Cheech - The Monday Tuesday LP review

Year : 2012
Genre : Hip Hop
Label : Independent
Origin : United States in way of Mexico
Official site : > - here - <

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Cheech is a San Diego based hip hop artist spilling and busting the rhymes with an original Mexican heritage, and still you would be wrong to think that he delivers the content through a not-so-headless messenger attached on a turtle, Breaking Bad style. The hip hop of Cheech reminds me of the extremely demanding and entertaining style of Bone Thugz 'N Harmony, as your current rap host is equally fond of utilizing smooth, calmer musical backdrops, - think along an easy listening register highly compatible with green tints if you catch my drift - WHILE the lyrics on top are relentless both in their flow and in their thought.

The Monday Tuesday LP is almost uncharacteristically massive for a hip hop declaration, which never is a problem, once the content is exigent throughout. The disc, first and foremost applies a sober overall strategy of cutting up this truly robust hip hop statement into tracks weighing in around the 3 and a half minute mark, and you get none less than 17 of these larger than life pieces for your relentless ear-soaking pleasure. In other words, we are talking about an unusually massive work of eloquently shaped rapping right now, and it seems to be evident to me that the LP encompasses and reflects multiple stages of the artist's career. This easily is double CD material. If I'm not mistaken, based on his Soundcloud nick, Cheech is 22 now, which is an ultra-young age for a rapper capable to produce relentless flow of spoken text for minutes after minutes and minutes while keeping elegant thought and emotion intact. Read on to know more.

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Mystica Girls - "The Conquest" music video

New Mystica Girls video, "The Conquest". These Mexican metal chicks mean it all.

GyZ at Bandcamp.

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Xipe Totec - Eztlacuani review

Year : 2011
Genre : Atmospheric Death Metal
Label : Independent
Origin : Mexico
Rating : 9.0 / 10

Mexico expects a superb year from a touristic point of view, courtesy of the 2012 apocalypse some portion of the masses anticipate. Xipe Totec's Eztlacuani is coming to you from the most authentic soul content you could possibly imagine, as this Mexican formation channels the sonic variant of the apocalyptic ancient energy steadily summoned on the cover art. If you did not yet see Mel Gibson's movie Apocalypto, - a vastly significant movie, in my opinion, and people dissing it are failing to realize what they are witnessing, seems to me - then now is the time to do so. What you - in my view - witness is a real life historic science fiction movie in which the wrath of anguish Gods indeed seems to threaten the life quality of the Mayan community. As such, this hive entity, driven by fear, accepts and follows the direction of - haha! - religion, - ahhhahahahahahaha! - that which declares that lives must be sacrificed in vast numbers to gain the mercy of the anguish entities up above. Comfy so far? I dare you to imagine that you are a Mayan woman or man with an impending eclipse above the scenery, tribal music by million drums and animalistic shouts in consensus air and in your ear, and you are being led/dragged to the top of the sacrificial pyramid with the High Priest on it, who, rest assured, will have no problem cutting your heart out, having done that 23 times in the past 30 minutes already. This horrifying experience is a part of the collective psyche, and these humans had no choice to tap out of this, to dismiss the terrible, real life 3D life experience crushing their current form of existence. They had to die by this trauma, and had to experience it emotionally and physically. Infinitely disturbing and infinitely sad thing.

I confess I do not understand a single word sung on this release, but I instinctively understand that they promise no good. To me, it is a record made both for the timeless remembrance of sacrificed Mayans, - talking about death metal, hm? - and, for the timeless remembrance of that ancient variant on the fabric of physical reality, in which you, as a living human being, indeed lack both the capacity and awareness to convince anyone that no one needs to die, it is "just" an eclipse. There are no words in use in that reality fabric to make them "understand", even if you would knew the information, you would have next to zero chance to convince the religious leaders of this collective psyche to give up on their ancient traditions, losing their face in the process. You will be sacrificed. Read on though, Lover.


Xipe Totec's Eztlacuani is a superb, authentic addition to the attractions you can properly anticipate your personal apocalypse with. This rampant spin comes to you along a traditional-, yet very well realized death metal register, soaked skillfully and tastefully in Mayan atmospheric elements. Among these, tribal drums and the Mayan flute are the focal ingredients. You got to love and fear all of them. They summon an ancient vibe that flatters a cosmic secret of timeless significance regarding mere cosmos and the oh, so casual existence, and, though the Mayan flute herein has only two favorite pitches, those two pitches will always find their way to your core, courtesy of the lack of all doubt on their part that they will do so indeed.

To make the metaphoric picture given earlier - with the pyramid and tribal drums - more precise, imagine that there is an ancient, anachronistic Mayan death metal band playing on one of the tribunals when you are being dragged to the top of the pyramid to be sacrificed. The music you hear during the process, is contained on this spin. As such, it is needless to say that Xipe Totec's Eztlacuani is both a disturbing-, but very significant spiritual ride, after which you give all grace you can to the fabric of cosmos that you are not in the position of having to die by the trauma the sacrificed Mayans had to die by.

As for your Personal Apocalypse of any other kind : if that is what you are after, than that is what you will get.

Rating : 9.0 / 10

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Mystica Girls - Metal Rose review

Year : 2011
Genre : Punk Metal
Label : Independent
Origin : Mexico

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Superscarce are the number of things that can validly claim that they are sexier than a female metal group, - a kickass female metal group would be an example - and Mystica Girls doubtless have a set of immediate zuppaweapons I currently am aware of which with to stick to that position with prestige intact. One is the band's great bassist, and the second is the tits of the lead guitarist. TUKK! Yes, I'm sorry for having to say this, and yes, sexism is immature and kind of repulsive in a review. While you comfily despise me, check a live performance video out right away from these Mexican chicks : in this Metallica cover, the fronter Mystica Girl brings the charisma and freshness of an ancient gym towel, and, to solidify my claim, I'd like to draw your attention to segment 1:36 to 1:41 of the video I just linked. Yeah, the bassist is pulsating and her playing is tight, but I dare you to listen to the singer. "Seek and des- troeeeeeeJJ!! - HA. HAAAA."

...

"HA. HAAAA."

Seriously?

Credit must be given where credit is due, nevertheless : the drummer seems to have promise, as she is powerful and relentless behind the covert ops sunglasses, and the bassist simply is great, in my opinion. She reminds me of a female Peter Steele, and her playing is absolutely adept, well articulated and serious. She plays that fucking bass like she MEANS it. The lead guitarist seems to be solid, too : I watched another footage of a live performance in which she delivers an acceptable variant on the Symphony of Destruction solo, and a woman who can do that enjoys/suffers my instant fanboyism. Read more to find out more about this Mexican female metal group Mystica Girls' latest studio outing.


Opening track "My Dinner" is an interesting testament of how punk and goth can work together if to summon the vibe of detective cartoon music, - the verse reeks Inspector Gadget and Michael Flatley, Oh. My. Fucking. God. - and the only element I personally think the track would look better without, are the folkish overtones, - violins and related Leprechaun music - but those are not too prominent, fortunately. The guitar solo herein demands separate mentioning. It greatly reminds me of the solo language of cosmic level shredder Michael Angelo Batio. So, I do not know if the Mystica Girls guitarist gal played this solo into an armed microphone no prob, OR constructed it segment by segment, but the point is that the solo work is truly relevant in this song.

In second track, "Rabia", the bassist chick is super-present, and the guitars/drums produce a truly efficient rebellious rumble with the cyber-organic deep under them. The song sports a freely positioned verse structure with some superb points it decides to emphasize rhythmically, giving you a charismatic result similar to a bonfire song that just decided to wage a war instead. The lead singer is quite natural and efficient here, and an organic, paradox connection is formed between her distant-but-elegant melodies and the punkish rumble the instruments compliment those as. The chorus sounds to me like a folk song with beauty and soul in it, and you can always feel free to give GyZ something with beauty and soul in it, THIS chorus included.

Third delivery, "Mi Sangre" is thrashy like a truck with no driver, and the initial intensity has no problem finding a groove with a huge hook on it in the mid-section. This sonic entity is muscular enough to carry the chorus on its elegant back, then, the aforementioned intensity kicks back in in its original form, looking as badass as ever. A nice instrumental break with a lyrical tint takes your awareness to a deceitful stroll, interrupted by an intense comeback highlighted by the bassist chick's crazy-ass-, adept bass runs.

Next track, "Metal Rose", is the titular delivery of this record, and it is the epitome of the likable song, because it commits so sharply defined "pseudo-mistakes" that you have to pull this baby to your chest to defend it from all ill will. This song proudly and prominently uses the megalithic abusement-rhyme pair "fire" and "desire" in the connotation of a chorus with stupendous cheese factor, but, (cluster) fuck, you can't help but eat in it, because the Mystica Girls serve it with so much full-of-life feminine charm that it gives you no other choice than to submit. Here is the video for the song. The intro section kicks all kinds of monolith butts in my opinion, with the sitting bass etc. Don't be a jerk(off) - fucking creep - and watch the whole thing before amending your initial impression.

"Tortura", following a deceitful intro, unleashes a steady groove on you with a thrash attitude. This nice rumble decides to wander about in the verse section, and the singing on top of it imbues a taming quality on the fury under its - metaphoric - feet. At 2:00, things heat up considerably, as the build takes on punk characteristics for a while with furious tempo, then, you find yourself in an instrumental break, highlighted by tight-, wankery-free solo work from the guitarist girl.

Diluvio starts out like a soundtrack of the first Doom game, only, now with analog instruments. The song has a raging quality and sounds to occupy the emotional position of a good old fashioned rant. My "sentimento". The lyrics in this song are in Spanish. The ending of the song, with the singer belting out a bravely sized testament of a healthy set of lungs, is a perfect conclusion to this charming release.

Mexican Mystica Girls' latest studio delivery is risk-free, likable metal music with a feminine realness and a charismatic punk temper to it. It is free of-, and reigns way beyond the metalcorish suffering narrative, and emerges as a delivery more close at heart to the direction represented by this record of similar character. Mystica Girls is honest, hefty metal music and unalloyed sex appeal, and I'm sure as hell want them to play in my room, and you want them to, too.

Rating : 7.0 / 10

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