MARIACHI EL BRONX – FORGIVE OR FORGET
How often do we limit ourselves through self-imposed mental borders, unwilling to change or try something different? Many do it, and of course, I myself am guilty of staggering away from opportunity or challenges. But this isn’t the way for everyone. Some think outside the box, attempting new things, and find motivation through said change. That alone is commendable, whether you rise or fall flat.
The Bronx, the L.A. hardcore punk outfit that back in 2007 had already released two self-titled albums, had made a decision. The band announced it would create two new albums, one that fans would be familiar with and the other as Mariachi El Bronx. At first glance, many thought the novelty of its side project would eventually wear off, but something else happened: El Bronx, which pretty much runs concurrently alongside The Bronx, hit the ground running, creating music through the initial use of mariachi, bending it to its will. Now, while no one will ever confuse the band with Chente, the group creates its own blending of stylish songs that will have some unable to find anything quite comparable on the group’s fourth release, Forgive Or Forget (ATO), the band’s new album in over a decade.
The opening title track packs a powerful punch as the band’s rhythm is thunderous, horns blare, and strings glide across the melody, while vocalist Matt Caughthran struggles with letting go, forgiveness, and not allowing – or letting – the warmth of a heat-fueled anger consume him. This is beautiful, it’s glorious, filled with passion. It sets the tone for the album, which we find so much more hidden within. With “Songbird,” there’s much more happening, but first, let’s touch on one thing. While mariachi doesn’t have direct, root-level origins in flamenco, it does share common Spanish colonial musical influences, particularly in string instrumentation and certain rhythmic strumming techniques. When “Songbird” opens, that’s what you can hear. The rhythm moves in that manner when the percussion/drums enter the fray, following the strum of guitars. Not long after, horns accentuate this adventure, with strings superimposed on top, sliding in and out.
The band’s cleverness is evident, and while Mariachi El Bronx draws its first influence directly from mariachi, there’s a Spaghetti-western flavor throughout the album, and you won’t be able to help imagining Ennio Morricone, who was partially influential on the band’s music. Songs like “The Takers” and “Gamblers Prayer” evoke this feeling, wrapping them around rhythms and guitars. It doesn’t have to be your prerequisite Clint Eastwood “Dollar” series, as you may find songs like this on The Warrior, a series inspired by the writings of Bruce Lee. Stay with me here and don’t get sidetracked. The show brings the same era to life, albeit through Chinese culture. But I digress.
“All Things” sweeps across the land with intricacy and gentle guitars luring listeners right in. The light percussive backdrop seems to challenge the string & horn arrangements, and guitars refuse to be ignored. It is quite lovely and draws you right in. Now, “El Dorado” is a bouncy party jam, led by an accordion and living in the southwest, you’re bound to encounter something of the sort. Caughthan has a way with words and it shows here, inserting everyday stories that one might encounter around the border or, um, in underground circles. It doesn’t stop there because “El Borracho” is another sweet dance number, this time the accordion is blended in with strings & horns leading its melody. Here, we have Caughthran juxtaposing it all with humor and his clever lyrical storytelling. Never mentioning his name, instead offering “Everyone knows his name/they all laugh and shake their heads in shame,” instead, just referring to him as the local drunk who’s bound to throw up on you if you dance with him. And we’ve all known one or two of them. The closing “Into The Afterlife,” filled with morose lyricism, runs in contrast to the melody of this catchy musical backdrop. This one is slightly different, taking cues more from gypsy jazz and a 1930s-era swing. But I’m here for it because, yeah, it’s a stunning display of the band’s musicianship and wit.
If you haven’t guessed it by now, Mariachi El Bronx has been onto something for quite some time, and now with Forgive Or Forget, the band has reached a pinnacle that maybe they themselves didn’t think possible. No one can say the band doesn’t challenge itself because it’s showcased through its music. This is a fantastic journey through the eyes of those who have become part of a culture they weren’t born into. But they belong, right here, right now.