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Guadalupe Plata

Guadalupe Plata (2023)

    2023 is the year of the return of Guadalupe Plata with their seventh studio album and a return to their original duo formation. Everlasting Records are excited to announce t he first new album from Guadalupe Plata in 4 years, ‘Guadalupe Plata’ will be released on May 5th. The new single ‘En Mi Tumba’ out now, which is intended as the epitaph of a knife fight victim whose grave is never visited. A soul in pain that has passed through the earth without pain or glory. Unusual chromatic notes for the group's career coexist here with recognizable Gun Club hints on the slide.

    Guadalupe Plata hail from Úbeda in Jaén, Spain, and are comprised of Pedro de Dios Barceló and Carlos Jimena. As with their previous works, this new album does not have a title, but it does overflow with good music. Carlos explains the process, “The record was recorded in two different locations with the same sound studio project, based on a 4-track Tascam 246 recorder with type II chrome cassettes, using 18 Tudor brand cassettes. All the recordings were made by the band in Úbeda, looking for new sounds with the freedom of having unlimited time to do it.” They call this process the Estudio Ataúd (Coffin Studio). The digitization, mixing and recording of the extra tracks was carried out in La Mina (Seville) in a joint production between Guadalupe Plata and Raúl Pérez where they finished adding both “dark saxes and 8-bit keyboards”.

    The cinematographic representation of the desert is an influence on the instrumental passages of Guadalupe Plata. In these times when reality is stranger than fiction, the apocalyptic chromatic effects and crepuscular tones left in the Andalusian sky by the cloud of dust from the Sahara were the inspiration for ‘Calima’. The song took on a new life with the contribution of the sinuous winds of Matías Cordero, which also appear on ‘Maleficio’ and ‘Y.N.T.M.A’ (the latter an acronym for "Ya no tengo mi ataúd" (I don't have my coffin anymore), a title that was sinisterly suggested by the young son of an old friend).

    ‘La cigüeña’ is a cover of a song by Agapito Marazuela, guitarist and compiler of Spanish folklore from the last century, and tells the tale of a battle between a stork and a snake. The images and mysterious Andalusian details brought by the melody fit perfectly inside the universe of Guadalupe Plata, who display here their most characteristic drums, a percussion played with a bottle of anise that breathes fire, a guitar following one of the rumba rhythms created by Peret and, may Agapito forgive them, a voice with a vocoder effect.

    Another resource on this record worth drawing attention to: Carlos uses a kerosene drum on "Zapateado" to pay tribute to Robert Belfour, one of the last great bluesmen whose footsteps the band literally tried to follow, unsuccessfully, during days spent playing in Clarksdale and Memphis invited by the Deep Blues Festival.

    ‘La Tía Tragantía’ is a tale from Andalusian oral tradition. A legend about the daughter of a king of Cazorla who ends up becoming a half-serpent, half-woman being that was told from generation to generation to scare children. In the context of this generational transmission we also have to understand ‘El Cóndor Pasa’, with a very strong traditional bond in their homes, it was the song with which Pedro's father taught him to play the guitar. After the introduction, the speed of the tape was slowed down, giving rise to a chaotic effect created by chance -the second guitar was recorded with an amplifier whose batteries were about to run out-. Yet another last nod to the roots of Guadalupe Plata is ‘Stabat Mater’, the hymn of the Cofradía de la Soledad, one of their favourites of Úbeda's Holy Week.

    ‘Ruina’ tells the emotional ups and downs of a long night round between the Granada neighborhoods of Realejo and Sacromonte, in which a heart broken by mourning began to find relief.

    In ‘Al Infierno Que Vayas’ we find ourselves at a crossroad: the starting point is the lyrics of a flamenco falseta by Rafael Farina to which T-Model Ford style guitars are added as well as deconstructed drums and percussions which reminiscent of Captain Beefheart. All passed through the blender of the Úbeda musicians, for whom there is a clear parallel between the lyrics of flamenco and blues, "with a point of broken or crazy love stories, of not turning your back on pain, but facing it".

    The album cover, designed by Pedro, is a game board that unfolds on the back of a coiled snake with the added difficulty that all the squares lead to ruin. The photographs that come with the release, taken by Carlos, are inspired by The Duellists by Ridley Scott and serve to remind us that since their birth, 15 years ago, Guadalupe Plata had never entered a studio in their original duo format.


    La Cigüeña
    Tia Tragantía
    Al Infierno Que Vayas
    En Mi Tumba
    El Cóndor Pasa
    No Hay Dónde Ir
    Nunca Llueve Como Truena
    Stabat Master



      L´Exotighost are planning a new approach to the concept of Exotica for 2022. In their second album, "Kamongo", they spice up the original recipee of the genre with an array of new flavours and textures. The result in this will delight Exotica fans and newcomers who enjoy discovering fresh, original sounds.

      Kamongo is a swahili word for the lungfish that lives in river Congo. When the river dries it is able to survive a long period of time in the mud, using its lungs instead of its gills until rain season, when it becomes once again, a fish. This prodigy of nature is a symbol anyone who plays music can relate to, even more so if their genre is Exotica. The history of Exotica is a bumpy one through the decades, sometimes flowing smooth, sometimes stalling buried under the mud until almost disappearing, but with endless capacity to mutate sonically and to reach new people. Kamongo is a word with which instrumental, original artists identify themselves more than ever, in this era of extreme survival. Its an African word but it appears in a film that takes place in the Amazon jungle - the habit of switching concepts from one continent to the other being very related to exotica- Jack Arnold's "Creature From The Black Lagoon", in which kamongo is a living fossil, the humanoid creature that lives in the black lagoon. This film contains all characteristics of exotica: mystery, remote landscapes and a risky swapping of cultures. Kamongo's spirit is present throughout the whole album.

      Exotique Mecanique opens the album and is a summary of its whole concept: oriental melodies, sounds inspired by surf music, subtle electronic processes, waves ambiance, theremin atmospheres, relentless rhythmic marimbas and a nightingale that seems mechanical but is completely real.

      Kamongo smells of a Caribbean party, a cha-cha-cha with aged rum that soaks the euphoric choir and the loud mambo. An evident reminder of the rusty Tropic that Marc Ribot evoked in his Lounge Lizards-Tom Waits era.

      Quiet Gnossienne is an exotic wet dream turned real, bringing together Erik Satie's Gnossienne nº 1 and Les Baxter's Quiet Village, Exotica's reference theme, and surprisingly this experiment works wonderfully. Marimba works on the Baxter part while the interesting shamisen sound works with the Satie melodies. All of which is supported by Madrid Botanical Garden's croaking frogs as a nod to the frogs in the Hawaian Village at Waikiki Beach which, according to a legend, accompanied the first live performances at the Shell Bar of Martin Denny's band in the 50s, Exotica's origin as we know it today. Wailua Lui honors the Wailua falls (Kauai - Hawai) with a bubbling sound, a sort of bubble-gum-surf of exotic flavour in which theremin melodies and some mermaid chants float.

      Mad Mad Madrid is the sonic expression of the urban jungle, as frenetic and unpredictable as is the city of Madrid. Urban sounds get intertwined with native birds over an Exotica up tempo with some chicha and cumbia- punk.

      El hombre y la tierra might be the biggest achievement of the album: doing a new version of the theme to one of the most popular nature documentary series is an emotional starting point, as it is a song that has marked several generations. It could be considered the first Spanish song to have such a tribal and exotic spirit. In this cover, L'Exotighost maintains the percussive exuberance of the original and adds countless nuances, both electronic and acoustic, adding an ultra-low brass section (baritone sax and bass clarinet). On this song the role of the birds, which is key to exotica, is played by countless Iberian species, such as wolves, kestrels, lapwings, cicadas, etc. Iberian Exotica in its biggest expression.

      Twilight On a Bald mountain is yet another successful intertwining of popular songs. The threatening melody of Mussorgsky's Night on a Bald Mountain flies over Twilight Zone's theme riff, all propelled by a surf rhythm in which you may find some influence of Neal Hefti's Batman, a hypersonic trip in the most interesting fashion of spatial Exotica.

      Addis La Nuit is a musical deja vu that is a reminder of that very peculiar night one can live in the Ethiopian capital, with some Ethio-jazz combined with cooler and epic sounds and the appearance of the vibraphone and the atmosphere created by lap-steel guitars.

      Psicalipso, recalls a tropical noir soundtrack, once again with the vibraphone in the foreground, as an unlikely crime fiction in the jungle with an atmosphere created by the band of the Star Wars canteen. A roller coaster of changes and intensities over a 7/8 rhythm that reminds us of the most exotic John Zorn when he led Klezmer Voodoo Party in the middle of the jungle.

      Noctambulance is an ode to nocturnality and to the night in general in its most inspiring and mysterious dimension, sounds of nocturnal birds and crickets are mixed with melodies of theremin, shamisen, lap-steels and processed marimbas.



        An improbable and hallucinatory cocktail wherein The Comet is Coming, Kilimanjaro Darkjazz Ensemble or Kneebody mingle with Isotope 217, The Cinematic Orchestra, Boards of Canada, or Tortoise, BadBadNotGood.

        Mike Edison & Guadalupe Plata

        The Devil Can't Do You No Harm

          'Happening Right Now' feature in Shindig (March 2021) Legendary New York author and musician joins Andalusian troubadours for a startling record of gospel, rhythm and futuristic punk folk blues. A powerful statement of love and protest Get ready for an adult dose of Old Testament gospel, smoldering songs of freedom, salvation, and lots of love - hollering and deep country crooning, twisted blues, plantation tunings, African percussion, and outer-space spirituals - this is a new breed of rhythm and roots music, a sonic manifesto for these crazy times!


          Barry says: A brilliantly energetic and varied coalition of clashing folk-punk, frenetic distorted 12-bar and galloping Americana. It's an intoxicating and rich juxtaposition of chaos and beauty, and a must-listen for anyone who likes the more esoteric ends of any of the above.

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