Issue link: https://bluemagazine.uberflip.com/i/25245
TEXT: DEREK BERES Wh ile the "Lati n explosion" -from the Cuban sounds of the Buena Vista Social Club to the pop stylings of Ricky Martin and Jorge Moreno-has occupied a large portion of mainstream attention over the past few years, somehow our closest Latin neighbors have been ignored. Time and again Mexican musicians are overlooked in the corporate regimen of transforming tradition into trend. Beyond the quick buck of the here-today-who-cares-tomorrow attitude of many labels exists the most important element of music: namely, its tireless soul, something deeply ingrained in Mexican consciousness. With numerous films (Amores Perras, Y Tu Mama Tambien) and books (Elijah Wald's Narcocarrido, Gustavo Esteva's Grassroots Postmadernism: Remaking the Soils of Culture) exploring different aspects of this incredibly diverse culture, many musical artists are following suit, revealing that there's more to Mexico than mariachi and corridos. While an element of political and social struggle runs the gamut, the music itself transcends locale, creating a virtual renaissance involving Zapatista, citizen and politician alike. [ill W " , '" I t' _ .r .., t!f. . 1> ELY GUERRA Lotofire (Omtown, 2002) Ely Guerra's fiery nature has constantly confused label executives, who can't understand why a should-be pop poster-girl sings such meaningful songs. The result of her plight is 1999'S Lotofire (EMI Mexico), picked up in 2002 by Higher Octave imprint Omtown. It's an incredibly smooth merging of Guerra's acoustic lyricism and soft melodies with tasty downtempo electronic beats; she employs her feminine mystique to first subdue then overtake. "Mexico is growing right now. We're trying to recreate our roles in society," Guerra says. "We're mixing things in a Chicano way, but we are look- ing too much to our neighbors, the United States, which I don't see as positive. We have totally different idiosyncrasies and we have to keep them in order to be different. I see so many Mexicans and Latin Americans singing in English because they feel like they want to belong. They're killing part of their roots." Guerra's own roots spread deep. Her music is not confined to her home country ("Music is not about understanding things, it's about feeling things," she says), and with her darkly hopeful view of existence she gently strums the strings of our transglobal heart. Mexican by birth and musician by trade, she is a total artist, accessible even to the most devoted skeptic. 68 2> QUETZAL Sing the Real (Vanguard Records, 2002) "It's never hip to be Mexican," says Quetzal Flores with a smirk. He's the gui- tarist and bajo sexto (a 12-stringed guitar with bass and guitar tones) player of Los Angeles-based Chicano outfit Quetzal. Man and band are named after the mythological bird whose song translates the complexities of human emo- tion into universal music. Equally prolific, Quetzal weaves sociopolitical and spiritual meaning into a lively blend of rock, blues, son, and whatever other style they can get their hands on. Their latest release, Sing The Real, is an urban testament of communal redemption. "Mexico City is like New York was before Giuliani came in with all his crazy laws," says Flores, whose vibrant flair constantly inspires. "It has a fla- vor to it, you can chew on the culture there. Unless you're in the culture or make a great effort to understand the culture it's hard to love because it's so intense and in your face." Ironically, Sing the Real does not confront the lis- tener so directly. Rather, it welcomes you in, invites you to pick up an instru- ment, play along, and dance. A seamless segue between English and Spanish, their ultimately progressive attitude does not overpower the music, but adds a soulful edge. Fronted by the energetically dynamic sibling duo of Martha and :to , . .': ~