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Calexico will lay down their Mexican-American stylings on June 11 at
the King's Club in Raleigh. Opening is Macha, from Athens, Ga.
Musings on Mexico Fuel
Calexico's Intricate Mix
Stewart Simpson
Staff Writer
Calexico is a little town sitting direct
ly on the Califomia/Mexico border.
Back in the good ol’ days, before the
border was lined with machine gun-tot
ing guards and drug sniffing dogs, the
tiny towns of Calexico and Mexicali
actually overlapped one another.
Back then,
you could
stroll down the
main street eat
ing a burrito
and drinking a
cold cerveza
with your for-
Hi CD Review
Calexico
Hot Rail
ffff
eign neighbors without having to show
your passport or getting strip-searched.
Fast forward to the year 2000, and
cruise your low-rider out into the dry
shimmering heat of the Arizona plains
to find out what “desert music” is really
about.
Hot Rail, the third album from
Calexico, explores the drifting sands of
multi-instrumental texture and orches
trations.
There is a cinematic beauty to the
album. It plays like a lazy, 10-fi David
Lynch-esque cowboy movie.
Mariachi trumpets and pedal steel
guitars are tied together with sizzling
latin rhythms.
Hot Rail, the band’s third long player,
unfurls dramatically with more colors
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and depth and detail than what is typi
cally offered by other bands higher up
on the indie-worship food chain.
The Southwest provided a dramatic
backdrop for the band’s gritty albums
Spoke ( 1996) and Black Light (1998).
On Hot Rail, Calexico’s sound has
taken a step up into a fuller patchwork
of Mexicali brass and spaghetti western
arrangements with even more laid-back
sentiments, and backed by sumptuous
layers of horns and slide guitars.
Hot Rail sounds like a collaboration
between the Buena Vista Social Club,
Gram Parson, a wide-eyed wunderkind
producer and the Flying Burrito
Brothers.
The album starts off with “El
Picador,” an instrumental track that
spins the listener around like a tumble
weed caught in a desert sandstorm.
Track two, “Ballad of Cable
Hogue,”is a 3:28 tale of double-crossing
lovers after a gold heist gone bad.
Skipping forward to “Fade,” a
somber track that plays like a young
Cormec McCarthy screenplay, lets you
drift fntoNlte-steepy drum and cymbal
ride, which is riddled with softly splat
tered blasts of muted trumpet.
Wrapping up the album is the mini
malit title track, which starts out with a
field recording of a welder crying “Hot
Rail, Hot Rail.”
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.
Music Encompasses Life in Sevilla
Kit Foss
Staff Writer
After living in Sevilla for more than
a week, I have noticed that this is a city
controlled by music.
Daily, I wake to radio tunes filtering
through our open window. Like the
music I hear in the stores in the fashion
able shopping district of Sierpes, some
songs are in Spanish, but as often as not,
I am likely to hear REM or Tom Petty.
Further music originates in the
sounds of the city: honking of taxis,
clicking of stiletto heels and the steady
clip-clop of Sevilla's horse-drawn car
riages form a rhythmic euphony punc
tuated by the voices of the people.
Tragically Hip Shoot for U.S. Fame With CD
Mark Thomas
Staff Writer
On their 9th studio release, the
Tragically Hip do their best to live up to
their reputation as Canada’s premier
rock band.
Long established in their native
Canada, where their fame is unparalled
(yes, they are even more popular than
Celine Dion), the band received a blink
of national
exposure in the
U.S. with an
appearance on
Saturday Night
Live following
the release of
their 1994
Hi CD Review
Tragically Hip
Music at Work
ffff
album Day for Night. Unfortunately, the
Hip never caught on south of the border
following this appearance and have
remained one of Canada’s best kept
secrets, aside from the tasty beer.
Music at Work is a vivid testimony to
this fact. From the lead track, “My
Music at Work,” it is apparent the Hip
haven’t lost a beat. With the same blend
of electric and acoustic riffing that has
become the band’s trademark and lead
singer Gord Downie’s voice, still unfet
tered by age, the band proceeds to reaf
firm its spot atop Canadian rock.
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Arts
At night in Sevilla, it is common to
come across “tunas” in the street. These
jubilant musicians wear dark velvet
clothing and roam as serenaders at
restaurants and homes.
Andalusia is famous for its flamenco
music and dancing. With my fellow stu
dents, I visited the Carboneria, an old
coal merchant warehouse, to experience
flamenco first-hand. It’s in the heart of
Sevilla, the “centro-centro-centro,” as
my host father likes to say. I discovered
a quiet piano bar that leads to a larger
flamenco bar with a grand patio. This
place housed the real action: four musi
cians were clapping, singing, fiddling
and playing the guitar to encourage
spontaneous dancing from the women
Downie, the band’s sparkplug and an
act worthy of watching even if he didn’t
have a band, continues in his tradition
of lyrical confusion.“l had a bird’s eye
view of a bird’s eye view when I saw
you,” Downie croons on the album’s
sixth track, “The Bastard,” leaving the
listener feeling a tad confused but
nonetheless engaged.
The catchier tracks, “Lake Fever,”
“Toronto #4” and “Putting Down" are
all songs that create a mood that is
unmistakably Canadian, a characteristic
the Hip are bound to perpetuate.
But continuing on with comparisons
to past albums may be misleading.
Indeed, Music at Work is the sign of a
band that is evolving.
Departures from their usual six piece
rock arrangement appear throughout
the course of the album as the band
employs for the first time back-up
singers and additional musicians. In
bringing in help, it appears the Hip are
willing to admit, even to themselves,
that there are some things they can’t do,
like play cello.
Despite the title, this album is any
thing but music you would expect to
hear on the job.
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu
in front of them. The emphasis was on
clapping rather than the actual melody.
Sevilla is a city famous for the bells of
La Giralda and its grand Cathedral,
which is the largest Gothic building in
the world. I attended service there on
Sunday expecting to hear plenty of clas
sical organ pieces. To my surprise, the
Cathedral was showcasing its jubilee for
the arts, and acoustic guitarists played
while a male chorus sang modem
hymns. Delicate as the music sounded,
the guitar chords still reverberated force
fully through the main chapel.
Religious floats that the locals parade
called pasos are a frequent sight.
This week, I heard the music of a
band announce the arrival of a paso by
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Canadian rockers the Tragically Hip hope to garner more attention in the
U.S. when their new album Music at Work hits stores June 13.
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playing a salute on their horns and
found a group of boys bearing the paso
on their backs. The leader of the paso
hushed the band while the boys per
formed a feat that wowed the crowd:
they had been nearly standing up under
the paso, but they knelt two feet in order
to enter the rent-a-car garage across the
street. Once the paso was inside, the
horns sounded again and the crowd
cheered at the achievement. After the
boys knelt again to exit the garage, the
parade resumed and marched through
the city streets, adding to the inherent
music of Sevilla.
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.
7