MERIDIAN BROTHERS

Ever since 1998, Bogotá-based Colombian composer, producer and multi-instrumental alchemist Eblis Álvarez has been cooking up a mad brew of psychedelic sounds in his laboratory-studio under the moniker Meridian Brothers. This is just one of his many musical projects and entanglements, but it has remained his most consistent, rewarding and prolific. Over the decades as the one-man studio band Meridian Brothers, he has released a tide of challenging, exciting and amusing music at once experimental and traditional, ancient and futuristic, infused with a sense of happenstance as well as intentionality. Along the way, Álvarez formed a live band with like minded musicians and the group began to perform Meridian Brothers music in public for an ever-growing, enthusiastic international crowd. His penultimate release, Meridian Brothers & El Grupo Renacimiento, traced the trajectory of an invented veteran salsa band being reborn in a compromised state, questioning our obsession with truth and lies, illusion and reality. Interestingly, it was released on a revived Ansonia Records, once home to folkloric and popular Latin sounds of yesteryear, now reborn like Alvarez’s Grupo Renacimiento.

Now, Álvarez and his Meridian Brothers project returns to Ansonia with Mi Latinoamérica Sufre, a concept album whose sonic footprint was born from the desire to explore the untapped potential of the electric guitar in a tropical Latin context. The record draws inspiration from the chiming, clear-toned and intricately rhythmic traditions of African highlife and soukous guitar band music, sounds that are as popular at coastal Colombian picó sound system dances as they are on their home turf in Mama Africa.

But this certainly isn’t your typical tropical guitar record (if there is such a thing); it’s a fearless sonic experiment infused with invention, playfulness and emotion. On this album, the Meridian Brothers sound eschews distortion and typical prog or psych rock clichés, opting for a pure, clean approach. Mi Latinoamérica Sufre pays homage to the golden era of ’70s Congolese rumba, Ghanaian highlife and Nigerian afrobeat, blending (or as Álvarez puts it, “sampling”) these influences with an array of fresh sonic contexts anchored by various Latin rhythms, all played by Álvarez. The result is a collection of intricate compositions weaving elements of cumbia, champeta, soukous, Brazilian tropicalia, and underground psychedelic rock all contained within the Afro-Latino guitar band format.

In terms of lyrics and visuals, the album’s central conceit focuses on exploring the ego trip, presented with a touch of humorous self-pity as a voyage of self-discovery and search for meaning and identity. This is epitomized in the record’s title, which translates as My Latin America Suffers, reflecting a caricature of self-pity. This theme unfolds through the narrative of Junior Maximiliano the Third. This eccentric character, a sort of everyman urban bourgeois, navigates the complex realms of self-discovery using psychedelic substances, or soma, to find joy in his youth. He embarks on a journey through psychic mandalas, facing ups and downs, moral hangovers, and failed attempts at wisdom through the study of folklore. Fueled by indignation, Junior engages in a soliloquy of political philosophy and seeks answers on the Caribbean coast, only to deepen his sadness. Nostalgia for the Andes prompts him to ponder the fate of the ancient huayno dance. Amidst parties and excess, paranoia ensues, manifested by an imaginary companion who enters the dialog. Junior, battling depression, explores scientific theories on YouTube. He realizes the beauty of Latin America but acknowledges the shared suffering of all Latinos. In a conclusion tinged with self-indulgence, Junior deems his generation a waste, feeling misunderstood. He attributes his corruption to society, blaming the government for negligence and demanding subsidies for his perceived suffering. Throughout this journey, Álvarez shows off his prodigious vocal skills, taking on various different voices, from bizarre to natural, in order to create a sonic theater of the mind. Accompanying the music is a visual narrative crafted by Colombian artist and DJ Mateo Rivano. The album cover and graphic art follow the same thematic direction as the music, portraying a character navigating various psychological states of disorientation, self-pity, enlightenment, and optimism. In this way, Mi Latinoamérica Sufre can be seen as a worthy, innovative and essential addition to the tradition of the concept album, albeit with the unmistakable bitter-sweet flavor of Latinoamérica.

SINGLES:

The musical essence of "En el Caribe estoy triste" is deeply intertwined with the captivating rhythms of "soukous," a vibrant Congolese dance genre renowned for its lively tempo and intricate guitar melodies. However, this influence undergoes a transformative journey, merging seamlessly with the coastal Colombian flair of "champeta." The song features a guitar-driven sound with catchy riffs and lively notes, evoking the vibrant atmosphere of the Afro-Caribbean coast.

"Mandala" seamlessly blends the rhythmic pulse of Afro-Venezuelan "tambor" with funky grooves, reminiscent of the 1970s Colombian music scene, notably from the coastal city of Barranquilla. The track feels like a lingering post-trip vibe, with the hypnotic refrain of "Mandala" echoing throughout. The upbeat guitar adds a vibrant touch to the overall sound.

Infused with elements of calypso intertwined with Colombian and Haitian roots, “Sé que estoy cambiando” exudes an infectious energy and vibrancy. Its spirited rhythm is complemented by the intricate guitar work reminiscent of West African Highlife. As the music unfolds, it transports you to the pinnacle of a psychedelic journey, evoking a sense of enlightenment and euphoria.