Regardless of who you are voting for, there is one thing that “both sides of the aisle” can agree on — that this is the nuttiest and most polarizing presidential election in easily a generation. One of the major issues that has been very divisive is that of immigration. A certain Republican nominee has made some pretty, let’s call them “harsh” statements especially about those who are Latino and undocumented living here in America. How does this all apply to a tour diary for New Noise? Well, Mexico’s Silent has announced that they will be releasing their debut album A Century of Abuse on October 28, 2016 through Three One G Records and to support it they went on a US tour with Retox. So what will it be like for a band from Mexico to tour the country during such hectic political season? Good question. Find out in the band’s seventh and final video entry of Mexico’s Silent Touring In (A Pre-Trump?) America.
Created in Baja California, Silent takes on various aural approaches in a high energy, well-composed style. While Andrea Varela’s drumming, Rodo Ibarra’s (Maniqui Lazer, Letters From Readers) bass, and Alejandro Lara’s guitar lines do vary quite a bit depending on the track, Jung Sing’s (Maniqui Lazer, All Leather) vocals are a common thread throughout, consistently emitting honeyed grief that binds the listener to the music and the music to itself. Although the band itself is in its infancy, the members are skilled, well-versed musicians who have toured in their prior bands alongside friends and influences including Xiu Xiu, The Black Lips, The Locust, Chelsea Wolfe, Crystal Castles, and The Rapture, among others.
Silent’s newest and debut LP, A Century of Abuse, is being released by Three One G Records on October 28th with a limited edition of 500 records on white vinyl.
A Century of Abuse was recorded in Mexicali B.C by Gerardo Montoya, produced by Ruben Tomayo (Traum, Static Discos, Rocket Racer), mixed and mastered at Facsimile Sound. Andrea Ruelas guested on the cello.
Miles Davis said that “it’s not the notes you play, it’s the notes you don’t play”. It’s when one is silent that sound suddenly becomes the most meaningful, the most necessary—moments of reflection or restraint punctuate the importance of what’s there versus what’s not. Framed in this way, a band named Silent suddenly seems like less of a paradox and more of an awareness. This is especially the case when considering their album title, A Century of Abuse, of which one could draw many connections between oppression and silence. Interludes bring forth hypnotic sounds that have an almost cinematic quality, all heartbeat and boots on cement rhythms with sunsets on a desert landscape distortion. Other tracks take on a more fast-paced approach, sometimes even crossing barriers into catchy, surf-like guitar riffs. Jung Sing’s tones are soothing but woeful, desperate and yet in no rush, perhaps calling to mind something in the spirit of a Mexicali-reincarnated Nick Cave.
Video Tour Diary #7: