I just did a post on music from Peru, so I thought I’d toss this video up from artist/musician/homeboy Dj Lengua. Most the footage is taken in Peru, taken by Dj Lengua himself – and it’s really cool. I’m sure some animals were hurt in this production, but Lengua was kind enough to omit any of the bloody stuff.
I’ve been to a pelea de gallos once in Panama, and it is pretty hardcore stuff. People where acting so drunk and so fucking crazy that I thought the world was coming to an end. Anyway, cocks fighting and old ladies dancing is pretty standard stuff in Latin America. Please enjoy!
I couldn’t find much information about Grupo Mayor, but I do know that the song Te Ves Buena was written by Panamanian reggae artist Edgardo Franco, aka El General. Although reggae en español had been around for a while, El General had scored one of its first international hits with this dancehall tune. When I lived in Nicaragua in the early 90’s, this form of early reggaeton was blowing up all over Central America. There probably wasn’t one country where I didn’t hear this song or ones like it – even Banda Vallarta Show did their own banda version. On a side note, I did recall that reggae en español would only be played at house parties after the parents left or weren’t around. As insinuated by my cousins, the music may have been too risque in Nicaragua for the time – I never understood that one.
Anyway, just wanted to thank everyone who helped out with the February 45 sessions: Adam Dunbar, Marcos Juarez, Eamon Ore-Giron, Oliver Wang, Alex LaRotta, and Cameron Thompson – thanks a ton guys!!! Gonna talk a break from the site for a while, but if you need anything at all please feel free to bother me – firstname.lastname@example.org. Enjoy!
There probably isn’t much more I can say about Mexico City’s electro-maraduer Memo Rios. Basically he made a living ripping off 80’s techno cover songs, all the while butchering the lyrics to his own personal Chilango likings. Nevertheless, this is my third article about him, so I do give the man credit where credit is due. Even though I feel that his music is just ok – I personally respect his abstraction of this genre of music. And the more I find/listen to these recordings, the more I am convinced that Memo Rios is more conceptual artist than plagiarist. Tacos yes, sandwiches no!!!
Entry #2 in our “Exitos” mixtape series is “Acid Sonidero” by DJ Lengua, or Eamon Ore-Giron as he’s known to his parents. A DJ, producer, and artist (whose work has been exhibited frequently, including at LACMA), Eamon has bounced up and down the Americas, having lived in Peru, DF, SF, and now LA (he’s originally from Tucson). One of the founders of Club Unicornio, the late, great San Francisco monthly, he’s now one of the forces behind the always-fun Mas Exitos, which takes place the first Thursday of every month here in LA.
I met Eamon (and his rad wife and fellow artist Gina Osterloh) at a bar in Pasadena during Euro ’08, and since then I’ve watched him put on excellent solo art shows, release the killer Cruzando album (get it here), and organize great events like a screening of El Mundo de Los Pobres, the rare 1986 film that stars chicha legends Los Shapis. So it’s an honor to have such a busy person take the time out to make a mix for EPR, and “Acid Sonidero” is fantastic, a mad mix of drowsy drops, washboard rhythms, and bass for hips, ending with a sample from Dr. Dre. It’s a crazy flight through the Andes up to Mexico City, with a trip back home to California. Thank you Eamon!
To be quite honest with you, during the 80’s, I was never really a big fan of pop music. It never spoke to me. But my music preferences have evolved and still do to this day. And with the passage of time, now that my music tastes have matured, I can say that I still do not like this type of music.
What I don’t understand is that this sound is making a bit of a comeback. Remove the whole hipster neon-generation ironic thing and you are still left with music that is hit or miss. But with all negativity removed, maybe I should just take it for what it is – its ok…I suppose? I have friends from Mexico City and Tijuana who usually tend to go ape shit over this kinda stuff. So the nostalgia factor is something that I totally understand – but it’s not for me.
Besides Leo Dan, most these acts hail from Mexico, trying to cash in on some sort of new-wave music hysteria that captured the US in the mid to late 80’s. Byanka probably had the most success with her Madonna cover. It’s interesting to see that Grupo Latino even pooped out the Italo Disco favorite from La Bionda. But probably my favorite cut out of all of these 45’s is Morgan’s Que Bonita Baila (how beautiful you dance) – nice break on that. Anyway, like I said, hit or miss. Enjoy!
P.S. = Tomorrow O-Dub from Soul Sides is dropping an article. Stay tuned – the music is very very nice.
I wanted to start the New Year off right by throwing up some free downloads from Dj Lengua’s new 7 song EP release Cruzando. Usually I try not put up anything from my label (Unicornio), I like to keep it separate from my audioblog. But Eamon (Lengua), suggested that I should offer a few tracts for free while I was out of the country – so here we are. This is probably our best album/release to date. Juan Data from the Hard Data did a good article on Dj Lengua, you should check it out if you want more info on the record. Also, you can purchase the vinyl directly from our distributor or turntable lab if you wish. You can also email me at email@example.com if you have questions about the record. Happy New Year everybody! Enjoy!
It’s quite common to find compilation records in Latin America that started out as a corporate marketing strategy. I have a few LP’s from a natural gas company in Venezuela – which are pretty good. However, I’m not sure if Goodyear Tires had a successful branding campaign when they dropped this collection. The mixture of salsa, pop, cumbia, and Henri Mancini soundtrack music is just downright weird. Most of the songs aren’t that great and there doesn’t seem to be any method to the triple album’s selections.
However, all this is soon forgotten with the inclusion of just one song: the synth monster Montuniando by Colombian pianist Juancho Vargas. The track reminded me of the music Cuban Juan Pablo Torres was doing in the 70’s than anything else, peep the post I wrote about him a while back. Juancho Vargas is probably better known for his big band style cumbia/jazz and not so much this experimental style of salsa/son montuno. One a side note, the album was produced by the Colombian label Sonolux. There are references to a FM radio station in the Colombian town of Sogamoso and a reference to possibly some tire service chain. Perhaps they handed these out to their customers. Anyway….Enjoy!
There is no other song I know that exemplifies the popular techno banda style more than Grupo El Mexicano’sNo Bailes De Caballito. This song is kind of a classic in the genre and still gets radio time to this day. In fact, I probably would have guessed that the song was written yesterday, rather than in 1992. Which really demonstrates the longevity the Banda sound has had in mainstream Mexico. Just don’t play this song too loud in Arizona, you might get deported.
To be honest with you, I’m not a huge fan of banda music, but these few tracks really stood out for me. Banda is more or less the fusion of Norteño music with larger brass instrumentation, fiery orchestras, larger hats, and matching suits. Techo banda however seems to take it a step further opting for synthesizers rather than tubas. Grupo El Mexicano rock synthesizer guitars. This music got really popular in the early 90’s and with that came a series of dance crazes like the quebradita – a dance, which at times, looks more like gymnastics.
I tossed in the super fast track from Banda Guadalajara Express, which has a less techno sound than the first. But I couldn’t help think about the similarities between Banda, Merengue, and Perez Prado. Maybe it’s the kinetic break neck speeds and the matching outfits. I’ll definitely explore the Perez Prado influence in the next post. Enjoy!
There wasn’t much to be optimistic about in 1975 Argentina. From the death of Juan Perón in 1974, it seemed like this polarized South American nation was beginning to unravel. With waves of political violence, near-hyperinflation, strikes, to assassinations: Argentina was boiling over. I thought Nicaraguan politics were screwy, but I have to say that Argentina takes the cake. Trotskyites vs. fascist extremists?
Maybe Katunga’s popular Mira Para Arriba Mira Para Abajo struck a chord with the uncertainty of the everyday Argentine. A positive reaffirmation, escapism perhaps. But I’m pretty sure this song would have been harder to write a year later. With the March 1976 coup d’état and the start of the “dirty war”, their song seems a bit less effective.
Nevertheless, a few great bubble-gum flavored numbers from the band Katunga, who by the way, remind me a lot of the popular Spanish group Formula V. Sorry I couldn’t get much from the bands webpage/bio, but it appears that Katunga still performs to this day. Enjoy!
Carlos Pickling—Cumbia Morena
Mariachi Nuevo Tecalitlan—Cumbia Arabe
Chicken y Sus Commandos—Cumbia Sampuesana
Los Aragon—Mar y Sol
Mario y sus Diamantes—Quena
Negros de Colombia—La Especulacion
Negros de Colombia—Bomba Tropical
Gustavo Pimintel—Pata Pata
Camacho y Cano y su Grupo—Gaita Numero Uno
Los Diplomaticos—La Samaria
Grupo Standard’s—Cumbia en el Palmar
Grupo Salas—Mar y Sol
Jose y sus Antillanos—Melodia Antillana
Los Beltons—Adios Pueblo
Jose y sus Antillanos—Morena Linda
Manzanita y su Conjunto—Asi Asi Asi
Elkin y su Organo Electronico—El Burro
Elkin y su Organo Electronico—Fiesta y Parranda
Los Socios del Ritmo—Chilito Piquin
Chico Sonido—A Bailar
Nacho Cheese: a form of processed cheese mixed with peppers and other spices which is often used in place of REAL shredded cheese in institutional or large-scale production settings, such as schools, movie theaters, sports venues, whore houses in Tijuana, night clubs in the Zona Rosa, or wherever using freshly grated beats & breaks may be logistically prohibitive. Such processed cheese is referred to in the United States as “nacho cheese”, or just “queso“. Originally formulated as a cheaper and more convenient source of cheese to top nachos. Unlike many different types of cheeses, “nacho cheese” bears no geographical indication or other regulated guarantee of ingredients, process, or quality, beyond the general legal definition for cheese products as established by Supersonido.net
I have a bunch of saved drafts I started, and for some reason or another, they were never published. This is one of them. Los Olividados = the forgotten ones. If I were to ever sample a Perez Prado song, I would use the song Tabu off his 1957 RCA album Latin Satin. Oh shit…..wait……oh man!!! It’s already been done by the avant-garde group Nurse With Wound on their rare 1996 500 vinyl-only release called Alice the Goon. Damn!
I don’t actually have a category for this genre of Latin music, so please forgive me if I stick it in the Electro Latino section. It’s the 808’s I suppose. Anyway, just thought I’d switch things up a bit with a few songs from the Godfather of Latin Rap, from the Cuban born Ulpiano Sergio Reyez, aka Mellow Man Ace. If you are as old as I am you’d know that there were very few Latin rappers in the late 80’s. Cypress Hill (which he was part of + related to Sen Dog) and Kid Frost are the only other artists I can think of. It was also in this era, before copyright infringement problems, that it would be common to hear samples from other 60’s/70’s Latin/Chicano groups like Santana, El Chicano, and War. These 45’s are from his debut Escape From Havana lp, which was produced by The Dust Brothers and Def Jef. Most the songs fit in the “lovers rap” genre of hip-hop. “Mentirosa” (liar) was Mellow Man’s huge bilingual hit. Sampled from Santana’s “Evil Ways” of course. Personally I’m loving the slow jams tune “Encuentren Amor” (to find love) using a sample from Kool & The Gang’s “Summer Madness“.
Just got this mix mailed to me from the dope ass folks at Generation Bass. This prolific audio blog focuses mainly on the recently popular global electo, booty and dubstep movement. Their respect for Latin music and the whole global electro cumbia thing is really working for me though. It only make sense that this type of music has been embraced by a larger audience. Go check them out. Also, check out the recent genre straddling mix they sent me. I’m loving the lo-fi electronic cumbia at the end. Enjoy
- Sonido Franko
Once again Generation Bass and Hipi Duki Muzik are back to bring you the most excited tunes from the green & wild side of the world: Soundamerica chapter 6.
No bullshit, no fashionable tunes, no smart tricks for the air conditioner society: this is really hot, this is real, the sound of the Pachamama will blow your mind: play it very loud!
This Thursday July 2nd 2009 at MOCA Grand Ave. Los Angeles, CA
For Flesh Car Crash, members of OJO will split into two groups, each of which will pack into a small car. Once there, they will make music both by utilizing objects and materials in the cars’ interiors and by playing instruments powered by the cars’ batteries. The cars will dance, glide, and narrowly miss each other in a choreographed game of chicken. The finale should be explosive!
The performance begins at 7:30pm. Bring your cameras and contribute your photographs and videos documenting the event to moca.org/party. Thats http://www.moca.org/party for interactive OJO.
Just got this EP in the mail today and I couldn’t be happier. Excellent selection of remixes by some emerging South American talent.
Soot records is the brainchild of New York Dj and producer Jace Clayton aka Dj /rupture. You can listen to his radio show called “Mudd Up!” on Wednesdays, 7-8p.m. on WFMU New Jersey/New York. And you can check him out on his blog Mudd Up! Looks like the Soot records label website isn’t up yet, but I highly anticipate any future releases.
I couldn’t find out too much info on Princesa, but the other dj’s I’m familiar with via the Bersa Discos label. To be honest with you I’m not a huge fan of reggaetón, let alone this new school of cumbiaton (cumbia/reggaetón fusion). To me it’s really hit or miss. However, this Princesa track seems to really hit me where it counts. It reminds me of the more old school Reggae en Español popularized by Central American/Panamanian artists like Nando Boom and El General. This minimal Spanish dancehall, dem bow, Shabba Ranks influenced stuff is where it’s at. There is a sick Los Destellos rmx by Sonido Martines also, which happens to be one of my favorite cumbia/psyche groups out of 60’s/70’s Peru (I’ll do an article on them soon).
Turntable Lab carries this joint and Juno in Europe. Highly recommended.
Ojo was founded in 2005 by visual artists Joshua Aster, Justin Cole, Eamon Ore-Giron, Chris Avitabile, Moises Medina, and Brenna Youngblood, OJO is formed around a mutual interest in experimenting with acoustic guitars, electronics, musical spontaneity, freeform improvisation, and the boundaries between audience and performer. The group uses a wide range of instruments—drum machines, basses, guitars, synthesizers, salt, cars—as well as their own bodies and those of their audience, clapping, chanting, stomping, and singing to generate sprawling improvisations.
OJO has created projects for Queen’s Nails Annex in San Francisco, Esthetics as a Second Language (available as a CD produced by James Welling), LAXART (available as an LP from laxart.org), BANK, Lizabeth Oliveria Gallery, Discos Unicornio, and A+D Museum in Los Angeles. The group has also performed at the Hammer Museum, TRUDI, and Track 16, Los Angeles, and on KXLU 88.9FM.
The first performance will be taking place @ the Museum of Contemporary Art (MOCA) this coming Thursday, June 4th. If you’re in Los Angeles at the time check them out. For more info go here:
I think I found my brother from another mother at the Generation Bass audio blog. From now on I’ll be following this site. Peep the Grandpamini mash-up above (but please go check them out). The mysterious Dj Roger Mas mashes-up the same song below. We were actually going to release that song 3 months ago as a 45 on our Discos Unicornio label, but we opted for another Siglo XX mix instead. Ill post it for you guys this week. WORD!!!
I just stumbled on this 45 and I have no idea where I got it. In fact, I don’t think I really ever listened to it until now. I must have purchased it in Europe about 7 years ago, I’m not certain. Nevertheless, it’s totally awesome.
It ends up that Los Sampler’s is none other than the German Uwe Schmidt a.k.a. Señor Coconut. I guess the two songs on this 45 were outtakes of the Los Sampler’s debut lp (I didn’t even know there was a full length record).
The tune I selected is most likely a remix of Israel “Cachao” Lopez’s “Descarga Cubana“, possibly even Tito Rodriguez’s version “Descarga Cachao“. The B side is a Perez Prado/Bene More remix/sample of “Babarabatiri” which is a bit more experimental than the first (which is probably why i didn’t post it). Anyway, cool stuff. You got to hand it to Señor Coconut, or whatever you want to call him (he has over 50 allias’), he’s pretty much the pioneer of the whole latin electronica music scene that started in the late 90’s.
We just released the 7 song debut ep from Dj Lengua on Discos Unicornio. Now Eamon is not only a business partner, but my best friend. So I think it would be unfair for me to write anything more about this. If anyone wants to take a crack at it, word!
Otherwise, I’ll just post my personal favorite tune on this ep and i’ll post turntable lab’s review of Dj Lengua’s efforts. Hit me up if you want a copy. It can also be found at turntablelab.com & unicorniorecords.com
(From Turntable Lab) Killer debut from LA’s DJ Lengua, aka visual artist Eamon Ore-Giron. Lengua’s dropped some mixtapes in the past and is well known at the infamous Club Unicornio nights in the Bay, but this EP finds him really flexing his skills, foremost of which is the ability to fuse loops from traditional Latin tunes and cumbias with chunky, straightforward beats to create seriously infectious tracks. “Cumbia Squares(1)” ramps up with tasty, dusty drums and circular flute / xylophone licks before the repeated “cumbia cumbia cuuumbiiiaa!” chants and accompanying guitar coda seal the deal; the L Pacheco remix(2) sticks to the original’s blueprint, extending the track for your mixing pleasure while dubbing things out a bit. There’s a little boom bap, organ stabs and some deep percussive flourishes on the upbeat “L Dolor(3)” and some just plain lovely stuff in “L Pacheco(4),” but probably the most immediate track here is the guitar driven “Mi Camino(5).” Tucked away at the end, don’t skip the 7+ minute bloopy minimal electronic version of “Low Rider,” entitled “Lowrider Mambo(6).” 7 tracks; 30 minutes. Recommended.