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La Reunion Norteña

Yo Quiero Tu Saxo (septiembre 2017)

la nueva onda nortena

enamorandoteIt is the longstanding position of NorteñoBlog that the puro sax styles of Chihuahua and Zacatecas would improve with the addition of more terrible “sax” puns in the titles. When last the Blog caught up with Chihuahuan quintet La Reunión Norteña, it was to approve of their febrero single “La Enorme Distancia.” That single does NOT appear on the band’s latest album, Enamorándote (Azteca); but true to the band’s name, La Reunión, like Grover, remains obsessed with issues of nearness and farness. Witness their latest single “Cuando Estoy Junto a Ti” (alternate title/band name: “La Reunión Saxual”), a charmingly guileless song of devotion; or previous single “Un Minuto Más”, a reference not to the band’s saxual stamina, but to their inability to let you go. (So, probably a reference to the band’s saxual stamina.) If anything, these guys are a little too consistent — I’d be hard pressed to tell those songs apart based on their music alone — but, like quiet storm, you don’t necessarily put puro sax music on to be distracted by it. NO VALE LA PENA

La-Nueva-Onda-Norteña-V-Hell-Yea-2017-500x500Except when you do. Las Vegas quintet/sextet La Nueva Onda Norteña markets itself as a “new wave” band, and the Blog’s job is to figure out what that means. Their fourth(?) album #Hell Yeah (Discos America) includes some tempo-shifting intros and outros, but to my ears they have two elements that are really ushering in the new wave. First, their mid-song shoutout is “Hell yeah,” a phrase they’ve claimed for their own through some judicious hashtagging. Second, everyone in the rhythm section plays like they want to be noticed, adding to even more interesting counterpoint than this genre’s typical sax/accordion twinings.

Cases in point: the straightforward proposition “Quiero Hacerte El Amor” (alt. title “#Quiero Sax You Up”), with its prominent slapdash drum fills; or “Que Te Cuesta” (aka “#Saxo Por Dinero”), which manages to slip into some thunderous grooves without ever losing its momentum. Leadoff song “Mi Castigo” (or “#Tortura Saxual”), a cover of synth-saturated Grupo Ladron, sets the tone: love is expensive, love is torture, but our chops are badass and our good taste will pull us through. On cursory listen I’m ready to recommend the whole thing, but I’ll Pick to Click their cover of Caifanes’ “No Dejes Que,” simply because it sums up their ethos so well. VALE LA PENA

Continue reading “Yo Quiero Tu Saxo (septiembre 2017)”

Yo Quiero Tu Saxo (febrero 2017)

reunion-nortena

aycci-nortenaIt is the longstanding position of NorteñoBlog that the puro sax styles of Chihuahua and Zacatecas would improve with the addition of more terrible “sax” puns in the titles. From the icy wilds of New Mexico comes Aycci Norteña, whose self-released debut album Futuro en Nuestras Manos (alternate title: Saxo Con Nuestras Manos) is an entirely decent jaunt through pop hooks and sax/accordion riffs. As with Geeshie Wiley and Jesus, photos of the Ayccis don’t exist, but the principles of detection tell me they’re a five-or-six-piece: cracking bajosexto/bass/drums rhythm section, an overactive accordionist whose sworn enemy is silence, and sax. Plus whoever’s singing. Plus whoever’s applying heaping doses of reverb. But fair is fair: Aycci’s song entitled “Por Eso Te Amo” (aka “Tu Saxo es Por Eso Te Amo”) has less reverb than Río Roma’s pop dirge of the same name. We’re gonna Pick to Click “Quiero Volver,” though, because then you can watch all these happy couples dancing:

Remember right after Y2K when The Strokes came out, and then suddenly you had all these guitar rock bands named “The [Objects]”? There were The Roots, The Streets, The Avalanches, and I forget who else. Something similar is cooking at la frontera de U.S./Mexico, where saxophones glisten against the desert sands. There we find: Continue reading “Yo Quiero Tu Saxo (febrero 2017)”

Desfile de Éxitos 12/24/16

omar_ruiz_el_quesito

Since NorteñoBlog last checked Billboard‘s Latin charts, the magazine has decided to give us all a gift: the website is now posting 20 more spots on its Regional Mexican airplay chart. There you will find such curiosities as:

Marco Antonio Solis crooning about a lying mujer while swathed in a toga of strings and synths (#29);

— a previous Pick to Click from Fuerza de Tijuana, about a former honcho in the Medellín Cartel (#31);

— more chipper puro sax bands than you can shake a slimy mouthpiece at (#23, #30, and #32) — all of them ruled by the saxophone colossus at #18, La Maquinaria Norteña;

— and even more clones of Ariel Camacho. Am I alone in thinking The Clones of Ariel Camacho would make a great Univision variety show? TWENTY SUPER SERIOUS YOUNG REQUINTO PLAYERS SING OF DEATH AND LOST LOVE, Omar Burgos furiously triple-tongues his tuba whenever someone gets voted off, and everyone forgets the names of their second guitarists. Could work. In any case, Nano Machado, Los de la Noria, Los Plebes, and Ulices Chaidez are all representing Sierreño music in the bottom 20, and Chaidez has two additional songs in the overall Hot Latin top 50. This fountain of youth isn’t drying up any time soon.

Also brightening up the bottom 20 is another dude who fooled around with Sierreño earlier in 2016: Adriel Favela, whose “Tomen Nota,” a duet with Los Del Arroyo, was a credible candidate for Wristwatch Porn Video of the Year. Continue reading “Desfile de Éxitos 12/24/16”

Yo Quiero Tu Saxo (julio 2016)

en que falle

nortenos de ojinagaIt is the longstanding position of NorteñoBlog that the puro sax styles of Chihuahua and Zacatecas would improve with the addition of more terrible “sax” puns in the titles. From the fabled Chihuahuan city of Ojinaga — home to El Zorro de Ojinaga, La Fiera de Ojinaga, Capitanes de Ojinaga, El Deshollinador de Ojinaga, you name it — come Norteños de Ojinaga, a saxy quintet-or-sextet whose latest album for the Discos America label is their lucky umpteenth. It’s called Besos Nuevos (proposed subtitle: … y Saxo Oral!!! ), and it seems pretty pro-forma as far as Chihuahuan sax albums go. Sadsack lead single “Tus Mentiras” (alternate title: “Saxo, Mentiras, y Videocinta”) runs over four minutes, which feels like an eternity in puro sax world, possibly because the rhythm section’s oompah seems to be slowing down as they play. A neat formal experiment with time? Maybe, but it violates the first law of puro sax music: get in, get out, leave ’em wanting more, and, for heaven’s sake, remember what genre you’re in. This is no place to get emo!

reunion nortenaNext up is La Reunion Norteña, who formed in Chihuahua but whose members also hail from neighboring states Durango and Texas. (Thom Jurek wrote a thorough bio at Allmusic.) Their seventh album in as many years, Historias de Amor en Canciones (alternate title: Historia de la Saxualidad Humana), is out on Azteca Records, a Dallas label that knows its way around the puro sax world. La Reunion’s labelmates include La Maquinaria Norteña, who stand astride this genre like saxophone colossi, having recently been Grammy nominated for one of 2015’s best albums. On first listen, Historias is in Maquinaria’s league — the bouncy riffs never let up and frontman Rogelio Martinez sings with relaxed authority and an chivalrous quiver in his throat. He might fail at love (“En Qué Fallé,” aka “Fracaso Saxual”), but if he does he will apologize (“Te Pido Perdón”… i.e.,”Por Mi Fracaso Saxual”), and then he and the band will salve your pain with a big dumb cumbia like “Ahora Sí Baila El Muñeco,” this week’s Pick to Click. (“Ahora Baila Con Esto Muñeco Saxual”? Nonono.)

Continue reading “Yo Quiero Tu Saxo (julio 2016)”

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