Tamacú is the name of a peculiar character from the Mexican Pacific coast able of taming crocodiles. He is also the inspiration that gave name to an emerging one-man project that takes the form of ancestral alien and arises after an experimentation that fused tribal sounds with rhythm machines. This, opened a gap that, allowing him to travel through time and space collecting sounds of different terrestrial and interplanetary tribes.
The influences on ‘Crónicas de un Alienado’, the Mexican’s debut album – range from sacred texts such as The Bible and novels by Bradbury, Vonnegut and Asimov to films such as ‘2001: A Space Odyssey’ by Kubrick.Nuances from all of these permeate throughout the lyrics and sound to create an exogenous and apocalyptic mood.
The city of Medellin, Colombia does not cease to amaze us for being an incessant talent incubator and linker for all genres. Two of these prodigies, Pablo and Alejandro met in 2007 at university studying music and started making electronic music using a computer, a controller and a guitar. Shortly after, Sara joins in the voices to consolidate a character who likes raw sounds but at the same time is an ally of machines and who’s sound reflects moments of contemplation, noise or can even induce movement of the body; all this accompanied by a female voice that guides the melodic lattices that shape its speech. This character is called Mr. Bleat.
In an exclusive interview, Alejandro comments: “almost always Pablo and I propose a small instrumental passage, a beat, something that has that key moment of the song, and from there Sara begins to provide vocal melodies. Finally we structured the theme and wrote the letter to six hands. We think about a theme and then we build the narration among it”. Their influences beyond being specific musical referents, come from the experiences of each one that, at the moment of expressing them in the form of a song, tends to result in a theme to a certain extent danceable but with a bit of nostalgia or darkness. Mr. Bleat’s latest release, ‘Del Tiempo Perdido’, along with ‘El Buho’, are just the first steps that mark a new path towards what will be a new album. These two singles make part of the sonority that the group reached when creating the album ‘Los Lobos’, a palette of more electronic sounds, synthesizers, rhythm machines and a sensation of dance-able darkness in which we still feel comfortable.
The child of a French father and a Venezuelan mother, Sophia Helena Fustec Briceño is a collage of cultures. A one-girl-band who composes, writes, sings, plays and produces everything in her home studio, her energetic creations convey common messages of faith and authenticity. Frequently known as La Chica, she affirms that her influences are widespread; when she’s not dedicated to her productions, she listens to sounds ranging from late-era Beatles and Radiohead to Caribbean artists such as Fania All Stars and Rubén Blades. Currently residing in Paris, international tours and concerts have been recurrent since the formation of her project in 2014. Her latest single “Sola” is an ethereal journey, as looped vocals and driving synthesisers build to a powerful electronic crescendo.
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Today we take a look back 18 years, to recall a jewel from legendary Mexican duo Plastilina Mosh. Founded in 1996 by Jonas González and Alejandro Rosso, the band released their second album “Juan Manuel” in 2000; a 13-track masterpiece, the album features a diverse range of sounds that make it almost impossible to classify by genre, mood or language whatsoever, with lyrics in English, Spanish, German, Italian and Portuguese.
The journey begins with “Nordic Laser”, an entirely instrumental krautrock piece, perhaps the simplest piece of the album before the madness is unleashed; the grooves of “Boombox Baby” and “Bareta 87” give the album a retro dancefloor sensation, drawing on Giorgio Moroder-esque richness, while “Shampoo” and “Aropador” are subtle and seductive and the likes of “International Stereo (Bassass)” and “Let The Speaker Speak” demonstrate a raw aggressive energy.
A classic record that is powerful, unpredictable, and truly timeless.
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‘La Niña Quantica’ Julián Mayorga, is a perfect example of the enigmatic Colombian producer’s ingenious, surrealist creations. The “cumbia” begins and a continued mantra that spouts: “A la niña le gusta la física cuántica (the girl likes quantum physics)”; unexpectedly, the lyrics also describe the function of the theory of perturbations in quantum mechanics. With such irreverent themes in his writing, this track from his 3-track EP “Nixon en la Playa” uses tropical elements and Andean folklore alongside progressive electronic experimentation and a somewhat black humor, the most characteristic elements of Mayorga’s sound,
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Otura Mun, an African-American musician and Babalawo (high priest) in the Yoruba religion arrived in Puerto Rico in the late nineties, and quickly positioned himself as one of the most important producers on the island. Accompanied by musicians Rafael Maya, Beto Torrens, Anthony Sierra, Yarimir Cabán and dancer Pia Love, Mun founded the multi-national project ÌFÉ, a powerful progressive synthesis of electronic sound drawing on influences from Cuban rumba, Sacred Yoruba praise songs, Jamaican dancehall, and US R&B. IIII+IIII (pronounced “Edgy-Og-Beh”) is the title of the nine-song debut album from ÌFÉ, released last year. The 45-minute ceremony combines Mun’s fluid, percussive rhythms with spiritual lyricism oscillating seamlessly between English, Spanish and Yoruba. Genre-less yet focused and clear, serene and ethereal at times and determined and powerful at others, this is a record that in spite of its high production values is as unpredictable as it is natural and raw – an astonishing piece of music from a truly unique act.
An ensemble of woodwind instrumentation and beatboxed rhythms distinguish the sound of ‘Sistema’, a four track EP released last year by Eric Mandarina. An experienced musician, actor and all-round entertainer, since 2004 he has been studying self-taught percussion, classical guitar and acoustic drums. His latest proposal is a journey that mixes elements of dub and reggae with analogue house bass and funk-infused drum pulses, as lyrics loaded with mundane questions seek to demonstrate the systematic operations that we oppose.
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The daughter of a renowned exponent of Argentinian tango, Juana Rosario Molina was raised with classic record collections and guitar lessons. In the mid-70’s, due to military disputes, the Molina family fled the country to go into exile in Paris, where teenage Juana’s musical scope expanded vastly. Nonetheless, when Juana was able to return to her native Argentina, she followed her actor mothers steps by beginning a television career. Her popularity rose exponentially and within three years she already had had her own successful comedy show, airing across Latin America and making her one of the most popular comedians in Argentina. Suddenly, at the peak of her fame, Juana took the hard decision to leave her successful work as an actor in order to pursue a career in music. After multiple releases, in 2017 she delivered her seventh and most solid LP ‘Halo’, which derives its name from one of the most famous folklore myths of Argentina and Uruguay; a halo of “evil light” that floats above the ground where bones were buried. The record evokes the occult in its music as much as in its lyrics. As in previous deliveries, her sound oscillates harmoniously between nature, folklore, humanism and fearless electronic experimentation.