In mourning, in rage: The Pulse Orlando Nightclub Massacre.

The following is an attempt on behalf of the Club Fonograma family to send our deepest condolences to the communities impacted by the "worst mass shooting in US history." We also wish to be historically accurate: the Pulse Orlando Nightclub Massacre isn't the worst mass murder that American $ociety has produced. The largest massacre in U$ history happened at Wounded Knee in South Dakota in 1890. 500 indigenous people were exterminated by colonial white supremacy on December 29th at the Lakota Pine Ridge Reservation. Club Fonograma strives for intersectionality. Our writers span continents, our roots run from Africa to Mexico. As music anthropologists, our unique approach and perspective and praxis may differ, but we stand united on the cultural battle against hate and brutality. We stand united with our Muslim and Arabic friends. We stand united with our gay, queer, trans, lesbian communities and everybody outside colonial gender binaries. We stand united with our Black & Brown communities worldwide and therefore reject any attempt on behalf of white supremacist state power configurations that will turn this tragedy into yet another tactic of fear led social control. In other words, we reject authoritarianism in all its forms. We reject our communities being murdered and disappeared by agents of hate and control, whether they be lone wolves or governmental bodies and their acolytes. We propose healing, autonomous & community based solutions to the problems that impact the lives of each and everyone of us in unique and nuanced ways. We remember the words of Alex Anwandter on "Manifesto":

"Yo quiero ser un manifesto hecho cuerpo, si, un cuerpo, que va a disparar. Y entiendo toda tu violencia, que, niño mío, no es ciencia, que lo justo no es normal. Defiéndete no más." 
In English: "I want to be a manifesto made flesh, yes, a body, that is going to shoot. And I understand all of your violence, that, dear boy, isn't science. Justice is not normal. Simply, defend yourself."

We will never forget our queer & trans communities and everyone outside repressive colonial gender binaries who struggle everyday to simply exist and resist inside a $ystem that wishes the annihilation of dangerous and unforeseen ways of living and loving. We will continue dancing our reggaetón, our cumbia, and our salsa.

UPDATE: We have just been informed that a similar attack took place in Veracruz, Mexico back in May. 7 people were murdered at the gay nightclub La Madame in the town of Xalapa. 

Video: Piyama Party - "Paz Mundial"

Piyama Party’s glorious shoegaze waltz “Paz Mundial” opened Álbum De Oro with the kind of serenity and wisdom reserved for album closers. Luis Angel Martínez took us along as he scaled that familiar “wall of sound” where a new perspective was waiting to deliver bliss. It was a bold move, but months after sifting out less essential 2015 records, one can appreciate a whole lot better. 

Recently Sefárdico, pen name for Austin-based director Luis Eduardo Flores, took on the mission to deliver visuals for the underrated “Paz Mundial.” Jumping in we see a charismatic and terminally chill cult leader meditating and vegging out. His psychedelic landscape tinged in purple fauna pulls from Richard Mosse photos (h/t Remezcla), then flips to a reality where young people, plagued by failures and regret, announce their departure from the material world into a more meaningful existence inside a purple paradise. The treatment is notable because it presents a narrative that edges by, never encroaching the song’s gravitational pull and leaves us feeling as serene as the lyrics promise, “Qué bien se siente.”

Ivy Queen - "Que Se Jodan"

A photo posted by @ivyqueendiva on

Ivy Queen's 2016 return is buzz worthy by its own merit, but these are no ordinary times for Ivy Queen to release a single. Javiera Mena's revelation to Club Fonograma last week that she is determined to work with Ivy Queen has our musical mythologies reeling. The prospect of such a collaboration is the stuff pop dreams are made of. As legend would have it, Shakira released three merengue singles from 2010's Sale El Sol as per Club Fonograma's suggestion. Evidently, Rita Indiana's excellent El Juidero made it to the ears of Shakira's production team, thereby inspiring the Caribbean sounds found in her last decent album. Or so the legend goes. Since 2009, Club Fonograma has been a haven for the analysis of provocative sounds from both the underground and the mainstream. It is our belief that a Javiera Mena / Ivy Queen collaboration could pave a road towards a certain type of immortality for both artists. On one hand, Javiera Mena could gain the notoriety and respect of going to the source- the Queen herself- for the reggaetón backdrops she employs on everything from "Cuando Hablamos" to a few tracks from Otra Era. On the other, Ivy Queen could steer her industry towards a different plateau by incorporating emerging left field talent from Latin America into her repertoire. Javiera Mena could be Ivy Queen's first of many fortuitous collaborations with a hipster underground. I mean, "Que Se Jodan" already sounds like Ivy and her producers have been listening to Puerto Rico heavyweight, Füete Billete.

"Que Se Jodan" is hip-hop, showcasing the strong rap element Ivy Queen honed in on for 2014's ambitious Vendetta, a multi-part album that dedicated itself to substantiating four different genres of music: reggaetón, bachata, salsa, and hip-hop. Ivy Queen does a lot of posturing during "Que Se Jodan," a nefarious if short lived number. Ivy Queen flaunts her two decades-long artistic career, her rap skills ("¿Qué sabes tú de letra?), and proclaims her love for hip-hop ("esa es mi medicina"). Ivy Queen is a good enough rapper, but it should be noted that some of the braggadocio on "Que Se Jodan" is not befitting a 20 year veteran. Still, her claim that she reminds womn to fill themselves up with greatness is pretty powerful. Consider "Que Se Jodan" a reintroduction to Ivy Queen, a good enough track that has us hoping she can channel the brilliance of 2003's "Yo Quiero Bailar" at least one more time.

Video: Princess Nokia - "Tomboy"

Small titties, big bellies, the allure of cannabis, gold chains, sweat pants and a Blues Clue's sample in the hood. Destiny AKA Princess Nokia AKA A Stripper Named Equality, AKA Wavy Spice is back. We talked at length about her convictions as an African-Taino warrior when we covered her Honeysuckle breakthrough, "Orange Blossom"- our #71 song of 2015. Now, we can begin having broader discussions about the impressive and appetizing cultural musings Destiny has been offering through anti capitalist, anti colonial, anti patriarchal social healing initiatives such as Smart Girl ClubWe Are Brujas, and of course, the reason we even pay attention, the music. The breadth of these conversations has been revitalized as attached to Destiny through the power house that is "Tomboy". Everyone can fuck with this jam.

Engines ignite. Vintage (1990s) family portraits adorn the wall of Destiny's housing project apartment. Black & Brown girls of many shades delight in sororal street subversion, in sweat pants. The fashion throughout "Tomboy" is decidedly baggy 90s.  Blunts of modest proportions are smoked in public spaces, in a family kitchen with dirty plates chilling in the sink. Girl on girl love is mutual, adorned in gold. The chains that decorate their diverse bodies are precious and gaudy, relics of quinceañeras, bodas, and bautizos. Coal plants in the background act as menaces of anthropogenic global ecocide. Destiny pisses off abuelita- intergenerational skepticism. "Tomboy" is a tour de force that will continue inspiring editorial think pieces and street turn ups alike. "Tomboy" is a party jam- the type of cultural ammunition that we enter Summer 20,016 with.

Video: Babasónicos - “Vampi”

Does Babasónicos still matter? Do we need another melodious ballad in which Andrián Dárgelos displays all his lyricism ability? In the rather desolated mainstream Argentine music scene, they still stand out. They may not be the band from the Jessico days, which started a revolution in the mainstream radio by speaking on the inner thoughts of youth with a delicacy and straightforwardness that was both seductive and defiant. However, their new single, “Vampi” – a live recording to be included on their upcoming live album Desde adentro – shows that the band still has a lot to say.

If you thought Babasónicos’ position in the music scene was stable because “everyone” knows them, Adrián Dárgelos is here to mess it all up. On the chorus to “Vampi,” he asks himself: “So what if I am a vampire, if I am going to fall in love anyways? What’s the use of being immortal if you can’t die of love?” The possibility of being an observer in the periphery is not an option. Society has defined him as a rather cold and extravagant persona more interested in building up a character than in his emotions, but on “Vampi” he recognizes that you can’t live isolated – not even a character – because everything reaches you sooner or later.

The canonized status of Babasónicos have detached them from society. There are no longer passionate to death discussions about them because they won that debate and became immortalized. However, what was the use of winning? Revolution and outrage was left in the past and replaced by imitation bands who’d rather see them dead. But being mainstream doesn’t necessarily mean that people won’t point you out in a crowd. “I don’t want to be a freak anymore,”Adrián Dárgelos sings exhausted, but we all know that he is maybe bound to it.

Juana Giaimo writes about music for The Singles Jukebox and on her Tumblr.