Electronic: Señor Coconut

What do German techno pioneers Kraftwerk have to do with cumbia? Quite a lot, Señor Coconut proved us with his 2000 debut El Baile Aleman. His collection of Kraftwerk hits transposed to latin rhytms was more than just a novelty, but a great example of how a good idea can become musically attractive too.
In the same spirit, the German DJ/producer now released Around The World with latin reworks of dance classics by Prince, The Eurythmics and of course Daft Punk. Not an unispired sequel, but a well-thought selection of essential dance songs from all over the world.

Only the original rhythm of "Que Rico El Mambo" and "Pinball Chacha" is close to the Señor Coconut version, in all other tracks the elaborate process of breaking the track down and rebuilding it step by step with his live band gives them that hard-to-define Coconut style. They sound familiar yet refreshing, charmingly old but at the same time trés hip. Belgian electro band Telex is honored with a brass-rich version of "Moscow Discow". Prince's timeless hit "Kiss" is given the latin touch by crooner Louie Austen (a special mention for the bass & percussion here). And Daft Punk's club anthem "Around The World" is the glue that holds everything together.

Most of all, it's just wonderful to see how much all those different musical genres have in common rhytmically. Who would've thought that Laid Back's "White Horse" makes an excellent merengue? Or that the Eurythmics classic "Sweet Dreams" is rhythmically and melodically a perfect chachacha? Around The World is a quirky mix of some great songs that will truly impress anybody.

Señor Coconut - Moscow Discow mp3
Album: Around The World (Nacional Records)
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(PS: El Baile Alemán is being reissued digitally & physically to coincide with the release of Around The World!)
(PPS: Images and audio will be added as soon as my hosting is fixed!)

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Calle 13 - Los De Atrás Vienen Conmigo

UPDATE: songs online.

Let's set some things straight first. Calle 13 doesn't make hiphop. And certaily no reggaeton either. It's kick ass music, and that's all that matters. Also, Rene Perez aka Residente is not a rapper. He's a poet. So before you go comparing the club potential of, let's say, Wisin y Yandel to the new Calle 13, understand that they're in a totally other league.

And to make that point very clear, the opening song on their new album Los De Atrás Vienen Conmigo is one big diss to 'commercial' reggaeton and its exponents. But where tirarea between rappers is usually limited to who has the biggest number of cars, guns and women, "Que Lloren" is a hit under the belt. The whole commercial system around modern reggaeton is made ridiculous in the characteristical Residente style, mixing poison with humor.

Te cojio de pendejo una disquera [...]
Tu eres un producto enlatado
Encima de un anaquel, antes cantabas rap
Y ahora eres pop como Luis Miguel [...]
Tu te vendiste mas barato que una prostituta en la autopista
Esto es la diferencia entre un negociante y un artista

The rapping might be too spoken word to keep the rhymes flowing, but it kinda matches the anger that's in the song. Still the chorus is quite catchy, and musically the best description I can find is 'norteño hiphop' - those horns!

So, no reggaeton ballads. But apparently there is room for love and romance on Los De Atrás Vienen Conmigo. The first single "No Hay Nadie Como Tu", with alternative icons Café Tacuba, is nothing but a rock ballad a lo latino. The song needs some time to grow on you, but it's a successful collaboration between two unconventional bands. The music reflects that, it's a bizarre mix of rock, rap and traditional instruments (didgeridoo, accordeon) driven by Luis Ledezma's drums. And again, the horns play a big role in setting the mood. A future classic. More love on "Electro Movimiento", graced with English vocals by an unknown talent. Visitante goes haywire with cheap synths, totally 80s electro. Over the top, as it should be, and the track doesn't feel out of place at all. "Todo el mundo con el paso del robot!"

Another theme is craziness. Figuratively, as on "Fiesta De Locos" (according to Residente inspired by an Emir Kusturica concert), or literally on "Jhon El Esquizofrenico". The latter shows the lyrical capacity of Residente, telling the tale of a 13-year old boy that collects corpses. Visitante creates a mystifying mood with strange fairytale music - think Edward Scissorhands. It's also reflected in the intro and outro, where a demon named Residente takes over the body of Rene Perez.

"La Perla" is an ode to the beauty of the roughest neighborhood in Puerto Rico. The song starts with subtle afro-latin percussion, and builds to a beautiful chorus with Rubén Blades and La Chilinga singing "La noche me sirve de sabana". Ever heard Rubén rapping? Here's your chance. Another collab worth mentioning is "Esto Con Eso", with superstar Juanes singing the chorus. It's catchy bass and funky guitar will get your caderas moving without a doubt. Though it seems a little strange dissing commercialism on the first track, and then inviting Juanes to sing.

In general, Los De Atrás Vienen Conmigo has both Residente and Visitante doing more what they want. The rapping is more poetry than enything else, sometimes like spoken word. The lack of flow isn't because his lyrics don't allow it (on the contrary, they rhyme brilliantly), it's his voice that's a bit too monotonous. But once you get over that, pay attention to the inventiveness of the music. Visitante made a musical work of art, with delicate tension building on every song and an incredible attention to detail. The emotion of the song is defined by the trumpets, who come in all forms and tones: melancholic ("No Hay Nadie Como Tu"), jazzy ("Ven Y Criticame"), salsa ("La Perla"), pompous ("Que Lloren"), even army-style ("Los De Atras Vienen Conmigo"). Which makes this the first latin urban album that feels as a whole, instead of a bunch of songs thrown together. Give it some time, and Los De Atrás Vienen Conmigo will become a new best friend.

Calle 13 & Café Tacuba - No Hay Nadie Como Tu mp3
Calle 13 ft. Rubén Blades & La Chilinga - La Perla mp3
Album: Los De Atrás Vienen Conmigo (Sony)
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Electronic: Acida - The Greatest Hits

It's been a long time since I was so pleasantly surprised by a band I didn't know. Acida was the musical partnership of two of Argentina's most talented latin pop artists, singer-songwriter Alina Gandini and her producer husband Tweety Gonzales (yes, from the superstar rock band Soda Stereo that's making its comeback now). I seriously regret that a digital-only Greatest Hits compilation is my first contact. You get it: I like Acida a lot :)

Their music can best be described as dreamy electronics for an indian summer in the city. "Música para fumar y olvidar", sings Alina on the emblematic "Nadie Como Vos", and I can vividly imagine her sitting lonely at the bar, on a gloomy night in Buenos Aires. Acida's songs are drenched in the kind of cosmopolitan atmosphere you can only evoke with impeccable sampling and crystal-clear production like Tweety's. Think Groove Armada and Massive Attack.

He couldn't have found a more suiting voice than Alina's, sultry and girly at the same time. She makes "La Vida Real" and most of all "Burbank" sexy, smooth and soothing. But on the funky "Presente Permanente" is she's playful, just like on "Destino" with its cheery 90's synth piano.
And melancholy... the emotion that seemes to drive Acida, and undoubtedly created their most beautiful songs. "Yo Nunca Te Doy Paz" starts off with a moving piano solo by Alina's father, Gerardo Gandini, musical director for the Buenos Aires Philharmonic Orchestra. And is it a coincidence that Gustavo Cerati, the master of gloomy guitars, plays bass and sings backings on several tracks?

As a treat for those who already know and love Acida, the album comes with a collection of five remixes. The Federico Aubele mix of "Nadie Como Vos" highlights a nice little guitar loop, but the rest is totally obsolete. Another small minus: the jazzy drum 'n bass and repetitive vocals of "Las Palabras" don't mix with the sensitivity of the other tracks. The same for the crazy psychidelics of "Perdida" - think sitar, bass synth and lots of echoes. But overall, this is a must-have for any latin music fan who thought he knew all about electronica in the Americas. The old fans, well, they're just lucky bastards they have the original CDs :)

Acida - Nadie Como Vos mp3
Acida - Burbank mp3
Album: The Greatest Hits (Sonic 360)
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Electronic: Bajofondo - Mar Dulce

The name Gustavo Santaolalla keeps popping up on this blog - if it's not as producer for Café Tacuba, Juanes or Calle 13 then it's for his ground-breaking and Oscar-winning soundtracks (Babel, Brokeback Mountain, The Motorcycle Diaries). But he also has his own band, the electronic tango collective Bajofondo Tango Club. Now shortened to Bajofondo, the mostly instrumental group gathered an impressive list of guests for their new album Mar Dulce.

Bajofondo's tango-with-a-beat has long been a success in cafés all over the Northern hemisphere, but on this album Santaolalla wanted to incorporate a more Latin American feel. A hard thing to achieve with pure instrumental tracks and lots of violins, though the melancholic alma of the tango shines through on all tracks. Most of all, Mar Dulce sounds very cosmopolitan, a little how I imagine Buenos Aires or Montevideo sound after hours in some ultra hip district.

The eight instrumental tangos on the album swerve between sensual, melancholic, extactic and gloomy. But it's the guests that make the album. On "Ya No Duele", guest rapper Santullo converts a hyperactive accordeon into the perfect accompaniment for his poetic, almost spoken-word-like performance. The contrast with "Hoy", where Juan Subira screams out his emotions raw and raunchy, couldn't be bigger. The international names however, disappoint a little. Elvis Costello is just a big old bore, and Nelly Furtado still hasn't mastered her afwul accent.
The best tracks are reserved for a handful of Latin American superstars. "El Mareo" has an inspiring Gustavo Cerati marrying his bass voice to echoing guitars and accordeons. La Mala Rodriguez makes "El Andén" entirely her own with a ceaseless rap attack on what must be the first elektrotangohop ever. And on single "Pa' Bailar", Julieta Venegas enhances the best instrumental track on the album with an incredibly catchy vocal.

As electro-tango collective, it's inevitable to be compared to Gotan Project, the band that launched the hype about eight years ago. And I must say, despite the big names and quality musicians on Mar Dulce, Bajofondo still falls short of the original. Maybe it's the dominance of Santaolalla, but it all sounds so produced in comparison to the soulful Gotan. Or is it my European ears that are used to heavier beats than Bajofondo's? Still, Mar Dulce remains a solid record that is probably well on its way to a new load of Grammys.

Bajofondo ft. Julieta Venegas - Pa' Bailar mp3
Bajofondo ft. La Mala Rodriguez - El Andén mp3
Album: Bajofondo - Mar Dulce (Decca)
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Salsa: Fania

UPDATE: It seems I Like It Like That: Fania Remixed also comes as a double CD with the original (hard-to-find) classics, which makes it even more a must-have compilation!

Ever since the legendary Fania Records was brought back to life in 2006, the label has been issuing a steady flow of reissues and compilations. This year two remarkable releases deserve your special attention.

The first is a spotless selection of Fania tracks by jazz guru and worldwide DJ Gilles Peterson. For the first edition of the Fania DJ Series, the British record collector listened to over 200 albums to select and compile 26 tracks. It's the first time he does a latin compilation, and you can feel he purely selected on the sound and spirit of the songs. So even though there are tracks by famous artists like Tito Puente, Eddie Palmieri, Willie Rosario and more, I didn't recognize many timeless Fania classics. This compilation goes beyond the popular songs you've probably heard already, and takes you into the 42 year long history of a very special record label. The amount of instrumental tracks reflect his unability to understand the Spanish choruses, but also gives the record a focus on dance and percussion. So if you're looking to get to know a great label in a completely different way, this is the CD you want. If you want the familiar classics however, look elsewhere!

Ya Yi Ki - Johnny Colon mp3
Album: Fania DJ Series: Gilles Peterson (Fania Records)
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The other album I want to talk about is I Like It Like That, a remix collection on which dance scene remixers are paired with classic Fania artists like Hector Lavoe, Willie Colón and Rubén Blades. It's a shy first step into modern music for the label, and many remixes are only subtly changed compared to the original track. But hey, those songs are legendary for a reason! The two Lavoe tracks are real standouts, not only because of their length (over 10 minutes!!) but mostly because his voice is just so great. "Mi Gente" is remixed (very true to the original) by his own nephew Louie Vega, by the way.
Also great is "I Didn't Want To Have To Do It" by Ralfi Pagan in a 4 Hero remix, who finds a good balance between new and original; and the jazzy rendition of Roberta Roena's "Take Five" by Italian DJ Nicola Conte. But the biggest treat for me was finding Brazilian funksters Bonde do Role on this album: Favela Fania!
The mixes with a more dance/techno feel are often quite boring: Bugz in the Attic, SSH and sadly Gilles Peterson didn't do a very good job. But with a good skip button or a strict iTunes selection you'll be the proud owner of some unique interpretations of Fania classics.

Take Five (Nicola Conte Remix) - Roberto Roena mp3
Album: I Like It Like That - Fania Remixed (Fania Records)
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Pop: Jorge Drexler - Cara B

Long time readers of La Onda already know that Chapín and I are huge fans of Uruguayan cantautor Jorge Drexler (See this post for more Drexler). Everytime a Latin music festival in Belgium releases its line-up, we're always desperately looking for Drexler's name, only to be disappointed once again. Unless we should happen to be in Spain when he's performing - Drexler has been living mostly in Catalonia for some years now -, we're afraid we'll never see him play his songs live for us... You'll imagine our joy when we found out Drexler was to release a live album, entitled Cara B ("B-Side"), in April! Finally we have it, and when we listen to it we can actually imagine looking right into Jorge's guitar.

This two-disc album is a compilation of the best moments of Drexler's 2007 tour in Spain. Disc one contains the songs that were frequently on Drexler's set-list during his tour, most of them off his latest studio album 12 Segundos de Oscuridad (2006). Disc two, Cara C, is a selection of less known songs and covers. In Spanish (e.g. an introverted version of Kiko Veneno's "Volando Voy"), but also in Italian, Portuguese or English. Between the songs, Drexler is chatting and laughing with the audience, giving a really good impression of the intimacy of his concerts. The acoustic versions on Cara B lack the smart electronic arrangements of Drexler's studio recordings, but on this album, the singer and his gently weeping guitar create a universe on their own. Sometimes there is a singing saw involved, for example in the title track "Cara B"; an ironic, yet very sensitive song about a bad mood. Check the skipping record effect!

The intimate live atmosphere on Cara B suits Drexler's songs really well: every track is a little poem, written and sung by a real artist. Now that we can hear him play live, we definitely want to see him perform one day. ¡Ya vente a Bélgica, Jorge!

Jorge Drexler - Cara B mp3
Album: Cara B (Warner)
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Pop: Sergio Mendes - Encanto

Sergio Mendes was responsible for popularizing the bossa nova movement in the US back in the sixties, playing countless concerts with American jazz legends (Cannonball Adderley, Herbie Mann) and his own band Brasil '66. His cover of Jorge Ben's "Mas Que Nada" is common property: the older folks remember the bossa version off Sergio Mendes & Brasil '66, the younger generation knows it thanks to Will.I.Am of the Black Eyed Peas. He produced Sergio's Grammy-winning comeback album Timeless two years ago, and was behind the controls again for the follow-up Encanto, out June 10th.

To be honest I was very sceptic about reviewing Encanto, I expected it to be much like Timeless which I found too focused on the hiphop crossover market, lacking the latin soul I search for. The fact that the album is distributed through Starbucks even added to the smell of commercialism.
But Sergio proved me wrong. The music is as sunny, colorful and sexy as the album cover (below). Encanto is a carefully selected collection of covers that got the Mendes treatment - jazzify, synthify, add suitable guest vocal. The result is an album overflowing with simple, happy, richly arranged tunes that will enlight your summer.

One of those legendary covers is "The Look of Love" by Burt Bacharach. Here is the original hit from 1967. Revamped with Fergie on the vocals, the song is stripped from its cheesy soundtrack strings, given a contemporary beat and a different chorus. The result is a completely different song, minimalistic and charming, blending in wonderfully with the rest of the album. Too bad Fergie is so prominent on the song - her voice leaves me completely indifferent.

But let's focus on the latino elements here - you'll hear the other songs more than enough I imagine. "Y Vamos Ya" forced me to lift the Juanes ban that reigns at Casa Chapín since the release of La Vida Es... Un Ratico. But after one listen that ban was back in force - Juanes totally ignores the whole point of the album by engaging in sentimalist whining ("Pajaritos van cantando a tu lado"... please!).

The other latino flavored collaborations are more worth while. "Lugar Comum" switches between Jovanotti's Italian raps and a soulful chorus of Brazilian girls. "Morning in Rio" and "Odo-Ya" (with the immensely popular Carlinhos Brown) make me feel like joining a carnival parade in the streets of Rio. "Catavento" (with his wife Gracinha Leporace on the vocals) is great for chilling out. If you don't mind the constant cuica sound (a.k.a. the "laughing gourd") that is. "Acode" (with Vanessa Da Mata doubts between gently samba drums and a pulsating dance beat. Also a great example of the guitar-piano interaction you'll often hear on the album. The album ends with "Agua De Beber", with Will.I.Am excelling in empty lyrics and Sergio making it all up with his inventive piano and synth arrangements - I always love it when jazz singers ad lib to the melody.

So Encanto has its heights and lows for the latin music lover, but it's certainly worth checking out as a whole, thanks to the sunny sound and Brazilian feeling of the album.

Sergio Mendes ft. Carlinhos Brown - Odo-Ya mp3
Sergio Mendes ft. Gracinha Leporace - Catavento mp3
Album: Encanto (Concord)
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Hip Hop: ChocQuibTown - Somos Pacifico

I first heard of ChocQuibTown through Masala - always first concerning extraordinary worldly beats. The video for "San Antonio" (below) was a great introduction to the habitat of this Colombian hiphop outfit, showing multiracial fun in the streets of San Antonio, a neighborhood in the city of Cali. Contrasting with the very low budget video is the crystal clear sound of the band, with lead singer Gloria 'Goyo' Perea's sultry voice as the cherry on the cake.

ChocQuibTown's debut album Somos Pacifico was produced by the innovative duo Ivan Benavidez (Carlos Vives) and Richard Blair (Sidestepper) - and it has become a jewel. It's latin hiphop exactly how I like it, incorporating the funky sound of the Colombian pacific to create a pure and refreshing sound. The concept is similar to what Orishas does with Cuban folklore or what Andy Palacio did for Garifuna culture: an ode to their home and roots made for a global audience.

The album is very diverse in rhythms, giranting between urban beats (soft dancehall in "No Le Copio"), latin tropicalia (salsa in "Pescao Envenenao", rumba in "Somos Pacifico") and Afro-Colombian traditionals even I never heard of (bambazú, anybody?). The comparison with Tego Calderón's The Underdog is never far away, though ChocQuibTown stays on the less-commercial side of latin urban music, using subtle hiphop grooves rather than deafening reggaeton beats. Most of all ChocQuibTown is funky, sometimes even jazzy (Goyo often made me think of Cuban jazz poet Telmary) like on "Busco Personas".

Top tracks are the aforementioned "San Antionio" and "Pescao Envenenao" featuring Colombia's hottest salsa crew, La 33. The latter is also a great example of the activism and social awareness in Choc Quib Town's lyrics, warning their people about politicans spreading hate and fear. Title track "Somos Pacifico" is heavy on samples and scratching but like no other breathes the exotic atmosphere that characterizes the album.

Somos Pacífico
Estamos unidos
Se une la región
La pinta, la raza
y el don del sabor

Some less convincing tracks are inevitably present on every hiphop album (here it's "Alguien Como Tu" and "Lo Nuevo") but Somos Pacifico is definitely worth your attention if you're up for a pleasant discovery!

ChocQuibTown - Somos Pacifico mp3
ChocQuibTown ft. La 33 - Pescao Envenenao mp3
Album: Somos Pacifico (Rue Bleue/Polan)
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San Antonio

Somos Pacifico

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Electronic: Pacifika - Asuncion

'Global' is the only right word to describe Pacifika. This Vancouver-based trio is comprised of a Peruvian singer with a love for flamenco, a dub infused bassist raised in Barbados, and a Canadian guitarist with roots in 80's new wave. That's eclectic for ya. The result is Asunción, an international yet unique sounding album filled with minimalistic electronic pop.

Opening track "Sol" will inevitably remind you of Aterciopelados, although the ethereal voice of singer Silvana Kane and the more spiritual sound and theme of this song are the only points of comparison. Nature is however a recurring theme on the album: also see the flamenco-infused "Paloma", the mystic "Las Olas", and the single "Me Caí". It's a great single, with warm percussion, guitars and delicate electronica provoking scenes of sunshine and happiness. More melodious merriness on "Oyeme", an uplifting and energetic song uniting the best of the poppy voice of Silvana and the skilled guitars of Adam Popowitz.

If Pacifika prove one thing, it's that they sure can relax. "Estrellas de Miel" is a jazzy acoustic song suited perfect for a late-night bar performance, "Cuatro Hijas" has Silvana in a sultry mood and floats on delicate guitar arpeggios, joined by warm and smooth cellos near the end.
The band thrives on subtlety: the percussion is at times barely more than a whisper, and you'll hear very few instruments used at the same time. This minimalistic approach results in some delicate jewels of songs, but at times I craved for more depth and harmony. On "Mas y Mas", dirty guitar contrasts with an angel's voice, but the climax feels incomplete without drums or percussion. Also, Silvana's bubblegum pop background sometimes shines through, like on the English-language "Sweet" or the bossa dub "Chiquita".

So Asunción is a great summer album, but nothing more. The album ends with "Las Olas", a relaxing soundscape of sea waves, guitar plucking and violins, not the only nice-but-not-great album filler. Still, I'm a fan of the sparkling and dynamic Pacifika you hear on "Me Caí", "Paloma" and "Oyeme".

Pacifika - Me Caí mp3 buy@iTunes buy@Amazon
Pacifika - Oyeme mp3 buy@iTunes buy@Amazon

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Salsa: Manolito, Adalberto Alvarez

It's been a while since we had some salsa from la isla - and with that I mean Cuba. Two quite important timba albums were released recently, let's have a look.


Manolito y su Trabuco are still only gaining popularity in Cuba, thanks to an impeccable live reputation. New CD La Habana Me Llama might not capture the essence of the whirling live shows on tape, the production is however crystal clear - I dare to say a salsa record from the island never sounded better. Manolito likes to use unusual instruments for his own style of timba - violins, acoustic guitars, cello, flute - and they especially come out great thanks to the production. Singer Sixto 'El Indio' Lorente puts his heart and soul in the songs, alternating between a painful love for his girl and a melancholic yearning for his capital city, La Habana. The innovative use of intrumentation makes this a quite varied album, and musically Manolito still finds the perfect balance between traditional son and the raw Afro-Cuban energy of timba.

Manolito y su Trabuco - La Habana Me Llama mp3


Adalberto Alvarez is already a bit older, so leaning more towards the son sound, but on Gozando La Habana he shows Adalberto y su Son are still one of the most relevant salsa outfits in Cuba. The horns blare furiously and the virtuous piano play is quite promintent on most of the tracks, making clear this album is made for dancing ("Si No Vas A Bailar"). Although rhytmically varied, Adalberto stays close to his trademark slower-timba-with-son-elements, leaving room for descarga-like improvisations ("Aprende Muchacho") and even a true ballad ("Hasta Aqui Llegó Este Amor").

Adalberto Alvarez - Gozando En La Habana mp3

Also, both a helpful commenter and salsa blogger Billy Bryans got me onto Roberto Liñares Brown, an ex member of Adalberto's band that now lives in Canada. After weeks of intensive internet searching and record store browsing, I still haven't managed to listen to even one song, so I have to believe them on their word that his latest record Que No Se Pierde La Esencia is "just fabulous". Read this review over at Descarga to make you mouth-water even more.

Where to get these albums? Check your local latin music store, or fly to Cuba and buy them there! ;) Here in Europe it proved to be almost impossible, so I imagine in the US you'll certainly miss out on this great music...

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Rock: Café Tacvba - Sino

I have to admit that - up until now - I kinda underestimated the importance of Café Tacvba. You have to forgive me: my first contact with latin music was only four years ago, when the hype following their 2003 masterpiece Cuatro Caminos was settled down, and the band members decided to take a sabbatical. Proof: when I dared to write the band had dissolved in this post, irate reactions of the extensive 'cafeta' fanbase followed.

No, Café Tacvba is very much alive, and they are probably Mexico's single most important rock band. Since 1989, they've been the missing link between rock and Mexican folk (Re, 1992), the best cover band of the continent (Avalancha De Exitos, 1996), Grammy winners with instrumental art-pop (Reves/YoSoy, 1999), and the Mexican answer to Radiohead (Cuatro Caminos, 2003). They're the most diverse band in latin rock history - and that's still an understatement.

Sino, the first Café Tacvba album in four years, is another example of the constant evolution that marks their career. Folk elements are rare, and the combination of lead guitarist Joselo Rangel and drummer Victor Indrizzo (Beck) leads to stormy rock explosions ("De Acuerdo"). Gone is the somewhat cheesy pop of hit single "Eres", but instead we hear powerful guitar songs. There's even room for experimental ("Arrulo") and epic stadium rock ("Esta Vez"). What stays, are the existentialist lyrics, and the feeling that you're listening to something truly great.

The album opens delicately, with a soft piano and a fragile Meme building up the tension, until "Tengo Todo" breaks loose: a beautiful pop song, adding some Beatles psychidelica near the end. "53100" makes me think of "No Surprises" (there's that Radiohead comparison again..) while "Y Es Que..." has a very Catupecu Machu harmonica melody. And "El Outsider" adds some funky electro bleeps, while lead vocalist Ruben Albarrán declares himself the number one individualist.

I could write a whole page on "Volver A Comenzar" alone, the sublime first single. It's an eight-minute epic of 80s disco dancerock (New Order, Depeche Mode) interrupted by an acoustic chill moment. The chorus rocks, and the band sings great. It's only matched by "Esta Vez": equally epic, the same touching lyrics. A calm and melodic start soon derails into a rock classic worthy of Muse (or for the older readers: quite reminiscent of Led Zeppelin). In short: two rock gems you need to download ASAP.

But these two songs alone can't give you an impression of the whole album... so much is happening here, between The Who (experimental jam "Gracias") and The Beach Boys (the harmonic "Quiero Ver") is a disc with nothing but highlights. Maybe the four 'tacubos' aren't the most technical singers, they solve that by variation (all of them take the role of lead singer), and they are genious musicians who write indestructible songs. The most exciting album of the year.

Café Tacvba - Volver A Comenzar mp3 buy@iTunes buy@Amazon
Café Tacvba - Esta Vez mp3 buy@iTunes buy@Amazon

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