We’re left with just more four-chord Intocable songs, melodies that allow Ricky Muñoz to stretch his throat to el cielo and noodle on his axe - sometimes for way too long - and a rhythm section lope that could have anchored any Intocable album in the past 20 years. The problem is, Intocable’s sound is as constrained as any other band’s and once the opening feints end, the songs themselves are among Intocable’s most generic batch yet. (One sounds like ’60s handclap pop, one sounds like “Kashmir,” that sort of thing.) They’ve refined a unique sound, and as they demonstrate over and over on Highway, they’re able to open songs with stylist feints as authoritative as their originals. Intocable is a talented band, no question. Give or take a tuba and a sax, they employ pretty much the same musical building blocks and arrive at wildly different results.Īnd both results are better than Intocable’s Highway, for NorteñoBlog’s dinero the most overrated norteño album of the year, insofar as these albums get rated at all. The difference between El Komander’s shaggy storytelling and La Maquinaria Norteña’s frenetic heartache pop is a contrast in visions. But once you accept those rhythms, tone colors, and subjects as merely the constraints its talented artisans and occasional geniuses have given themselves to work around, Mexican regional music produced a pop scene as colorful and varied as any other. Songs about impossible amor, violent negocios, and getting pisteando, you bet.
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