The city of Monterrey in the northern Mexican state of Nuevo León sits at the crossroads of culture and capital — close enough to Texas for North American radio/TV reception but not too far from South America for the rhythmic influence of Colombian cumbia. Though strongly identified with its own specific regional history of international trade and rural Mexicanidad as a major border presence, it’s no wonder that this rugged, industrial oasis produced at least three groups in the last decade — synth-styling sophisticates Plastilina Mosh, attitudinous rappers Control Machete, and conjunto-cred barrio combo El Gran Silencio — whose cultural savvy and idiomatic adeptness have garnered attention from U.S. recording labels while confounding any tidy labeling of their music, whether by measure of generic “world music,” outdated “rock-en-español,” or the misleading “Latin pop” moniker.
In particular, El Gran Silencio’s 1999 stateside debut Libres Y Locos simulated the versatility of dynamic young street músicos on the border turning tourist coin with a freewheeling mix of ragamuffin-roots-polka-ranchera-hop. This second effort seems more radio- friendly insofar as its polished production and instrumental execution would get more play. (Plus, constant faux-disc jockey interludes give a nod to Mexican radio as an important source of inspiration singled out from the border’s cultural wash.) Employing traditional north Mexican conjunto instruments (the accordion and bajo sexto), EGS branches out with more Afro-Caribbean-flavored horns and percussion (such as timbales) and, as a goof, electronic flourishes. Somewhat sprawling, “Chúntaros” ends up a bit too cumbia-heavy, echoing itself at times, even though some cuts cleverly seem to put the rhythm on hydraulics and turn it inside-out. A step in musical maturation, Chúntaros maintains the radical diaspora of recent Monterrey products, while suggesting a career soon to rival Mexican rock pioneers Café Tacuba.
September 2001, Illinois Entertainer
