MARIACHI EL BRONX \u2013\u00a0FORGIVE OR FORGET<\/p>\n
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\u2019t 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.<\/p>\n
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\u00a0Mariachi 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\u2019s fourth release,\u00a0Forgive Or Forget\u00a0(ATO), the band\u2019s new album in over a decade. \u00a0<\/p>\n
The opening title track packs a powerful punch as the band\u2019s rhythm is thunderous, horns blare, and strings glide across the melody, while vocalist Matt Caughthran struggles with letting go, forgiveness, and not allowing \u2013 or letting \u2013 the warmth of a heat-fueled anger consume him. This is beautiful, it\u2019s glorious, filled with passion. It sets the tone for the album, which we find so much more hidden within. With \u201cSongbird,\u201d there\u2019s much more happening, but first, let\u2019s touch on one thing. While mariachi doesn\u2019t have direct, root-level origins in flamenco, it does share common Spanish colonial musical influences, particularly in string instrumentation and certain rhythmic strumming techniques.\u00a0When \u201cSongbird\u201d opens, that\u2019s 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.\u00a0<\/p>\n
The band\u2019s cleverness is evident, and while Mariachi El Bronx draws its first influence directly from mariachi, there\u2019s a Spaghetti-western flavor throughout the album, and you won\u2019t be able to help imagining Ennio Morricone, who was partially influential on the band\u2019s music. Songs\u00a0like \u201cThe Takers\u201d and \u201cGamblers Prayer\u201d evoke this feeling, wrapping them around rhythms and guitars. It doesn\u2019t have to be your prerequisite Clint Eastwood \u201cDollar\u201d 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\u2019t get sidetracked. The show brings the same era to life, albeit through Chinese culture. But I digress.\u00a0<\/p>\n
\u201cAll Things\u201d 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,\u00a0\u201cEl Dorado\u201d is a bouncy party jam, led by an accordion and living in the southwest,\u00a0you\u2019re 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\u2019t stop there because\u00a0\u201cEl Borracho\u201d 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 \u201cEveryone knows his name\/they all laugh and shake their heads in shame,\u201d instead, just referring to him as the local drunk who\u2019s bound to throw up on you if you dance with him. And we\u2019ve all known one or two of them.\u00a0\u00a0The closing \u201cInto The Afterlife,\u201d 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\u2019m here for it because, yeah, it\u2019s a stunning display of the band\u2019s musicianship and wit.<\/p>\n
If you haven\u2019t guessed it by now, Mariachi El Bronx has been onto something for quite some time, and now with\u00a0Forgive Or Forget, the band has reached a pinnacle that maybe they themselves didn\u2019t think possible. No one can say the band doesn\u2019t challenge itself because it\u2019s showcased through its music. This is a fantastic journey through the eyes of those who have become part of a culture they weren\u2019t born into. But they belong, right here, right now.\u00a0<\/p>\n