When you listen to Titanic, you feel light-years away from your idea of Mexican music. This is experimental, avant-garde pop from Mexico City’s trendy neighbourhoods. Like electronic music, experimental rock is abundant in the Mexican megalopolis.<\/p>\n\n\n\n
<\/p>\n\n\n\n
Vidrio brings together Mabe Fratti, a Guatemalan singer and cellist based in Mexico City, and multi-instrumentalist Hector Tosta, and immerses us in chamber pop\/jazz sung in Spanish.<\/p>\n\n\n\n
<\/p>\n\n\n\n
At times, one imagines oneself in an ecclesiastical celebration with echoing saxophones, at others, in a very obscure jazz club, from which emanates an energy set with disquiet, even anguish. As a counterpoint, there are also moments of gentleness and hope.<\/p>\n\n\n\n
<\/p>\n\n\n\n
In addition to Mabe Fratti’s vocals and cello, there’s Hector Tosta (aka I la Catolica) on guitar, piano and keyboards, Jarrett Gilgore on saxophones and Gibran Andrade on drums. This fairly simple quartet manages to create a very, very special atmosphere.<\/p>\n\n\n\n
<\/p>\n\n\n\n
This album is musically nested, but curiously, it’s probably the most accessible where Mabe Fratti can be heard. The Guatemalan-Mexican composer’s two solo opuses, otherwise very interesting in my humble opinion, are subdued with squealing cellos, dissonance and experimentation of all kinds.<\/p>\n\n\n\n
<\/p>\n\n\n\n
Titanic is the ideal gateway to the highly original space of Mabe Fratti and her two records: Pies sobre la Tierra<\/em> (2021) and Se Ve Desde Aqui<\/em> (2022).<\/p>\n\n\n\n <\/p>\n\n\n\n The young lady also collaborates with Amor Muere, another techno UFO from Mexico City.<\/p>\n\n\n\n <\/p>\n\n\n\n We haven’t heard the last of Mabe Fratti and Vidrio.<\/p>\n\n\n\n <\/p>\n\n\n\n