Tag: Broken Clover Records

Single Review by William Ruben Helms

Founded by Tomas Garrido, Matías Tangerina and Oliveras, Madrid-based krautrock outfit TUTUPATU has managed to fuse each individual member’s diverse and eclectic backgrounds in classical music, jazz, rock, electronic music, experimental noise, drone and even ethnic music. After spending over a year of dedicated rehearsals, the Spanish quartet has meticulously crafted a unique sound that defies categorization and invites exploration.

The group’s collective aim is to shape an auditory landscape that defies convention, drawing inspiration from trance-inducing repetition that transcends genre while resonating with the eclectic blend of their individual influences. Through their sonic explorations, they attempt to guide listeners on an introspective journey into uncharted realms.

The Spanish outfit’s full-length debut, IV is slated for a February 14, 2024 release through Broken Clover Records. Their desire to capture TUTUPATU’s essence led them to secure an underground location in their hometown, where they set up a private recording studio. Then they locked themselves in for a 72-hour recording session. For that session, the members of TUTUPATU aimed for unfiltered creativity: 32 tracks rolling at all times, doors locked, lights dimmed, and volume cranked. The result is reportedly a mesmerizing blend of motorik drums, throbbing baselines, howling guitars, wailing saxophones, ethereal synths and a myriad of flute and other folk instruments intricately woven together through the album’s five songs.

Clocking in at a little under four minutes, IV‘s lead single “Tangerina” is a meditative and droning composition built around a d supple and propulsive bass line, looping and strummed bursts of acoustic guitar, off kilter yet driving percussion and gently warbling feedback. “Tangerina” manages to simultaneously feel both completely improvised and crafted, rooted in the innate and uncanny simpatico between the band’s members in a way that’s seamlessly blends free jazz, jazz fusion and krautrock.

Single Review by William Ruben Helms

After stints playing drums for acclaimed singer/songwriter Shilpa Ray and a list of other bands, Robert Preston Collum (guitar, vocals) stepped out into the spotlight with his solo project Pink Mexico. Preston self-released his 2013 full-length debut Pnik Mxeico, which caught the attention of Austin-based label Fleeting Youth Records, who then re-released the album the following December. 

Collum relocated to Brooklyn in the fall of 2014 to begin recording what would be his sophomore album. Following countless Brooklyn shows during the course of 2015, the project extended into a full-fledged band with the addition of Grady Walker (drums, vocals) and Ian Everall (bass). Collum’s Pink Mexico sophomore album, 2016’s Fool was released through Burger Records and French label Big Tomato Records. He and his bandmates supported the album with an opening spot for Honus Honus (a.k.a Mam Man) during that artist’s November 2016 tour. 

Pink Mexico’s third album 2019’s DUMP was released through Burger Records and Little Dickamn Records. Unlike the previously released albums, where Collum played all the instrumental parts, DUMP is the first album that features Everall and Walker on their respective instruments. 

The band’s fourth album, 2020’s Idiot Piss Illiterate was released through San Francisco-based label Broken Clover Records. 

Earlier this year, Pink Mexico announced their signing to Quiet Panic Records, who will be releasing their fifth album, Mirrorhead. Slated for a May 19, 2023 release, Mirrorhead was written and recorded during the period of its predecessor’s release. But while Idiot Piss Illiterate‘s material rode on a frantic garage rock undercurrent, the forthcoming album reportedly swaps out ragged pace for bruising waves of heavy sound, interspersed with moments of stripped back exposure. Thematically, the album’s material is rooted in a recollection of memories and experiences woven through the reconstruction of the self and a bold sense of experimentation. 

If you’ve bene frequenting this site, you might recall that earlier this month I wrote about Mirrorhead single “Dungeonhead,” a 120 Minutes MTV-era alt rock-inspired aural assault centered around layers of reverb-drenched, fuzzy and distorted power chords and thunderous power chords paired with Collum’s plaintive and ethereal lead vocal. But under the ironically detached delivery and enormous hooks, is a song that evokes a palpable sense of unease. 

Pink Mexico’s Robert Preston Collum calls “Dungeonhead,” “a track about never feeling comfortable in one’s own skin while reflecting on the obscurities of life during a time when the regular version of confusing and fucked up is even more fucked up and confusing.”

Mirrorhead‘s latest single “Shame” is a brooding bruiser built around layers of fuzzy and distorted power chords, thunderous drumming paired with Collum’s ethereal and achingly plaintive vocal. While continuing a run of material that sounds indebted to 120 Minutes-era MTV, “Shame” is imbued with a lived-in, bitter sense of shame, insecurity and self-loathing. “It’s a shame we as humans are so insecure and selfish that we’re incapable of having respect for one another,” Collum says. “The only undeniable certainties in this life are; no one decides to be born and we all die.”

The band will be playing an album release show at TV Eye on June 11, 2023 with TVOD, Substitute and a special guest TBA. Tickets and more info is available here.

Video by William Ruben Helms

New Video: Pink Mexico Shares Brooding and Bruising “Dungeonhead”

After stints playing drums for acclaimed singer/songwriter Shilpa Ray and a list of other bands, Robert Preston Collum (guitar, vocals) stepped out into the spotlight with his solo project Pink Mexico. Preston self-released his 2013 full-length debut Pnik Mxeico, which caught the attention of Austin-based label Fleeting Youth Records, who then re-released the album the following December.

Collum relocated to Brooklyn in the fall of 2014 to begin recording what would be his sophomore album. Following countless Brooklyn shows during the course of 2015, the project extended into a full-fledged band with the addition of Grady Walker (drums, vocals) and Ian Everall (bass). Collum’s Pink Mexico sophomore album, 2016’s Fool was released through Burger Records and French label Big Tomato Records. He and his bandmates supported the album with an opening spot for Honus Honus (a.k.a Mam Man) during that artist’s November 2016 tour.

Pink Mexico’s third album 2019’s DUMP was released through Burger Records and Little Dickamn Records. Unlike the previously released albums, where Collum played all the instruments, DUMP is the first album that features Everall and Walker on their respective instruments.

The band’s fourth album, 2020’s Idiot Piss Illiterate was released through San Francisco-based label Broken Clover Records.

Earlier this year, Pink Mexico announced their signing to Quiet Panic Records, who will be releasing their fifth album, Mirrorhead. Slated for a May 19, 2023 release, Mirrorhead was written and recorded during the period of its predecessor’s release. But while Idiot Piss Illiterate‘s material rode on a frantic garage rock undercurrent, the forthcoming album reportedly swaps out ragged pace for bruising waves of heavy sound, interspersed with moments of stripped back exposure. Thematically, the album’s material is rooted in a recollection of memories and experiences woven through the reconstruction oft he self and a bold sense of experimentation.

Mirrorhead‘s first single “Dungeonhead” is a 120 Minutes MTV-era alt rock-inspired aural assault centered around layers of reverb-drenched, fuzzy and distorted power chords and thunderous power chords paired with Collum’s plaintive and ethereal lead vocal. But under the ironically detached delivery and enormous hooks, is a song that evokes a palpable sense of unease.

Pink Mexico’s Robert Preston calls “Dungeonhead,” “a track about never feeling comfortable in one’s own skin while reflecting on the obscurities of life during a time when the regular version of confusing and fucked up is even more fucked up and confusing.”

Directed by Steven Ungureanu, the brooding and uneasy accompanying video for “Dungeonhead” was shot across my home borough of Queens. I recognize a number of significant locations including Ridgewood, Jackson Heights, Forest Park, Ridgewood Reservoir, Far Rockaway and more.

women who kick ass by William Ruben Helms

New Video: Dreckig Shares Propulsive and Dreamy “Non Zero Sum”

Portland, OR-based electro pop duo Dreckig — married couple Papi Fimbres and Shana Lindbeck — derive their project’s name from the German word for dirty. Believing that destiny led them to meet each other, the project is fueled by the duo’s desire to honor their respective Mexican and German heritages in a new and collaborative way. 

Sonically, the duo have crafted a sound that meshes cumbia rhythms, motorik groove-driven krautrock and electronic music — with lyrics written and sung in Spanish, English and German. 

The Portland-based duo’s third album, Digital Exposure was released last year through San Francisco-based Broken Clover Records. The album sees the duo continuing their ongoing collaboration with Pinewave Studio‘s Johann Wagner. The album thematically touches on social constructs, our impact on the environment and embracing every day life. 

Last year, I wrote about album single “La Ballena,“a slow-burning and lysergic song featuring oscillating synths, fluttering and looping flute, cumbia rhythms and a relentless motorik groove paired with lyrics chanted and crooned in a sonorous Spanish. While sonically being a feverish synthesis of Kraftwerk and Meridian Brothers, “La Ballena” for me conjures an image of a dancer on narcotics, gently swaying to the song.

The album’s latest single “Non Zero Sum” sees the duo pairing skittering cumbia rhythms with glistening Kraftwerk-inspired synths and blown out beats to create a sensual, sinuous bed for their ethereal harmonizing in Spanish. “Non Zero Sum” manages to bring a trippy synthesis of Trans Europe Express-era Kraftwerk and Señor Coconut‘s El Baile Alemán.

Directed and edited by Alicia J. Rose, the accompanying video for “Non Zero Sum” sees the duo as space age Druids changing in the woods and drumming in a disco wonderland, complete with kaleidoscopic effects.

Single Review by William Ruben Helms

Portland, OR-based electro pop duo Dreckig — married couple Papi Fimbres and Shana Lindbeck — derive their project’s name from the German word for dirty. Believing that destiny led them to meet each other, the project is fueled by the duo’s desire to honor their respective Mexican and German heritages in a new and collaborative way.

Sonically, the duo have crafted a sound that meshes cumbia rhythms, motorik groove-driven krautrock and electronic music — with lyrics written and sung in Spanish, English and German.

Slated for release on Friday through San Francisco-based Broken Clover Records, the Portland-based duo’s third album Digital Exposure sees the duo continuing their ongoing collaboration with Pinewave Studio‘s Johann Wagner. The album thematically touches on social constructs, our impact on the environment and embracing every day life.

Digital Exposure‘s latest single “La Ballena” is a slow-burning and lysergic bop centered around oscillating synths, fluttering and looping flute, cumbia rhythms and a relentless motorik groove paired with lyrics chanted and crooned in a sonorous Spanish. While sonically being a feverish synthesis of Kraftwerk and Meridian Brothers, “La Ballena” for me conjures an image of a dancer on narcotics, gently swaying to the song.