DAY 4372 - Justin Bailey

 

Artwork by Drew Wise

MUSIC REVIEW: MUJERONA - La Mera Candelaria

 MUSIC REVIEW:  MUJERONA - La Mera Candelaria -

Los Angeles’s Queen of Cumbia, La Mera Candelaria, has a brand new, ten-track, album, “Mujerona,” out, just in time for summer.

“Mujerona” is a profound and eclectic collection of Afro-Latino rhythms such as salsa, cumbia, son, vallenato, bachata, and more.  The worldly songs pay respect to musical tradition while pushing into original territory by confidently mixing rhythms and telling new narratives.  The tracks are excellent across diverse genres, from humble natural sounding acoustic tracks, to distorted, urban, electronic sounds.  La Mera Candelaria generates a fresh sound uniquely a part of the Los Angeles and Californian melting pot.

The womxn fronted group has never sounded better.  The immaculate studio-quality recording allows their extraordinary vocals and instrumentation to shine.  The high fidelity allows for Stephani’s texture, timber, and full range to impressively convey emotion, passion and power through song.  While the entire album is stellar, some of my favorite tracks are: “Donde Estan las Mujeres,” “Toypurina,” “Mi Cuerpo Es Mío,” “Di Su Nombre,” and “Ruca de Aquellas.”

1. Por Que Te Dicen la Mera
The album begins with “Por Que Te Dicen La Mera,” an uplifting, tropical vallenato with supporting accordion and keyboard melodies and a charged contemporary breakdown.
“Por Que Te Dicen La Mera” is a strong start for an album that only gets grander and better as it progresses.

2. Tovaangar
“Tovaangar” is a soulful vallenato with a bold and complementary vocal duet.  The dynamic percussion solo pushes the Atlantic Coastal sound to the forefront in this song.

3. Toypurina
“Toypurina” is my favorite song from “Mujerona.”  Toypurina was a Gabrielino medicine woman who rebelled against Spanish colonizers in California.  La Mera Candelaria’s “Toypurina” is a merengue with a sense of urgency and movement fit for the theme of resistance.  The chorus is rich, full, and memorable.  The uplifting bass and percussion are reminiscent of the beats of Two Man Sound or fellow Angelenos El Santo Golpe.

4. Donde Están las Mujeres
“Donde Están las Mujeres” is a sultry, smoky, psychedelic rock cumbia that pays homage to the likes of Caifanes and Maná.  Cumbias such as these are a clear strength of the group.  The distorted electric guitar is deliciously murky and surfy, while being elegantly sharp.  This smooth blend of metal and Latin has been championed by bands such as Making Movies and Santana.

5. Mi Cuerpo Es Mío
“Mi Cuerpo Es Mío” is a bluesy, bolero that is guitar and singer/songwriter-centric.  The crisp fidelity of the recording and production captures Stephani’s rich, complex, hauntingly sorrowful yet beautiful vocals, which are strong and heartfelt like a Siren.  This song stands out as a work of artistry.

6. Di Su Nombre
“Di Su Nombre” is an outstanding song.  Las Chicas del Can, this is not.  La Mera Candelaria delivers a striking cumbia and cha cha cha infused bachata with a flair that only they can.  It’s wonderful to hear bachata and other rhythms woven harmoniously and palatably together on the same track.  Stephani’s vocal power, timbre and range expand a genre that has been dominated by New York men whispering in falsetto over bachata samples for decades.  Don’t miss out on this absolutely phenomenal song.

7. 27 de Enero (Yo Te Cielo)
“27 de Enero (Yo Te Cielo)” is a lighter, relaxing vallenato track that confidently blends Caribbean percussion and accordion structures with acoustic pop and gospel elements similar to the Indigo Girls.  

8.  Mujerona
“Mujerona’s” titular track is a punchy salsa with a touch of samba.  This song has complex musical movements that build and change in classical progressions and tone towards a more playful contemporary salsa arrangement.

9.  El Tóxico
“El Tóxico” is a smooth Cuban Timba with salsa elements.  The piano and accordion accompaniment is brilliant.

10.  Ruca de Aquellas
The final track on the album marks a departure from some of the stylistic repertoire of the group.  While La Mera Candelaria is never shy from blending traditional acoustic sounds with synthy or rocking electric textures, “Ruca de Aquellas” fully embraces the Urbano style of Reggaton and Dembow, with remarkable success.  Stephani brings a robust raw energy not often found in the genre.  This track has all the flavor and charm of veteran reggaetonistas MULA or Ms. Nina.  As a finale, “Ruca de Aquellas,” lands firmly and finishes epically.

“Mujerona” takes you on a rhythmic journey across the Americas that solidifies La Mera Candelaria’s breadth, range, and ability to update and modernize diverse traditions.  “Mujerona” is an impressive, jam-packed album that is easy to listen to the whole way through.  The album is fun and full of surprises.  “Mujerona” is fantastic for driving, workplace jams, or a day outdoors.  La Mera Candelaria is a treat to experience live, giving an unforgettable performance that always has crowds dancing.  The entire band’s talents shine throughout the album, with sharp tres work, delightful accordion melodies, and lightning-quick congas and timbales.

Mujerona is available now to purchase and on streaming platforms.  These new tunes come with SharksEatMeat’s highest recommendation.  

Links
https://lameracandelaria.org/
https://www.instagram.com/la.mera.candelaria/
https://music.apple.com/ca/album/mujerona/1735963718
https://open.spotify.com/artist/78B222PvMskJuGFOeFD0fv
https://lameracandelaria.bandcamp.com/

FULL ALBUM CREDITS -

Stephani Candelaria - Lead Vocals
Abel Canel - Timbales, Mixed Percussion
Erik-G - Vocals, Keyboards, Mixed Percussion
Anita Garay - Congas, Background Vocals
Justin Inbar - Tres, Guitars
Mario Leal - Bass
Charles Derek Beach - Bass
Tristan Gajate-Garcia - Bass
Richie Gajate-Garcia - Mixed Percussion

All songs written by Stephani Candelaria, Abel Canel, and Erik-G

Produced by Erik-G and Abel Canel
Mixed and Mastered by Erik-G Artwork by Stephani Candelaria Copyright © 2024 La Mera Candelaria
All Rights Reserved c/s

DAY 4371 - Gold Samus

 

Artwork by Aibioweapon

DAY 4370 - Le sang d'encre des livres-2

 

Miniature Sculpture by Marc Giai_Miniet

DAY 4369 - War Rally

 

Artwork by Art Hazelwood

DAY 4368 - Octagonos

 

Artwork by Andrés Gamiochipi

DAY 4367 - Seamstress

 

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DAY 4366 - Girl and Bear - Mimi

 

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DAY 4365 - Armour Zine 5

 

Zine by Eleni Kalorkoti

DAY 4364 - Fireflies 2

 

Photography by Fábio Miguel Roque

DAY 4363 - Raccoon

 

Photography by Mike Coulter
https://www.photocrowd.com/photographer-community/49081/

NEW MUSIC - Funky Frijoles

Funky Frijoles - Victor Rendón & Bronx Conexión Latin Jazz Big Band



Just in time for summer Victor Rendón & The Bronx Conexión Latin Jazz Big Band have released a new album titled “Funky Frijoles.”  Full of eight hardy songs with homages to the greats such as Tito Puente and Benny More.

All the tracks are original compositions with the exclusion of “Malaguena Salerosa,” a classic by Miguel Aceves Miejía.  The Bronx Conexión’s moody New York flavored rendition is a refreshing take.

“Funky Frijoles” has an impressively thick, full horn section, energetic crisply clean stereo percussion, and intricate and sophisticated solos and progressive movements throughout each track.  The whole album is great for a relaxing day in the sun or nighttime dance party.  Many tracks are bright, playful, and uplifting, and even the moody or brooding parts are delightfully rhythmic.

Some of my favorite tracks are “!Basta!,” “Funky Frijoles,” and “Bomba Dreams.”  “!Basta!” is a punchy, Tito Puente inspired mambo with bold timbales and a hot sax section by Paul Carlon.  “Funky Frijoles” is a syncopated groove punctuated with jazzy salsa motifs.  The blending of styles is what New York Latin Jazz is all about.  “Bomba Dreams,” a moody sicá from the Puerto Rican bomba genre has lightning quick free flowing wild woodwind and brass solos.

“Morningside” is another stand-out track, with impressively punchy tropical solos that
don’t disappoint.  “Bronx Detour” is an old school melodic mambo with blues themes that are sure to entertain.  Slower songs such as the “The Moment,” a smooth ballad with bolero flair and “Black Water” an Afro-Cuban bembé with heavy horn harmonies, dark tones, and sassy horn solos round out the outstanding album.

Lively energetic album art accompanies the music by band leader Victor Rendón’s son, Victor Manuel Rendón, also a talented musician.  As an artist and musician, Victor’s art always has a perfect sense of visual rhythm and well-balanced compositions.

If you enjoy classic mambo, salsa and jazz, the group’s acclaimed previous albums “Mambo Boulevard” and “True Flight,” are a real treat.  Visit the band’s website to listen and learn more.  The album is available directly from the band, Apple music and YouTube.  For all your art and culture news make sure to follow SharksEatMeat.

Band Website - https://bronxconexion.com/
Funky Frijoles - https://bronxconexion.com/cds-downloads


Album Credits -
Victor Rendon - timbales, timbalitos, bateria, bata (iya)
Wilson "Chembo" Corniel - congas, guiro, bata (itotele)
Cascadú - shekere, dundun, clave, bata (okonkolo)
Yasuko Kimura - bongo, cencerro, maraca
Jessica Valiente-flauta
Al Acosta, Jorge Castro - saxofon alto
Paul Carlon, Joe Stelluti, Peter Brainin - saxofon tenor
Karl Watson - saxofon baritono
Michael Viñas - bajo
Guido Gonzalez, Anibal Martinez, Kathleen Doran, Marck McGowan - trompeta
Rick Faulkner, Leonard Walworth, David Chamberlain - trombon
George Saenz - trombon bajo
Joe Mannozzi - piano
Victor Manuel Rendon - album art

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Miniature Sculpture by Kim Fairchild

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Collage by Andrés Gamiochipi

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Artwork by Tony Ortega