Critical Voices Rising

If 1998 was the year when rock en espan~ol reached a new level of musical sophistication, 1999 could be all about freedom of expression.

A new song by Mexican rap en espan~ol group Molotov has raised the stakes in terms of criticizing the establishment. And still to come is the U.S. debut of Argentine anarchists Bersuit Vergarabat, including a controversial song that was so aggressive in its commentary that Argentina’s government had it removed from the country’s radio stations.

Both releases reflect a new reality for Latin rockers. Until relatively recent times, the political oppression in many Latin American countries forced artists who wanted to protest the state of the world to resort to carefully crafted symbolism. Blatant criticism could result in being banned and ostracized, if not kidnapped, tortured and murdered.

Now, with the passing of dictatorships, musicians can largely say what they want to say, any way they want to.

But has this freedom enhanced the quality of the music? You bet.

Molotov’s “El Carnal de las Estrellas,” the only new song in the band’s remix collection “Molomix,” is arguably the group’s best effort yet, picking up where its commercially successful first album left off. Combining funky electric guitars with a string section that gives the song a lush, filmic quality, it has the quartet unleashing a furious rap against what the group sees as the imperialistic, patronizing attitude of Mexican television.

*

The song names names, including Televisa, Mexico’s leading television network, Raul Velazco, whose “Siempre En Domingo” show was a television staple for decades, and such artists as Luis Miguel, Paulina Rubio and Magneto, whom Molotov considers prefabricated and deplorable.

“ ‘El Carnal’ talks about all the people that are abusing the medium of television in order to sell their plastic artists to the world,” explains Molotov’s Micky Huidobro, the song’s composer.

“These executives go to the streets and grab young ladies whose only talent lies in knowing how to smile, going to the gym, getting breast implants and sleeping with the producers. Television has created this image of what people should look and sound like, which we think is terribly wrong. People should be able to look and be just the way they want to. . . .

“Plus, these acts are occupying precious TV time that should be given instead to real musicians who spend their days living for rock ‘n’ roll and playing gigs without making a dime. Molotov is popular now, but before we formed the band, all of us spent years practicing our instruments and trying to make it, which is very hard in Mexico.”

Like the Molotov record, Bersuit Vergarabat’s version of “Sr. Cobranza,” a tune by the obscure band Las Manos de Filippi, combines angry condemnation with arty musicianship.

Beginning with a laid-back, contemplative groove, the song slowly builds to an explosive crescendo of rock frenzy and an obscenity-laden attack against the Argentine government and the oppression of Latinos.

“We didn’t choose to include that song on the album because of its controversial quality,” explains Gustavo Santaolalla, the world’s foremost producer of rock en espan~ol. Santaolalla signed the Buenos Aires group to his label, Surco, and its first U.S. album will be released though Universal Music Latino this summer.

“We listened to 40 songs for the album and picked ‘Sr. Cobranza’ simply because it was one of the best, a tune that depicts the state of affairs in Latin America in its own, very special way,” Santaolalla says.

This new climate of outspokenness could pave the way for other groups to forsake the genre’s cliches and explore the painful realities of Latin America.

“I think Molotov was the first band to speak up like that, breaking barriers and allowing for other bands to do the same,” says the Los Angeles-based Santaolalla, who also produced the Molotov song. “Rock bands have always said controversial things, but never in such a frontal way. Molotov was the first one to tackle institutions that seemed untouchable until now.”

Album Spotlight

*** 1/2 Grupo Afro Boricua, “Bombazo,” Blue Jackel. When African beats arrived on the islands of Cuba and Puerto Rico centuries ago, they were assimilated and mixed with European influences to create two separate musical realities. With the emphasis being placed these days on all things Cuban, this album is especially noteworthy for focusing on the wealth of rhythms and dances from Puerto Rico.

“Bombazo” is actually one of two records by bandleader, composer and multi-instrumentalist William Cepeda released simultaneously by Blue Jackel. While “My Roots and Beyond” is a stunning attempt at mixing Cepeda’s Puerto Rican heritage with jazz, “Bombazo” stays mostly within the island, offering a wonderful collection of traditional bombas and plenas.

Cepeda is no nationalist, relishing both the Puerto Rican and Cuban approaches to rhythm and melody. On “Majestad Negra,” he halts the recitation of a joyous poem to quote the quintessential Cuban song “El Manicero,” creating an indelible feeling of harmony. He also stresses Afro-Caribbean music’s ability to combine joy with sadness in “El Belen,” a homage to Puerto Rican legends Cortijo and Ismael Rivera.

*

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent).