Indestructible was certified gold by the Recording Industry Association of America just six weeks after its June 3rd release. It has spawned the hit single “Inside the Fire,” and set a record when it spent 16 weeks atop the Active Rock Radio chart.

Their current single/title track, “Indestructible,” is currently Number 2 on the Billboard Active Rock Chart.
The self-produced album debuted at Number One on Billboard’s Top 200 album chart and remained in the Top 10 for five weeks. Indestructible is the band’s third consecutive Number One album, following their platinum-sellers Believe (2002) and Ten Thousand Fists (2005), making Disturbed one of only six rock bands in history to score three consecutive Number One debuts with studio albums.

Formed in Chicago in 1996, Disturbed have sold a collective 10 million albums worldwide.
The band is currently on tour in the United States and Canada.

The Grammy Awards will be handed out at the Staples Center in Los Angeles on February 8th, 2009. Tune in to the 51st Annual Grammy Awards telecast, which airs that night on CBS at 8 p.m. ET/PT.

“Coba Coba”, to be released on January 13, 2009.

Los Angeles, CA - Dec 4, 2008.-   LA’s key taste-making radio station KCRW is featuring a track from Novalima’s new recording today in their series “Today’s Top Tune”. The featured track “Concheperla” is from their upcoming release Coba Coba which will be released January 13th on Cumbancha.

Visit KCRW’s website to download the track.
http://www.kcrw.com/music/programs/tu/tu081203novalima_concheperla

Visit Novalima’s myspace page to hear more from Coba Coba and register for updates.
http://www.myspace.com/novalima

Based on one of the most recognized melodies in Peru, “Concheperla” (Pearl Shell/Mother-of-Pearl) is a marinera, a dance and musical style from the north coast that is widely considered the country’s national dance. Originally composed in the late 1800s in patriotic tribute to the Peruvian Navy (marinero translates as “mariner”), the song can be heard in public squares, concerts and dance competitions across Peru.

The song has gone through a number or permutations, and was first transcribed and arranged by Rosa Mercedes Ayarza, the great-grandmother of Novalima founding member Rafael Morales. One of Peru’s most important musicologists, Rosa Mercedes dedicated herself to transcribing many old Afro-Peruvian songs, many of which surely would have been lost to time if not for her efforts.

Marineras are most often played by military style brass bands and Novalima pays homage to this tradition by featuring the trumpet player from the Barcelona-based street band Mañana Me Chanto. Novalima percussionist Mangüe Vasquez provides the vocal exclamations and rhythmic cries that enhance the Afro-Peruvian rhythm of their rendition.

While their sound is futuristic and cutting-edge, the roots of Novalima’s music stretch back hundreds of years to the times of slavery and Spanish colonial rule. In a far-too-familiar tale, African slaves were brought to Peru as early as the 1500s until the middle of the 19th Century, establishing an outpost of African culture in South America. Over the years, the soul and rhythms of Africa blended with the melodies and instruments of Europe and the Andes. The result is rich musical repertoire that has existed for generations on the periphery of Peruvian popular culture.

In 1995, American pop star David Byrne introduced the world to the treasures of Afro-Peruvian music with a compilation CD entitled The Soul of Black Peru. The collection helped give international recognition to Afro-Peruvian icons Susana Baca, Eva Ayllón, Chabuca Granda, Nicómedes Santa Cruz and others, while sparking a renewed interest back in Peru for a musical scene that had often been overlooked by the broader society.

The founders of Novalima, Ramon Perez-Prieto, Grimaldo Del Solar, Rafael Morales, and Carlos Li Carrillo, became friends while in high school in Lima. The children of artists and intellectuals, Ramon, Grimaldo, Rafael and Carlos were well-educated and well traveled, and while they grew up listening to the popular and folk music of Latin America, they also shared a fascination for rock, pop, reggae, salsa, dance and electronic music.

Indeed, without modern technology, Novalima might not have developed, as the group came together at a time when the four founders were each living in different parts of the world. From their homes in London, Barcelona, Hong Kong and Lima, they started emailing song ideas to each other. These long-distance experiments resulted in their 2002 debut album, the self-titled Novalima.

The reception to the album exceeded their wildest expectations, eventually reaching platinum sales status in Peru, and for their next album they invited more Afro-Peruvian musicians to join their recording sessions. The outcome was Afro, an album that was released worldwide in 2006 to tremendous acclaim and put Novalima on the international music map. The London Metro Evening Standard raved, “Novalima has more than succeeded in bringing the spirit and soul of Peruvian blues into the 21st century.” Afro held the #1 spot on the US College Music Journal Latin Alternative and New World radio charts for ten weeks combined.

The founders of Novalima have since returned to Lima and invited some of their favorite Afro-Peruvian musicians to become permanent members of their band: Juan Medrano Cotito, Mangüe Vasquez, Milagros Guerrero and Marcos Mosquera, as well as Constantino Alvarez, a renowned local drummer & percussionist. The partnership between the original cosmopolitan quartet and members of the Afro-Peruvian community has generated a great deal of attention at home, mostly because the divide between black and white in Peru has made these types of collaborations unfortunately rare. A January 2008 article in the Christian Science Monitor focused on the ways in which Novalima was introducing a new generation to Afro-Peruvian culture, asserting, “By updating traditional black music, Novalima is bridging racial divides inside Peru.” While this social impact was not necessarily their intention at the outset, the members of Novalima cherish the uncommon friendships that have developed through playing music with people of different ethnic and economic backgrounds.

On their new album, Coba Coba, Novalima expands on the criticallyacclaimed formula they developed with their two previous recordings, while taking their inspiring fusion in new and exciting directions. The album’s title is derived from an Afro-Peruvian expression used to incite musicians, much like shouting “Go for it!” or “Take it!” to a musician in the midst of a great solo.

On Coba Coba, Novalima delves further into the African roots of Afro-Peruvian music, bringing in influences from its musical cousins reggae, dub, salsa, hip-hop, afrobeat and Cuban son. 
They take a more o rganic approach this time around, and the songs more accurately reflect the live sound of the band, thanks to time spent working together as an actual band rather than a studio project.

Special guests include New Zealand nu jazz keyboardist Mark de Clive Lowe, the popular Cuban hip-hop group Obsesión and Spanish alternative rocker Gecko Turner. British producer Toni Economides, a regular collaborator of Nitin Sawhney, Da Lata, Bugz in the Attic and 4Hero among others, adds his special touch on the album’s mixes. 

The success of Novalima’s approach was never more evident than during a recent monumental concert in the main public square of Lima. Performing in front of a pulsating crowd of more than 30,000 people, Novalima presented their new vision of Afro-Peruvian music to an astounded an appreciative audience who knew they were witnessing history in the making.

Coba Coba promises to bring even wider recognition to this innovative group, while furthering their mission to inspire new generations to appreciate and respect the Afro-Peruvian contribution to the world of music. With a fresh and innovative sound that stands on a centuries-old foundation of soul and heritage, Novalima promises to keep Afro-Peruvian expression thriving long into the future.

Los Angeles, CA - Since its formation in 2001, Novalima has been breaking down boundaries, uniting seemingly irreconcilable genres, communities and generations to create an inspiring movement that has revolutionized the music scene in their native Peru. Founded by four friends from Lima with a shared passion for both traditional Afro-Peruvian music and modern DJ culture, Novalima searches for the common ground between past and future, between tradition and innovation.

While their sound is futuristic and cutting-edge, the roots of Novalima’s music stretch back hundreds of years to the times of slavery and Spanish colonial rule. In a far-too-familiar tale, African slaves were brought to Peru as early as the 1500s until the middle of the 19th Century, establishing an outpost of African culture in South America. Over the years, the soul and rhythms of Africa blended with the melodies and instruments of Europe and the Andes. The result is rich musical repertoire that has existed for generations on the periphery of Peruvian popular culture.

On their new album, Coba Coba, Novalima expands on the critically-acclaimed formula they developed with their two previous recordings, while taking their inspiring fusion in new and exciting directions. The album’s title is derived from an Afro-Peruvian expression used to incite musicians, much like shouting “Go for it!” or “Take it!” to a musician in the midst of a great solo. Special guests include New Zealand nu-jazz keyboardist Mark de Clive Lowe, the popular Cuban hip-hop group Obsesión and Spanish alternative rocker Gecko Turner. British producer Toni Economides, a regular collaborator of Nitin Sawhney, Da Lata, Bugz in the Attic and 4Hero among others, adds his special touch on the album’s mixes.

The success of Novalima’s approach was never more evident than during a recent monumental concert in the main public square of Lima. Performing in front of a pulsating crowd of more than 30,000 people, Novalima presented their new vision of Afro-Peruvian music to an astounded an appreciative audience who knew they were witnessing history in the making.

Coba Coba promises to bring even wider recognition to this innovative group, while furthering their mission to inspire new generations to appreciate and respect the Afro-Peruvian contribution to the world of music. With a fresh and innovative sound that stands on a centuries-old foundation of soul and heritage, Novalima promises to keep Afro-Peruvian expression thriving long into the future.

Finalmente, mañana 25 de Octubre, el esperado concierto de celebración en el Nokia Theatre de Los Angeles.

Alex Lora, legendario lider y gritante (como él mismo se presenta) de El Tri, grupo de rock Mexicano que inicialmente se diera a conocer como The Three Souls In My Mind en la década de los 60’s, recibió hoy la Estrella en el Camino de Las Luminarias de Las Vegas, Nevada, en reconocimiento a una trayectoria ininterrumpida de 40 años de carrera artística que celebra este Octubre. Asi mismo, el  dia 23 de este mes, fué nombrado día oficial de Alex Lora- El Tri, en Las Vegas, por las autoridades gubernamentales del Estado de Nevada. 
 
Alex Lora, reconocido internacionalmente como un portavoz social por el contenido de sus canciones en 43 discos que conforman su discografía, es una figura inconfundible y un ícono del Rock Latino y la cultura Mexicana. Lora,  fué elegido por unanimidad por el Comité Directivo  del famoso  Paseo  de  las Estrellas, para recibir este reconocimiento. El primer representante del rock Latino en ser reconocido a este nivel internacional.
 
En una ceremonia que duró mas de 1  hora y en medio de celebridades, familia y decenas de medios de prensa Nacional e Internacional, Alex Lora, emocionado develó la estrella con su nombre, expresando que  “esta [estrella] va por todos los grupos rockanroleros de habla hispana”, agregando que “todo se lo debo a mi virgencita de Guadalupe, a mi público y a mi ‘Domadora’ , quien es mi manager y mi esposa, que a lo largo de esta carrera a estado conmigo y ha sido parte fundamental de que este momento haya llegado” .

Entre intervenciones del mariachi y oradores que hablaron de la impontancia de la figura de Alex Lora, Jaime Almeida, considerado como el mejor comunicador y comentarista en México en los temas de la música, conluyó la muy emotiva ceremonia, poniendo en contexto la razón por la cual Lora es merecedor de este reconocimiento internacional, no solo para su país natal, sino para todo Latinoamerica, haciendo resúmen de su carrera, agregando que  ”el hecho de que un rockanrolero mexicano reciba un reconocimiento de esta naturaleza inmortalizandolo con esta Estrella, en el país donde se originó el rock, es un orgullo que bien lo tiene merecido por su trayectoria y su entrega”. 

La estrella fué colocada en la Avenida principal de Las Vegas, frente a la entrada del hotel MGM.
 
La celebración de este importante aniversario no solo para Alex Lora sino para el Rock Latinoamericano en general, continuará este sábado 25 de Octubre, donde El Tri, festejará en el Nokia Theatre de Los Angeles, con un gran concierto las 4 decadas de rock ininterrumpidas para su público y para Alex, que vive, respira y transmite rock.  

Mas de una decena de invitados especiales participarán en este evento, entre los que se cuentan Javier Bátiz, Sergio Arau de Botellita de Jerez y la agrupación original de El Tri, entre muchos otros. Todos los invitados tienen un gran significado en la carrera del grupo y viajarán de distintos puntos de la Unión Americana  y de México para celebrar y ser parte este histórico evento.

Formed in Northern New Jersey in 1999 by drummer Dave Chavarri, vocalist Cristian Machado and bassist Laz Pina, Ill Nino quickly made a name for themselves with a unique blend of decidedly American metal fused to a backbone of Latin percussion. An early demo landed in the hands of Roadrunner Records and the band was signed in 2000. Their first album, 2001’s Revolution, Revolucion saw the band burst into the worldwide spotlight with the single “What Comes Around” and stints on Ozzfest and the Jagermeister Music Tour along with tours with Linkin Park, Soulfly and Drowning Pool. In 2003 the band released Confession, an album which eased up on the aggression while adding a greater Latin flavor to their sonic stew. The album debuted in the Top 40 and the single “How Can I Live”, which was also the lead single from the film Freddy vs. Jason, helped further expand the band’s reach both at home and abroad. Tours with Godsmack, Korn and Sevendust ensued, with the band selling nearly 200,000 copies of their sophomore release in the U.S. 2004’s DVD Live In The Eye Of The Storm and 2005’s One Nation Underground followed, both cementing the band’s status as true innovators in the Latin and hard rock genres.

In 2006 Ill Nino amicably parted ways with Roadrunner and were quickly signed to Cement Shoes Records. The band released a five song limited edition EP, The Undercover Sessions, and headed out on a six week headlining run in support of it. Upon their return, they got down to the task of writing a new album. “We have a tremendous amount of artistic freedom now,” explains Chavarri of the band’s new home. “We’re able to express ourselves without boundaries on Enigma.” And that new-found freedom is evident from note 1.” Enigma is a much more
natural-sounding album than any of its predecessors, with Latin rhythms and Spanish vocals snaking in and out of the more traditional numbers.

While the heaviness still remains on tracks like “Finger Painting (With The Enemy)“ and “Guerilla Carnival“, Enigma is more about surprise than comfort. The band’s Latin roots anchor the album with percussive rhythms and Spanish vocals making up the key ingredients to tracks such as “March Against Me“ and “Estoy Perdido“ rather than just offering some South-of-the-border spice. “Me Gusta La Soledad“ is a ballad sung entirely in Spanish, whose sweeping, yet tender scope transcends any language barrier. The first single “ Pieces Of The Sun “ sees Ill Nino firing on all cylinders; melodic guitars squeal above a thunderous rhythm section, all combining to create a chorus that rumbles around in your head long after the song’s undeniable groove is done smacking you silly.

Starting with over 30 songs, the band took their time in choosing which tracks would make the final cut. “On past albums we spent about 4 months to record, mix and master. On Enigma we spent almost 7 months, as we wanted to make sure everything was the best that it could be,” Chavarri notes. More time combined with a new setting, the addition of rhythm guitarist Diego Verduzco and close proximity to one another also affected the outcome of Enigma. Bassist Pina explains, “We were able to spend all our time together without any distractions. It was all about the music 24/7 and I think that shows.” Beginning with Cris, Laz, Dave and guitarist Ahrue Luster, the songs began to take shape, with Verduzco and percussionist Danny Couto fleshing the numbers out with their contributions.

Once completed, Cris would add his lyrics to bring the true identity to each piece. “It’s really about the deterioration of our planet and the policies that have contributed to the current situation of the world,” Machado explains of the lyrical bent of Enigma, “ It’s a story about destruction and consequence. Life and death. Elemental fury and spiritual awakening.” And yet for all of it’s scathing indictments, the album is one of both anger and beauty. “Ultimately I think our message is a positive one. We promote self-awareness and individuality.”

It is Ill Nino’s individuality, their willingness to buck trends and to stay true to both their individual and cultural identities, that has allowed them to grow. “I think that we are a Latin bad with heavy metal roots and a metal band with a Latin core; we’re not just one or the other,” explains Chavarri. “We were raised listening to Latin music so to us it’s second nature.” The duality of Ill Nino’s culture clash is fully realized on the appropriately-titled Enigma; an album that is equal parts reinvention and evolution. So perhaps Guevara’s words are not the best way to describe Ill Nino’s music.

Has anyone coined the phrase: “Viva la Evolucion!”?

Cristian Machado – Vocals
Dave Chavarri – Drums
Laz Pina – Bass
Ahrue Lustre – Guitar
Danny Couto – Percussion
Diego Verduzco – Guitar

Between 1991 and 1993, she showed interest in R’n’B and disciplines linked to Soul, Blues and the emerging Hip Hop music. This was an intense period for María. It was then that she started writing and rapping lyrics over musical bases and instruments. She met neighborhood bands and artists and discovered a personal dimension that would mark her forever.

In 1996, after traipsing the streets with her rhymes, she set foot on a stage and this was how her musical career began. In 1997, she made a rough cut with a neighborhood friend. In 1999 began her musical activity. She recorded “A Jierro” and “Toma la Traca” with Sr. Tcee.  She later recorded “Yo marco el minuto” with Dive Dibosso and “Tambalea”.  María was already the talk of the town. Concerts, collaborations and months of frenetic activity.  In 1999 Mala started working on “Lujo Ibérico”, an LP that saw the light in October 2000 and sold more than 50,000 copies (Gold Record).

In 2003 María presented “Alevosía”, an evolutionary record mixed in New York that opened a new phase in María’s career and also won her a Gold Record.

In 2006 she published a maxi called “Por la noche”, which included three versions of the same theme, including an instrumental version produced by Supernafamacho. La Mala sang the first version solo and it was featured in the OST of “Yo soy la Juani”. The second version featured Capaz (of Hablando en plata), Toteking and Juaninacka. The third version included Meko and Arianna Puello. The maxi reached number one in the lists in a matter of days. Its video became one of the most seen musical videos in recent years.

Malamarismo will be in stores on April 30, 2007. This is without a doubt the most complete work of Mala Rodríguez.  Malamarismo is María in her purest state, in her best artistic and personal moment yet.

DISCOGRAPHY

“A jierro / Toma la traca” Maxi (Zona Bruta, 1999)
“Yo marco el minuto / Tambalea” Maxi (Yo Gano, 2000)
“Lujo ibérico” LP (Yo Gano/Superego-Universal, 2000)
“Alevosía” LP (Universal, 2003)
“Por la noche” CD Single (2006)

COLLABORATIONS
La Gota que Colma. “Mordiendo el micro” (1998)
SFDK.  “Siempre fuertes” (1999)
Violadores del verso.  “Genios” (1999)
La alta escuela.  “En pie de vuelo” (1999)
Jota Mayúscula.  “Hombre negro soltero busca” (2000)
Ygriega.  “XXL” (2000)
Jota Mayúscula.  “Una vida xtra” (2004)
R de Rumba.  “R de Rumba” (2004)
Full Nelson.  “Confía en mí” (2005)
Akon.  “Locked Up (re-edition)” (2005)
Vico C.  “Desahogo” (2005)
Kultama.  “Nacional e importación” (2006)
Antonio Carmona. “Vengo venenoso” (2006)

MALA RODRÍGUEZ: “MALAMARISMO”

“Malamarismo”: Miracle-working art of playing with concepts in order to amaze listeners, displaying great doses of skill and agility, exclusive of Mala Rodríguez.

After beating all records with the advance single “Por la noche”, Mala Rodríguez presents her most intricate production: “Malamarismo”, a broad-ranging album recorded between Puerto Rico, New York, Los Angeles and Spain, produced by Griffi (Sólo los Sólo), Sr. Tcee (VKR), Dj Rectangle and Giggi Mantequilla, and featuring Raimundo Amador, Tego Calderón, Julieta Venegas and Mahoma.

On few occasions does an adjective reach the substantive category and is elevated to proper noun. On few occasions is a woman able to naturally occupy a privileged position given to her by society without questioning. On few occasions is it possible to combine art, sensitivity and popularity under the form of a song. And it is only now that a woman reaches the very top on her own right to turn the world inside out with her original point of view.

María Rodríguez has closed the circle thanks to her magic. Her words remain on air and are inevitably shaped after the silence to remain in the very depth of whoever is listening. Mala adjusts to new sensitivities effortlessly, without losing a bit of her personality. It is astonishing to realize the synergy between the innovating Griffi productions and María’s voice, or how she adapts her voice to a club theme by Rectangle, such as “Nanai”.

María supervised the project from the very beginning until the record was sent to the factory. She was involved with the artistic and executive direction together with her team, as if her whole life depended on it.

Malamarismo contains sharp recreations to shake consciences and ritual enchantments able to move the hardest hearts. There is no middle point. Life either hurts or is loved, as intense as it is. Mala approaches her new project with enthusiasm and all her vitality, as if it were the first time. An exquisite production that identifies her as unique.

Malamarismo is María in her purest state, in her best artistic and personal moment yet.

María doesn’t sing or rap; María “malamarizes”

MALAMARISMO TRACK BY TRACK

The album begins with a declaration of María’s intentions in “Volveré”, along the beat imposed by Sr. Tcee. A half-tempo with straightforward lyrics and a message to whoever wants to listen to it. Immediately after that track, we find a talkative artist full of energy. María bursts in with an unbeatable flow in “Te convierto”, a handbook of street-wise knowledge, accompanied by the guitar and the voice of Raimundo Amador.

The prestigious Dj de Las Vegas Rectangle produces, records and mixes a song that fits María like a made-to-measure suit. A risky musical production for a register ahead of its time. Nanai is conceived to be a street hymn. In “Caída libre” Griffi creates a context for Mala to recreate in it at her will; and she does it, as only she knows how to do it. Malamares of words and sentences that say a lot in a short period of time and slowly eat up the world away.

“Menos tú” is a sharp and solid critic of all the bragging that surrounds our personal relationships under a peculiar production from Griffi, which maybe differentiates the most from the rest. In “Tiempo pa pensá”, produced by Giggi Mantequilla and featuring Julieta Venegas, María shows her versatility even more.

“Toca, toca” is a genuine musical provocation, a myriad of ironic and cheeky puns over a rhythmical production by Griffi. “Enfermo” is one of the most significant themes in the album, and uses irony to talk about insanity hand in hand with the great Tego Calderón. A reality seen from the verge, strongly critical of a fastidious society that sets the limits of correctness.

María breaths in and aims directly at the welfare society, at the hypocrisy of a system where the human being doesn’t have any say. Mala strongly criticizes a false progress that only generates victims, supported by Dj Rectangle’s production in “La Loca”. “Miedo”, also produced by Dj de Las Vegas, starts off with the high energy of Mahoma and introduces a very significant intervention from Mala. In “Memorias del futuro” María sharpens her pen and measures her expression to take you to her own playing ground.  The closer she seems to be, the more acid she becomes… In “Jura y Gana” Mala shows her cards again and defends her way of looking at life, particularly in this very moment.

In “Déjame Entrá”, produced by Griffi, María’s vocal skills grow as in no other song. The lyrics are written with rebelliousness and become even greater thanks to Raimundo Amador’s guitar.

Entre 1991y 1993 se interesa por el r’n’b y las disciplinas vinculadas con el soul, el blues y el hip hop emergente. María vive intensamente este periodo y comienza a escribir y a rapear sus letras sobre bases e instrumentos. Entra en contacto con grupos y artistas de su barrio y descubre una dimensión personal que proyectaría definitivamente.

En 1996, después de patearse las calles con sus rimas, sube a un escenario y marca el comienzo de su carrera musical. En 1997 graba una maqueta con un amigo de su barrio. En 1999 arranca su actividad discográfica. Graba con Sr. Tcee “A Jierro” y “Toma la Traca”. Después grabó “Yo marco el minuto” con Dive Dibosso y “Tambalea”. María ya está en boca de todos. Conciertos, colaboraciones y unos meses vertiginosos. En 1999 Mala comienza a trabajar “Lujo Ibérico”, el Lp que vería la luz en octubre de 2000 que vendió más de 50.000 copias (disco de oro).

En 2003 María presenta “Alevosía”, un disco evolutivo mezclado en Nueva York que marcó un nuevo paso en la carrera de María y consiguió también ser disco de oro.

En 2006 edita el maxi “Por la noche”, con tres versiones del mismo tema y la instrumental producida por Supernafamacho. La primera versión es cantada en solitario por La Mala y aparece en la BSO de la película “Yo soy la Juani”. En la segunda participan Capaz (de Hablando en plata), Toteking y Juaninacka. La tercera versión incluye a Meko y Arianna Puello. El maxi ascendió al número uno de las listas en pocos días. El videoclip homónimo es uno de los clips musicales más vistos de los últimos años.

El 30 de abril de 2006 sale a la venta Malamarismo, sin duda el trabajo más completo de Mala Rodríguez. Malamarismo es María en estado puro, en su mejor momento artístico y personal.

DISCOGRAFÍA

“A jierro / Toma la traca” Maxi (Zona Bruta, 1999)
“Yo marco el minuto / Tambalea” Maxi (Yo Gano, 2000)
“Lujo ibérico” LP (Yo Gano/Superego-Universal, 2000)
“Alevosía” LP (Universal, 2003)
“Por la noche” CD Single (2006)

COLABORACIONES
La Gota que Colma. “Mordiendo el micro” (1998)
SFDK.  “Siempre fuertes” (1999)
Violadores del verso.  “Genios” (1999)
La alta escuela.  “En pie de vuelo” (1999)
Jota Mayúscula.  “Hombre negro soltero busca” (2000)
Ygriega.  “XXL” (2000)
Jota Mayúscula.  “Una vida xtra” (2004)
R de Rumba.  “R de Rumba” (2004)
Full Nelson.  “Confía en mí” (2005)
Akon.  “Locked Up (reedición)” (2005)
Vico C.  “Desahogo” (2005)
Kultama.  “Nacional e importación” (2006)
Antonio Carmona. “Vengo venenoso” (2006)

MALA RODRÍGUEZ: “MALAMARISMO”

Malamarismo: arte taumatúrgico de manejar conceptos para deslumbrar al que escucha, con grandes dosis de destreza y agilidad, propio y exclusivo de Mala Rodríguez.

Después de batir todo los records con el single/adelanto “Por la noche”,  Mala Rodríguez presenta su producción más compleja: “Malamarismo”.  Un disco amplísimo,  grabado entre Puerto Rico, Nueva York, Los Ángeles y España. Producciones de Griffi (Sólo los Sólo), Sr Tcee (VKR), Dj Rectangle y Giggi Mantequilla y colaboraciones de Raimundo Amador, Tego Calderón, Julieta Venegas y Mahoma.

Pocas veces sucede que un adjetivo adquiera categoría de sustantivo y sea elevado a nombre propio. Pocas veces una mujer puede representar naturalmente un lugar de privilegio que la sociedad le otorga sin duda alguna. Pocas veces es posible combinar arte, sensibilidad y vigencia en forma de canciones. Y sólo ésta vez,  una mujer asciende por derecho a lo más alto para azotar al mundo del derecho y del revés con su original punto de vista.

María Rodríguez ha cerrado el círculo con su magia. Sus palabras permanecen en el aire y cobran forma después del silencio inevitablemente, para permanecer  en lo más profundo de quien escucha. Mala se adapta a las nuevas sensibilidades sin esfuerzo alguno, sin perder un ápice de personalidad. Impresiona comprobar la sinergia entre las innovadores producciones de Griffi y la voz de María o su adaptación vocal en un tema club de Reactangle como “Nanai”.

María ha supervisado el proyecto desde el primer momento hasta el envío del disco  a fábrica. Ha ejercido labores de dirección artística y ejecutiva, junto al equipo que ha participado,  como si fuera su vida en ello.

Malamarismo es un contenedor de agudas recreaciones para sacudir conciencias o encantamientos rituales que conmueven los corazones más duros. No hay término medio. La vida duele o gusta, con toda la intensidad. Mala aborda su nuevo proyecto con entusiasmo y toda su vitalidad, como si fuera la primera vez.  Una producción exquisita que otorga a su protagonista el calificativo de única.

Malamarismo es María en estado puro, en su mejor momento artístico y personal.

María no canta, ni rapea; María malamarea

TRACK BY TRACK MALAMARISMO

María comienza el disco con una declaración de intenciones, “Volveré” arropada por los beats de Sr. Tcee. Medio tiempo con letras claras y un mensaje para quien quiera escucharlo. Inmediatamente después nos encontramos con la artista  enérgica y locuaz;  María irrumpe con un flow inmejorable en  “Te convierto” un  manual de doctrina callejera, acompañada por las guitarras y la voz de Raimundo Amador.

El prestigioso Dj de Las Vegas Rectangle  produce, graba y mezcla  un tema encajado a María como un vestido a medida. Una producción musical arriesgada para un registro adelantado a su tiempo.  Nanai está concebida para ser un himno de la calle. En “Caída libre”
Griffi crea el contexto para que Mala se recree tranquilamente; y lo hace cómo sólo ella sabe hacerlo. Malamares de palabras y frases que dicen mucho en poco espacio y,  despacio, se comen el mundo.

“Menos tú” es una crítica sagaz  y contundente a la vanagloria habitual que rodea nuestras relaciones personales, sobre una producción peculiar  de Griffi, quizá la más diferenciada del resto.  En “Tiempo pa pensá” María expone aún más su versatilidad en una producción de Giggi Mantequilla junto a Julieta Venegas.

“Toca, toca” es una auténtica provocación musical. Juegos de palabras con ironía y descaro, en la producción más rítmica de Griffi. “Enfermo” es uno de los temas mas significativos del disco, que ironiza con la locura de la mano del genial Tego Calderón. Una realidad vista desde el extremo, que critica claramente a la sociedad escrupulosa que clasifica los límites de lo correcto.

María toma aire y apunta directamente a la sociedad del bienestar, a la hipocresía de un sistema en el que el ser humano no pinta nada. Mala critica duramente un falso progreso que sólo crea víctimas, sustentada por la producción de Dj Rectangle en  “La Loca”. “Miedo” es otra producción de Dj de Las Vegas que arranca con la energía de Mahoma y da pie a una intervención muy significativa de Mala. En “Memorias del futuro” María afina la pluma y mide la expresión para llevarte a su terreno.  Cuanto más cercana se muestra, mejor cultiva su acidez… En “Jura y Gana” Mala vuelve a enseñar las cartas y defiende su forma de ver la vida, especialmente en este momento de su vida.

“Déjame Entrá” es otra producción de Griffi en la que María crece vocalmente como en ninguna otra canción. Una letra escrita con rebeldía que engorda gracias a la guitarra de Raimundo Amador.

They recently released their debut full length CD called “Feel the Vibe” which received widespread critical acclaim. An overwhelmingly positive L.A. Times performance review brought larger attention; the CD Release Party for “Feel the Vibe” sold out the famous Hollywood venue The Knitting Factory and nationwide cable network siTV decided to focus on them for their “Jammin” television reality show. In “Jammin”, Upground got to meet and perform with their East L.A. mentors, Los Lobos.

Upground went on to win the 2006 Sprint Battle of the Bands, received a publishing deal with prestigious PEERMUSIC and have had their music played on local radio including L.A.’s Indie 103.1 (a major FM radio station), and they were profiled in Tu Ciudad magazine as “the next big thing from East L.A.” The music video for “Oye Chica” landed airplay on LATV, Mun2, MTV3es and internationally on Ritmoson Latino.

There has been no stopping the pace. The spring of 2007 found Upground making their debut showcase at the world famous South by Southwest music conference in Austin, Texas. Leading up to the showcase, Upground played a capacity filled siTV sponsored mini-tour billed as “Upground’s ROAD TO SXSW”. Latino University Magazine named them “Best College Band to See” and they followed that up with another mini tour, this time to Colorado. They were invited to perform on the nationwide cable network mun2’s VIVO show, which features performances by worldwide entertainers such as Chayanne, Shakira, and Daddy Yankee. They also make their first ever trip to New York City to showcase at the respected Latin Alternative Music Conference (LAMC).

Upground has come a long way from the high school jazz band and orchestras the members started in. They have performed with or shared the same stage with artists from Ozomatli and Los Lobos to The Killers and played at universities throughout the West.  They have transformed into one of the most sought after young bands in the competitive Los Angeles music scene. Where will they go next?

Upground is:
Adolfo Mercado Jr. Drums
Danny Estrada - Vocals & Guitar
Chris “Bolillo” Manjarrez – Bass
Everado Garcia - Vocals & Trumpet
Chris De Los Santos - Tenor Sax & Keyboards
Eric Carrillo - Alto Sax & Timbales
Joseph Quinonez – Trombone
Aaron Perez - Alto Sax