It 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
Except 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
It 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 
It 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 
Next up is La Reunion Norteña, who formed in Chihuahua but whose members also hail from neighboring states Durango and Texas. (Thom Jurek wrote a 
NorteñoBlog 