Track Listing
DISC 1: REVES:
1. 11
2. 2
3. 9
4. 5
5. 3
6. 8
7. 10
8. 5.1
9. 13
10. M.C. - (with Kronos Quartet)
11. 6
12. 7
13. (Untitled) - (hidden track)
DISC 2: YOSOY:
1. El Padre
2. La Locomotora
3. El Rio
4. El Polen
5. Dos Ninos
6. La Muerte Chiquita
7. El Espacio
8. Guerra
9. Sin Titulo
10. El Hombre Impasible
11. El Ave
12. Esperando
13. Arboles Frutales
14. Bicicleta
15. Lento
| Details | | Contributing Artists: | Kronos Quartet | | Distributor: | WEA (Distributor) | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes
Cafe Tacuba: At Menardo ILK, NRU (vocals, acoustic & electric guitars); Joselo Rangel (acoustic & electric guitars, background vocals); Enrique "Quique" Rangel (electric guitar, guitarron, bass); Emmanuel del Real (guitar, electric piano, Clavinet, Mellotron, keyboards, programming, jarana, background vocals).
Additional personnel: La Compania Nacional de Danza Folklorica del Instituto Nacional de Bellas Artes.
Kronos Quartet: Hank Dutt, Jennifer Culp, David Harrington, John Sherba.
Cuarteto Clarinetes Arghul: Cesar Encina, Emiliano Lopez, Itzel Rodriguez, Antonio Rosales.
Producers: Gustavo Santaolalla, Cafe Tacuba.
Recorded at En Ensayo II, Satelite, Mexico and LaCasa, Echo Park, California.
REVES/YOSOY was nominated for the 2000 Grammy Award for Best Latin Rock/Alternative Performance.
REVES/YOSOY won the 2000 Latin Grammy Award for Best Rock Album and was nominated for Best Engineered Album.
Rather than proceed by any stylistic directive, Cafe Tacuba seem to go more by Duke Ellington's familiar adage: "If it sounds good, it IS good." This two-disc set is easily the band's most daring pre-Y2K material. The disc entitled REVES is entirely instrumental, juxtaposing dreamy space-scapes with a chilly, post-industrial "found sound" aesthetic. YOSOY on the other hand, offers vocal cuts that recall the pop-friendly genius of RE.
YOSOY's "La Locomotora" is a gleeful, frenetic romp, while the leisurely "Los Ninos" combines wistful vocals and piano with the gritty sound of rusty pipes and fuzz guitar. Elsewhere, the sturdy nonchalance with which Tacuba hops genres somehow distills into wonderfully disaffected abstraction on REVES. Sparse, chaotic and colorful at the same time, the material is instantly cinematic. "9" starts out as a narcotic slide-guitar reverie that later gives way to an urgent drum segment, coolly interpolating the roar of a cheering sports crowd. Occasionally flirting with drum-and-bass, "3" is a turbulent pastiche of staccato keyboard burps, big beats, and citric electric guitar harmonies. "2" is surely the grooviest bit here, with its distant, lonesome guitars, ghostly whistling, and guttural stretches of cello that sound like a phantom car ride through the Mexico City night.
Editorial Reviews
9 out of 10 - ...continues Tacuba's commitment to turning quick-cut eclecticism...into a calculated aesthetic of hot-wired traditionalism....lengthy, complicated, cosmopolitan pop worldview sure to confound expectations of how Latin America should sound...
Spin (10/01/1999)
...done with a sense of spontaneity, and the results are always bursting with energy, a little wackiness, and loads of artistic inventiveness....the essence of the group [is] addictive, yet impossible to define.
CMJ (07/19/1999)
4 out of 5 - ...the most ambitious, creative and potentially risky album of their career....With REVES/YO SOY the group have become a multinational outfit - one stylistically based on both sides of the border.
Alternative Press (10/01/1999)
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