Tag: Remezcla

What’s A Superclásico? Football Rivalries In Latin America

I’ve been working on a monthly column for Remezcla titled Your Guide to Clásicos De Fútbol Rivalries. Since February, I’ve been writing about the rivalry between a pair of teams in Latin America (with one exception for the FC Barcelona/Real Madrid F.C. rivalry in Spain) and delve into their history, crazy fans and more.

The archive of stories can be found HERE and so far include:

  1. FC Barcelona vs. Real Madrid F.C. (Spain)
  2. Atlético Independiente vs. Racing Club De Avellaneda (Argentina)
  3. Chivas vs. América (Mexico)
  4. Flamengo vs. Fluminense a.k.a. Fla-Flu (Brazil)
  5. Nacional vs. Peñarol (Uruguay)
  6. Boca Juniors vs. River Plate (Argentina)

I still have PLENTY of more rivalries to write about. My next column will focus on a rivalry from Costa Rica in anticipation of this month’s CONCACAF Champions League match between LA Galaxy and C.S. Cartaginés in L.A.

Spanish Post-Punk & New Wave

The past few weeks of work for Remezcla have yielded a wonderful surprise: a revival of post-punk music at the hands of Spanish musicians.

Bands such as Antiguo Régimen are bringing back tracks with thick, metallic bass lines:

That’s a bass line that could’ve come from a long-forgotten Joy Division song! These groups also mix a few elements of New Wave and Goth. For example, there’s El Último Vecino whose debut album is as 80s as you can get without the buckets of hair spray.

Then there’s Triángulo De Amor Bizarro whose name is a Spanish translation of Bizarre Love Triangle. The band’s music varies from one song to the next switching from post-punk to HEALTH-style noise-rock. They tend to keep it slightly old-school with a mix of post-punk and shoegaze.

The latest addition to this group is Despotismo Ilustrado who have yet to release any official recordings other than a few demos recorded during their rehearsals.

For old times sake, here’s Capitán, who I wrote about last year:

Ondatrópica : Colombian Supergroup Spans Generations Of Cumbia

Ondatrópica is a supergroup from Colombia that represents the face of cumbia, the traditional music of Colombia, today. The group is led by Mario Galeano of Frente Cumbiero and Will “Quantic” Holland who gathered more than 40 musicians, veterans and fresh-faces alike, in Disco Fuentes‘ recording studios for a weeks-long recording session that resulted in an amazing self-titled debut that covers the spectrum of cumbia (traditional, modern, international, etc.) from its golden age to the present day.

I had the privilege of interviewing Galeano and Quantic by e-mail for Remezcla and the absolute pleasure of watching Ondatrópica live at The Mayan Theater in L.A. with opening acts Very Be Careful, Buyepongo and Chicano Batman.

An excerpt from Q&A: Ondatrópica, Conquering the World with Cumbia:

Who came up with the idea of covering Black Sabbath’s “Iron Man?”

Q: Covering “Iron Man” was something that came out of thinking about doing versions of English songs. Naturally, we started thinking about Led Zeppelin or Black Sabbath. Out of Black Sabbath, we thought it’d be really cool to do a metal song, like a heavy rock song, especially because Colombia is so into Sabbath. There was “Paranoid” and a few other options, but “Iron Man” just seemed like the most useable for a banda. We always imagined a brass band playing that, and I think it came out to be more elegant than we imagined. We thought it was going to be quite drunk and the rum/ron wordplay just came out of being in the studio. I remember we had a bottle of rum at the time and it was just like a quick moment: “Hang on. I. Ron. Man.”

M: Yeah, it was just something very fresh that came out in the studio, as a lot of other things. We were not following a script or something that was prepared 100%. We were laughing, making jokes, playing around, and chilling out. These types of things happen in creative environments, like here in Discos Fuentes studio. I’m pretty sure “I. Ron. Man.” is one song Ozzy Osbourne didn’t imagine having it covered this way. We definitely have to show it to him, and have him drink some Colombian rum.

A few photos from their concert at The Mayan that I took for LA Weekly:

Keeping Up With The Frodashian

The past few weeks have been pretty busy for me. I have a number of things I’m working on as well as a number of things that were recently published in LA Weekly and in Remezcla. Check ’em out below!

Subsuelo Celebrates One Year of Global Bass Boogie

“With Subsuelo, we wanted to do something different than just a regular dance club,” he says. “We wanted to incorporate elements of live performance, of theatricality that was a little bit different than just playing at a big club. We also really wanted to keep the feeling of a house party, which is how I ended up in Boyle Heights in the first place.”

Don’t Call Them Hooligans: Meet Ultras, L.A.’s Major League Soccer Superfans

L.A. is currently the only city in the country hosting two MLS teams — the L.A. Galaxy and Chivas USA, who share the Home Depot Center stadium in Carson and play each other this Saturday. The former was established in 1995 and is one of the league’s first teams, while the latter was founded in 2004 and is the sister team to Mexico’s Club Deportivo Guadalajara, aka Chivas de Guadalajara.

Each team recognizes three groups per team as official supporters: the Galaxians, Angel City Brigade and the L.A. Riot Squad on the Galaxy side; and Legion 1908, Union Ultras and Black Army 1850 for Chivas USA.

Sick Jacken and Cynic Talk Terror Tapes Vol. 2

Jacken, your brother Big Duke’s still playing a huge part in Psycho Realm despite being paralyzed from the neck down.

J: He does a lot of stuff behind the scenes. He helps out with the merchandising and still helps out with the concepts. He actually got into production now. He produced a track called “Metal Rain” on Stray Bullets. He’s working on two or three records that he’s producing entirely.

When you’re paralyzed, that’s a condition that’s rare for anybody to come back from. For now, he’s using technology to get around it. That guy’s Superman. I’m glad that technology is where it’s at and it helps him let out his creativity. He’s working on beats, running websites, and designing merchandise. I tell him he does more work now than he used to do when he was walking.

Q&A: Chicha Libre’s Olivier Conan, A Musical Cannibal

You were quoted in another interview two years ago as saying that chicha music leads to “late-night drunken violence and suicide attempts.”

I don’t think I said that! [laughs] Say that again [quote is re-read]. Oh, OK, they probably paraphrased something I said but it’s kind of true. A chicha concert in Lima is not necessarily a happy thing. The ritual is that you bring a case of beer [and] put it on the floor. It’s kind of a family thing at the beginning. You’ve got the kids, you’ve got the wife, and you’re all around the crate of beer…and you drink and you drink and you drink! There’s a lot of drinking going on. By the end of the night, it gets a little bit of hardcore. Sometimes there are fights like on Saturday nights in tougher neighborhoods all around the world; people work all week and they’re a little harder edged. Chicha is ghetto music originally. The cliché in Peru is that the really hardcore chichador slits his wrist at the end of the night. I don’t know how often that happens. It’s one of those mythic things.

Q&A: Outernational, Ready for the Revolution

How does that tie in with the album, Todos Somos Ilegales? Why or how are we all illegal?

That’s the heart of the album. It’s a concept record about the border, but that’s just the focal point of these contradictions. The border signifies so much. It signifies the economic situation where businesses can move freely across the border and suck the blood and life out of people, but people can’t. People gotta be policed and hunted down and shot down by KKK-style vigilantes and it focuses on so much of that. Undocumented people in this country are kept in the shadows and kept in fear. They’re invisible. The idea about We Are All Illegals is solidarity. If you’re gonna call them illegal then you better call me illegal too, motherfucker!We’re all illegal. The foundation of this country is genocide, slavery and stolen land.

Mark Ocegueda Q&A ~ Mexicans Played Baseball Too

One of the great stories in this book is of a team from Riverside from the Casa Blanca barrio. This team was comprised of various World War II veterans. All of them may not have been World War II veterans but there were definitely some that [were] and when they would play teams that were mostly Anglo, they would wear their military belts on the field to display to their opponents that they were deserving of equal rights, that they were deserving of full civic membership. They would show these belts while they were playing to show that we served in the military and we gave our blood overseas so we deserve full citizenship back home. These discriminatory polices and segregation that we live through on a daily basis is something that should not be tolerated. Baseball provided this venue for a lot of Mexicans, Mexican-Americans in particular, to display political messages and social messages.

Highlights of the Week: Big Sir, JotDog, Gustavo Galindo

Three of my stories went up this week:

Big Sir Had Serious Health Scares. So They Made an Album About Life and Death.

Right around the time they were finishing their last album Und Die Scheiße Ändert Sich Immer, they both fell ill and were diagnosed with serious diseases. Alderete discovered he had polycythemia vera, a rare bone marrow disease where the body produces too many blood cells, while Papineau was diagnosed with multiple sclerosis. “The bottom fell out,” says Papineau. “In the midst of this juncture, Juan dreamed a song, woke up, recorded it and emailed it to me in Paris. He said, ‘I know it may be corny to say this, but from now on everything we do really has to make a difference … even if only to us … there’s no point any more to do less.'”

Q&A: Jotdog, From Rock en Español to Sci Fi Über Pop

With Jotdog, we’re doing this for the right reasons. The right reasons to be in a group, for us, aren’t money or fame. The right reasons to be in a group, mainly, are to have a good time. Every time you write a song, you need to enjoy yourself. Every time you go on tour, you need to enjoy yourself. When you write a song with the mentality of writing a hit to make millions, you’ve lost the purpose of songwriting.

Gustavo Galindo Says Fuck You to the Latin Grammys

“Once the Latin Grammys happened,” he continues, “I thought ‘well, that’s it for this record cycle. Let’s go focus on Mexico and launch the album down there.'” He cut those plans short in December when, while sitting in traffic, he received a ton of tweets congratulating him. He had no idea what for; when he found out he was nominated alongside huge acts like Mana and Calle 13, he thought there must have been a mistake.

Two Bands = Two Interviews: Enjambre and Rodrigo y Gabriela

It’s only the second week of the new year and already there have been a number of huge announcements/developments in the music world. Goldenvoice announced the Coachella 2012 lineup, a little-known rock group reunited, and Remezcla published two of my interviews:

Q&A: Enjambre, One more Album before the End of the World

Was the music scene going off there during that time?

Luis: Oh yeah, it still is. There’s a scene for anything. It’s the biggest city in the world and there’s all kinds of people so…we got there and people, when we got on stage, we were opening for this well-known band called San Pascualito Rey and everyone was yelling “Pascual! Pascual!” They wanted us to get off the stage and at the end of our set, they were yelling “Otra! Otra!” Going from “get off the stage” to asking for an encore was really interesting and everywhere we would play, it would be like that. People didn’t really know who we were but they started liking it. We’re like “well, if we keep doing this for a longer period of time then we can build it up and probably do this for a little longer.”

Julian: Also, we’re a band that sings in Spanish.

Rafa: The main music industry is still in Mexico City. Even Spanish or Argentine artists always want to go to Mexico and work their way out of there. It makes total sense for us to be there right now. It’s like for movies, it’d be Hollywood or for theater, it’s New York.

Enjambre at Indie 103.1's Sala De Espera program

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Q&A: Rodrigo Y Gabriela Reinvent Old Favorites With Area 52

It’s refreshing to hear these songs we already know, and suddenly there‘s a sitar solo in the middle. It’s like, “Whoa, what is this?!”

Exactly, I had to! I wasn’t going to play them the same. No way. It was a very different process for both of us to play the solos. I come from the rock side so I normally make the solos and then, once I nail them, I record them. For this album, it was very much on the spot. I was with my engineer and we had already gone to Cuba and had all the background music so it was literally playing around and saying, “Ok, I like this take here.” It was pretty much like that. That’s why I don’t even remember what I did but I listened to it and I really liked it.

Yeah, the introduction to “Anuman” is totally different.

I hope people understand that this is not our new direction but, I think it’s an interesting enough project to support, play a few shows with and we hope people enjoy it as much as we did. When I listen to the album now, for me, it’s like a different band. It’s not like listening to my own albums because I don’t even do that. I don’t go back and listen to the new albums because I’m very judgmental with what we did and I want to change things here and there. For this album, I can just go back, relax and listen to it. There are so many things going on and so many musicians on there that I’m not focused on what I’m doing so I really enjoy listening to it, which is a good thing.

Five Favorite Things From 2011

5) Remezcla

I began freelancing for Remezcla on a regular basis in May. Since then, I:

My work there continues to expose me to many artists I would never hear of otherwise, such as Quiero Club whose song, “Dias Perfectos,” is my favorite of 2011:

My last interview of 2011 (with Rodrigo of Rodrigo y Gabriela) will be my first published interview in 2012. It can only get better from here!

4) Sargent House

Sargent House is an artist management company (don’t call it a record label!) in L.A. that is home to the types of bands larger labels are too timid to promote.

I met SH founder Cathy Pellow and her staff of dedicated musicphiles in October 2010 when I covered the Omar Rodriguez-Lopez Group/Le Butcherettes concert for LA Weekly. It was immediately obvious that they were the real deal and not some stereotypical Hollywood character archetype.

2011 was a busy year for everyone involved with SH. Every band on the roster toured at some point. Le Butcherettes, Omar Rodriguez-Lopez Group, And So I Watch You From Afar, Zechs Marquise, Hella, Gypsyblood and others released an album (two in the case of Boris). Big Sir, Fang Island, This Town Needs Guns and others spent the year working on new material.

One of the highlights of the year was the company’s SXSW showcase, which featured the U.S. debut of Adebisi Shank. This leads to point three…

3) SXSW

You always remember your first! I traveled to Austin, TX for my first SXSW experience. My trip there was brief (two days/two nights) but memorable and fun thanks to the new friends and contacts I met and all the great music that surrounded me.

SXSW_2011_039
Just one of many "entrances" to SXSW.

I was really struck by the diversity of genres and styles represented by the performers at the festival. I remember turning a corner and hearing a country band perform in the patio. Two doors down, an indie-rock band had people dancing while, next door, an independent hip-hop artist made some new fans. By the time I hit the other end of the street, I’d heard punk, metal and latin music as well.

2) Spain

pamplona053
Festival de San Fermin (Running of the Bulls)

This was another “first” for me: my first time in Europe and Spain. I lived/studied in Valladolid for the month of July and visited Pamplona, Salamanca, Segovia, Santander and San Sebastian (mostly north/central Spain). I hope to return and visit the coastal areas.

1) My niece

I returned home from Spain to be greeted by my newborn baby niece:

Adventures in babysitting!

Hugo Chavez Can’t Stop La Vida Boheme’s Dance Party!

I’ve been obsessed with La Vida Boheme’s debut album Nuestra for the past few weeks. I’m definitely not the only one enthralled by it as the lp was nominated for Best Latin Pop, Rock, Or Urban Album Grammy last night alongside the works of Calle 13, Gustavo Galindo, labelmates Los Amigos Invisibles, and Mana.

I learned about the Venezuelan dance-rock/post-punk quartet two months ago while listening to the FIFA 12 soundtrack, which includes LVB’s song “El Buen Salvaje.” I liked the song but wasn’t able to get my hands on the full album until a month later in early November when Remezcla put me in contact with Nacional Records. La Vida Boheme was in town and would I like to interview them? Heck yes!

In the Nacional Records office. Not pictured: the Flinstones rug on the floor.

From the interview:

D’Arthenay: The record [Nuestra], we made it while I was still in college. It was very troublesome because in 2008, we had some of the songs. We started recording it but we didn’t like the record, then went off to record it with another guy, but we still didn’t like it. In 2009, most of the songs had changed. When we recorded the master, it was in 2009. For some of the songs that we initially started recording in 2008, we didn’t feel that they were representative of the things we wanted to say so we made new songs on the spot. So 2009 was a reflection of what happened between 2006 to 2009.

With this new record we just recorded, there’s two songs in it that we were playing for a long time and the second half we made them in one month. We’re very unorthodox in that sense. We’re not willing to release something that we’re not proud of. A work of art speaks for itself. When it’s complete, you know it’s complete. Most of the times, songs are very difficult to get to that point where they’re finished and others, they just flow naturally. We struggled a lot with our second record because of that, and because we don’t want it to be sloppy — we want it to be better. It took us time but we’re very happy with what we have done.

Two days later, I made a trip to Las Vegas to watch LVB perform at Remezcla’s Latin Grammy pre-party:

The set was short but intense and the songs sounded even better live than their studio-recorded counterparts.

Keep your eyes and ears on La Vida Boheme in 2012.

Los Abandoned: A Chronicle of a Reunion/Resurrection

Los Abandoned was a latin alternative rock group from L.A. that quit before it had a real chance to thrive. Their debut album Mixtape showed lots of promise from the talented quartet but, unfortunately, a number of issues led to their abrupt and sudden dissolution in October 2007.

Thankfully, Ricky Garay and Mucho Music convinced Los Abandoned to reunite for a special, one-time-only Day Of The Dead resurrection concert. I spent a good portion of the past two weeks covering the band for LA Weekly and Remezcla. Stories and photos are linked below:

Los Abandoned To Perform For The Last Time, Again:

The group had ruminated on a reunion since last year, when conflicting schedules forced them to turn down a benefit performance in Chile. They kept the dialogue open until earlier this year when Mucho Events promoter Ricky Garay brought everyone around to his idea for a Day of the Dead reunion.

Garay’d had the idea since promoting a few shows for Diaz’ solo project. “I would always casually mention it,” said Garay, “but I would never bug them about it because I knew it was a personal thing. It was something that I was trying to wrap up before we left La Cita.”

Q&A: Los Abandoned, One Night Resurrection Only:

We were very honored by [Gustavo Arellano] putting us such on a high pedestal. We worked for so many years and we went through so much just to get the little that we had in the economic sense, but it all paid off when we’d get great write-ups and people telling us that they were influenced by us, or that we helped them get through a breakup, or helped them feel better about themselves. We had a big queer following and there were a lot of kids that came out of the closet and thanked us because our music helped them do that. It was those things that made it all worthwhile when we were all living on sleeping bags on the floor.

Los Abandoned – The Echoplex – 10-28-11:

Los Abandoned took a 20 minute intermission after the second encore, and returned to the stage covered in zombie make-up and fake blood. Verde kicked off their final set — a bunch of covers — with the opening lick to Oingo Boingo’s “Dead Man’s Party.”

They finished with Simple Minds’ “Don’t You Forget About Me.” All of it had me secretly hoping that more bands would break up, so that they could later reunite for a proper send-off.

Photos// Los Abandoned @ The Echoplex, LA: One Night Only Resurrection:

Latin Grammy Nominations 2011

I made my first appearance at the Latin Grammys yesterday as a photographer for Remezcla. The event took place at the Avalon in Hollywood where a number former and current nominees were in attendance.

The announcers pose for a group shot. Photo for Remezcla.
Calle 13 being interviewed on camera for CNN en Español. Photo for Remezcla.
Members of Zoe being interviewed by a number of outlets. Photo for Remezcla.

Check out all of my photos of the event over at Remezcla.