Mexico

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What's behind the mask? Nothin' here is as it seems. We've got a mystical kábala band that everywhere else is credited with being from Peru. Pre-hispanic music that is really ambient. Santeria Satanist drug cartel killers from Tijuana who aren't what they seem. Mayan masks…Aztec masks…Lucha Libre masks…Mil Mascaras (the man of a thousand masks)…Mexican gang pride banditos wearing bandanas…as the Fugees rip: "M to the A to the S to the K. Put the mask up on the face just to make the next day." Things are not what they appear to be. What's behind the mask?

 

 

La Kábala's self-titled one-off. Recorded & released in Peru in 1970, hard as hell to get your hands on, but these cats are from, that's right, Mexico. Great musicians doing latin funk similar to Santana 1.0 but with female vocals. Smooth rhythms with soul flute, great jazz bass lines, break funk drums, latin percussions, swing guitars, & psych/soul keyboards.

 

 

La Kábala – self-titled, RCA Victor MKL/S 1932, 1970. 

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Lado 1 –

El Cumbanchero

Caliente

Rio de Janiero en Carnival

La Muralla Africana

Azucar Quemada

Chango Colorao

Lado 2 –

Miami Beach

Lindo Panama

Carrera 71

El Caminante Solitario

La Kábala

 

 

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Jorge Reyes was born in Uruapan, Michoacán, Mexico, September 24, 1952. He studied transverse flute at the National Music School, (Escuela Nacional de Música de la Universidad Nacional Autónoma de México, or UNAM) between 1970–1975. 

 

 

During this time, he formed two seminal Mexican rock bands Al Universo & Nuevo México, influenced by Jethro Tull & Pink Floyd but incorporating native Mexican musical instruments. In 1976, his growing interest in jazz led him to spend a year in Hamburg, Germany. He studied improvisation with Herb Geller. As part of this training he traveled through Turkey, Pakistan, Afghanistan, & Sri Lanka, studying their native music. In 1978, he attended a Hindu music course in the Himalayas, studying traditional Indian flute & percussion techniques. On these overseas travels, he began collecting many native instruments.

After returning to Mexico, Reyes founded the band Chac Mool with drummer Armando Suárez & keyboardist Carlos Alvarado. Chac Mool was one of the first Mexican progressive rock bands. The band recorded four well-received albums, on which Reyes sang, played flute & guitar, before disbanding. Later he began a prolific solo career, recording over 20 albums. He was known for his mysterious mixtures of electronics with prehispanic & ethnic instruments (clay flutes, pots, drums), field recordings, & primal human sounds.

Jorge Reyes´ deep sonic ambients take the listener to an ancient era in which contradictory aspects of human behavior such as ritual, spirituality, cruelty, war, conquest, symbiosis of gods, man, & nature were all needed to maintain peace & order. In some of his songs, he actually used samples of shaman chants, such as those by the Mexican mushroom priestess Maria Sabina from Huatla, Oaxaca.

Reyes died Saturday, February 7, 2009, of a heart attack at his recording studio in Mexico City, he was 57. He had three children: Citlalli, Ridwan & Erendira.

 Jorge Reyes - MexicanMusic: Prehispanic Rituals, ParaMusica PMCD 257, 1996.

Tracklist –

Oro De Reptil

Los Señores Del Tiempo

Nahuatl (Cuartro Agua)

Las Viñas de la Serpiente

Danza Del Chapareke

Oración A Los Espiritus Del Viento Nocturno

Tlazolteotl

El Agua Y Los Sueños

Las Florecitas de los Dioses [Oración]

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From a lot of countries in South & Central America we have listened to their takes on 60s rock’n’roll. This is a great slab of Mexican rock from that era.

 Various – Rare Mexican Cuts from the Sixties, Eva Records 12066, 1988.

Side A-

Pedro Pistolas (Peter Gunn theme) – Los Locos del Ritmo

Mary Mary – Los Anis

Satisfaction – Los Apsons

El Monstruo (Hey Monstro [Keep Your Big Mouth Shut]) – Los Monstuos

Suzie Q – Los Apsons

Fiebre (Fever) – Los Johnny Jets

Gloria – Miguel Angel y Los Sharps

Arriba Abajo y Los Lados (Over Under Sideways Down) – Los Belmonts

Side B –

Halo Que Tal (Hello I Love You) – Los Rockin’ Devils

Hey Joe – Los Locos del Ritmos

Juan Saltarin (Jumpin’ Jack Flash) – Los Yakis

Deja de Llorar (Everything is Alright) – Los Johnny Jets

Cul Jerk (Cool Jerk) – Los Johnny Jets

Pequeña Ayuda De Mama (Mother’s Little Helper) Los Ovnis

Bajate de mi Nube (Get Off My Cloud) – Los Johnny Jets

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I promised there would be some metal when we got to Mexico. Here goes…

Muerte.

That word, in Mexican art, embodies religious & historical streams of life so much more than the Anglosphere’s clinical worldly emphasis on death as medical phenomenon. Muerte is a gate to antiquity, a divine storm, a holy mystery. Contemplation of its secrets connects the Catholic superstition, still so powerful & affecting to the common people, to the cruel & decadent rituals of the Toltecs & Olmecs, when no purpose higher could be envisioned than to bleed for the gods. Glimpses into Mexican tradition most often involve the morbid signature of supernatural belief in a strange form of unearthly life, represented by the skull worship of the Day of the Dead & the various devil masks or bizarre colorful monsters decorating the fiestas.

As the youth of the world tripped in the pseudo-spiritual chemical bliss of the 60s, the seeds were sown in Mexico as well with an interest towards rock music merged with esoteric & mystical themes, but the Mexican government chose to oppress its bravest minds. They suppressed the initial surge of heavy metal, as clubs were closed, magazines censored, & subversive content in radios silenced. Everywhere else the initial 70s where the pivotal time for the realization of all kinds of satanic & occult musical manifestations, but in the case of Mexico it took at least a decade longer.

As the wave of Americanization hit Mexican youth culture in the early 80s, it was inevitable that some unique voices would rise against manipulation & begin performing their own kind of ‘Metal Mass’, reflecting the Catholic superstitions & violent streets they saw all around them. One name can not go unmentioned: the classical but frighteningly psychic Luzbel (Lucifer) from Mexico City, one of the greatest metal institutions to rise from the sand of Mexico, a prophet of Doom Metal themes & aspirations.

Luzbel was formed in 1982 by Jorge Cabrera - vocals, Raul Greñas - lead guitar, Fernando Landeros – guitar, Antonio ‘La Rana’ Morante - bass guitar, & Hugo Tames - drums. They were signed to Warner/Elektra/Atlantic Music’s subsidiary Comrock in 1985, just as singer Arturo Huizar, the so-called father of Mexican heavy metal, joined the lineup. By the time the band recorded their self-titled third release, Huizar had left because of health issues & had been replaced by Juan Bolaños.

 Luzbel – Luzbel, WEA LWM-6654, 1987.

Lado A –

Holocausto

Pecador

Priionero del Tiempo

Persecucion

Tiempo Fugaz

Lado B –

Juegos de Pasion

Enemigo Interior

R.I.P.

Paradoxa

Resurreccion

Huizar, the maniac behind Luzbel’s rise, along with his comrades at Escuadron Metalico label produced a series of compilations in the mid-80s that showcased the sounds of the new metal generation inspired by American thrash metal & European speed metal. These ‘Proyecto’ records featured Transmetal, Ramses, Six Beer & practically everyone else who dominated the late 80s when Mexican metal finally became too widespread to be silenced by sporadic police raids & accusations of blasphemy & iniquity.

Before the decade was over, the most evil of the bands inspired by thrash, namely Mortuary, Pactum, Toxodeth, & Transmetal had erased the time-lag between the international underground & Mexico’s. The Judas Priest & Scorpions influence on the mainstream Mexican metal sound was replaced by a street-born brutality & occult gore visions.

One of the main purveyors of this new street-born hard-core death metal was Toxodeth. They managed to push the envelope in an extremely crude but effective way, stitching rotting chunks of metal decay together to create their own morbid atmosphere. Toxodeth was the brain lesion of three young Mexicans: Raul Guzman – guitar; Ricardo Vilchez – bass; & Alberto Vela – drums.

 Toxodeth ‎– Lo Más Mórbido De La Realidad (Una Observación), BMG 3491, 1993.

Tracklist –

El Mensaje

Lo Más Mórbido De La Realidad

Colvusión Extrema

Impulso

Remembranzas del Muerto

Llamado Antiguo

¿Cuando Van A Morir?

Profundo Desconocido

¿Que Hay En Esa Mente Sucia?

Locura Del Vudú

La Danza De Los Gnomos (Por La Muerte Del Ser Humano)

Repetición De La Bastardez

El Castillo De Los Duendes

In the waning year of the 80s, perhaps the most brutal of all Mexican death metal bands arose from the charnel heap of rotting flesh. That band is Brujeria (Witchcraft).

A group of drug smugglers, practitioners of palo mayombe, were carrying out human sacrifices (23 by most accounts) as a way of keeping their drug shipments safe & their business successful. The cult led by Miami born Adolfo Constanzo was centered around Rancho Santa Elena in Matamoros, Mexico. Constanzo had worked his way into a local smuggling ring & dazzled them with his knowledge of satanic rituals. He convinced his followers (a motley crew of bi-sexuals, petty thieves, college students & smugglers) that through the ritual killing of rivals they would become bullet proof & invisible to law enforcement.

Constanzo told his gang members that he wanted to sacrifice a “white boy” to Satan & had his cult followers kidnapped Mark Kilroy from a street in Matamoros, when he was on Spring Break. Kilroy was tortured & his head was cut off with a machete. Constanzo made a nganga, a sacred cauldron, which included some parts of Kilroy’s body, including the brain. The idea was that drinking the potion would ward off American drug agents. A magical necklace was to be made from his vertebrae, which would also provide protection against federal agents. However, the kidnapping & killing of Kilroy was their undoing. Authorities got wind of the cult, raided the ranch & found a graveyard with twelve bodies, one of which was Kilroy’s. The police traced Constanzo to Mexico City where he was killed in a shoot-out.

Several of the members of the cult escaped & formed the death metal band Brujeria, to honor Constanzo’s memory, utilizing grisly photos of dead & decapitated bodies for their artwork & brandishing machetes as a symbol of the band. Because they may have been being pursued by the law, they have had to keep their identity secret, using assumed names & wearing masks. They never performed any live shows for more than ten years, simply releasing music that spread their message.

“Matando Güeros” (Killing Whiteys)

“Gabachos nos usan pa limpiar sus culos
Nos tratan como mierda de puerco
Tengan huevos y sean hombres
Un pinche viaje al norte

Siglos pasan y nuestra raza se jode
Cabrones gabachos, nos dan verga y miada
Forzados a la pobreza,
Somos pinches mayates
Tu venganza sera tu destino oscuro

Matando Güeros – !!Viva la raza!!
Matando Güeros – !!Estilo Mayate, O.J. Simpson / Pancho Villa!!
Matando Güeros – !!Satanas de cuida!!
Matando Güeros – !!Matando Güeros!!

Machete en mano y sangre india caliente
Fuerza satanica, buscando venganza
Al norte nos vamos a ponernos a mano

Matando Güeros – !!Viva la raza!!
Matando Güeros – !!Estilo Ricky Ramirez!!
Matando Güeros – !!Satanas de cuida!!
Matando Güeros – !!Matando Güeros!!

Machetes, pistolas, fierros,
Mata un güero, acepta las leyes del diablo
Venganza para nuestra gente
Te meto un pinche garrote en la pansa cabron
Ven pa’ca ven pa’ca cabron te mato güero.”

“Asi, Viva México Cabron.”

English Translation “Killing Blondies”

“Americans use us for wiping their asses
They treat us like pig shit
Have balls and be men
A fucking trip to the north

Centuries pass and our race is fucked
American bastards, they screw us and pee on us
Forced into poverty,
We are always mayates (Mexican meaning is like “nigger”)
Your vengeance will be your dark destiny

Killing whiteys – Long live the Mexican race!!!
Killing whiteys – Like the nigger, O.J. Simpson!!!
Killing whiteys – Satan will protect you
Killing whiteys – Killing whiteys!!!

Machete in hand and hot Indio blood
Satanic force, looking for vengeance
To the North we go to take things in hand

Killing whiteys – Long live the Mexican race!!!
Killing whiteys – Like Ricky Ramirez!!! (The Night Stalker serial killer)
Killing whiteys – Satan will protect you
Killing whiteys – Killing whiteys!!!

Machetes, pistols, metal sticks,
Kill a white man, accept the laws of the devil
Vengeance for our people
I will put a fucking stick in your belly, asshole
Come here, come here, asshole.
I will kill you, white man.”

“That’s it, Long live México, asshole.”

“Sesos Humanos” (Human Brains) (Sacrificio IV)

English Translation

“I want addicts, petty robbers, your Mother
In witches’ feasts, the sacrifices are human
Now you know what to do, foolish soldiers
Bring me dinner or become broth

A soup of brains and blood

You are weak mortals – I am a powerful witch
Lucifer, the king, commands me to eat
a soup of human brains

Ten witches seated with eager bellies
For the satanic hunger, there is a remedy
You are weak mortals – I am the powerful witch
You come bringing drugs – with a machete you will fall

The dark priest commands me to eat human brains

The Mayor, the President, the Cardinal
With cat’s bones and Christian hair
Something of a Jew and some sweat (literally “exuded liquid”)

Human brains and the fruit of the virgin
Supper time is now here

You are weak mortals – I am a powerful witch
I leave, full of the accursed broth

The power I have is going to break you
And the machete is going to fuck you.”

If you’re not familiar with the Mexican death metal band Brujeria, rumor has it that they’re narcotic-trafficking, Satanic, anti-Catholic revolutionaries. Whether or not this is true, Brujeria thrash in solidarity with indigenous Mexican struggles against the repressive Mexican government.  They’ve been suspected of partaking in the narcotics industry, which is historically a trade that operates in impoverished & sanctioned communities as a means of survival.

Nonetheless, it’s a violent & bloody trade, probably due to clashes with CIA drug routes & competing cartels. The members of Brujeria cover their faces with ski-masks & bandanas at shows to avoid potential identification by state agencies looking into their previous business transactions or maybe even unsolved murders. But suspected pastimes aside, Brujeria play with an intense, violent brutality.

Members nowdays include El Brujo - vocals, Fantasma - vocals, Hongo - guitar, El Cynico - bass, & Podrido - drums.

 Brujeria - Raza Odiada, Roadrunner Records RRCAR 8923-1, 1995.

Side A –

Raza Odiada (Pito Wilson)
Colas De Rata
Hechando Chingasos (Greñudo Locos II)
La Migra (Cruza La Frontera II)
Revolución
Consejos Narcos
Almas De Venta
La Ley De Plomo

Side B –
Los Tengo Colgando (Chingo De Mecos II)
Sesos Humanos (Sacrificia IV)
Primer Meco
El Patrón
Hermanos Menendez
Padre Nuestro
Ritmos Satánicos

Brujeria – Mextremist! Greatest Hits, Kool Arrow Records KACA010, 2001.

Tracklist –

Séis Séis Séis

Santa Lucia

Sacrificio

Machetazos

Padre Nuestro

Molestando Niños Muertos

Castigo del Brujo

Matando Güeros ‘97

Narco-Peda

Brujo Cirujano

Asesino

Hechando Chingasos (live ’97)

Poseido

Cristo de la Roca

Papa Capado

Seran Mios Para Siempre (Fantasma remix)

Mecosario (Pinche Peach Torsido remix)

Marijuana (Escobar remix)

Marijuana

Untitled

Enjoy or die,

NØ