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Meridian Brothers

Bogota’s the Meridian Brothers will be the creation of Eblis Álvarez, who writes, arranges, makes, takes on, and sings everything on the recordings, though when the music group plays live he’s aided by other music artists. Their music is nearly unclassifiable, a bracing meld of digital and organic tools, affected by Latin rock and roll, psychedelia, Frank Zappa, the Occupants, modern vanguard digital music, and South American and Caribbean folk customs and rhythms. Developed in Bogota, Colombia in 1998, Álvarez, the boy of biologists, was an integral mover in the city’s experimental music picture. He was seriously affected by psychedelic Latin rock and roll — mainly from Argentina — and was looking for new means of melding instrumental using digital production methods. He produced early recordings which were distributed locally on cassette. In 1999, he became a member of Mario Galeano’s Ensamble Polifónico Vallenato being a guitarist. The group’s innovative interpretation of traditional Colombian and exotic music and Latin rhythms inspired him significantly. In 2000 he transferred to Denmark, where he examined on the Royal Danish Academy of Music as well as the DIEM (Danish Institute of Electronic Music), learning advanced editing and signal-processing methods. He didn’t go back to Bogota until 2005; he uncovered the country’s music picture ripe with a fresh generation of music artists discovering cumbia, vallenato, salsa, and currulao. The Meridian Brothers V made an appearance in 2005 on la Distritofonica, a totally vanguard tropi-punk workout that lay out Álvarez’s eyesight of dissonant digital textures wedded to basic, however fragmented melodies, canciones, and polkas. Meridian Brothers VI implemented in 2006 being a wide- varying evocation of Colombian noises from the past due ’60s and ’70s because they fulfilled with Nigerian highlife, Ethiopian pop, and contemporary Colombian and Peruvian cumbia in the studio room. He produced a live touring music group that included percussionist Damien Ponce, Maria Valencia on reeds and winds, Alejandro Forero on keyboards, and bassist Cesar Quevedo; Álvarez performed electric guitar and sang. Meridian Brothers VII premiered in 2007, and relied even more heavily over the noises of classic Latin rock and roll, champeta, browse, jazz, and electronica, even while keeping the root base of cumbia and exotic. After South American and Western european tours, Álvarez as well as the Meridians documented Desesperanza, that was released by Soundway in 2012. It had been a fever imagine a documenting that delved solely into salsa and exotic music, using a vast selection of digital, acoustic, and editing and enhancing methods. A compilation entitled Devoción (Functions 2005-2011) premiered by Staubgold in 2013. The Meridian Brothers toured hard while Álvarez continuing to plumb the depths of experimentation in both consumer electronics and pan-Latin noises and worldwide pop musics. Some singles made an appearance over another 2 yrs on Names YOU ARE ABLE TO Trust and Soundway, culminating in the discharge of Salvadora Automatic robot, an record that wed psychedelia, quick edits, loops, Dominican merengue, cumbia, and salsa. It had been released by Soundway in June of 2014. Álvarez and his music group toured celebrations in Latin America and European countries before heading back to the recording studio room. Another Meridian Brothers providing was the eight-song Los Suicidas, the 1st album inside a trilogy. It had been influenced by Colombian Hammond body organ tale Jaime Llano Gonzalez, who was simply well-known for playing his country’s traditional music — pasillos, bambucos, cumbias, etc. — mixed and juxtaposed with international rhythms like foxtrots and waltzes, all within an ambient design. However the Meridans achieved it in their personal outrageous, warmly funny method, as evidenced from the 1st solitary “Vertigo – Bolero.” It had been documented to resemble an 8-little bit chiptune. Los Suicidas was released in November of 2015. Thom Jurek

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