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Los Inquietos Del Norte

Indie Animales (starring Los Inquietos, El Chapo de Sinaloa, y más)

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We all know insufferable (and occasionally kickin’) Brooklyn indie bands love naming themselves after animals. But did you know that kickin’ (and occasionally insufferable) indie norteño bands also dig animal metaphors? And were you aware that writing intros is not NorteñoBlog’s strong suit? Read on!

los inquietosLos Inquietos del Norte started one of norteño’s most successful artist-directed indie labels, Eagle Music, in 2002. Along with their fellow Bay-area natives Los Amos de Nuevo Leon, Los Inquietos helped create the sound of hyphy norteño, the party punk version of bro-norteño, all lickety split tempos, simple accordion slashes, and lyrics about wild debauchery. Inquietos quickly went their own way: though their songs still sounded hyphy, they dropped the hyphy name and started adding wobbly violin-based ballads to their repertoire. They also grew their record label. Along the way they’ve cut distribution deals with mom-and-pops and majors. I’m not sure how their new album De Noche Enfiestado is being promoted, but I did hear its wobbly violin-based lead single “No Dudes De Mi” on midwestern corporate radio the other day, so somebody’s pushing it.

In addition to their Eagle mascot, Inquietos are into perro y gallo metaphors. NorteñoBlog has discussed their wobbly, weirdly operatic single “Como Perro Amarrado,” which is sort of like Jamey Johnson’s “Dog In the Yard” without the rue. Like, serious lack of rue. The Meza brothers’ vibrato is where rue goes to die. Their profane and violent “La Cerre el Hozico al Perro” has more energy, and I’m partial to “Los Tres Gallasos,” if only for the accordion. Rosalio Meza has some fast licks at his disposal, but he’s not afraid to simply hang out on one repeated note, frowning his instrument’s approval at the lyrics. There’s a cultivated carelessness in this bunch.

Continue reading “Indie Animales (starring Los Inquietos, El Chapo de Sinaloa, y más)” →

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¡Nuevo! (starring Mariachi Divas, Duelo, y más)

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mariachi divasNorteñoBlog has never been confused about the popularity of Mariachi Divas de Cindy Shea among Grammy voters. They’re a talented group of women playing a style traditionally dominated by men — though not, let’s face it, as traditionally dominated as norteño or banda — making them a safe and progressive choice for voters with only a passing knowledge of the genre. That whiff of the “progressive” extends to their music, which boasts sophisticated arrangements that sometimes change tempos or cover non-mariachi songs. In other words, they’re progressive in the somewhat tortured sense of most genre progressives: “elevating” a style that doesn’t need elevating and appealing to people who don’t normally enjoy the style. Their Disney gig hasn’t hurt their profile, either. (“We particularly enjoy the Divas’ rendition of ‘It’s a Small World,'” says a travel site.) Their new album La Cima Del Cielo (East Side) sparkles and shines with the cheer of a sweaty theme park employee dressed up like a princess. They cover Linda Ronstadt’s “Lago Azul.”

dueloNo stranger to the “progressive” tag, the norteño-pop band Duelo is back, reliably charting high with their Intocablish new album Veneno (La Bonita). The title single levels insults at a heartless, icy, poisonous, murderous, dream-killing (SHALL WE GO ON?) mujer with unchecked midtempo momentum. Good riff, though I wish they sounded remotely venomous.

margarita la diosaA tad more interesting is Margarita “La Diosa de la Cumbia,” who, along with the dude from Bacilos, sang the theme song for La Fea Más Bella, the novela remake that’d go on to become Ugly Betty in its U.S. incarnation. (This title sequence seems to take up an entire episode.) Her new album Sin Fronteras (Warner) is part cumbia, part feel-good pop/rock with nods to modern salsa, not unlike Bacilos. The single “Te Di Todo” could introduce a novela remake of Beverly Hills 90210.

los cuates se acabaronBreaking Bad‘s favorite corridistas (and NorteñoBlog research project) Los Cuates de Sinaloa are back to their original trio format, guitar-guitar-bass, on Se Acabaron las Caricias (Los Cuates de Sinaloa), which unfortunately doesn’t seem to have any videos yet. It’s well worth streaming, though. Second song “Que Bonita Chica” sounds especially great, with effortless bounce and unadorned groove. Likely VALE LA PENA.

los inquietosFormer hyphy/not-hyphy scenesters Los Inquietos Del Norte are back with another super-serious country song, “Como Perro Amarrado” (Eagle). Though less twee than Tierra Cali’s song of the same name, it’s nowhere near as good as Jamey Johnson’s song of the same sentiment, which somehow made emasculation sound badass. Los Inquietos just sound defeated, though if Sr. Meza ever tires of singing norteño, some fine operatic roles await him — sad clowns and all that.

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¡Nuevo! (ft. Patrulla 81, Rosendo Robles)

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Two tiny and somewhat exciting finds this week:

The first, Patrulla 81’s A Tamborazo, aka Puro Tamborazo Duranguense No Chin%$^@%$…, is unrepentant duranguense with a couple ballads thrown in — because when you’re dancing like you’ve got chewing gum stuck to the bottom of your shoe, sometimes you need to take a break. A decade ago, when duranguense was surging and plagues of scorpions stalked Chicago’s streets, I didn’t much keep up with Patrulla. Like genre leaders Grupo Montéz, they always seemed polite and overthought, without the cool synth tuba lines and tambora blasts of their peers in Alacranes Musical. I’m not sure what’s happened to them, but they sound leaner and tougher now, with fewer cheesy synth leads, more assertive vocals, and lots of tambora. Truth in advertising! This probably means my memory’s lousy and I should revisit their older stuff. A Tamborazo came out December 17 on the BMC label, which doesn’t seem to be the same BMC Records that operates a website.

Even better is a self-released single by Rosendo Robles, “Alterado de Corazon,” a banda waltz of furious excitement and possibly sharp brass sections. Possibly tuned sharp, I should say, although the jagged horn rhythms certainly feel like whirling blades of death, the kind of things you’d contort your shoulders trying to avoid in the upper reaches of a video game. Robles is a graduate of the TV talent show Tengo Talento, Mucho Talento (TTMT), and since he apparently burns with white hot charisma I’m not sure why he’s releasing his own music, except Brave New Music Economy etc.
VALE LA PENA

Also out recently:

Juan Gabriel – Mis 40 En Bellas Artes Partes 1 & 2 (Fonovisa)

Various – Lo Mejor de lo Mejor 2014 (Sony), a general “Latin” compilation of interest for its Gerardo Ortiz tokenism — he’s the only regional Mexican performer included, further moving into that Jenni Rivera role. (They’ve both judged on TTMT, too.)

Los Cadetes De Linares & Los Invasores De Nuevo Leon – Mano a Mano (BMC), one of those split CDs that appear frequently in this genre, here confirming that the BMC label does actually exist.

Los Inquietos Del Norte – “No Dudes De Mi”, lachrymose violin balladry from a band that can be much more hyphy, even if they refuse the term. (There’ll be a hyphy thinkpiece up here soon, promise.)

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