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Hernández’s voice carries with it a character and experience unparalleled. Perhaps weathered, but unarguably full of vigor and angst, he has regained the vast majority of his vocal range once
lost during his earlier battles with vocal chord complications. “I’ve regained my voice pretty much completely and I feel much more confident and comfortable,” said Hernández speaking exclusively to contactmusic.com recently
from his home in Playa del Carmen, Mexico.
Drummer Alfonso André once again outdoes himself, pounding out the energy necessary to drive grooves matching the ensemble of guitars on a handful songs as appropriately as he
softly accents and creates a flowing percussive bottom to flourishing guitar pickings and soaring vocals on as many others.
The new album’s title ‘Cronicas de un Laberinto’, according to Hernández, is an analogy for the present state of Mexico, and on a larger scale, all of humanity. “We are
lost,” says Hernández bluntly. “Whether it be economics, politics, or society, this idea of political change in Mexico is not working well. They are still killing the Indians here. The economic situation still primarily only
benefits the wealth,” adds Hernández. As much as Hernández owns his perspectives and analogies, he easily offered a nod to the renowned Mexican author, Octavio Paz. “Yes I do believe there is a connection. The thought that
this element or quality of some truth or essential piece that’s inside of us all exists and in reality needs to be nurtured and protected. In many ways it can be looked at as that same Mexican theme Paz explores, but there’s also a
universal aspect to it.”
Following the analogy, the music and lyrical content on the album’s fourteen songs take the listener on an adventure through the labyrinth. Leading into the maze, the opening track, “Bruja
Canibal,” explodes with a burst of Lennon and Harrison-like guitar flashes while the album’s final tracks, “Ya Te Quemaste” and “Esta Muy Claro” with hope, provide epiphany and the “hopeful exiting of the
labyrinth – not depending on the government all the time, being responsible for ourselves, making a better country - be it Mexico, the United States, or any place,” offers Hernández in conclusion.
‘Cronicas De Un Laberinto’ embodies an increased emphasis on melody. The three guitar players, Hernández, Lopez, and Belew synchronized their efforts forming a modern wall of guitars sound.
“[We] realized the best way to work together was to make an ensemble instead of emphasizing solos. When you hear it, you never know who is playing the guitar lines. It’s one sound,” said Hernández.
The sounds on ‘Cronicas’ illustrate perfectly the irony of which Hernández has become a master. Where melodies have previously gone into darkish minor chords and descending half steps,
brighter and livelier musical phrases are used, oddly enough to color the morose subject matter that permeates most of the CD’s songs. It’s a tool which has become one of Hernández’s signatures and one worth noticing as a
new or casual listener.
Many close to the group have said this is the best album ever from Jaguares. It seems almost impossible to argue with that assertion. The music on “Cronicas” is clearly demonstrative of how the group
continues to grow in complexity as much as it doesh musically and lyrically. Songs like “ Madera,” “Todo Queda Igual,” and “Mejor Sera” define Hernández’s assertion of the universality of
Mexico’s political, social, and economic ills while they also display some of the finest musicianship and band cohesiveness in modern music.
A special limited edition version of ‘ Cronicas de un Laberinto’ also includes 6 classic Jaguares music videos, a special interview, photo gallery, and previously-unreleased tour, recording, and
backstage footage from 1996-2004.
Francisco H. Ciriza |
