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#cumbia sonidera
a-bjork-cute · 2 years
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Los nudos de mecate rudos...
Se parecen a ti y a mi, babe 
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soniderosseoane · 11 months
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Sonido Gaviota LA Reyna Del bajo #soniderosseoane
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eraseer · 1 year
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"The pioneer of cumbia rebajada himself Sonido Dueñez transforms Turbo Sonidero's Lowrider Kumbias into slow & low rebajadas. From East Side San Jose to Monterrey!"
Discos Rolas DR-10
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sniffing-cvm · 1 year
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CHILEEE,
SHE ATE, NO CRUMBS
✨💅🌸🌸🌸🌸
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La Cumbia Del Chakal
La Cumbia Del Chakal
La canción “La Cumbia Del Chakal” La Cumbia Del Chakal de Don Pedro Rivera y Juanito El Millonzuki es un éxito que ha logrado viralizarse en TikTok y ha acumulado más de 3.5 millones de vistas. Este tema cuenta con un ritmo sonidero que ha enganchado a sus seguidores en redes sociales, quienes no han dudado en compartir videos bailando al ritmo de esta canción. Don Pedro Rivera, reconocido…
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djnobreakfast · 1 year
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31.10.2022💀𝕷𝖆 𝕮𝖚𝖒𝖇𝖎𝖆 𝕾𝖆𝖙𝖆𝖓𝖎𝖈𝖆 👹 DJ NO BREAKFAST & DJ SIEMBRA @ Le Breughel.
6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ 6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛ ͛͛͛6͛͛͛6͛͛͛6͛͛͛
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lk-mitogen · 2 years
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djniki · 2 years
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My podcast reviews on iTunes. All reviews 5⭐️’s🙌🏻
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orbesonora · 2 years
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Esta semana nos acompaña #DJ @euniceguerrera, #Sonidera #Potosina #Cumbiera #Melomana . Orbesonora Radio 4a. Temporada . Diseño gráfico: Gabriel Chinchilla, Fotógrafo . #RadioFM 📻 #Podcast 🎧 #Instagram TV 📱 #YouTube 💻 #Reels 📼 . #LeoCano #RasLeo #TalkShow #InstagramTv #OrbesonoraRadio #SanLuisPotosí #RadiotvUASLP #RadioUASLP #RadioUniversidad #Cumbia #Sonidero #Sonideros #CumbiaSonidera #DJTamara #MusasSonideras #Vinilera #TodosSomosSalchichasCrew #MusaFest2022 (en Radio y Televisión UASLP) https://www.instagram.com/p/CgLN6CNu2Ga/?igshid=NGJjMDIxMWI=
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laninasinamor · 1 year
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CUMBIA BUENA IS LITERALLY A F*CKING JAM!!! one of my favorite sonideras! and tenoch dancing it up like the ultimate chilango 🇲🇽 bro these videos make me so jelly of everyone who gets to dance with him 💃🕺
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nicosraf · 8 months
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what kind of music do you usually listen to? <33
im so sorry to inform that I mostly listen to cumbias and banda ahjdkdsada
My top On Repeat song this week is El colesterol . Other On Repeats for me are Frágil (by Yahritza and Grupo Frontera) and Cumbia A La Gente (Angeles Azules) and Lorana by "Cumbias Sonideras Live" HAJDAS Sorry my taste is so funky but I theorize that you physically can't be depressed if you listen to cumbia.
Besides that, I've been listening to Lana Del Rey's St. Tropez a bit! It makes me think of Lucifer skkss
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mas-alla-blog · 2 years
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On Border Hauntology
“Ghosts or phantoms can mark the death of the ideas from the old world, as well as announcing a new principle of life.”
-Bruno Bosteels
The haunted dreamscape of the borderland unconscious comes to the surface in quematrasgos, the new release by experimental-electronic-Tejano duo Nudo. Listening to the seven tracks that make up the album, one feels as if they’re drifting across the histories of cultural lost futures, repressed political memories, and the communal desires that were once vibrantly alive along the US/Mexico border. Desires which manifested and materialized in multiple ways through the cultural expressions of the region.
By conjuring the sounds of corridos, norteño, and cumbia sonidera, the alien-like factory noises of the hellscape known as maquiladora city, as well as the vernacular folklore and jokes dealing with the violence permeating everyday life in the border, they effectively create a noise-sound-collage (in the style of Luigi Russolo’s Art of Noises) resembling the utopia of “hallucinatory visions in desperate times” described by Fredric Jameson in Archeologies of the Future. This striving for utopia evident in their futurist use of sampled regional music mixed with cosmic and weird sound effects (a practice originated in sonidero culture) places Nudo in the tendency of hauntology within the borderlands.
Hauntology as an aesthetic sensibility first emerged in Britain in order to deal with a cultural impasse defined by an inability to collectively imagine new futures at the so-called end of history. As the theorist Mark Fisher says, “the failure of the future is what defines hauntology more than anything.”
For Fisher, this ‘failure of the future’ had two interconnected effects: First, on a political level, it resulted in the loss of the radical imaginaries and aspirations launched by the revolutionary movements of the last century, by the students of ‘68, the anti-colonial struggle, and the movement for socialism that sprung across the Americas. Second, on an aesthetic level, electronic music ceased to be experimental and stopped pursuing the new, instead becoming mesmerized with the old forms and styles of times past. As Fisher argues, “by 2005, electronica was no longer capable of evoking a future that felt strange or dissonant.” These historic defeats suffered by emancipatory movements led us to an era “characterized by its inability to find aesthetic forms adequate to the present, still less to anticipate new socio-political futures.” (Jameson)
Hauntology represents an aesthetic response to the cancelation of the future, to the collective inability to think of a world radically different from our own, whether through music or our political imaginaries. Hauntological artists turn nostalgically towards the the past not in order to mourn and idealize it in relation to our present, but rather to actively reinterpret and remobilize half-forgotten cultural memories that promised alternative forms of futurity.
The ghosts, specters, and lost futures sought out by hauntology are emblematic of historical events that serve as reminders that capitalism is neither natural nor eternal, that there are other ways to organize society based on principles of solidarity and collectivity. They serve as aide-memoires of the times when struggles against capitalism, along with counter-cultures experimenting with new ways of being and seeing, were alive and ever-growing. Bruno Bosteels writes: “An event appears as a ghost both for what it no longer is and for what it has yet to be.” The aim of the hauntologist is to trace these ghosts haunting our present in order to reactivate the alternative futures “that have yet to be”.
To think about the nature of border hauntology, some questions arise: How does border hauntology deal with this failure of the future? What are the ghosts and lost futures haunting the borderlands today? What do the radical elements found in marginal cultural expressions tell us about the possibility to imagine alternative futures? What forms of futurity existed in the border which were foreclosed by capitalist forms of “progress”? Are there forms of a vernacular modernism found in border culture and art?
Nudo offers us an opportunity to deal with these questions as they take us across the simultaneously utopian and nightmare logic of the contemporary borderland unconscious. By way of a sonic dérive we trek alongside contemporary migrants-turned-psychogeographers stalking the ruins of a decaying civilization along the Rio Grande. T hey guide us through its sonic landscapes composed of cyber-sonideros, ghosts singing corridos, and cholombianos dancing chuntaro-style to deconstructed 3ball beats.
The mixing of traditional musical styles of the border with haunting soundscapes, which end up transforming the music into something alien and estranged, is characteristic of their aesthetic. This approach could be seen as serving a dual purpose: while the samples of corridos and sonideros function to invoke the lost futures they contain, the phantasmagoric sound effects layering the music allow for the return of the repressed histories of the region, namely the grinding conditions of life and work confronted by workers, farmers, migrant travelers, and so-called “illegal aliens”.
These repressed elements alluded to in the release point to the horrors capitalism requires to sustain and reproduce itself, requirements which are met in the margins of the system while perpetuating remnants of colonialism. Writing about the British colonization of India, Karl Marx touched on the reality of the borderlands of capitalism: “The profound hypocrisy and inherent barbarism of bourgeois civilization lies unveiled before our eyes, turning from its home, where it assumes respectable forms, to the colonies, where it goes naked.”
Doesn’t the brutality of labor experienced in maquiladoras, the never-ending work of immigrant farmers, the constant harassment and persecution of “illegal aliens” by the militarized border patrol, as well as the narco and State violence endured in everyday life, represent situations that reveal the truth, or essence, of capitalism? To paraphrase Marx, the inherent barbarism of capitalism is unveiled before our eyes at the US/Mexico border.
Border hauntology, then, can be seen as a means to invoke the ghosts of lost futures while creating a sonic phantasmagoria that brings to the surface the everyday violence - whether in the maquiladoras or the immigrant detention centers - visible in the borderlands. These repressed histories are explored aesthetically in quematrasgos along with a search for the traces of lost futures available to us in certain cultural expressions of the border. Expressions which are grounded in communal forms of enjoyment and other possible modernities, as is the case in the sonidero movement.
The specter of sonidero culture appears in the first two tracks of the release, FFA and roundUP (irrigated dessert). FFA submerges us into the distorted ambient soundscape of cyberspace while the pitched-down voice of a cyber-sonidero informs us he’s performing from a youtube streaming channel. The heavily eviscerated pop song serving as background noise resembles the pastiche mode hauntology seeks to transcend. The cyber-sonidero informs us we are also located in the borderlands by using expressions particular to the region (What the hell are we doing? Vamos a prender el bote!)
In roundUp (irrigated dessert), the cyber-sonidero drops a cumbia rebajada track (a style of mixing cumbia in which the music is pitched lower in order to create a haunting effect) while, like Virgil guiding Dante across the gates of hell and its labyrinthine structure, he announces our descent and crossing into the hellish side of the borderlands, into lo real: la frontera del alma, the real: the border of the soul. In the process, he recites its memories and spaces of terror over a cumbia rebajada:
“Dios. Maquiladoras. Angeles. Ciudad Juarez, Chihuahua. La Frontera. Eagle Pass, Texas. Lo Real. Estado. La Frontera del Alma. Tiempo. El Mezquite. Occurencia Vertical. El Paso del Águila. Estudio Esotérico. Estudio Prehispánico. Tormenta. Lo Verdadero, Lo Real, Lo Mítico. Desencarnado. Milagro. Dios del Charco. Dioses Castrados.”
“It is true that the old world belongs to the philistine. But one should not treat the latter as a ghost from which to recoil in fear. On the contrary, we ought to stare the ghosts in the eye!”
-Karl Marx
The sonidero culture invoked throughout the release point to the lost future being traced, offering an utopian vision in conflict with the underworld of the borderlands. Remnants of the sonidero movement still survive in the margins, whether amongst immigrant communities in the U.S. or in Tepito, albeit under constant attack by the repressive apparatuses of the State.
The futurist aesthetic and modernist ethos of sonideros are sometimes neglected by critics and musicologists. Sonideros are reduced to an exotic curiosity. They are viewed as traditional relics of some pastoral past, or as a form of resistance against the intrusion of western, or rather American, culture, due to their age-old Latin American and Caribbean music selection. In consequence, the potential futures they contain are ignored. Without a doubt, far from dealing with reality, these perspectives reflect the critics deep-rooted and erroneous belief that the modern and the new could never emerge from the margins of world capitalism.
Sonideros are better understood as modernist future rhythm machines that build bridges of solidarity within and across borders, while enforcing the right to the city. According to the musicologist Dario Blanco, “sonideros are heirs, upgraders, and transformers of a deep tradition of collective rituals.” In her essay Alternative Bodies on Streets, Cathy Raglan points to their transmodernist nature: “Sonideros present an idiosyncratic fusion of tradition and modernity in which the roots oriented sounds of rural vallenato-style cumbia are combined with the sonidero’s space-age sound effects.” Another feature they inherent from modernism is the strategy of turning the familiar strange and the strange familiar. As Cathy Raglan explains, “sonideros employ technology to alter their voice through filters, to alter the pitch, to create voices which are deep, grandiose and booming through the streets as if coming from another dimension.”
Ruben Lopez Cano, editor of Sonideros en las aceras, vengase la gozadera, writes about the sonideros approach to the city and public spaces: “The sonideros ability to close the street for public use makes people feel the power to partake in body expressions that deviate from the norm.”
These are some of the lost futures mourned and remobilized in border hauntology: the radicality of modernism, as well as the the right to the city and public spaces. These dreams and political aspirations can be traced through the actions and demands raised by the students of 1968. Describing the cultural effects of 1968 in Mexico, in his essay “The Melancholy Left”, Bruno Bosteels writes: “One of the lasting consequences of the events of 1968 consists precisely in displacing the borders of the political so as to include the everydayness - the infra-ordinariness, so to speak - of those who are the subjects of struggles for justice.”
By taking over the streets to create public spaces where joyous collective energies can emerge, where people can begin to sense what having control over our lives and cities could truly mean, sonideros remind us that alternative futures continue to exist in the margins, not only virtually but in concrete terms. As the surrealist poet Paul Eluard wrote, “there is another world but it is in this one.” The task is one of theorizing and acting in ways which expand such worlds which point towards a communist modernity.
In essence, the sonidero movement is a reverberation of modernism. In effect, the specters of modernism and its promise of the new are today roaming the margins of the so-called underdeveloped world, persisting in the aesthetic and political strategies of sonidero street culture. They allow us to contemplate an alternative modernity where technology and machines become means of creativity and joy rather than infernal machines of exploitation.
“Have you heard the cry of the dead?”
Doña Eduviges Dyada
Aside from the lost future of sonidero culture and its vernacular modernism there are other hauntings occurring in the borderlands. Sinister ghosts also appear in a region whose history has been defined by endless violence and necroeconomics. What does Nudo’s phantasmagoria of repressed border histories reveal? What forms do the central affects of hauntology, those of nostalgia and melancholia, manifest in the border?
Given the savagery and dispossession that continue to permeate the region, the other form of haunting that appears deals with the victims of the social horrors encountered in the region. It deals with the countless deaths of migrants risking their lives to cross over the Rio Grande, a space which today has been turned into a war-zone, as well as with the plague of femicides continuing to grow along border, or historical events like the massacres of students fighting for a better world, whether those of Tlatelolco in 1968 or Ayotzinapa in 2014.
These ghosts of these victims are spectrally present in the last track of the release, eCorrido. The track begins with a dubbed narco-corrido playing softly in the background, invoking the “war on drugs” and the senseless deaths of its 85 thousand victims (according to the dubious official figures of the government). A corrido begins playing amidst alien-like sci-fi effects insidiously dominating the atmosphere, while the singer struggles to be heard as he drifts into a cloud of impenetrable smog. The muffled singing leaves one wondering whose voice we are listening to and what message they are attempting to convey. The voice could very well be that of a ghost of one of the victims of narco wars, one of the massacred students of 1968, or a migrant that died under the brutal heat of the Arizona dessert, attempting to narrate the realities of Mexico’s repressed history. Throughout the corrido, they persist in their attempt to overpower the alien forces - symbolic of the maquiladoras, narcos, and corrupt politicians - that have taken over the border and our lives.
Border hauntology isn’t just dealing with lost futures, ghosts of by-gone eras, or with the “specter of a world that could be free.” The presence of ghosts belonging to contemporary history is precisely the result of the necropolitics shaping the lives of the oppressed in the border. As Bruno Bosteels writes in his study on “Politics, Psychoanalysis, and Religion in Times of Terror,” “In Latin America, ghosts don’t only appear to its inheritors; but also at the time of the events themselves.” The importance of present-day histories of violence to be heard in order to grasp the truths of capitalism explains the apparitions of these specters in border hauntology. The phantasmal voice in eCorrido is the voice of those being currently condemned to death by the logic of the system, voices demanding their presence in our collective imaginary. Put differently, in contrast to its British version, border hauntology goes beyond nostalgically mourning lost futures by dealing with the contemporary invisible ghost-like migrants that continue to die at the altar of capital accumulation.
The track Acequia also raises the question of giving voice to the dead whose histories uncover the systemic horrors surrounding us. On an aesthetic level, the track resembles Brian Eno’s Ambient 4: On Land in the way it shapes an ambience of simultaneously eerie and ethereal soundscapes composed of gentle guitar strums, distant voices that disappear as soon as they appear, along with, in the words of Mark Fisher, “a susurrating suggestion of nonorganic sentience”. What the sonic atmosphere of Acequia ultimately invokes through the incapacity of the impervious voices to express a single word, or the guitars to compose any kind of persistent melody, is a desire to give ontological presence to the uncomfortable dead.
The track is also reminiscent of Juan Rulfo’s Pedro Paramo, a novel which, like Nudo, employs the method of phantasmagoria to conjure the ghosts whose stories allow us access to the real of capitalism. The ambient soundscape riddled with glimpses of dead souls unable to narrate their stories found in Acequia feels very much like Juan Preciado’s experience as he descents into Rulfo’s Comala, a ghost town symbolic of the land of violence and death that is Mexico. Juan’s first encounter in Comala is with Doña Eduviges Dyada, who asks him: “Have you heard the cry of the dead?” As Juan continues wandering through the crumbling and deserted buildings of a by-gone era, unable to find a living soul, he suddenly feels the presence of ghosts attempting to speak all around him:
“I saw there was no one, although I kept hearing what sounded like the murmur of many people in a market. A constant buzz without rhyme or reason, similar to that which is made by the wind rustling the branches of a tree in the night, when neither the tree nor the branches can be seen though their whispers can be heard. I didn’t dare take another step. I began to feel that the murmuring was getting closer and circling me like a swarm until I was able to make out a few wards, almost void of sound: ‘Pray to God for us.’ That’s what I heard them telling me.”
This desire to give voice to the uncomfortable dead whose histories convey the realities of our world is essential to Nudo’s border hauntology. By invoking the ghosts of such necropolitical events of past and present in a sonic register, Nudo converts Gayatri Spivak’s question “Can the subaltern speak?” into “Can the dead speak?”
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produccionesscorpion · 2 months
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Nery Pedraza y los Guaraperos de la Cumbia 🎙️ Danza Sonidera 💃🕺
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alditho · 2 months
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bytesizelizzlife · 6 months
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Cumbia sonidera Mix (Rasposa pero sabrosa) - Dj Rafa Flores
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