SOY SAUCE, MEXICAN INSTITUTE OF SOUND
Nacional Records, México ****
By Carlos Reyes
Instituto Mexicano del Sonido’s third feature is a monument of musical festivity; let it be for its complex production or funky catch tunes, but especially for its multi-layered sound that elapses time and conjuncts the diverse musical palette and periods of Mexico’s alter melodic spirit. Soy Sauce may not be a quick catch; the reduction of samplings from Mejico Maxico and Piñata has lead to advancement in the actual creation of sounds and a stronger formation of lyrics. It doesn’t take a second to disclose its magic; “Cumbia” introduces the show with majestic elevation, the high registration of the brass instrument and the support of the accordion, which rounds gently every sequence. Lead single (at least for the U.S.) “Alocatel” is a party entourage and in a charming way, very cynical, its remix by Ad Rock (Beastie Boys) sounds epic, like the marathon illustrations that surround the album’s awesome artwork.
Soy Sauce is a post-modern depiction of its culture, a robotic approach to the traditional sounds of our culture and a lot more. “Yo Digo Baila” is a club-banger with a Banda layer on the background and its encounter with the electronic gene; on the surface, a negotiation and compromise between the two genres and the call-response Spanglish interaction of its chorus. The leading single for Mexico is “Hiedra Venenosa”, the adventurous and frenzied piece of the album outsiders might not fully understand, but it’s like a Mexican-style conflicted fairytale involving a guy in love and a venomous girl who rocks his world. The populachero album continues with the musical reinterpretation of “Karate Kid 2”, inspired by the movie of course, and whose popularity in Mexico is out of proportion (Televisa’s Canal Cinco airs it every other weekend), the people is very receptive to such story because of the political distrust people have on their officials and because it is optimistic enough to bring power to the common pedestrian.
My favorite moment of the album arrives with “Reventon”, if that’s not a party enticement then I don’t know what is; it tells you where the party is, even suggests how to get there. It includes what has to be the most hilarious line in a song this year, Camilo Lara singing Bersuit Vergarabat is a revelation and a fortunate spicy moment. “Te Quiero Mucho” and all its animals sustain the sweetest and most nostalgic piece of the album and one of its best. “Sinfonia Agridulce” is a bizarre ranchera, perhaps a bit too condensed and forced for its own good, but it works within the boundaries of the tracks surrounding it and the fiesta spirit of the album, a drinking moment had to be here. Overall, Soy Sauce can be interpreted as the joyful ride of the popular song in the hands of the right mind to progress it.