + foster

@ el camellito

cutlass + cecy leos

@ monster bar

insurgentes sur #1542

renton + 29luces +

vorhees en loto + simona

@ el pezuna

monterrey

60polo

@ cafe iguana

diego de montemayor col.antiguo

x=r7 + los implantes +

mockinpott + los rats

@ kyria

general naranjo barrio antiguo

puebla

surf + ska + punk

@ puebla

the phantom surfers + las ultrasonicas + los pegajosos + santisimos + snorkels + las bruscas @ pulque para 2

arty + division miniscula + finde

@ rodeo keops

salamanca

The Argentine Invasion?

2006-09-04T11:40:00.000-07:00

Argentine perspectives on Mexican Music

The cultural clichés of an Argentine presence in Mexico are obvious; a parilla on every street corner with their cartoon size steaks, long haired footballers rolling around in agony on every pitch, unreasonably good looking models on every billboard and tv advert selling you products you neither need or want.

If there has been such an invasion of Argentine talent in the last 5 years due to the economic and social impact of the recent crisis, then surely the Mexican music scene would have benefited just as much as other sectors of the economy?

Inside looking out – 29luces

A band that might be considered as part of the new independent music scene here is 29luces. The group formed in Buenos Aires in 2004 arriving in Mexico in December of that year.

For the whole of 2005 they threw themselves at Mexico, playing more than 40 times in around 10 months as well as releasing their debut album “enciende el aire” on the Fonarte label.

After a brief spell back in Argentina at the start of 2006 they are back on the scene again looking to build on the foundations laid in 2005.

It has not been straight forward; recent change in management has meant the withdrawal of the album from retail outlets. Also they have found it difficult to get exposure through the mass media that often focuses more on new Mexican acts.

But the band is not discouraged, Juan Pablo Fallucca, the creative core of the group, feels that if they perform in front of enough people then the message will eventually get through.

Rather than being an Argentine band in Mexico they think of themselves as more “citizens of the world” with music as their universal language.

The band hope to pass the winter in the Californian Mountains at a secluded studio to start focusing on a freer progressive rock style to match their open minded approach to life.

With the new material recorded 29 luces then will consider a move to Spain. Thus rather than being locked into the Mexican scene the band come over more as musical nomads.

Outside looking in - Plush

Tufo is the lead singer of a folk rock band called Plush based in Buenos Aires. He feels the Mexican market is attractive to Argentine bands for two main reasons and hopes to take his band north in the near future.

First the stable income they can generate through playing live gigs, plus Mexico’s proximity to the US and the exposure they may get there compared to the relative isolation of the Southern Cone.

Tufo feels that there have been a number of challenges for new musicians recently in Argentina that have made them consider moving abroad.

Not only the economic crisis but also events like the Cromagnon disaster at the end of 2004 when 194 people died at a concert.

As local government investigated the cause all live music in the city was banned for a couple of months and musicians were left with nowhere to play.

He feels it was the final straw for many who were just beginning to scrape a living together after two years of economic depression.

There are, of course, many “rogue” Argentine musicians contributing to the scene here by playing with Mexican bands but the influence of Argentine bands based in Mexico may be overstated.

According to the statistics a significant number of young people have left Argentina in order to find new opportunities in the period from 2000-2005. But these highly educated and talented people have tended to direct themselves towards their ancestral homes of Spain and Italy rather than to Mexico.

Thus if Mexico’s music scene is being influenced by Argentine music and musicians it seems to be external in nature, highlighted by the popularity of bands such as Babasonicos.

There is little evidence of Argentine groups using the growing indie scene in

Mexico

as a platform from which to pursue success.

http://mexadelic.com.mx

2006-08-30T08:57:00.000-07:00

apologies for the state of the gig guide this week.....

we are inbetween platforms at the moment...which is as uncomfortable as it sounds....hopefully the full mexadelic site will be available by the end of the week @

http://mexadelic.com.mx

agosto 31 + sept 1 + 2

2006-08-30T08:29:00.000-07:00

always check with bands and venues for final confirmation http://myspace.com/mexadelic

Eusebio Ruvalcaba presenta libro de poesia Los Pechos Previligiados + Twin Tones @ multiforo alicia	dagger + nuo requiem @ pirana bar alvaro obregon #293, col.roma
l-kan + dixibait @ la terraza cce guatemala #18, col.centro	@ factory jalapa #37, col.roma
cuernavaca	los pegajosos + hi lucy x=r7 + @ el pulque para dos puebla
monterrey

Thunders Surfers + Los Santísimos Snorkels PIRAÑA BAR ÁLVARO OBREGÓN 293, COL.ROMA,	a letter for + luke brodie + jason + juliette + alix + lawson @ multiforo alicia av.cuauhtemoc #91-a, col.roma
X=R7 + Roc & Robots +Yodex + Los Faja De Yeso EL PATIO DE MI CASA VISCAINAS 22, COL.CENTRO	dragkillers + zoemma + gatita + alex lug + los shower singers @ pasaguero motolinia #33, col.centro
zoe @ auditorio nacional	mal hecho @ pirana bar alvaro obregon #293, col.roma
pastilla + soulmachine @ factory jalapa #37, col.roma	chamomile @ voglia nuevo leon #4, col.condesa
other
kobol @ festival medioarte	kimah @ monster bar
cuernavaca

	@ el pulque para dos


http://manifest.com.mx
Armando Palomas + la Veladora @ multiforo alicia	rock unido @ savannah bar monterrey #148, col.roma
pambo @ bulldog cafe	virusonico @ el atrio uruguay #52, col.centro
	dark tech fest 2006 @ el ghetto lerdo #315, col.tlatelolco
	rock unido @ savannah bar monterrey #148, col.roma
	queso crunch + pogo @ bar pirana alvero obregon #293, col.roma
	sr bikini + perversos cetaceos @ mesones #54, col.centro
radio tigre + sra kong @ pasaguero motolinia #33, col.centro	mustang @ dos97 amsterdam #297, col.condesa
rastlan + drovell + lawson + rubinskee + nightmares for a sunday dream @ factory jalapa #37, col.roma	tanke + salvavidas @ el pezuna

guadalajara
abolipop records lumenlab + bye birdie @ the red room	l-kan + delicado sonido + buro + videohome + stinky belly button @ larva av.juarez, col.centro
mexicali
	the guilty hearts + maniqui lazer @ la casa de la tia tina
	los kung fu monkeys @ cucapa (mexicali)
puebla

	@ pulque para dos
other
	rock del rio @ ciudad juarez

EL chopo – 25 years of cultural space.

2006-08-21T11:55:00.001-07:00

EL chopo – an alterative cultural space for the city.

El Chopo, close to completing its 26 year of existence, seems to have become ingrained into the cultural melange of the city and in particular the independent rock scene.

Visit the street on any other day and it is deserted with no suggestion of the transformation that occurs every Saturday into a forum of free expression in attitude and fashion.

The “El Chopo” experience is multidimensional with the merchandise available through the two lines of stalls being one important aspect. Clothes, CDs and DVDs are the main products on offer in an interesting balance between pirate and original material.

Independent record stalls sell as good a range of New Mexican music as you would find anywhere. The prices are attractive as well, on average 20-25% cheaper than you will find at the major retail outlets.

One could argue that the grey aspects to this type of economy may give rise to the disparity in price between the two sectors, but in a country where the tax net is only 12% of GDP (the lowest in Latin America) the question is who does pay their taxes rather than who doesn’t!

The availability of pirate material is a constant challenge to reputable sellers and a constant temptation to the cash strapped young consumer. It seems Fatalist and Suberranea have joined the group of bands with the dubious distinction of having their material copied and sold in this way.

For groups at this level this kind development reinforces the importance of live performance as a way to extract a living from their efforts and represents a serious challenge to the viability of independent labels.

On the clothes front El Chopo certainly caters for a range of taste. From the freaky fringes of fashion to the basic essentials of “Average Joes” wardrobe, everyone can find what they are looking for.

The idea of unlicensed products in terms of clothing and accessories for bands such as Radiohead and in particular The Ramones seems almost more palatable. Most of the bands getting ripped off are already far too rich or far too dead to care.

At least there is an element of innovation in product design rather than simple replication. However it is unlikely the managers and lawyers of Thom Yorke’s estate would agree with this perspective.

Finally and most importantly it is as a cultural space El Chopo finds its strength with displays of photography and art, forums for discussion and, of course, live music on offer free every Saturday.

There seems to be a strong connection between Mulitforo Alicia and El Chopo as it provides an opportunity to see many of the bands performing that evening in warm up sessions in the sun.

Clorox Girls from Portland US, Occulta with Jenny Bombo (Ultrasonicas), Gaby Delito (Dagger) and Danny (Alta Traicion) making the serious threat to “make your ears bleed” one Saturday. The next had the full line-up from the Guadalajara rock night at the Alicia with Descartes a Kant, Eva Malva, 3 Colores and Projector.

Radio Chopo is el Tanguis del Chopo’s weekly publication of “rock y poesia” providing a background to the groups playing as well as other discussion points. With the website also giving details of what is coming up, although these are not available until the very last moment at:

www.eradelrock.com

It would be hard to measure to the contribution that el Tanquis del Chopo has made to the independent rock scene in Mexico City over the last 25 years; this is often the case the things that are of the greatest value.

Certainly it is an important asset to the social capital of the city and in the present climate of the rapid commercialisation of the scene in general here, El Chopo continues to provide a refreshing, free alternative every Saturday.

gigs of the week

2006-08-16T11:20:00.000-07:00

jueves / viernes / sabado

From the looks of the flyer it will be an interesting few days down in Oaxaca as mother earth and daddy rock get together to form a fiesta. Subterranea are working on material for a new album as well as just having finished the video for the second single from "Soledad brother". The shoot for "Pulqueria" was completed in a single day in Coyoacan and will be launched in September. The video represents the first project for Monkey Business Producciones and was directed by Hugo Corona de Luna.

The band are as energtic and focused as usual, after a week in the studio they will return to el DF next weekend to participate in the Rock Marathon on Sunday 27th. The day will feature a range of talent from the scene including Yokozuna and the Twin Tones. It should be a great day for Subterranea and the rest of the bands taking part as they get an opportunity to play for a section of society most probably previously unaware of their very existance.

viernes 18 agosto

bill + chikita violenta + ventilader
@ pasaguero
motolinia #33,col.centro

Ventilader make the journey from Monterrey to play Pasaguero on Friday night, most probably in a support role. The group represents true quality in indie music here in Mexico and is deserving of more exposure. Their 2005 eponimous release on Goribel Records is a beautiful combination of digital and analogue, with many moods contained within the 36 minutes and 58 seconds of music, both between and within tracks. Brake beat drums combine seamlessly with intricate electronic and vocal melodies as the album time drifts imperceptibly by.

Jorge Marron seems to be the creative core of the project as he writes the material, sings, plays bass(which drives many of the songs) and also produced the record. It will be interesting to see how some of the more delicate work translates to the live performance, especially given the rockier context of Bill and Chikita Violenta. One can imagine an opportunity to draw on the surpressed guitars within the music to provide a more obvious edge to get a crowd moving. Ventilader is most definately the one to watch this weekend.... and in the future.

Hard Cash at the Hard Rock

2006-08-06T14:17:00.000-07:00

Hard Cash at the Hard Rock

The Cosmetics + 6 million dollar wierdo + Los Dyanamite

Hard Rock Live

4 August 2006

The Hard Rock, situated on the corned of Campos Elisios and Reforma and the lower end of Polanco, is spacious enough to accommodate 1000 people yet intimate enough to give everyone in attendance a decent view and a suggestion of interaction with the band. The floor in front of the stage has a unique perspective, almost sunken below the stage like an orchestra pit one truly feels part of the performance. The upper area (reserved for the non-paying elite) must give an excellent vantage point almost level with the action on stage. Adding on the acoustics of the venue, which are generally accepted to be of top quality and you have on the surface an excellent place to experience live music.

The night’s entertainment started with The Cosmetics, apparently making their first live performance. The band based in Naulcapan has been receiving heavy airplay recently with the related rise in myspace traffic (15,000 plays each for their two songs). Their music is unashamedly English is style; influences are stated as The Cure, Bowie, Sex Pistols, The Clash, The Stone Roses etc etc….and the lead singer Eduardo wears a Fred Perry T-shirt and flat cap on stage giving him the air of an East End geezer.

In fact Eduardo's fascination with English music has existed from the age of 10 when he receive his first Cure album and his understanding of English slang has been aided by close contact with Brits over many years. This insight is incorporated into the lyrics of the songs, mostly inspired by everyday events but given a sardonic twist.

The Cosmetics still have a long way to go from their roots as a cover band, but the group shows promise. The two songs receiving exposure “Mag Queen” and “Newcomers” are extremely popular and have created a real vibe that they need to take advantage of. There is a fine line between innovation and imitation and there are strong suggestions of the influences the band look to in the sound they create; but there is also something fresh within the limited portfolio of songs the band presently play.

Time, as ever, will tell whether the band will develop from the strong foundations they have created for themselves in the relatively short time that they have been focusing on original material. Maybe the Six Bells pub in Hoxton on the East side of London would have been a more appropriate starting point for their live career rather than the Hard Rock Live in Mexico City!

With 6 million dollar weirdo’s glam rock parody and Los Dynamite to finish the evening off with their polished stage show that has been used to support the strongest of foreign acts (including Bloc Party a few days later) the evening provided solid entertainment for a steady crowd. There really was only one problem; the $250 entrance price was verging on the ridiculous for two up and coming bands and one quality, local, act. Add on $35 a beer and a taxi home from the recommended “sito” outside that charged $180 for a ride that is usually $50 and you have New York not Mexico City prices.

The Hard Rock seems to be more about hard cash than anything else; it has as much to do with rock and roll as Mcdonalds have to do with a balance diet. The real danger is that this trend towards higher prices is emerging across the board with regards to live music in Mexico City and it is in danger of stifling the nascent scene.

Pasaguero a week later charging $100 for The Cosmetics 5 song set and Frenetix are just as mistaken in their pricing strategy as the Hard Rock. Profiteering is just as much piracy as file sharing and this applies to CD prices as well as the cost of events. Local income levels must be considered in making music available to all. Perhaps that is just it, how does one define local? Certainly the prices at the Hard Rock reflect per capita income in Polanco rather than el DF as a whole.

Track recommendation

Newcomers

Mag Queen

available @

http://myspace.com/cosmetics

Alicia's fight for independence in indie music

2006-08-02T18:33:00.000-07:00

Alicia as venue and label

On Saturday 29^th July 2006 Los Elasticos celebrated three years of existence with a party at Multiforo Alicia. A sextet of surf rock bands were invited, including Sr. Bikini and Fenomeno Fuzz amongst others. The combination of a long line-up, reasonable entry prices and cheap chelas always guarantees a good crowd. This has long been a characteristic of this venue which has been the backbone of the independent scene here in Mexico City for over ten years.

On the night the real party atmosphere was reinforced with plenty of stage-crowd interaction. From free giveaways to stage dives, the barrier between band and viewer was constantly being breached which always makes for an entertaining evening. Almost a constant flow of girls willing to cavort on stage, whilst not being completely politically correct, somehow added to the frenzy that this particular style of music creates.

It has to be said that “surf rock” is the type of music that you either love or loath. The whole atmosphere in the Alicia on Saturday night was built around certain bastions of the genre. The wrestling mask culture, the aggressive dancing and the wolf pack whistling at any woman willing to expose herself cannot be everyone cup of tea. However surf rock as a genre is probably at its strongest in Mexico City; which is about as far from the sea as get in a country with so many beautiful coastal locations.

The main stream acceptance of the style is probably at most evident with the success experienced by Lost Acapulco over a number of years both in terms of album sales and appearance at almost every large music festival. The inclusion of a track by the band on the latest EMI/Reactor “Qual es tu rock?” complication is almost like an official stamp of approval.

Of the bands on show for Los Elasticos celebrations it is probably Fenomeno Fuzz with their suggestion of “lounge” that comes closest to breaking out of the genre that so many groups seem to be almost locked within. Certainly Sr. Bikini and Los Elasticos are comfortable with the pillars of the musical construction that characterizes this particular brand of music. But when people enjoy themselves this much, and get exactly what they expect on a night out, it is difficult to argue for more innovation.

Foro Alicia, in its eleventh year of existence, continues to make a significant contribution to the independent scene in general by providing a space to play for many different types of music. Even with the recent explosion in the number of venues available there seems to be more space for the less extreme genres, as one would expect.

Nacho Pineda (Alicia’s owner manager) is still as outspoken as ever in defending choice in terms of new independent music. He talks about Mexico City being a phenomenon with “a band on every street corner” looking for somewhere to play. The number of bands put on a night at the Alicia has often been criticised as too much; but if it simply means more opportunities for more groups how can it be a bad thing?

The future of Multiforo Alicia is still in the balance. At the end of 2005, with the tenth anniversary celebrations, Nacho was announcing the closure as a definite thing. Now with only a few months to go till December Nacho is leaving some room for manoeuvre. The combination of long hours and the battle against red tape and bureaucracy is taking its toll. The possible change in local administration due to the recent elections could be the final nail in the coffin for Nacho’s patience and thus the venue’s future.

Whatever becomes of Multiforo Alicia, the spirit will live on in the form of their independent label Grabaxiones Alicia. From its first release in 1998 “Puebra Esto Vol.1” a punk rock compliation, through further compilations of surf rock, blues, ska, reggae to its recent concentration on indie and emo from individual bands such as Austin TV and the Twin Tones; the label is a natural extension of the open-mindedness of the venue itself.

Nacho still faces some problems relating to the distribution of material, relying mainly on sales at the venue shop and in El Chopo on Saturdays but he seems almost excited by the prospect of new signings. August 2006 will see release number thirty from the label with Silencios Incomodos’s instrumental rock album “hasta ahora todo va bien” and a concert planned for the 25^th of August as a perfect compliment to mark the launch. Still more recordings are planned, including music from Spanish artists. Thus Alicia’s independent crusade under the banner “musica contra el poder” marches on. One can only hope that the campaign continues into 2007 on two fronts, with both label and venue involved in the fight for true musical independence.

Live Music Matters

2006-07-31T10:16:00.000-07:00

There are a whole host of reasons to go and watch a band live here in Mexico City. I’m not talking U2 at el Azteca; take those 1000 pesos and enjoy ten nights out. I’m talking new Mexican bands in regular venues. In fact there are probably more reasons to do it here in Mexico City than there are in anywhere else in the world at this present moment in time.

In order to understand what makes the live experience so striking it is best to provide a framework in which we can analyse the phenomenon. It is the combination of place people and point in time to which the musical catalyst is applied in order to create the intense reaction. By considering these characteristics we may gain an insight into what is happening on the indie scene here and what someone can expect on a night out.

Certainly the place in which the event occurs is a key variable in determining the outcome of a night. Mexico City has a fascinating range of venues on offer for live music and the options are expanding rapidly. From Sauce Boxeador, a dilapidated but somehow inviting café on the edge of Colonia Roma to the lush interior of the Teatro Metropolitan in the centre; each physical context creates its own vibe.

From Factory’s improbable tree to Pasaguero’s dominating bar each place seems at first almost unsuitable to the purpose for which it is being used. Yet it simply creates a unique perspective from which to view the band in action. Probably the thing that is most exciting, even more than the prospect of seeing a new band live for the first time, is the prospect of watching a new band in a new place. It is almost anticipation squared.

People are obviously the most important component in the complex compound that is a night out. But is more than just having numbers it is all about participation. There is nothing like the vibe created through band and crowd merging as one; not “sing long sessions” as the corporate packages we accept as the live music experience tend to interpret the word. No sing long represents a dangerous veer towards the middle of the road on the journey of any band (Zoë Metropolitan fans beware).

Participation is about movement, again not shuffling to the music in a square foot of space standing in front of a seat you never use yet have paid through the nose for. Participation is about physical interaction, the stage dive, the crowd surf with lost shoes and emptied pockets, the mosh pit with its pure, vacant and inviting centre. Participation is the ability to move in a space constantly being redefined by the movement of others. Blood sweat and tears – that is what people give the performance, everyone contributes whether they are on stage or not. That is the role of people in the true live performance.

The point in time is now. The live music scene is exploding here in the city. Probably for the first time there are more venues opening than there are closing. Twenty options or more of indie music can exist on any Saturday night, every one different; the place, people and music will see to that. More choice is a wonderful thing and even more choice will grow from more interest, it becomes almost a self-fulfilling prophesy.

Remember live music is not like clicking on your mp3 file or putting your CD in the stereo, it is different every time. Bands grow and change, recordings are a “sonic snapshot” that you go back to like a fond memory. Live is reality stimulating the five senses at once.

Live is Jorge from The John Band’s guitar solo at Foro Alicia while Alejandro is off stage with technical problems.

Live is the bass bayonet charge by Rodo of Maniqui Lazer at the CCE.

Live is Amira of Sub Division sat in the middle of the floor at Pasaguero chanting “Blue Boy” in sharp stabbing monosyllables.

Live is Disidente playing in front of 10 people at Dos97 just a couple of hours after playing in front of 10,000 at Palacio Deportes.

Live is a broken string or a missed chord early in the evening at Sauce Boxeador.

Live is Martin Thulin standing in the crowd at Cultural Roots watching Los Fancy Free.

Live is Childs enchanting electronic thank you that drifts imperceptible through the air on a sunny afternoon at Dia C in La Ibero.

Live is watching Silvero in his ‘longjohns’ bashing the decks with his head at Septimo Piso.

Live is the sound created by el Hombre Bala’s drums, combined with Furland’s guitar amp and Fredric Pope's microphone.

Live is the promise of all these things. Live is everything. Live is place, people and point in time (i.e. now – tonight) but most of all live is music as it should be heard.

fatalist for friends - bar pirana 22/7/06

2006-07-23T18:33:00.000-07:00

Fatalist made a special guest appearance on Saturday night to support Subterranea. It has been an interesting couple of months for el DF based rockatronic group. "Makin Around" the single from the first EP reached number 3 in the Mexican charts, and has proved to be one of the most solid independent releases of 2006. The group also appeared on the "signing stage" at Vive Latino on the Saturday and drew a big crowd. Ricardo Najera found his position of drummer compromised within the group when his other project Furland signed with EMI; thus Fatalist has had to integrate a new member. Finally the band has made the shift from Victim Records to Noiselab.

In a short set of five tracks the group introduced two new songs. Although the new member maybe lacked the dynamic and volume of Ricardo on the older material he seems a lot more comfortable on the new stuff that has been developed with his direct input into the creative process; thus the personel change should have little long-term effect. The new songs seems to follow the solid structure of the tracks from the first ep with more Spanish lyrics introduced. Fatalist seems to fit comfortably into profile of many of the bands held within the Noiselab portfolio (electronica vs rock - English vs Spanish - digital vs analogue).

Just as Noiselab seem to expertly pick the material they release from foreign artists, they also seem to be selecting a cohort of Mexican talent that would be most suited to export to the US or European markets. It will be interesting to see what Noiselab's long-term strategy will be with the cream of the indie crop here in Mexico. In the mean time Fatalist will be sure to flourish with the extra attention they will get from this well organised and higher profile label.

band of the week - subterranea: join the revolution

2006-07-17T12:49:00.001-07:00

Subterranea + el Hombre Bala + KIA + Los Pranksters + Popkorn Julia
La PiraNa
alvaro obregon 293
Sabado 22 julio

Subterrenea will play La PiraNa this Saturday with the promise of a special night. The main focus in the next few months is on the recording of their third album. All of the money raised on Saturday will go towards the cost of the recording sessions at Sonar Studios in Oaxaca. With the incentive of top quality support in terms of production and mastering a good crowd is crucial for the band if they are to complete the project.

Eduardo, the voice of Subterranea, feels like their last release "Soledad Brother" was more of a concept album, experimental in nature, and the band is ready to try something different again. Certainly their perfomance at Dos97 at the end of June gave strong suggestions on a rockier, harder edge in their live performance. Mexadelic joined Subterrenea in their "underground" hideaway after the gig to enjoy the band jamming with friends. The shear quality and versatility of musicianship in the group was the striking observation from the night.

At La PiraNa this Saturday there is the promise of some surprises. The band will be joined by many friends in a show of support for their "focus on the artistic side of self-expression and honesty". Maybe the revolution on Mexican soil they were hoping to start has already begun.....

Check out:

http://myspace.com/vivalasubterranea

http://subterraneamusic.com

spectum of sound - Saturday 15 july 2006

2006-07-17T12:48:00.000-07:00

It is strange to title an article after a date but this was no ordinary day. It provided an opportunity to experience the full spectrum of live music here in el DF. Sauce Boxeador is a small, somewhat run down venue on the borders of Roma and La Zona Rosa. It plays an important role in providing a space for young starter bands to strut their stuff among friends.

With an afternoon gig planned most weekends those present are made up of the members of the five or six bands in the line-up. It is very much a plug in and play attitude without time for sound checks (or seems tuning!). Each band thrashes out their music as the next band on waits impatiently at the side. Missed chords and beats are often part of the set, but as the musicians grimace in embarrassment the crowd can empathise with their situation and all music is well received.

By putting so many new bands on a line-up so early in the day Sauce Boxeador is making a real contribution to the development of talent here in the city and usually there is a quality surprise later. This time La Social from Sonora played to introduce their strong debut album “Galaxia Radicalizada” (Iguana Records). A visit to one of these events may bring you into contact with a nascent Zoë and give you something to tell your friends a few years down the line.

From one extreme to the other, Teatro Metropolitan hosted the album launch for the “realised” Zoë the same evening. A full house packed what is probably the most visual appealing venue in the city. It was, it has to be said, a rather strange affair. A 20:15start with no support seemed to catch the crowd somewhat off guard. New material from the album was received rather tentatively until "Via Lactea" solicited some positive response. As the evening wore on the audience responded more positively in true "sing along" fashion. "Dead" was received almost as well as some of the older classics, it is interesting how tracks can make the transition from new to old favourites in a relatively short space of time.

The combination of light and sound incredibly impressive but the visuals were somewhat disappointing. At 21:45 Zoë were gone, maybe 75 minutes (taking into account time off stage) of entertainment for around 450 pesos. Radiohead played longer, with support, for less money in San Diego the weekend before (in a country with 4 times per capita income). This was a night for the diehard (and liquid) Zoë fan, and an exercise in "price descrimination" by the organisers, maybe justifiable given the sea of unlicenced products outside (including the album for 10 peso).

Finally back to the reality of the indie scene in el DF. Dos97 with el Hombre Bala, Furland and Fredric Pope. A relatively light crowd participated in a fun evening at this popular venue. The quality of the music is undeniable but often the message fails to reach all those who might be interested. Herein lies the dilemma in new music here in the capital.

Getting the price and the promotion right are key to developing the scene to its full potential. The bands are doing all they can. El Hombre Bala is presently focused on a project of making their live experience more "personal". Name tags for everyone and balloons filling the air encouraging everyone in the place (even the bouncers and staff) to get involved. Furland continued the show playing with a new found confidence gained from their contract with EMI. The quality of the musicianship in this group is really quite outstanding. Finally Fredric Pope with a strong suggestion of "Britpop" rounded of a solid evening’s entertainment for 50 pesos.

The event at Dos97 was representative of what the concert going public can expect from the indie scene here in the city at the moment, quantity and quality and price combined to give great value for money. Perhaps in order to fully appreciate it the other two experiences of the day were necessary to provide a suitable context.

bengala @ pasaguero 13 julio 2006

2006-07-14T09:06:00.000-07:00

A comfortable crowd filled the floor last night as Bengala took to the stage as the second act of the evening. They have continued to go from strength to strength in recent months with regular gigs, including an impressive appearance at Vive Latino where the band was given a bit more space to expend themselves.

The focus at the moment is on their first album. Contary to rumours circulating the band are still unsigned and will be working independently on the album project which has finished its recording stage and contains new material including a brand new song premiered on the night. The key element is to find the right kind of technical support to produce and engineer their sophisticated combination "energy and subtle melancholy".

The band will be relying on an interesting combination of Mexican and US expertise. Paco and Tito from Molotov will be joined by Emme of Cafe Tacuba plus the highly respected Tony Peluso who has just worked on The Liquits latest album "Jardin". The album should be ready for September and represents one of the most anticpated releases on the Mexican independent scene this year.

zoe at the vanguard of new mexican music

2006-07-13T08:38:00.000-07:00

Zoe have an important few days, today (12 julio) is the launch of their new album "memo - rex commander y el corazon de la via lactea" (Noiselab/EMI). Included in the production notes is Phil Vinall who worked with the band on their first 2 releases. The disc includes material from "the room" ep, "via lactea" and a track sung by Charlatan Tim Burgess. The album represents an important juncture in the bands development after disappointing spells with major labels which resulted in signing with Noiselab, where they seem to be happier and more productive. Saturday (15 julio) there is a sell out gig at the Metropolitan will officially send the new disc on its "milky" way.

Zoe are very much the vanguard group of new mexican music. Their experiences over the last few years are a reminder of the importance of perseverence and focus in building a lasting career in the music business. The group are making a significant contribution to the scene in general. This is best captured in the remixes of the singles from the album made by a number of up and coming acts such as Bengala and Sub Division amongst others.

If there is one complaint it would be after "120 hrs of graphic design" it is still almost impossible to read the notes on the sleeve. The design and packaging overall however is of high quality as with all Noiselab releases. This would seem to be an interesting strategy to encourage consumers to buy the original rather than the pirate copies that are probably being burned on the backstreets of Tepito at this very moment.

band of the week - el hombre bala

2006-07-11T13:05:00.001-07:00

el hombre bala play two dates this weekend:

friday @ monster bar
saturday @ dos97

mexadelic joined ehb in Tequisquipan where they were spending a few days avoiding the distractions of the city in order to prepare for these important dates. With plans to record new material ehb are looking for production and engineering expertise that captures their unique blend of rock and folk influences.

The band promise something special in terms of sound and visuals for this weekend's shows. A new track "two minute men" will debut in a burst of bass and snare, also the strong visual identity for the group created by Guram Lubaggi will be taken to the next level and integrated into the live experience. Which ever night you choose you can expect El Hombre Bala charged and ready to blow you away.

24 hours in the belly of the beast - disidente @ Dos97

2006-06-27T11:12:00.000-07:00

Disidente @ Dos 97
La Condesa, El DF
Saturday 24th June 2006

The importance of live performance in building a following for up and coming bands is crucial, gigs play many significant roles. Obviously depending on the deal struck between venue, promoter and band it can create income from door receipts.

Gigs allows bands to sell merchandise direct to their most dedicated supporters and a selection of new converts on the night. Also it can spread the word about the entertainment value of a band and their music, which can be something completely different in the flesh rather than the often sterile studio environment.

Disidente's management seem fully aware of the importance to being seen and heard in the process of promotion. In recent months they have been making an impact at some of the largest rock events in Mexico including an excellent set at Vive Latino on the "Blue Stage" early on the Saturday.

Young enough to be full of enthusiasm yet old enough to have built a solid range of unquestionable influences, Disidente wears its heart on its sleeve. Alejandro (voice and guitar), Hugo (bass), Pedro (guitar) and Gustavo (drums) always sport t-shirts of their heroes on stage such as The Who, The Ramones and The Clash. Indications of the anger with insight that characterised these ground breaking bands can be identified with Disident’s sound.

In fact one can almost trace a history of rock when listening to the music and their obvious influences. From the unadulterated anger of 70s punk to the more sophisticated sounds of cross-over groups of the early 80s; from the early 90s angst of the grunge rock movement to the youthful exuberance of the recent proponents of the genre. All these suggestions distill themselves into the direct rapid, radical rock that is uniquely Disidente.

The weekend for Disidente would be an impressive display of strength, stamina and unity. Four dates in 24 hours is asking a lot of any band and would result in the demise of aging rockers like The Rolling Stones.

Friday playing with Hummersqueal in front of a full house at Pasaguero teamed two of the new forces in Mexican rock. Saturday afternoon comprised of a short set played in front of 10,000 people in the culmination of the “Tu rock es votar” program which has focused on using Mexican musicians to mobilise the young vote for the presidential elections.

Then the group arrived at Dos 97 in La Condesa for a 5pm gig. Without flyers or promotion and after a World Cup defeat for the national selection the attendance was maybe predicable. Including the support band members (Axido and Subterrenea playing aggressive sets for themselves) the crowd came to about 10 or 12 people. An incredible change in atmosphere for the group which must have been completely hyped after their performance at Palacio Deportes. A period of indecision followed, to play or not to play – but all credit to management and members for finally deciding to set up and entertain the dynamic dozen.

Considering the situation, once the first chord was struck of “Monitor” the reality of an empty venue and strange lazy afternoon vibe seemed to disolve into a rock haze of energy and attitude. Alejandro threw himself around like it was the last gig of his life. The rest of the band played was incredulous smirks as a 1 man mosh pit (called Ben) formed in front of the stage to receive a diving Alejandro.

After a 10 song set Disidente disappeared into the evening to recover for their last performance at La Pirana that night where normal service had resumed and a packed house added to the impact of the live experience.

In these 24 hours Disidente put themselves through the vast range of emotion a band may encounter building support through live shows. There is a fine line between playing enough to be noticed and playing so often that you can be taken as routine.

If nothing else Disidente’s day in el DF must have created positive outcomes for the band in the long run. The “Tu rock es votar” appearance alone would have exposed them to a whole cross section of fans that have not heard them before.

Perhaps someone made a mistake in organising the gig at 5pm in La Condesa but if nothing else it displays the character and strength of Disidente as a unit, maybe linked to the unquestionable solidarity of two sets of brothers. Would things would have been different if Mexico pulled off a surprise win against Argentina?.

Perhaps not, but in any case there is the potential for Disidente to go exponential if they continue to show the same commitment and passion for their music as they showed during 24 hours in "the belly of the beast".

Casa Wagner @ La Piraña - A night half empty or half full?

2006-06-12T09:57:00.000-07:00

Casa Wagner + Galaxian + ? + ?

@ Bar Piraña, 17th June 2006

When going to Bar Piraña always better to carry the address with you. This is not the most well known of venues; taxi drivers, shopkeepers, even the security guard on the building next-door have no idea where it is. Concealed behind foliage at a complicated road intersection on the borders of Roma and La Condesa it is the perfect low profile starter venue for up and coming bands. Certainly at $40 cover for 4 groups and 2 x 1 on the beers, this represents the kind of value for money that the concert going public are looking for, that is if the entertainment goes to plan.

The bill advertised Toxina-boogie, Casa Wagner, Galaxian and Dasein, a full night of electronic disco if ever there was one. Thus after negotiating the cross-dressing cow by the entrance it was somewhat surprising to be confronted with a completely empty stage given it was already after 11 o’clock. A short wait brought some reward however as Casa Wagner finally showed up and started constructing their equipment on stage. It is an interesting set-up with the duo from Tijuana using 3 keyboards and a drum kit to produce their music. Dardin Coria (voice/ keyboards) had to agree. “I don’t know why it happened, it just did. Now we have made our bed we have to lie in it.”

Casa Wagner’s set comprised of a surprising range of tempos and melodies given the limited scope of their instrumentation. Perhaps having Coria’s versatility on keyboards (he is regarded in some circles as somewhat of a genius) allows avenues of experimentation not available to lesser musicans. The drums of Omar Lizarraga provide ample support for Corria and allow them to produce a drum and bass style that slows at times into a contemporary electronic blues. Another example of the excellent, and experimental style of the Baja California or “BC Sound” that includes the likes of Fax, Childs, Maniqui Lazer and a host of artists from labels such as Static Discos and Abolipop Records. So distinctive is the difference that "BC Sound" could almost be taken as a new genre within Mexican music.

This Thursday night at La Piraña showcased some of the best and worst aspects of new Mexican music in its live form. On the positive side a venue that, once found, provides good sound and vision at a reasonable price; plus the experience of listening to groups who live to play and are driven by that most intense of energy sources, that of the potential they feel in their own abilities and their own unique take on music. However, also the disappointment of a night half fulfilled, perhaps better than a complete cancellation as happened the following night for Casa Wagner’s appearance in Guadalajara.

If bands are to get more people more regularly to live events, allowing them to tap life-sustaining revenue streams, then more effort needs to be made by musicians, promoters and venues to make sure punters are not too disappointed too often. Certainly this evening’s music provided the quality, if not the quantity, that will keep punters coming back for more.

Porter @ Septimo Piso

2006-06-12T09:54:00.000-07:00

Porter is more than a band within new Mexican music, it is a phenomenon, one only has to look at the statistics for evidence. “Myspace” plays may give some indication of real interest in a group’s music. Selecting Mexican bands by play count shows Porter well ahead of the pack. Even more surprising given the low key image of its record label 3er Piso from Guadalajara. The top five goes as follows:

Position
Band
Label
Plays
Date joined
Plays per month
1
Porter
3er Piso
665,497
10/04
35,026
2
Allison
Sony/BMG
586,049
01/05
36,628
3
Delux
Universal
483,180
08/04
23,008
4
Insite
LAM Productions
299,646
10/04
15,770
5
Thermo
Sony/BMG
254,418
07/04
11,564
Figures: www.myspace.com accessed 13/06/06

The above table indicates a couple of things, the importance of time in building a solid fan network online and a hint to the age group that are real “myspace monkeys” through studying a sample of profiles. Although Porter produces a quality of music that appeals across the age spectrum, the core of their support lies in the teen range. Certainly the crowd that gathered on a rooftop on a surprisingly chilly evening a few blocks west of the Zocalo provided further evidence to that effect. They seem to create a certain excitement in the audience, slightly different than the gymslip frenzy of say Allison, more an anticipation of a show played with precision and passion.

Porter’s rise to fame has been swift. First really surfacing in a band competition in 2004 the group from Guadalajara made a name for itself on the back of two solid singles, “Espiral” and “No te encuentro”, that also formed the backbone of their only LP release to date “Donde los ponys pastan”. The LP at times seems a little to “clean cut” and gives little indication of the power of their live performance. Yet it is through live gigs that the group have created a real vibe that always pulls a crowd. Appearances supporting some big names and at the bigger festivals, such as Vive Latino, have always resulted in lavish praise from the press and concert going public.

So what is it all about? Porter plays an unusual brand of music. Break beat drums with a range of intricate instrumentation, which at times almost hints at the classical, provide a backdrop for the killer punch, the voice of Carlos. Uplifting and unusual, Carlos touches on the high notes of an English choirboy but behaves anything like it. Constant strutting and gesturing reinforces the emotion of the songs as well as providing a strong focal point on stage. The group’s set ranges from ballad to electronic bop both between tracks and within them. There is a certain complexity and depth to Porter’s music that takes time to fully appreciate. The teen fan base need not be a concern. This is music you grow into rather than out of – a slow burn rather than a short fuse.

Porter is:
Juan Pablo (Chata) – drums
Victor (Villor) – guitar/piano
Juan Carlos (Carlos) – Voice
Fernando (Huerta) – Guitar

Diego (Bacter) – Bass/syth/programming

Fotos:

Art Brut + Kasabian + The Rapture

2006-06-05T14:51:00.000-07:00

Art Brut/Kasabian/The Rapture Roma

20th June 2006

Three more Brit bands rushing the recently opened doors of Mexico venues; one I had never heard of, one was familiar because of the 'ooooooh-naah-nah-nah-naaah-nah' song, the other I had mistaken for one of those US new-wave-of-New-Romantic types. The venue looked like and felt like a disused multi-storey car-park, vaguely reminiscent of the early-days Hacienda - not necessarily a great thing, as anybody who was there can tell you. The sound engineers here did a better job than they ever did back then. Every bon mot from Art Brut's Eddie Argos, every 'Hello Mexico' from Kasabian, was clear as the diluted rum at the all-night free bar. The fashionable (invite only) crowd, maybe helped by the rum, received every song as gratefully as I've seen Mexicans cheer all the recent appearances by non-Mexican bands recently. Mexican crowds are easily pleased. All the bands wore their record collections on their sleeves. No bad thing in the case of Art Brut, who were able to take their influences, mix them with a dash of irony, a soupcon of wit, and come up with something refreshing. The Rapture were just plain irritating (the self-conscious art-funk bands from the late 70's and early 80's they were ripping off were bad enough). As for Kasabian, well, depressing is the only word. Art Brut are great, one of those bands that the NME used to (and maybe still do) call the future of rock 'n roll. Not knowing anything about them made the entrance all the more great. They had the confidence/cheek to use the intro to AC/DC's Back In Black to launch into the first of the short-sharp-shocks that were their own songs. They restore your faith that there are still bands out there playing stoopid music to please no-one but themselves. The Fall meets Age of Chance, lyrics by Jarvis Cocker and The Streets, they've somehow stumbled out of the garage, probably not knowing how themselves but making sure they enjoy every minute of the sunshine outside. The stage-diving, the rocking-out of the guitarist, the genuinely funny banter from Argos - a fat, super-annuated (and moustachioed) darts player who's discovered too late that the 70's are/were cool again, wearing clothes that were probably unfashionable even - they had 4 Real carved all over them. They probably won't last long. Great bands never do. But the laugh-out-loud bitching (including some great stuff about Morrissey sunning it up in LA) suggested that now Argos has found his stage, he's got the talent to hang on to it, even when his bandmates go back to the day-jobs. Kasabian aren't a band. They're a group of assortedly-talented session musicians who came together, bought a book called "How To Succeed In the Music Business, Make A Pile of Money, and Clog Up People's Brains With Banal, Derivative Trash (Without Really Trying)", and proceeded to follow the free blueprint. So shamelessly did the singer attempt to ingratiate himself that virtually every song was preceeded by, followed by, or interrupted with, a variant on platitudes of the 'great-to-be-back-in-.....' variety. They were needed, because the music did nothing to help endear the band. Apart from the second-rate Verve sound-alikes (I actually thought the last number WAS a Verve song when I'd heard it on the radio), it was just continuous prog-rock mid-song noodling; the only way you knew where one song ended and the next began was because of another inevitable 'how-you-doin.......' or 'let-me-hear-you........' (insert city/country name as appropriate). Maybe The Rapture were better than I gave them credit for. At least they were taking a reasonably interesting period of music to make their 'homage' to, and the sound must have certainly seemed original to the Mexican crowd (did art-funk ever make it anywhere outside of England university concert halls?). But to be honest, by the third song, I had ceased to care. Too much coke and too many memories meant that after Kasabian I no longer had any stomach for what came after. 'The past is another country. They do things differently there.' If only that were true.

Guest Writer

Simon Mizrahi

check out:

www.nokiatrends.com.mx

el hombre bala @ pointblank

2006-06-02T15:08:00.000-07:00

el hombre bala a quemaropa
bosques de las lomas
3 june 2006

http://myspace.com/elhombrebala

http://elhombrebala.com/

The information about the free party which only came to light on the Friday afternoon described the venue as “an abandoned house”. This would naturally conjure up images of rusty gates, creaky floorboards and a rather nervous trip to the toilet up dark and dingy corridors. Fortunately El Hombre Bala’s version of an abandoned house turn out to be an ultra modern detached property on a private road with a stark interior moulded out of glass and concrete. This provided almost perfect acoustics, complimented by well considered lighting, that made the most of the open space supplied by a nervous host to entertain a small but enthusiastic audience.

The band played with an energy and confidence that shows the progression they have made over the past few months. Although El Hombre Bala as a concept has been in existence for more than 2 years it is only in the past 6 months that the band have started to really enjoy the fruits of their labour. In fact the first time Mexadelic met the band it was crammed into a small room in a house in Barranca del Muerto still trying to pin down the song structures of their particular brand of music. They seem to take their inspiration from a number of sources. Heavy rock to Mexican folk music combine to form a volley of great songs that softens even the most intransigent of onlookers resolve to a point where they cannot help but writhe along to the rhythm.

In many ways El Hombre Bala encapsulate the new wave of music in el DF. With their influences coming from a wide range of genres and their words sung in both English and Spanish that introduces a new expressive dimension to their lyric writing. They seem to have a clear vision of themselves and a confidence that grows from an appreciation of each others abilities. Songs such as “Debut” (their first) display perfectly the driving drums of Mauricio laced with rangy chords of Pollo. In other tracks such as “El Mundo Me Ha Dejado Atras” it is Estaban’s almost lead style bass playing that comes to the fore. All this expertly executed instrumentation provides a perfect platform for the painfully smooth voice of Adrian, creating an overall product is both coherent and captivating.

Things are starting to happen. A free concert in el Centro Historico in March was watched from the balcony of the Sheraton by an appreciative Mogwai, recovering the morning after their efforts at Ex-Nafinsa. A road trip to Xalapa was diverted en route to support Los Liquits in Cholula. They have also recently featured on Clickaporte’s "Sesiones de Musica Portatil” broadcast on Tuesday nights on Ibero 90.9 . All of this is a product of the hard work and immense creativity of the band members, including according to Maurico the “fifth element” Guram Lubaggi who has designed a distinctive identity for the group that captures their essence in all the promotional material. Given all this it would seem that El Hombre Bala’s present trajectory is irresistibly set on target for success.

Fotos from the evening:

Siconauta @ Spanish Cultural Centre
1 june 2006

Siconauta, headed by the multitalented Ari Brickman, launched their debut album “Duele” (on the fonarte label) to a packed house on the patio of the Spanish Cultural Centre. They play a particular brand of rock that at times almost sounds slowed down, like a finger placed lightly on vinyl. Blues, downbeat rock lapsing into jazz (even bossa?) combine to produce reflective, lazy tunes collected on an impressive first album.

With Yamil Rezc on drums things were given a strangely familiar feel. He presently seems to be in an incredibly productive mood, post-Morbo, playing with Sub Division and producing Los Musicos de Jose’s first album through his “phantom” label Staya Discos. The addition of Alfonso from La Barranca playing bass for one track gave added bite to the evening’s entertainment and he was given a tremendous reception by an incredibly mixed audience in terms of age and style; testament to the appeal of this particular brand of rock.

The only complaint on the night was that it was all over too quickly. With such a large crowd it may have been a perfect opportunity to introduce a new act to an unsuspecting audience. Album launches are always a strange affair and the tendency is to lapse into self-indulgence. On this particular occasion it was probably justified seeing as the top floor had an evening of electronic for those feeling like carrying on the party with a slightly higher bpm.

Fotos from the evening:

maniqui lazer's short sharp shock treatment

2006-05-29T15:51:00.000-07:00

Maniqui Lazer + Childs + Duopandamix
Spanish Cultural Centre
25th May 2006

The Spanish Cultural Centre (CCE) had been lured into a false sense of security. Previous nights with Static Discos and Soundsister Records had proved to be fairly sophisticated affairs. Even this time the night’s entertainment started in a rather restrained fashion as Childs “electronic lullabies” drifted into the air with an almost imperceptible ease. The duo were coaxed into playing a set based on the material included in their postponed release Yui; victim of a number of annoyingly minor issues including the loss of a copy sent to Murcof for a final remix in Spain. One could almost feel the sensation of limbo that surrounded Paul and Guillermo. A summer in Europe including the prestigious Sonar festival in Barcelona has been cancelled as a knock on effect from the album delay. Thus the need to get things finished and to move on to new material seemed foremost in their minds. The summer will be spent in their home town of Ensenadas to touch base and re-equip for the new campaign including live dates in Tijuana and Monterrey.

The CCE might have had some inclination of the direction of the evening as Dupoandamix started to warm up a restless crowd with their particular version of electronic post punk bop. Things were starting to take shape (or lose shape) as the air anticipation built towards the climax of the evening’s entertainment. Maniqui Lazer, the Mexicali electronic punk trio that has been creating a stir amongst independent music aficionados here in el DF. There is a certain fundamental concept behind Maniqui Lazer, the shiny tight vests and matching scarves suggest some new romantic throwback. Investigation of their website and album design gives inclinations of 60s psychedelic art from the likes of Terry Gilliam, Gerald Scarfe or Hunter S Thompson’s favourite illustrator Ralph Steadman. In fact one almost expects some drug crazed maniac as a member of the group when in fact they are polite and respectable….that is till they hit the stage.

And what a stage it was, about 2 m squared with no room for Rodo on bass. He had to play fighting off the encroaching crowd, including what would be best described as a bayonet charge at the pack. This was part of an unusual repertoire of bass applications including scraping the strings of Jung’s cymbals and using a drumstick as a bow. In fact as the band hit their stride with tracks such as “Sonic Sex” and “Tom Selleck’s moustache” Jung encouraged the crowd to move in still further by removing the useless cord that separated the foaming pack from their savage masters.

Things started to take on the radical air of a late 70s punk riot as Maniqui Lazer screamed and thrashed still further and faster. The drum fixings broke loose and Jung started to move threateningly towards the crowd with every thump of the bass drum. The table V played on suddenly broke loose of its mountings and swayed and rocked almost in time with the violent rhythm. He continued crashing out chords on a seemingly impossible instrument. Next the drum sticks flew out of Jung’s hands yet he continued to smash cymbals and crash snares in time to the incessant beat. It was as if the foundations of the ancient building were disintegrating under the modern Maniqui Lazer. This was a new paradigm imposing its dominance on the incumbent.

The night was a true example of the interaction of artist and audience; the connection of place, people and time that makes live performance a true art form. There is a slight paradox in that the event was organised to launch Maniqui Lazer’s new disc “I learn everything on TV” (Soundsister Records). It is perhaps impossible to capture the uniqueness of their sound on disc. Ruben Tamayo (Fax) has indeed done an admirable job in producing a record that contains the essence of the band delivered in short sharp shocks (16 songs covering 23 minutes). But some of the extremes of voice and instrumentation have failed to come across; the chaos but underneath the compelling harmony. There is no doubt that the new disc will be well received (an appreciative crowd in Cultural Roots on Saturday night provided further evidence to this effect) but maybe we will have to wait for a second record (rumoured to be produced by Paul Marron of Childs) before the true "Maniqui Lazer experience" reaches the ears on the non concert going public.

http://myspace.com/elmaniquilazer

http://www.maniquilazer.com

http://www.soundsister.com

Some fotos of the evening:

cocky brainfuzz buscando bajista

2006-05-15T10:21:00.000-07:00

Cocky Brainfuzz
Factory
20th May 2006

A cosmopolitan crowd gathered on Saturday night at Factory to witness Cocky Brainfuzz in action. As the band took to the stage the first striking observation to be made was regarding lead singer Rick Maciel in contrast with the rest of the group. He performs with energy and athleticism creating the kind of stage presence that automatically invites the viewer to participate in a rather more animated way than simply tapping one’s foot. This impression is perhaps reinforced by the static nature of the other band members. The reason for this could perhaps be explained by the approach of Rick in using session musicans rather than a fixed crew, a point discussed further below.

The music generated by Cocky is good honest melodies with a little added electronica the give the songs some bite. “Master Blaster”, “Atari 1973 Comunista” and “Star Eyes Bonita” (all downloadable at Cocky Brainbuzz’s myspace site) provide ample evidence of the quality of this particular brand of new wave. A solid, supportive crew was present reacting appreciatively to their favourite songs. With strong interest in Cocky’s myspace site and articles published recently in the US media one can see how the future looks bright for this engaging group.

Cocky Brain fuzz makes an unlikely project headed by an unlikely star. Rick is the omnipresent member of the group with something approaching a revolving door policy operating over the other instruments. The project itself is not described as a collective but rather a soloist with supporting musicians. Maciel was born in Colombia before living in Argentina and then coming to Mexico. This wandering, unsettled spirit is perhaps reflected in his approach to Cocky Brainfuzz. The band is presently advertising for a new bassist, is anyone cocky enough to give Rick a ring?

http://www.myspace.com/cockybrainfuzz

Catagorising Sub Division

2006-05-09T12:56:00.000-07:00

Sub Division @
La Tirana 12th May 2006

Sub Division represents perhaps the greatest paradox in new Mexican music at the moment. The structure of their songs with heavy drums (Yamil Rezc) and bass (Amed Baltazar) and sharp guitars (Samper) juxtaposed with the high, piercing voice of Amira Baltazar. The simple, insightful lyrics written in English when the band speak in their native Spanish and have little wish to converse in any other language. An LA based record label (Hard Soul Records) that has brought the band back to their home market with a release through Noiselab. Even the name change, almost unfortunate in the way it solicits comparison with a certain Manchester band of the late 70s, seems to have been encouraged by Hard Soul to make them more palatable for a US audience; when their original title “The Primos” captures their background and spirit (and use of language) far more accurately. All of these facts hold elements of contradiction within them, but this is no illusion Sub Division are carnel and complete.

There seems almost an element of misunderstanding between their LA label and the DF based band about who they are and what they do. These certainly are not “Third World Streetkids” (Hard Soul press release), they represent the most educated and socially aware sections of society in a country where the obvious failings of the present political and economic models are apparent on a day to day basis. Their music seems borne of a protest to the hopelessness and alienation created by the systems of governance over the music business and society in general that are presently in place. These are not victims, as the “streetkid” tag would suggest, they are at the vanguard of change.

Nothing is completely new, everything must have within it the layers of experience and understanding that create the lens through we view life. That need to translate everything into a genre and relate it to past proponents of the art is the thing that Sub Division suffers most from. It seems that every review looks for the sound within the sound. But sometimes it is about spirit not sound; that is how Sub Division seems to have collected their influences on their rites of passage.

There is something that seems completely original in the way this music has been constructed. Maybe it is the ability to build beautifully simple song structures in words unconstrained by the need to fulfil grammatical rules. Maybe it is the ability to combine the heavy resonance of the instrumentation with the sharp , stabbing lyrics. Maybe it is the combination of a Chilango upbringing with an obvious exposure to influences that come from far outside el DF. Whatever it is it is something crying out to be listened to and more to the point understood.

Fotos of the evening:

Electronic Idealism

2006-05-03T13:02:00.000-07:00

Estructuras de la tarde
Cyan Netlabel
Spanish Cultural Centre
27th April 2006

Once again the Spanish Cultural Centre threw open it’s doors to host an evening of cutting edge electronica in the heart of el DF. The activities started with a more formal presentation by “Estructuras de la tarde” the project headed by Manrico Montero, founder of the Mandorla netlabel, joined by a range of respected names from across the spectrum of electronica here in Mexico.

“Estructuras” once again proved the importance of time and place in providing the perfect context in which to experience music. They create the melody that is impossible to remember, that fleeting moment of music coherence that dissipates within a split second into another related form. If anything represents the ephemeral it is this. The fretless base took on an almost liquid form. This is art rather than entertainment. A soundscape painted through the intense combination of musical hardware and programming software…”sonic impressionism”.

The teatro de la danza used during the Mutek Festival perhaps provided a more appropriate backdrop with a focus completely on the music in the subdued surroundings, although the visuals at the Spanish Cultural Centre added another dimension to the evening. One could perhaps reflect from the often false perspective of hindsight on how the Mexican contribution to the Mutek Festival could have been enhanced through being given more space, time and light.

The night continued on the rooftop terrace as things became perhaps slightly more conventional. Cyan Records is a Mexicali based netlabel for digital contemporary electronic music. It takes artists from a range of labels such as Antena (Soundsister), Don Moy (Guillermo Batiz of Childs; Static Discos), Karras (Manrico Montero in ambient mood; Mandorla), Fax (Static Discos) and allows them perhaps a little more freedom in terms of creative expression. In many ways the Cyan project encapsulates the approach within Mexican electronica at the moment and is a culmination of the development of the form over many years.

Mexican electronica is offering through the interaction of artists and labels something that the US genre seems unable to create domestically. A harder, sharper edge, serrated through the experiences of urban alienation in the metropolis and unique perspective that frontier life with an overbearing neighbour brings combined in the creative process. The concentration of talent around the hub of el DF is creating a unique vibe. The melting pot of artists, technology and production is being brought to the boil with the added fire of a common purpose - bringing new music to the masses.

The fluidity of the electronica scene without the restraints of contractual obligations and a profit maximising goal has created a new medium in which the collective approach is tapping a new found synergy that drives new music creation. This really is revolutionary stuff from a country whose future state is constantly being re-forged in the fires of the passion for self-improvement.

Call this new perspective “download idealism”, utopian perhaps in its ultimate goal, the short run outcome is to create a tangible sense of community within electronica circles. The Interface Festival in Aguascalientes this weekend is yet another example of the philanthropic nature of this community of artists. Free entrance, a range in music style with visual support provided for general consumption within the framework of la Feria de San Marcos using public buildings as a venue.

Again reflecting on the experiences of the Canadian based Mutek Festival at the end of March and their “new electronic crusade” across the Americas; it is a clear case of preaching to the long converted. Maybe it is time explore the manifest destiny of the pioneering souls Mexican electronica and update the minds of their northern neighbours.

Interface this weekend in Aguascalientes

Fotos from the evening:

Estructuras de la tarde

Ruben Tamayo, Nicolas Pradilla, Guillermo Batiz and Manrico Montero set up.

Don Moy in DJ mode and Antena gives things a tweak.

http://www.myspace.com/estructurasdelatarde

http://www.myspace.com/manricomontero

http://www.myspace.com/donmoy

http://www.myspace.com/antenamusica

http://www.myspace.com/faxmusik

http://www.myspace.com/mandorlanetlabel

http://www.cyanrecs.com/

The Music Survives

2006-05-03T12:53:00.000-07:00

Bengala @ El Ghetto 22nd April 2006

El Ghetto, on the northeast side of the DF city centre provided the venue for a hastily arranged gig on Saturday night. The lack of time to generate interest was personified in the poor turn out on a night of low key starter bands and one quality act. The early evening was spent taking advantage of the cheap chelas (beer) and friendly service from the well organised staff. In fact if one adds the well set stage and spacious chill out room this could have been an unforgettable night’s entertainment. As it was a small crowd gathered just after midnight in front of the stage for a rare treat, Bengala close up and personal.

Of course once again Bengala delivered a impressive performance, oozing energy and with a quality of musicianship that is usually attached to the very best of rock groups. The five members of the band seem at times almost locked in their own individual worlds but still retaining the tightness and precision overall to produce stunning rock. This is indeed true “rock en espanol”, music worthy a place among the most devoted of rock disciple’s CD collection. In that sense it is surprising, if not shocking, that Bengala still have not secured a contract with an independent label, never mind a major, here in Mexico thus that CD does not yet exist.

It is a shame that things here in the DF are so disorganised at times. In fact the only reason Mexadelic made it that evening is because Sub Division (Noiselab) cancelled their album launch party at Pasaguero at the last moment. It is difficult to create a solid, committed fan base for any group individually or indeed to attract people away from the well packaged sounds of the US and Europe towards domestic sound scene in general if things are not presented and promoted well. This is not the fault of the bands. Like all true artists they should be left to concentrate on their art, it is the job of management and promoters to organise. Certainly more thought must be put into the development and coordination of the local scene here in the DF; the talent is obviously present but needs to be given a proper platform to perform. Hopefully Bengala’s appearance at the Vivo Latino Festival in a couple of weeks will provide a more appropriate stage for this talented group.

Fotos from the night:

Titan Total

2006-04-25T14:35:00.000-07:00

Titan
Septimo Piso
8th April 2006

The top floor driving range of a building just south of the city centre provided a spectacular venue for an impressive night of entertainment from the core of the Neuvos Ricos label here in Mexico City. The Mexican version of a queue spread out at all angles from a single, unmarked, doorway that gave things the air of expectancy usually associated with an illegal rave in the late 80s. The choice between fourteen flights of stairs and the lift was an easy one. The arrival on the top floor brought a surprising reward; a large open expanse of fake grass offered a festival feel without the fear of a mud caked mess (Glastonbury take note). The panorama was impressively urban with the corporate neon of the city centre nearby being set against the twinkling, almost liquid, background of the poor barrios that cling to the steep slopes which fight to retain the wash of a rapidly expanding metropolis. With the open area buffeted by a strong cold breeze the refuge of a comfortable enclosed bar with the buzz of a cool, excite crowd was a welcome option in between acts. The stage was set for a spectacular evening’s distraction.

With a seven band line-up there was something for everyone as Jacuzzi proved to be the pick of the early entertainment, analogue, digital and acoustic combined to create a solid sound that is worthy of further investigation. But the evening really started when Silverio sucked the crowd into his parallel universe to take them on an hour long, no energy spared, set full of sequined filled sound that is rarely seen outside the casinos of Las Vegas. In fact Silverio imparted the air of an electronic Liberace. It proved to be a difficult act to follow for Maria Daniella who pumped out her brand of high energy pop to a surprisingly appreciative audience keen to keep warm on as the night wore on. Finally, after an unexplained delay Titan took the stage at around 4.30am. The wait had thinned the crowd significantly but those patient enough were rewarded with a performance expertly executed and filled with tracks faithful (perhaps too faithful?) to their 2005 album, with a sprinkling a song from the past. Perhaps the best received track was of course “Corazon”. The group, as is often the case, once claimed to hate the track but they seemed in inject new life in to the song with an interesting changes of pace and instrumentation. At times their songs have almost child like constructions providing a simplicity that is often missing in this style of music. Boogie woogie, blues, and late 80s acid house are welded together with a hot rock that produces a potent rhythm and attention grabbing sound. It was “Titan Total” on the night, eventually.

Titan represents the backbone of independent alternative music here in Mexico. Three albums in fifteen years plays testament to the patience and durability of the DF trio. An ability to operate independently on other ventures in the intermitted years has added to the experience and skills that has been applied to the Titan sound when time has been right to regroup. Their commitment to new music, mostly with a distinctly fringe feel, has been encapsulated in the setting up of the Nuevos Ricos label, operating seemingly independently of its EMI sugar daddy. Some have described the collective nature of the label and the desire for the Titan trio to involve themselves in a range of projects on the Mexican music scene as “promiscuous”. But this suggests almost an unproductive, uncontrolled aspect to their activities. Far from it, Titan understands the importance of downtime as well as uptime. Their ability to build on the experience they have had and share it with others is important in acting as a catalyst within the alternative music scene here in the DF. A certain amount of synergy that drives the core of the alternative electronic community comes as a result of their actions. It seemed more like an evening of appreciation for their unique contribution in this regard rather than a full blown concert and for that reason it was a pleasure to be there.

marketing 101

2006-04-25T14:21:00.000-07:00

Titan
Factory 1st April 2006
Septimo Piso, 8th April 2006

It was a fairly interesting perspective from which to consider the events of Saturday night. The week before Titan had played what must now be considered as a warm up gig at Factory in front of a crowd of no more than 50 people. Here, 7 days later, crowds lined up both sides of the dodgy entrance to the seventh floor golf driving range which proved to be an excellent and striking venue on a blustery night. In order to establish a framework for comparison the ‘Marketing 101’ handbook will be used. The 4Ps can prove an insight to why one week is such a spectacular success, while the previous week, although an entertaining night for a small crowd, must have been a financial disaster:

Product – 1. A+B and Titan missing two important members. Maria Daniella providing backing vocals and Jay de la Cueva on bass
2. seven bands filling a nights entertainment with a wide variety of performances, including the core of the ‘Nuevos Ricos’ label.

Place - 1. Factory a small venue with ‘reserved’ signs placed on every seat and table before anyone had arrived and a tree in the middle that, although cute, does little for the view.
2. Top floor with a cityscape panorama. The bands playing on the upper gallery of the driving range with a comfortable bar beneath. The artificial turf of the range providing a festival in the city type feel, with a VIP section available at a price.

Promotion – 1. Event flying at venue and some myspace.com event emails.
2. Radio announcements and flying around a number of venues plus myspace.com networking.

Price - 1. 300 pesos on the night with 10 free beer vouchers.
2. 150 pesos on the night (300 peso VIP)

#Pre-event prices are not worth mentioning as ‘Smartticket’ seems to have a business model which actually tries to stop you getting tickets.

Putting these basic points together it is no wonder the vibe of the events was such a striking contrast. But given the quality of Titan’s music it was merely a different type of positive experience. The second surely represents the kind of value for money that promoters in the DF should be looking to provide for local music fans to encourage them to appreciate home grown talent as much as better marketed music coming from the US and Europe.

www.myspace.co/titantitan

www.nuevosricos.com

across the digital divide

2006-04-25T12:39:00.000-07:00

mutek mx 2006
31st march – 2nd april
centro cultural del bosque

The Mutek festival of music, sound and new technology arrived from Montreal for its third outing on Mexican soil. Since its inception in 2000 the festival has focused on southward expansion and in its present state compasses events in Colombia, Brasil, Chile, Argentina and Mexico (representing its most developed form outside its native Canada). The event has at times more the feel of an industrial fair rather than a musical extravaganza; discussion groups, networking, technology and file sharing seems to be more in evidence than entertainment. But there is no denying the momentum that has already been established by a well organised, well funded, and governmental backed, project. With two days of music based around the Auditorio Nacional’s buildings in el Bosque del Chapultapec there was a respectful air to proceedings, perhaps a reflection of a level of acceptance from the established arts as to the importance and contribution of electronica to the cultural pastiche of societal modernity.

Certainly the most interesting session of the festival was the session of ‘electronica experimental’ held on the Thursday in the Teatro de la Danza. The theatre provided a fittingly reserved backdrop for an 8 act, 6 hour session acting as a showcase for a wide variety of styles and attitudes that are often unappreciated in the generic term of ‘electronic music’ which often is used to smother some of the immense creativity and risk taking displayed by many artists. The first 3 acts of the evening were Mexican and taken together gave a strong indication of the depth and breadth of talent that is developing here.

The stage looked somewhat like an electronic junkyard as E. Lebleu squeezed themselves between the hardware to deliver what has to be said was a disappointing set, plagued with technical difficulties, in comparison to the quality and crispness of the music presented on their recent “Two Years Off” EP released on the Soundsister label. Next up were Childs (Static), in an all too short 30 minutes the Ensenadas sidekicks showed only a taste of their “bedroom blues” that have enchanted a growing following in recent months. With their opening a more experimental track that had only been completed the morning of the show, Childs grasped the spirit of proceedings and proved that they were deserving of their place in such a quality line up. Finally Mantrico Montero (Mandorla) with 5 guitarists in tow (including Paul from Childs) provided “structures of the afternoon” in a half hour mind blowing set that pushed the envelope off the table.

Once the Mexican contingent cleared their equipment during the first interval things took on a more orthodox feel with well known names from across the world contributing to an excellent evening’s entertainment. The highlight was Jan Jelinek (Scape) accompanied by Andrew Pekler on Guitar and the brilliant, almost lead drums, of Hanno Leichtmann. Jelinek’s unfettered loops and layers of sound beguiled the packed house into a semi-standing ovation. The quality of the music in the second (non Mexican) half of the show highlights an interesting point of discussion. Certainly Mutek is an excellent showcase for electronic music in the Americas, but for whom? Is it a case of Mutek showing Mexico how far they are behind or is it a unique opportunity for Mexican electronica to go toe to toe with artists from the rest of the world?

Certainly many of the foreign artists are more successful in a commercial sense but maybe this is because Mexican artists have more trouble penetrating the potentially lucrative markets of North America and Europe. Also while many up and coming Mexican artists have ample access to the (pirate?) software necessary to produce top quality music, maybe it is the cost and accessibility of electronic hardware that is acting as a dampener against the new wave of electronic sound being generated here and perhaps creating a ‘digital divide’. It seemed that the space and visuals provided for the foreign artists were almost geared to creating an illusion of superiority within the eyes of the observer.

When one experiences the incredible creativity of an artist, producer and engineer like Ruben Tamayo (Fax; Static) in action it is fairly obvious that given access to the best technology local artists can and will produce music of a quality that is world class but from a distinctly Mexican perspective. Mutek certainly proves a framework for the exchange of ideas and a forum in which up and coming Mexican artists can display their wears. Given that this is still a relativity new venture it may be best to reserve judgement in order to take a longer term perspective on what concrete benefit the Mexican music industry gains from such an experience.

It is, finally, however interesting to note that the heartland of electronica here in Mexico is in Baja California close to the US border. Societal structures breakdown, or transmogrify in areas where different political States meet, perhaps this creates certain flexibility in ones perspective of the accepted framework that one exists in and encourages an ability to think outside the box. One, at a stretch, can draw a parallel with the bringing together of the “states” of analogue and digital. There was ample evidence of the challenging of accepted orthodoxy in the integration of these two worlds in the the Teatro de la Danza this evening. This threw up new and interesting structures perhaps giving us a taste of a new school of architecture within electronica, something bold and beautiful suggesting a brave new world to look forward to.

http://www.myspace.com/elebeau

http://www.myspace.com/childs

http://www.myspace.com/estructurasdelatarde

jan jelinek in good company

Bengala tames the storm

2006-03-29T08:57:00.000-08:00

Violent Pop Fest
Mexico City
24th March 2006

On a cold and threatening night in the twilight zone to the south of Mexico City the Violent Pop Fest offered a strangely traditional feel of on English pop festival, but with a decaying urban industrial setting that Mexico City does so well. The evening's entertainment really got going as Bengala, playing on home turf, took to the stage, attracting the best crowd of the evening. In fact the distinct impression was that the majority of the crowd had come to see the real ‘rock en espanol’ of the group which has been building a solid following by playing the supporting role at many venues recently. Bengala produce rock as it is meant to be, on the night captured in a stone fortress of sound; it proved to be an extremely powerful experience.

As the wind and the rain kicked in DFenos were starting to panic but good music prevailed as always. Bengala simply turned up the volume to blow the bad weather away. The speakers started to wobble in time to the pumping bass, soaring riffs and driving drums, intertwined with slow melodic breaks; providing the most movement on stage outside the strutting lead singer. The set was a perfect balance between more the more orthodox indie rock of songs such as ‘Mensage’ and tracks like ‘Domingo a las 6’ which added the aspect of a 70’s rock opera. This was particularly effective as the wind provided a certain dramatic quality by making the white sheets used as a backdrop billow behind as the crew rocked out. There are some times when sound and site come together as one, it was Bengala’s night as they delivered the entrance fee alone.

Los Fancy Free have a fit
As the weather cleared so did most of the crowd, which was unfortunate as Los fancy free followed with their pop art feel. The real entertainment was provided by the endless energy of the lead singer (Martin Thulin), balancing precariously on the afore mentioned wobbly speakers. There was certainly none of the deep reverberations that were previously challenging the equilibrium of the equipment, probably just as well given the rather un-athletic stance of the Henley-style dressed star. He certainly worked a dwindling audience well…”come in close to catch me in case I fall.” An entertaining set suggested the art meets music of the 60s psychedelic sound. The highlight an energetic cover of Paul McCartney’s much maligned 80’s electronic outing ‘Temporary Secretary’, screeched out by a prostrate Thulin.

Maria Daniela y Su Sonido Lassar’s cosmic karaoke
Finally on the night the ultra-pop of Maria Daniella y Sonido Lasser. In a carefree performance, bouncing around like she was singing in front of the mirror in her bedroom. It was certainly a case of cosmic karaoke to close the show. There is one of two ways to cope with this kind of thing, get upset and leave or relax and enjoy a finely crafted hi-energy pop put together by Maria and her Titan twin Emilio on percussion and tape changes. Although Nuevos Ricos deny the collective nature of their label there is a certain suggestion of skill sharing and a night planned for the 8th April should be a real showcase for their combined talent. Certainly the partnership of Maria and Emilio produces bop to you drop sounds like ‘Miedo’ and ‘Fiesta de Cumpleanos’. Bouncing around in time to the incessant beat proved to be the best way to warm up in quickly plummeting temperatures.

Sufferage Sounds

The Violent Pop Fest was another example of the real impetuous that has been given to the alterative music scene here in Mexico from a number of different sources. Certainly through the creation of a number of new independent record labels both domestic and from north of the border that are trawling the local scene for talent. But also from the “tu rock es votar” movement which is trying to mobilise the young vote here in Mexico in a crucial election year. A collection of artists from the underground scene here in Mexico is receiving funding through a non partisan agency for holding events such as the Violent Pop Fest. It is difficult to be political without being political, reservations must be held as to the nature and effectiveness of such a policy in dealing with the apathy, or cynical stance, of many young voters. Perhaps real choice between fairly competing, truly representative and effective political parties is the only way to bring voters back to the ballot box. Lets hope other styles of music popular in Mexico with young people, such as Norteno, are getting similar support to mobilse both the urban and rural vote.

Check it out:

http://www.myspace.com/bengalabengala

http://www.myspace.com/losfancyfree

http://www.myspace.com/mariadanielaysusonidolasser

No handsome face could ever take the place of Mogwai.

2006-03-22T12:56:00.000-08:00

Mogwai/Austin TV

Ex Nafinsa
(Venustiano Carranza # 25, Centro Histórico)
Mexico City
17th March 2006

Mogwai live in Mexico? In a former branch of a Mexican bank? Well, that explains why the queue snaked around the block during the support band’s set. Like a Mexican bank, Mogwai and Austin TV tend to be slow but the service is generally good. Had this been a British bank then no doubt the groups would have been a lot faster but with weak service and a performance telephoned in from about 70 miles away.

It would be cruel to refer to Austin TV as a Mexican tribute to Mogwai (Mexguay?). They certainly plough a similar furrow but a) so do a great number of bands fro the last 10 years and b) ’ploughing’ and ‘furrow’ hardly seem apt to describe the immensely powerful and uplifting crescendos that this music can produce when it works as it does for Austin TV, Mogwai, Explosions in the Sky, Godspeed You Black Emperor, Do Make Say Think, Billy Mahonie and many more besides. Austin TV seem to have more of a sense of fun than some of these bands as suggested by their use of seemingly meaningless samples and also by wearing fluffy white rabbit and pig masks. CDs available at the gig (EP ‘por Austin TV and album ‘La Ultima Noche del Mundo’) suggest that the group has more diversity including a possible dodgy metal past which could lead to a Trans Am-esque transformation. The discs also suggest that they haven’t released any music for at least 2 years. Hopefully, their performance tonight will be the forerunner to a new album this year which will reveal their diversity. They certainly have the potential to go beyond Mogwai’s forms but would do well to rethink the track that appears to have the same drumbeat as ‘We Will Rock You’ – either an unfortunate coincidence or a moment of huge irony.

Mogwai reveal the strength of the acoustics of this venue (which really needs a name). Oddly, the acoustics work even better from inside the hastily installed Portaloos at the rear of the venue.

The in-no-way dour Glaswegians began with a couple of new songs from the album ‘Mr. Beast’ – their first to get an official Mexican release on Noiselab. The audience seemed patient but then came alive for ‘Hunted by a Freak’ from their previous album (Happy Songs for Happy People’. The band themselves also seemed more comfortable with familiar material but new tracks will surely develop in time just as ‘Friend of the Night’ already seems to be a crowd pleaser and is probably the stand out track from the new album.

Some reviews have accused Mogwai of ploughing a familiar furrow (I promise no more furrows, ploughs or even seeds for the remainder of this review) on their latest release and that it lacks the peaks of previous material. This is not really a fair assessment of the album which seeks out new territory rather than sticking to quiet/loud form. However, live, the material reveals a band looking for new forms within familiar structures. Gentler material has always been part of Mogwai’s repertoire but now seems more developed without becoming post-muzak. However, by the end of the gig the audience are treated to a more traditional ‘Wild Mountain Thyme…just kidding, to a more familiar aural onslaught with an obligatory 10 minutes of whistling feedback. This seems to be what people want but Mogwai’s development seems to be teaching audiences to want more than that.

James Moore Stevens

Listen to these!
Mogwai – Mr. Beast (Noiselab)/ Government Commissions – BBC sessions 1996-2003 (Matador)
Explosions in the Sky – The Earth is Not a Cold Dead Place (Temporary Residence)
Austin TV – La Ultima Noche del Mundo (Grabaxiones)
Trans Am – The Red Line (Thrill Jockey)

Don’t Listen to These!
Mogwai – Rock Action (PIAS) – described by the band themselves as “Shite!”
A section of the crowd chanting for Mogwai during Austin TV’s set. Shame on you!

Check it out:

www.noiselab.com

http://www.myspace.com/austintv

Sound Tsunami from Baja California

2006-03-22T12:53:00.000-08:00

Kobol

Spanish Cultural Centre
Mexico City
16th March 2006

Trust the Spanish to hang onto the best place in town. Their National Cultural Centre is located in fantastic colonial buildings behind the cathedral, a stones throw from the Zocalo, the main square in the centre of Mexico DF. At first glance this seemed an unlikely venue for Kobol, an electronic jazz duo from Los Angles on the Static label, to hold a night. But on deeper reflection the patio, on the top floor of the centre, was a visual representation of the traditional framework juxtaposed with an ultramodern finish that encapsulates the spirit of their music.

With the backdrop provided by the dome of the cathedral and pulsating computer generated visuals, Nasho’s and Arhkota’s wired guitars supplied a dynamic focal layer over fragments of sound that were fused together into a captivating force field of swing voltage jazz. Kobol were the magic ingredient in a combination of style and ambience that could have placed the evening easily in their present LA base, or indeed any of the world’s sophisticated urban centres. The full, cool, house, progressive free sounds and striking location created a perfect harmony in the moment.

The evening certainly plays testament to the progression of the scene here in the DF which is being buffeted gently along by shockwave of electronica that seems to have it’s epicentre in Ensenadas, Baja California. The emission of new sound is being amplified through one of the many independent labels based in Tijuana, Static Discos. Kobol themselves have 4 incarnations, each representing a different angle and attitude in their music. From Nino Astronauta’s lifting soft techno through Plankton Man and involvement in the Nortec Collective to Kobol, their freest form, playing without frontiers or fear of acceptance.

The collective approach is not something that is represented merely in name; there is a real symbiosis of sound that is providing electronica for the true connoisseur, perhaps captured at its present zenith in the Fax (also on Static) remix of the title track from Kobol’s 2005 album “Broken Ebony”. With Static artists now basing themselves in the DF and LA one can foresee a further development in the connectivity between these important urban centres and their unique mix of fast evolving and closely linked musical subcultures. The possible outcomes are endless and thus immensely exciting.

Check it out:

http://www.myspace.com/kobol

http://www.kobolmusic.com/

http://www.staticdiscos.com/

Childs

2006-03-09T14:46:00.000-08:00

“Dia C”
La Ibero
México City

7th March 2006

Against a background of towering office buildings, Childs offered an intriguingly original set that blended perfectly into a sunny afternoon in Generica. Images of halcyon days drifted past a relaxed crowd lying on the grass as the Tijuanan twins tinkered with combination of devices to create a sympathetic mood that reverberated around the park.

It is strange to listen to this particular brand of music, “electronic lullabies” as they refer to it, while in the presence of other people; it seems an experience far more personal. “Bedroom blues” maybe a more accurate description of the effortless synergy of keyboards, guitar and complex programming that goes in to the production of their music. The tempo of the compositions ranged between a slow drift and a comfortable stroll, but there was also the suggestion of an ability to inject extra pace when required.

Childs capacity to make the transition to live performance was never in question as the most the engaging aspect of their show was the direct connection made between the duo and each individual in the audience. A quick glance around confirmed the trance like state and dreamy smiles precipitated by the lingering loops and suppressed lyrics. It would be hard to imagine Childs headlining at the Azteca stadium to a crowd of 100,000 people but one can see how they may raise awareness about their music and cast a pacifying spell over many festival gatherings in the near future.

Certainly the decision to move from Baja California to Mexico City in search of a bigger scene and more exposure has already started to pay off. But, like the tempo of their music, a slow but sure development can be predicted, including building a European fan base through appearances this summer in Barcelona with many big names. Why run when you can walk; it may take Childs some time to create a level of following that will get them the kind of recognition in the international media that they may deserve, but what’s the hurry when the trip is this pleasant.

Check it out:

www.myspace.com/childs

www.2childs.com

www.staticdiscos.com

Fatalist

2006-03-06T13:24:00.000-08:00

Hotel Virreyes
Mexico City

11th February 2006

It has to be said that the seedy lobby of the Hotel Virreves on the edge of Mexico City DF historical centre does not lend itself easily to live performance, acoustically or visually. But this was not about the quality of the sound or the view, it was more a statement of existence. Fatalist has been creating an undercurrent of interest it the DF alternative scene since they finalised their line up with the addition of the bassist in October 2005. Perhaps this is not enough time to smooth out the edges of the sound they have created, or the pronunciation of much of the English that they seem to prefer to sing in. Indeed it is this roughness that makes Fatalist’s vibe something deep and penetrating.

In a six song set combined English with Spanish and instrumental to create an engaging show. It was disappointing that the crowd in attendance seemed more intent on looking on rather that taking up the obvious invitation to move in time with the resonance of a heavy bass, interwoven with positively played drums. This rhythm provided a solid platform onto which to add a tweak of electronic magic that brings an interesting mix that is at it’s most evident in their forthcoming debut single “Making Around”.

With a suggestion of their better known compatriots Titan, Fatalist is much more user friendly, more an application of musical hardware than computer software. A combination of impressive beat, striking guitars and rasping lyrics with an electronic dimension may solicit comparison with many “rockatronic” bands that are currently making waves in the UK or US. There is however that extra progressive aspect that only life in the world’s largest, most alienating, urban centre can bring. This suggests Fatalist has the potential to the bridge the cultural and linguistic divide that has separated Mexico’s music business from these potentially lucrative markets.

Is Fatalist a manufactured product, “Hecho en Mexico” for export as it were? One must certainly hope their decision to sing in a language they have not perfected, much as The Killers have attracted criticism in the US for a phoney English accent, does not create a negative vibe that distances them from their fellow DFenos (natives of the DF). But sometimes the ignorance of northern neighbours must be pandered to in order to create an opportunity to educate. Fatalist is, perhaps, the master of new wave of Mexican music; time will tell whether their Anglo cousins are willing and able students.

Check it out:

http://www.myspace.com/fatalistband