Hello, a VAR penalty gifted the French a win against the stubborn Norwegians, outragous the referee let the play go through as there was no offense, but some shady men in a room decide France need a leg up to keep the scheme going as a draw would have possibly meant Norway win the group, and all that scheming would come to nought to give France the easiest possible route to the final.
Today's artists are considered reggaeton a genre which originated in the clubs of San Juan, Puerto Rico in 1991. It became known as "underground" music, due to its circulation through informal networks and performances at unofficial venues. DJ Playero and DJ Nelson were inspired by hip hop and Latin American music to produce "riddims", the first reggaeton tracks. As Caribbean and African-American music gained momentum in Puerto Rico, reggae rap in Spanish marked the beginning of the Boricua underground and was a creative outlet for many young people. This created an inconspicuous-yet-prominent underground youth culture which sought to express itself. ......N'Joy
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Residente and Visitante met when they were both two years old, when Residente's mother married Visitante's father. The family developed strong ties to the Puerto Rican arts community; Residente's mother, Flor Joglar de Gracia, was an actress in Teatro del Sesenta, a local acting troupe, while Visitante's father (who later became Residente's stepfather) is currently a lawyer, but at one time was a musician. The duo asserts that they lived a relatively comfortable lifestyle growing up, as Residente places himself in a group of Puerto Ricans who are "too poor to be rich and too rich to be poor." Although their parents later divorced, the stepbrothers remained close. When they were children, Visitante would visit his brother at the Calle 13 (13th Street) of the El Conquistador subsection of Trujillo Alto, Puerto Rico every week. Since the subsection is a gated community, visitors were routinely asked "¿Residente o visitante?" ("Resident or visitor?") by a security guard when approaching the community's main gate. Therefore, Visitante would identify himself as a visitor, while Residente would have to insist that he was a resident to clear the gate. The pair named themselves Calle 13 after the street their family's house was on. Before living there, they lived at Calle 11.
Residente originally studied to be an accountant, and Visitante finished a computer science degree. An art course prompted Residente to pursue a career as a multimedia designer, and Visitante became a full-time musician and producer. Residente states that his degree in design has influenced his musical style: "What I used to do with my visual art is the same thing I do now with my lyrics. My songs are descriptive, very visual." Besides this, Residente was a fan of what was then called "underground rap" in Puerto Rico, and started to earn a reputation as a lyricist (Residente says, with some embarrassment, that his moniker at the time was "El Déspota", or "The Despot"). Meanwhile, Visitante participated in Bayanga, a rock and Brazilian batucada group. After Residente finished studying in Georgia at the Savannah College of Art and Design and earned a master of fine arts in animation, illustration, sequential art and film, he returned to Puerto Rico. Soon after, both of them started working on their music. They claim they initially did it as a joke, but they still managed to get some of their songs heard throughout Puerto Rico. They began recording music together in 2004, with the idea of hosting their work on a website, beginning with two demos ("La Tripleta" and "La Aguacatona"). Within a year, the duo began looking for a record label to distribute their music commercially. They decided to pursue a deal at White Lion Records, because Tego Calderón was on the label, whom the two admired.
While their first album was being mixed, Filiberto Ojeda Ríos, leader of the Puerto Rican revolutionary group known as Los Macheteros, was killed in the course of arrest by the F.B.I. Angered by the F.B.I.'s action, Residente wrote a song protesting against what had happened to Ojeda and asked his record label to allow the group to release it on the Internet through viral marketing through Indymedia Puerto Rico, an alternative news website. Public controversy about the song's lyrics ensured immediate attention from mainstream media in Puerto Rico and gave the band instant rise to local fame. The song, according to critics, "redefined what a reggaeton vocalist's relationship to Puerto Rico should be." Soon after this, the duo rose to fame in 2005 with two back-to-back hits on Puerto Rican radio stations: "Se Vale Tó-Tó" and "Atrevete-te-te!" Both songs were later included on their eponymously titled debut album, which was released on November 29, 2005.
After this rise to fame, the duo was sought by other reggaetón artists, and they collaborated with artists such as Voltio in the song "Ojalai" At the end of 2005, they finally released their album, which received great critical praise. In 2006 the duo kept on working as they broke into a wider-music scene with at least two more smash hits that were played throughout Puerto Rico and U.S. Urban music radio and television stations, including the songs "Japón" ("Japan"), and "Suave" ("Soft/Slow"). The group had their first massive-venue concert on May 6, 2006 at the José Miguel Agrelot Coliseum in San Juan. They also toured Central and South America, playing "Atrévete-te-te" before an escola de samba in Venezuelan television, and also visiting, among others, Guatemala, Chile, Honduras and Colombia. In light of the criticism directed towards the band, Calle 13 has become a cultural reference to be reckoned with in Puerto Rico. Acceptance of Calle 13's music even influenced the former Governor of Puerto Rico, Anibal Acevedo Vilá who, in December 2005, admitted to listening to Calle 13 because his son had copied some of their songs to his iPod. Acevedo claimed that "songs such as Calle 13's were eye openers" to him. As a result, since the country had a chronic problem of people being unknowingly injured or killed by stray bullets fired to the air on New Year's Eve, Acevedo felt compelled to invite the duo to La Fortaleza and to have them record a song against shootings bullets in the air as a way of celebrating the holiday.
The single, "Ley De Gravedad" (Law of Gravity) was released as part of a public-service campaign for that matter. Some political adversaries of Acevedo dismissed this as a trick to ingratiate himself with Puerto Rican youth and pro-independence advocates, and was criticized by the local press due to the fact that an artist who seemingly promoted violence with their "Querido FBI" song was now supposed to be a role model for anti-violence. However, the campaign was thought to be effective in reducing the injured, from twelve (and one death) the previous year, to three the year the campaign was run, though many members of the artistic community contributed to this effort in separate campaigns. As the duo has risen to fame, other international artists of various genres have sought them. In 2006 and 2007, they recorded songs with Canadian Nelly Furtado and Spanish Alejandro Sanz. On November 2, 2006 the band won three Latin Grammys (Best New Artist; Best Urban Album; and Best Short Version Video, for the song Atrévete-te-te.) They later filmed a video along with Voltio for "Chulín Culín Chunfly", where Residente, dressed as a priest and later as Bruce Lee, is given a severe beating by a gang.
On April 24, 2007, their second album Residente o Visitante was released. Tracks in the album were partially recorded in Puerto Rico and while on tour in Colombia, Argentina and Venezuela. While recording the album, Residente and Visitante took a trip to South America to explore areas populated by Latin America's indigenous and African-descended minorities. The duo was strongly influenced by the experience; Visitante discovered and purchased several new musical instruments on the trip including a quijada, a charango and a bombo legüero, all of which were used on the duo's song "Lllegale a Mi Guarida". Residente considered this album to be darker than the first, but also more introspective and biographical. The album garnered controversy for its sexual and religious overtones. As part of the album, Calle 13 filmed the video for their first single off the album, "Tango del Pecado", on February 25, 2007.
On November 8, 2007, Calle 13, along with Orishas, performed the song "Pa'l Norte" at the 8th Annual Latin Grammy Awards, held at the Mandalay Bay Events Center in Las Vegas, Nevada. Their live performance featured the percussion/dance group Stomp. A troupe of dancers dressed in traditional Latin American garb and wearing bandannas in their faces (as if they were bandits) were also featured. Two members of the traditional Colombian folk cumbia band Los Gaiteros de San Jacinto, as well as members from an indigenous tribe local to the Gaiteros' hometown in northern Colombia, followed Residente to the stage at the beginning of the song. The subtext of the presentation was that Latin Americans were "invading the North" (the United States) and were there to stay. Calle 13 earned two Latin Grammys later that night: "Best Urban Music Album" for Residente o Visitante and "Best Urban Song" for "Pal Norte". They were nominated for two other categories, the others being Best Short Form Music Video and Album of the Year. The Gaiteros de San Jacinto, who had also received a Grammy for their album "Un Fuego de Sangre Pura", could only accept it when Calle 13 intervened to finance their trip to Las Vegas and obtain a temporary visa to visit the United States on their behalf.
A later tour of the Americas had Calle 13 perform to sell-out crowds in Colombia, Peru, Bolivia, Chile, Uruguay and Argentina. The band also performed in the United States, including an appearance at the New Orleans Jazz & Heritage Festival on April 27, 2008. The band received all three possible audience acceptance awards when they performed at the 2008 Viña del Mar International Song Festival in, Viña del Mar, Chile, taming the usually demanding crowd (traditionally nicknamed "El Monstruo", or "The Monster" -because of its fickleness- by Chilean media). They also performed to a sold-out crowd at Luna Park in Buenos Aires, Argentina. They finished their tour at the 34th Annual Claridad Support Festival in San Juan on April 24, 2008.
On 2008, their "Atrévete-te-te" song was a featured track on the game Grand Theft Auto IV, playing in the lineup of the fictional San Juan Sounds radio station.
On October 21, 2008, Los De Atrás Vienen Conmigo was released. A series of songs off the album began to be released weekly as singles. Four singles were released: "Que Lloren" (September 16, 2008); "Electro Movimiento" (September 23, 2008); "Fiesta de Locos" (September 30, 2008); and "No Hay Nadie Como Tú", the latter featuring Café Tacuba. On August 11, 2009, the duo was invited to Ecuador by Rafael Correa's government, serving as guests in the local celebrations that commemorate the coup that began the Ecuadorian War of Independence. They played in Quito, performing in Estadio Olímpico Atahualpa for the first time, in an activity that included Nueva Canción: Argentina, León Gieco and speeches by Correa, Venezuelan president Hugo Chávez, deposed president of Honduras Manuel Zelaya, Cuban president Raúl Castro and Nicaraguan president Daniel Ortega. During the performance Residente said that he wished Puerto Rico could be an independent country such as Ecuador.
Los de Atrás Vienen Conmigo was nominated in five categories for the 2009 Latin Grammy Awards winning all of them, including 'Album of the Year', 'Best Urban Album', 'Record of the Year' and 'Best Alternative Song' for the hit single "No Hay Nadie Como Tu" along with Café Tacuba, as well as 'Best Music Video (in Short Format)' for "La Perla" featuring salsa legend Rubén Blades. The winners were announced on November 5, 2009, in a ceremony held at the Mandalay Bay Events Center in Las Vegas, Nevada. On March 23, 2010, the band performed their first concert in Cuba, the event was held at the José Martí Anti-Imperialist Plaza before an estimated crowd that ranged between 500,000 and 900,000 fans. The band performed "No Hay Nadie Como Tú", "La Cumbia de los Aburridos", "Se Vale Tó-Tó", "La Hormiga Brava", "Un Beso de Desayuno", "Pa'l Norte", "Fiesta de Locos", "Querido FBI", "La Jirafa" and "Tango del Pecado", before adding "Electro Movimiento" and "Atrévete te-te" due to popular demand. During this event, Calle 13 received the international Cubadisco award from representatives of the Instituto Cubano de la Música (lit. Cuban Music Institute). The group originally planned to participate in Paz Sin Fronteras II, but were unable to acquire visas in time.
Calle 13 released their latest album, Entren Los Que Quieran, on November 22, 2010. The singles "Calma Pueblo" and "Vamo' a Portarnos Mal" have been released to the iTunes Store. Visitante explained that the title of the album means that "Everyone's invited to enter. If you don’t want to, well don’t." He also stated that the album continues to experiment with different styles of music, with collaborations with Omar Rodríguez-López from The Mars Volta on "Calma Pueblo", giving the song a "Beastie Boys vibe." He stated that there would also be influences from Bollywood and South American rhythms. The promotional tour for Entren Los Que Quieran featured over a hundred presentations in 2011, spanning most of Latin America and parts of Europe. The album received more nominations for the 12th Latin Grammy Awards than any other production that year. It went on to win nine categories in total "Album of the Year", "Best Urban Music Album" and "Producer of the Year" in general; "Best Urban Song" for "Baile de los Pobres"; "Best Tropical Song" for "Vamo' a Potarnos Mal"; "Best Short Form Music Video" for "Calma Pueblo"; "Song of the Year" and "Record of the Year" for "Latinoamérica". Following this ceremony, Calle 13 emerged as the artist or group with most awards won in the event with 19, besting Juanes' 17. This accomplishment also shattered several records, including "Most Honored Album", "Most Latin Grammies won in one night" and increased their leadership in the "Most Latin Grammies won by a group" category to 13 more than their closest competitors.
On November 13, 2013, the group released the track and video "Multi Viral", which featured WikiLeaks founder Julian Assange and Palestinian singer Kamilya Jubran on vocals and Tom Morello on guitar.In December 2013, they announced that their new album would be named Multi Viral and it would be followed by a Latin American tour, which saw the band performing in Paraguay, Uruguay, Chile, Venezuela, Colombia, Costa Rica and Mexico. The album was released through their new own label, El Abismo since they decided not to continue their contract with Sony Music Latin.[40] The tour unofficially began at the University of Puerto Rico, Río Piedras Campus in San Juan, where Calle 13 held an impromptu free concert on February 25, 2014. The event was announced only six days before and did not receive formal promotion.
Calle 13 is noted for its eclectic musical style, often using unconventional instrumentation in its music, which distances the group from the reggaeton genre. The band is also known for its satirical lyrics as well as social commentary about Latin American issues and culture. The stepbrothers are strong supporters of the Puerto Rican independence movement, a stance that has generated controversy. For their work, the group has won twenty-one Latin Grammy Awards, holding the record for the most Latin Grammy wins. They have also won three Grammy Awards.
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The debut release of Calle 13 in late 2005 offered a refreshing alternative to the mass of reggaeton concurrently overrunning popular Latin music. Comprised of vocalist Residente (born René Pérez) and producer Visitante (Eduardo Cabra), the duo isn't a standard reggaeton act. Make no mistake, though. To a degree their music is reggaeton -- that unmistakable rhythm is front and center, and Residente does rap over the beats as you might expect -- but there's much more to it than that. For one, the beats of Visitante are inventive, incorporating aspects of hip-hop and characteristics of electronica, and are a world apart from the industry-standard trademark of Luny Tunes and that production team's assembly line of bandwagon-jumping imitators. Secondly, the raps of Residente eschew reggaeton clichés, showcasing a healthy sense of humor and an almost clownish approach to sarcasm (à la Eminem) -- again, a world apart from the kingly bravado of most reggaeton vocalists, and the obligatory glimmers of misogyny and violence that accompany such streetwise swaggering. Moreover, no doubt he does flirt with sex a lot, albeit playfully, if not outright jokingly, rather than commandingly or, worse, violently. A few songs stand out, most notably "Se Vale To-To" and "¡Atrévete Te, Te!" Too, there are a number of skits interspersed throughout the album, and they're just as much fun as the music. So if you like the urban side of Latin music yet feel put off by the excessive machismo of reggaeton, Calle 13 offers a refreshing alternative. The beats are here, as is the rapping, and you can dance to it, except the emphasis of this duo seems to be wit, whimsy, and creativity rather than just cashing in on the reggaeton gold rush with the same old staple motifs.
Calle 13 - Calle 13 (flac 365mb)
01 Cabe-C-O 3:34
02 Suave 3:34
03 La Aguacatona 4:01
04 Se Vale To-To 3:51
05 Intel-Lú-Ayala 0:29
06 Tengo Hambre 4:05
07 La Hormiga Brava 3:46
08 La Jirafa 3:16
09 Intel-Lú La Comermierda 0:24
10 Atrévete-Te-Te 4:01
11 Pi-Di-Di-Di 3:31
12 Vamo Animal 3:27
13 Eléctrico 3:21
14 Sin Coro 3:49
15 La Tripleta 3:21
16 La Madre De Los Enanos 4:02
17 Suave Mix (Blass Remix) 3:40
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Around the time the reggaeton gold rush of 2003-2005 was running dry, and a great many critics were eager to write off the style as a next-big-thing phenomenon that burned itself out, along came Calle 13. The Puerto Rican duo was a revelation: a reggaeton act whose appeal extended beyond clubs and mixtapes, one whose music was as engaging intellectually as it was sonically. Granted, Calle 13 was a reggaeton act that wasn't genuinely reggaeton. These guys were presenting an alternative style, one that was purposefully different -- when so many other reggaeton acts were parroting the mannerisms of Daddy Yankee and Don Omar in hopes of cashing in on the gold rush, Calle 13 blazed a trail of their own. They didn't catch on at first, but once they did, slowly but steadily, they were showered with acclaim, including three Latin Grammys, and they enjoyed surging popularity, especially among the MTV demographic. All of this success opened a lot of doors for the duo, as Residente (the vocalist) accepted invitations to work with Nelly Furtado and Alejandro Sanz and Visitante (the producer) with Shakira and Beyoncé on their "Beautiful Liar" collaboration -- not bad for a reggaeton act. The thing is, Calle 13 is so much more than a reggaeton act, something they seem to stress on their second album, Residente o Visitante. Sure, reggaeton is the basis for the music of Residente and Visitante, but they synthesize it with a wide-ranging assortment of styles and sounds, including opera ("Intro"), tango ("Tango del Pecado"), bossa nova ("Un Beso de Desayuno"), electric guitar ("Llégale a Mi Guarida"), and cumbia ("La Cumbia de los Aburridos"). More than anything, though, rap and electronica are clear touchstones for Calle 13, as Residente is a gifted rapper who matches Eminem in terms of wit and playfulness while Visitante is a similarly gifted producer who creates multi-layered tracks that rarely sound alike. As expected, Residente o Visitante is a significantly more advanced album than Calle 13, given all that happened in the time between. For one, the guys are much more willing to experiment stylistically. The handful of collaborations -- true collaborations, not phoned-in vocal tracks -- seem to have been a vehicle for experimentation: the lead single, "Tango del Pecado," is a clever narrative graced instrumentally by the Bajofondo Tango Club; "Sin Exagerar" is a crazed runaway rap showcase teaming Residente with his labelmate Tego Calderón; "Mala Suerta con el 13" is an impressive boy-versus-girl face-off with rapper Mala Rodríguez; and "Pal Norte" features Cuban rappers Orishas. These aren't necessarily the best songs. They just happen to be the most interesting, because of the experimentation -- and they're front-loaded, kicking off Residente o Visitante wildly. As the album nears its 15-track close, it's just Residente and Visitante, the mood turns darker, and the style turns increasingly away from reggaeton and toward a more general urban-alternative style. "A Limpiar el Sucio," in particular, is powerful, while "La Era de la Copiaera," the derisive final song, whose title translates to "The Age of the Copier," closes the album fittingly.
Calle 13 - Residente o Visitante (flac 414mb)
01 Intro
02 Tango Del Pecado
03 La Fokin Moda
04 Sin Exagerar
05 Mala Suerta Con El 13
06 Llégale A Mi Guarida
07 Un Beso De Desayuno
08 Uiyi Guaye
09 Algo Con-Sentido
10 Pal Norte
11 La Cumbia De Los Aburridos
12 A Limpiar El Sucio
13 El Avión Se Cae
14 La Crema
15 La Era De La Copiaera
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Los de Atrás Vienen Conmigo, the third album by Calle 13, follows a tremendous run of success in which the Puerto Rican urban music duo won six Grammys in the span of two years, was praised left and right by critics, and toured internationally, including crowd-pleasing performances at the Viña del Mar International Song Festival and the New Orleans Jazz & Heritage Festival. Like its predecessor, Residente o Visitante (2007), Los de Atrás Vienen Conmigo is a step forward for Calle 13 -- another step away from the reggaetón scene from which they arose and toward a fearlessly experimental style of urban music unlike anything else out there at the time of its release. In fact, right off the bat, during the album's opening song, "Que Lloren," vocalist Residente distances himself from the reggaetón scene, taking rival reggaetoneros to task for their lyrical vacuousness and declaring Calle 13 the thinking-man's urban music. While that's more or less true from a lyrical standpoint, as once again Residente proves himself thoughtful, satirical, and twisted -- someone who embraces his reputation as an outsider, someone who prides himself on individuality -- the musical productions of Visitante are more rhythmically infectious and stylistically versatile than ever. If this is thinking-man's urban music, it's mighty funky at the same time. Indeed, the album's highlights -- of which there are many, among them "No Hay Nadie Como Tú," "Esto con Eso," "La Perla," "Electro Movimiento," "Fiesta de Locos," "Tal Para Cual" -- are production standouts, melding together an assortment of Latin rhythms, exotic instrumentation, and futuristic electronics. As on Residente o Visitante, many of the highlights are also collaborations: Café Tacuba is featured on "No Hay Nadie Como Tú," a five-minute tour de force that kicks the album into high gear after the opening salvo of "Que Lloren"; Juanes is featured as a guitarist on "Esto con Eso," though you wouldn't know if not for the liner note credits, as there's so much else going on in the song musically; in addition to percussionists La Chilinga, Rubén Blades is featured prominently on "La Perla," a seven-minute workout that is simply magnificent; Afrobeta, a heretofore more or less unknown act from Miami, is featured on the '80s freestyle throwback jam "Electro Movimiento"; and frequent collaborator PG-13 contributes to multiple songs, most notably on "Esto con Eso."
Calle 13 - Los De Atrás Vienen Conmigo (flac 381mb)
01 Intro - Crónica De Un Nacimiento 1:35
02 Que Lloren 4:39
03 No Hay Nadie Como Tú 4:48
04 Gringo Latin Funk 4:16
05 Ven Y Critícame 4:45
06 Esto Con Eso 4:09
07 La Perla 7:00
08 Electro Movimiento 3:16
09 Intro Fiesta De Locos 0:18
10 Fiesta De Locos 4:27
11 Los De Atrás Vienen Conmigo 3:36
12 Tal Para Cual 3:47
13 Interlude Rasta Irie Man 0:22
14 Bienvenidos A Mi Mundo 3:57
15 John El Esquizofrénico 4:34
16 Outro 0:47
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Calle 13 kick off Entren los Que Quieran in exactly the same manner they did their previous two albums, with a parody intro, this time around a raucous send-up to their own record company set to a mock show tune theme, complete with several over the top vocalists. It immediately segues into the abrasive single "Calma Pueblo," a rampant tirade against the powers that be (which in Calle 13's world are quite a few, and often fairly specific -- namely, the government of Puerto Rico, inauthentic artists, the entertainment industry, multinational corporations, and the Vatican), the violence of the words matched at every turn by the vicious guitar of the Mars Volta's Omar Rodriguez-Lopez. By the third track, it's time to hit the dancefloor, with the sassy Bollywood-meets-Caribbean "Baile de los Pobres," a trademark Calle 13 party hit. So far, absolutely spectacular. The rest of the album is by no means a letdown, but little by little the problems inherent in Calle 13's commanding discourse begin to appear. As with most acts that deal largely in controversy, Calle 13's songs are seldom more impressive than upon first listen. As the album progresses, while the beats remain strong and the lyrics clever, this maximum-impact approach tends to eventually exhaust itself. Admittedly, there is a marked effort to introduce enough musical variety, as Eduardo Cabra's tracks have long escaped the confines of reggaeton. Entren los Que Quieran excitingly mixes cumbia, merengue, funk, reggae, rock, and hip-hop, as well as boasting collaborations from icons of Latin American music such as Argentine producer Gustavo Santaolalla and vocalists such as Brazil's Maria Rita, Peru's Susana Baca, and Colombia's Totó la Momposina, as well as the aforementioned Omar Rodriguez-Lopez. Yet, there is no denying that Residente's absolutely overpowering raps are what make Calle 13 so special, and will always take center stage to the point of rendering the background almost negligible by comparison. He is in fine form on Entren los Que Quieran, now more concerned with politics -- check the scathing attack on the major of San Juan on "Digo Lo Que Pienso" -- than sex (for a reggaeton/hip-hop album, it is refreshingly devoid of woman bashing), typically alternating brilliant rhymes with messianic or contradictory statements. For all of his word wizardry, his logorrheic delivery and choice topics do become repetitive in the long run -- and by now we are on the fourth Calle 13 album. Entren los Que Quieran is another strong addition to a proud discography, one that almost single-handedly elevates the artistic credibility of reggaeton. Make no mistake, Calle 13 are still miles above their peers and countless imitators, but unless they introduce some radical change to their approach (singing, perhaps?), it is unlikely they will ever surpass the shock value of their early work.
Calle 13 - Entren Los Que Quieran (flac 349mb)
01 Intro
02 Calma Pueblo
03 Baile De Los Pobres
04 La Vuelta Al Mundo
05 La Bala
06 Vamo' A Portarnos Mal
07 Latinoamerica
08 Inter-En Annunakilandia
09 Digo Lo Que Pienso
10 Muerte En Hawaii
11 Todo Se Mueve
12 El Hormiguero
13 Preparame La Cena
14 Outro
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Kicking off their career with hungry and hedonistic club hits, Puerto Rican hip-hop duo Calle 13 have been blowing up expectations with each successive album, but MultiViral ups the ante. Here the political commentary and the genre-jumping which came to the forefront on 2010's Entren Los Que Quieran remains in place, but there's a sense of earned artistic freedom throughout the album, one that allows the group to slowly stroll up to "El Aguante," the album's first hook-filled cut, which doesn't arrive 'til the track counter reads "4." Early on in the Calle 13 discography, that would have felt like drudgery, but now, lead singer Residente is more compelling and in command, excelling on free-form songs like "Respira el Momento." With topics like Yo Soy 132, Julian Assange, and money-hungry gangsta rappers all fueling his ire, it's amazing the album doesn't fall apart because of weight, or come off like a dry civics class. Thanks to Residente's wit, and producer/step brother Visitante's brilliant backing tracks, the album holds tight and excites like few others and winds up an excellent entry point into the band's work, even if it isn't the easiest introduction. Silvio Rodríguez, Tom Morello, John Leguizamo, and Eduardo Galeano all lend a hand, making the guest list as diverse and deep as the album itself.
Calle 13 - Multi Viral (flac 357mb)
01 Intro - El Viaje
02 Respira El Momento
03 Interludio - Un Buen Día Para Morir
04 El Aguante
05 Ojos Color Sol
06 Multi_viral
07 Cuando Los Pies Besan El Piso
08 Adentro
09 Interludio - Stupid Is As Stupid Does
10 Los Idiotas
11 Fuera De La Atmósfera Del Cráneo
12 Perseguido
13 Gato Que Avanza, Perro Que Ladra
14 Me Vieron Cruzar
15 Así De Grandes Son Las Ideas
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Today's artists are considered reggaeton a genre which originated in the clubs of San Juan, Puerto Rico in 1991. It became known as "underground" music, due to its circulation through informal networks and performances at unofficial venues. DJ Playero and DJ Nelson were inspired by hip hop and Latin American music to produce "riddims", the first reggaeton tracks. As Caribbean and African-American music gained momentum in Puerto Rico, reggae rap in Spanish marked the beginning of the Boricua underground and was a creative outlet for many young people. This created an inconspicuous-yet-prominent underground youth culture which sought to express itself. ......N'Joy
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Residente and Visitante met when they were both two years old, when Residente's mother married Visitante's father. The family developed strong ties to the Puerto Rican arts community; Residente's mother, Flor Joglar de Gracia, was an actress in Teatro del Sesenta, a local acting troupe, while Visitante's father (who later became Residente's stepfather) is currently a lawyer, but at one time was a musician. The duo asserts that they lived a relatively comfortable lifestyle growing up, as Residente places himself in a group of Puerto Ricans who are "too poor to be rich and too rich to be poor." Although their parents later divorced, the stepbrothers remained close. When they were children, Visitante would visit his brother at the Calle 13 (13th Street) of the El Conquistador subsection of Trujillo Alto, Puerto Rico every week. Since the subsection is a gated community, visitors were routinely asked "¿Residente o visitante?" ("Resident or visitor?") by a security guard when approaching the community's main gate. Therefore, Visitante would identify himself as a visitor, while Residente would have to insist that he was a resident to clear the gate. The pair named themselves Calle 13 after the street their family's house was on. Before living there, they lived at Calle 11.
Residente originally studied to be an accountant, and Visitante finished a computer science degree. An art course prompted Residente to pursue a career as a multimedia designer, and Visitante became a full-time musician and producer. Residente states that his degree in design has influenced his musical style: "What I used to do with my visual art is the same thing I do now with my lyrics. My songs are descriptive, very visual." Besides this, Residente was a fan of what was then called "underground rap" in Puerto Rico, and started to earn a reputation as a lyricist (Residente says, with some embarrassment, that his moniker at the time was "El Déspota", or "The Despot"). Meanwhile, Visitante participated in Bayanga, a rock and Brazilian batucada group. After Residente finished studying in Georgia at the Savannah College of Art and Design and earned a master of fine arts in animation, illustration, sequential art and film, he returned to Puerto Rico. Soon after, both of them started working on their music. They claim they initially did it as a joke, but they still managed to get some of their songs heard throughout Puerto Rico. They began recording music together in 2004, with the idea of hosting their work on a website, beginning with two demos ("La Tripleta" and "La Aguacatona"). Within a year, the duo began looking for a record label to distribute their music commercially. They decided to pursue a deal at White Lion Records, because Tego Calderón was on the label, whom the two admired.
While their first album was being mixed, Filiberto Ojeda Ríos, leader of the Puerto Rican revolutionary group known as Los Macheteros, was killed in the course of arrest by the F.B.I. Angered by the F.B.I.'s action, Residente wrote a song protesting against what had happened to Ojeda and asked his record label to allow the group to release it on the Internet through viral marketing through Indymedia Puerto Rico, an alternative news website. Public controversy about the song's lyrics ensured immediate attention from mainstream media in Puerto Rico and gave the band instant rise to local fame. The song, according to critics, "redefined what a reggaeton vocalist's relationship to Puerto Rico should be." Soon after this, the duo rose to fame in 2005 with two back-to-back hits on Puerto Rican radio stations: "Se Vale Tó-Tó" and "Atrevete-te-te!" Both songs were later included on their eponymously titled debut album, which was released on November 29, 2005.
After this rise to fame, the duo was sought by other reggaetón artists, and they collaborated with artists such as Voltio in the song "Ojalai" At the end of 2005, they finally released their album, which received great critical praise. In 2006 the duo kept on working as they broke into a wider-music scene with at least two more smash hits that were played throughout Puerto Rico and U.S. Urban music radio and television stations, including the songs "Japón" ("Japan"), and "Suave" ("Soft/Slow"). The group had their first massive-venue concert on May 6, 2006 at the José Miguel Agrelot Coliseum in San Juan. They also toured Central and South America, playing "Atrévete-te-te" before an escola de samba in Venezuelan television, and also visiting, among others, Guatemala, Chile, Honduras and Colombia. In light of the criticism directed towards the band, Calle 13 has become a cultural reference to be reckoned with in Puerto Rico. Acceptance of Calle 13's music even influenced the former Governor of Puerto Rico, Anibal Acevedo Vilá who, in December 2005, admitted to listening to Calle 13 because his son had copied some of their songs to his iPod. Acevedo claimed that "songs such as Calle 13's were eye openers" to him. As a result, since the country had a chronic problem of people being unknowingly injured or killed by stray bullets fired to the air on New Year's Eve, Acevedo felt compelled to invite the duo to La Fortaleza and to have them record a song against shootings bullets in the air as a way of celebrating the holiday.
The single, "Ley De Gravedad" (Law of Gravity) was released as part of a public-service campaign for that matter. Some political adversaries of Acevedo dismissed this as a trick to ingratiate himself with Puerto Rican youth and pro-independence advocates, and was criticized by the local press due to the fact that an artist who seemingly promoted violence with their "Querido FBI" song was now supposed to be a role model for anti-violence. However, the campaign was thought to be effective in reducing the injured, from twelve (and one death) the previous year, to three the year the campaign was run, though many members of the artistic community contributed to this effort in separate campaigns. As the duo has risen to fame, other international artists of various genres have sought them. In 2006 and 2007, they recorded songs with Canadian Nelly Furtado and Spanish Alejandro Sanz. On November 2, 2006 the band won three Latin Grammys (Best New Artist; Best Urban Album; and Best Short Version Video, for the song Atrévete-te-te.) They later filmed a video along with Voltio for "Chulín Culín Chunfly", where Residente, dressed as a priest and later as Bruce Lee, is given a severe beating by a gang.
On April 24, 2007, their second album Residente o Visitante was released. Tracks in the album were partially recorded in Puerto Rico and while on tour in Colombia, Argentina and Venezuela. While recording the album, Residente and Visitante took a trip to South America to explore areas populated by Latin America's indigenous and African-descended minorities. The duo was strongly influenced by the experience; Visitante discovered and purchased several new musical instruments on the trip including a quijada, a charango and a bombo legüero, all of which were used on the duo's song "Lllegale a Mi Guarida". Residente considered this album to be darker than the first, but also more introspective and biographical. The album garnered controversy for its sexual and religious overtones. As part of the album, Calle 13 filmed the video for their first single off the album, "Tango del Pecado", on February 25, 2007.
On November 8, 2007, Calle 13, along with Orishas, performed the song "Pa'l Norte" at the 8th Annual Latin Grammy Awards, held at the Mandalay Bay Events Center in Las Vegas, Nevada. Their live performance featured the percussion/dance group Stomp. A troupe of dancers dressed in traditional Latin American garb and wearing bandannas in their faces (as if they were bandits) were also featured. Two members of the traditional Colombian folk cumbia band Los Gaiteros de San Jacinto, as well as members from an indigenous tribe local to the Gaiteros' hometown in northern Colombia, followed Residente to the stage at the beginning of the song. The subtext of the presentation was that Latin Americans were "invading the North" (the United States) and were there to stay. Calle 13 earned two Latin Grammys later that night: "Best Urban Music Album" for Residente o Visitante and "Best Urban Song" for "Pal Norte". They were nominated for two other categories, the others being Best Short Form Music Video and Album of the Year. The Gaiteros de San Jacinto, who had also received a Grammy for their album "Un Fuego de Sangre Pura", could only accept it when Calle 13 intervened to finance their trip to Las Vegas and obtain a temporary visa to visit the United States on their behalf.
On 2008, their "Atrévete-te-te" song was a featured track on the game Grand Theft Auto IV, playing in the lineup of the fictional San Juan Sounds radio station.
On October 21, 2008, Los De Atrás Vienen Conmigo was released. A series of songs off the album began to be released weekly as singles. Four singles were released: "Que Lloren" (September 16, 2008); "Electro Movimiento" (September 23, 2008); "Fiesta de Locos" (September 30, 2008); and "No Hay Nadie Como Tú", the latter featuring Café Tacuba. On August 11, 2009, the duo was invited to Ecuador by Rafael Correa's government, serving as guests in the local celebrations that commemorate the coup that began the Ecuadorian War of Independence. They played in Quito, performing in Estadio Olímpico Atahualpa for the first time, in an activity that included Nueva Canción: Argentina, León Gieco and speeches by Correa, Venezuelan president Hugo Chávez, deposed president of Honduras Manuel Zelaya, Cuban president Raúl Castro and Nicaraguan president Daniel Ortega. During the performance Residente said that he wished Puerto Rico could be an independent country such as Ecuador.
Los de Atrás Vienen Conmigo was nominated in five categories for the 2009 Latin Grammy Awards winning all of them, including 'Album of the Year', 'Best Urban Album', 'Record of the Year' and 'Best Alternative Song' for the hit single "No Hay Nadie Como Tu" along with Café Tacuba, as well as 'Best Music Video (in Short Format)' for "La Perla" featuring salsa legend Rubén Blades. The winners were announced on November 5, 2009, in a ceremony held at the Mandalay Bay Events Center in Las Vegas, Nevada. On March 23, 2010, the band performed their first concert in Cuba, the event was held at the José Martí Anti-Imperialist Plaza before an estimated crowd that ranged between 500,000 and 900,000 fans. The band performed "No Hay Nadie Como Tú", "La Cumbia de los Aburridos", "Se Vale Tó-Tó", "La Hormiga Brava", "Un Beso de Desayuno", "Pa'l Norte", "Fiesta de Locos", "Querido FBI", "La Jirafa" and "Tango del Pecado", before adding "Electro Movimiento" and "Atrévete te-te" due to popular demand. During this event, Calle 13 received the international Cubadisco award from representatives of the Instituto Cubano de la Música (lit. Cuban Music Institute). The group originally planned to participate in Paz Sin Fronteras II, but were unable to acquire visas in time.
Calle 13 released their latest album, Entren Los Que Quieran, on November 22, 2010. The singles "Calma Pueblo" and "Vamo' a Portarnos Mal" have been released to the iTunes Store. Visitante explained that the title of the album means that "Everyone's invited to enter. If you don’t want to, well don’t." He also stated that the album continues to experiment with different styles of music, with collaborations with Omar Rodríguez-López from The Mars Volta on "Calma Pueblo", giving the song a "Beastie Boys vibe." He stated that there would also be influences from Bollywood and South American rhythms. The promotional tour for Entren Los Que Quieran featured over a hundred presentations in 2011, spanning most of Latin America and parts of Europe. The album received more nominations for the 12th Latin Grammy Awards than any other production that year. It went on to win nine categories in total "Album of the Year", "Best Urban Music Album" and "Producer of the Year" in general; "Best Urban Song" for "Baile de los Pobres"; "Best Tropical Song" for "Vamo' a Potarnos Mal"; "Best Short Form Music Video" for "Calma Pueblo"; "Song of the Year" and "Record of the Year" for "Latinoamérica". Following this ceremony, Calle 13 emerged as the artist or group with most awards won in the event with 19, besting Juanes' 17. This accomplishment also shattered several records, including "Most Honored Album", "Most Latin Grammies won in one night" and increased their leadership in the "Most Latin Grammies won by a group" category to 13 more than their closest competitors.
On November 13, 2013, the group released the track and video "Multi Viral", which featured WikiLeaks founder Julian Assange and Palestinian singer Kamilya Jubran on vocals and Tom Morello on guitar.In December 2013, they announced that their new album would be named Multi Viral and it would be followed by a Latin American tour, which saw the band performing in Paraguay, Uruguay, Chile, Venezuela, Colombia, Costa Rica and Mexico. The album was released through their new own label, El Abismo since they decided not to continue their contract with Sony Music Latin.[40] The tour unofficially began at the University of Puerto Rico, Río Piedras Campus in San Juan, where Calle 13 held an impromptu free concert on February 25, 2014. The event was announced only six days before and did not receive formal promotion.
Calle 13 is noted for its eclectic musical style, often using unconventional instrumentation in its music, which distances the group from the reggaeton genre. The band is also known for its satirical lyrics as well as social commentary about Latin American issues and culture. The stepbrothers are strong supporters of the Puerto Rican independence movement, a stance that has generated controversy. For their work, the group has won twenty-one Latin Grammy Awards, holding the record for the most Latin Grammy wins. They have also won three Grammy Awards.
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The debut release of Calle 13 in late 2005 offered a refreshing alternative to the mass of reggaeton concurrently overrunning popular Latin music. Comprised of vocalist Residente (born René Pérez) and producer Visitante (Eduardo Cabra), the duo isn't a standard reggaeton act. Make no mistake, though. To a degree their music is reggaeton -- that unmistakable rhythm is front and center, and Residente does rap over the beats as you might expect -- but there's much more to it than that. For one, the beats of Visitante are inventive, incorporating aspects of hip-hop and characteristics of electronica, and are a world apart from the industry-standard trademark of Luny Tunes and that production team's assembly line of bandwagon-jumping imitators. Secondly, the raps of Residente eschew reggaeton clichés, showcasing a healthy sense of humor and an almost clownish approach to sarcasm (à la Eminem) -- again, a world apart from the kingly bravado of most reggaeton vocalists, and the obligatory glimmers of misogyny and violence that accompany such streetwise swaggering. Moreover, no doubt he does flirt with sex a lot, albeit playfully, if not outright jokingly, rather than commandingly or, worse, violently. A few songs stand out, most notably "Se Vale To-To" and "¡Atrévete Te, Te!" Too, there are a number of skits interspersed throughout the album, and they're just as much fun as the music. So if you like the urban side of Latin music yet feel put off by the excessive machismo of reggaeton, Calle 13 offers a refreshing alternative. The beats are here, as is the rapping, and you can dance to it, except the emphasis of this duo seems to be wit, whimsy, and creativity rather than just cashing in on the reggaeton gold rush with the same old staple motifs.
Calle 13 - Calle 13 (flac 365mb)
01 Cabe-C-O 3:34
02 Suave 3:34
03 La Aguacatona 4:01
04 Se Vale To-To 3:51
05 Intel-Lú-Ayala 0:29
06 Tengo Hambre 4:05
07 La Hormiga Brava 3:46
08 La Jirafa 3:16
09 Intel-Lú La Comermierda 0:24
10 Atrévete-Te-Te 4:01
11 Pi-Di-Di-Di 3:31
12 Vamo Animal 3:27
13 Eléctrico 3:21
14 Sin Coro 3:49
15 La Tripleta 3:21
16 La Madre De Los Enanos 4:02
17 Suave Mix (Blass Remix) 3:40
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Around the time the reggaeton gold rush of 2003-2005 was running dry, and a great many critics were eager to write off the style as a next-big-thing phenomenon that burned itself out, along came Calle 13. The Puerto Rican duo was a revelation: a reggaeton act whose appeal extended beyond clubs and mixtapes, one whose music was as engaging intellectually as it was sonically. Granted, Calle 13 was a reggaeton act that wasn't genuinely reggaeton. These guys were presenting an alternative style, one that was purposefully different -- when so many other reggaeton acts were parroting the mannerisms of Daddy Yankee and Don Omar in hopes of cashing in on the gold rush, Calle 13 blazed a trail of their own. They didn't catch on at first, but once they did, slowly but steadily, they were showered with acclaim, including three Latin Grammys, and they enjoyed surging popularity, especially among the MTV demographic. All of this success opened a lot of doors for the duo, as Residente (the vocalist) accepted invitations to work with Nelly Furtado and Alejandro Sanz and Visitante (the producer) with Shakira and Beyoncé on their "Beautiful Liar" collaboration -- not bad for a reggaeton act. The thing is, Calle 13 is so much more than a reggaeton act, something they seem to stress on their second album, Residente o Visitante. Sure, reggaeton is the basis for the music of Residente and Visitante, but they synthesize it with a wide-ranging assortment of styles and sounds, including opera ("Intro"), tango ("Tango del Pecado"), bossa nova ("Un Beso de Desayuno"), electric guitar ("Llégale a Mi Guarida"), and cumbia ("La Cumbia de los Aburridos"). More than anything, though, rap and electronica are clear touchstones for Calle 13, as Residente is a gifted rapper who matches Eminem in terms of wit and playfulness while Visitante is a similarly gifted producer who creates multi-layered tracks that rarely sound alike. As expected, Residente o Visitante is a significantly more advanced album than Calle 13, given all that happened in the time between. For one, the guys are much more willing to experiment stylistically. The handful of collaborations -- true collaborations, not phoned-in vocal tracks -- seem to have been a vehicle for experimentation: the lead single, "Tango del Pecado," is a clever narrative graced instrumentally by the Bajofondo Tango Club; "Sin Exagerar" is a crazed runaway rap showcase teaming Residente with his labelmate Tego Calderón; "Mala Suerta con el 13" is an impressive boy-versus-girl face-off with rapper Mala Rodríguez; and "Pal Norte" features Cuban rappers Orishas. These aren't necessarily the best songs. They just happen to be the most interesting, because of the experimentation -- and they're front-loaded, kicking off Residente o Visitante wildly. As the album nears its 15-track close, it's just Residente and Visitante, the mood turns darker, and the style turns increasingly away from reggaeton and toward a more general urban-alternative style. "A Limpiar el Sucio," in particular, is powerful, while "La Era de la Copiaera," the derisive final song, whose title translates to "The Age of the Copier," closes the album fittingly.
Calle 13 - Residente o Visitante (flac 414mb)
01 Intro
02 Tango Del Pecado
03 La Fokin Moda
04 Sin Exagerar
05 Mala Suerta Con El 13
06 Llégale A Mi Guarida
07 Un Beso De Desayuno
08 Uiyi Guaye
09 Algo Con-Sentido
10 Pal Norte
11 La Cumbia De Los Aburridos
12 A Limpiar El Sucio
13 El Avión Se Cae
14 La Crema
15 La Era De La Copiaera
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Los de Atrás Vienen Conmigo, the third album by Calle 13, follows a tremendous run of success in which the Puerto Rican urban music duo won six Grammys in the span of two years, was praised left and right by critics, and toured internationally, including crowd-pleasing performances at the Viña del Mar International Song Festival and the New Orleans Jazz & Heritage Festival. Like its predecessor, Residente o Visitante (2007), Los de Atrás Vienen Conmigo is a step forward for Calle 13 -- another step away from the reggaetón scene from which they arose and toward a fearlessly experimental style of urban music unlike anything else out there at the time of its release. In fact, right off the bat, during the album's opening song, "Que Lloren," vocalist Residente distances himself from the reggaetón scene, taking rival reggaetoneros to task for their lyrical vacuousness and declaring Calle 13 the thinking-man's urban music. While that's more or less true from a lyrical standpoint, as once again Residente proves himself thoughtful, satirical, and twisted -- someone who embraces his reputation as an outsider, someone who prides himself on individuality -- the musical productions of Visitante are more rhythmically infectious and stylistically versatile than ever. If this is thinking-man's urban music, it's mighty funky at the same time. Indeed, the album's highlights -- of which there are many, among them "No Hay Nadie Como Tú," "Esto con Eso," "La Perla," "Electro Movimiento," "Fiesta de Locos," "Tal Para Cual" -- are production standouts, melding together an assortment of Latin rhythms, exotic instrumentation, and futuristic electronics. As on Residente o Visitante, many of the highlights are also collaborations: Café Tacuba is featured on "No Hay Nadie Como Tú," a five-minute tour de force that kicks the album into high gear after the opening salvo of "Que Lloren"; Juanes is featured as a guitarist on "Esto con Eso," though you wouldn't know if not for the liner note credits, as there's so much else going on in the song musically; in addition to percussionists La Chilinga, Rubén Blades is featured prominently on "La Perla," a seven-minute workout that is simply magnificent; Afrobeta, a heretofore more or less unknown act from Miami, is featured on the '80s freestyle throwback jam "Electro Movimiento"; and frequent collaborator PG-13 contributes to multiple songs, most notably on "Esto con Eso."
Calle 13 - Los De Atrás Vienen Conmigo (flac 381mb)
01 Intro - Crónica De Un Nacimiento 1:35
02 Que Lloren 4:39
03 No Hay Nadie Como Tú 4:48
04 Gringo Latin Funk 4:16
05 Ven Y Critícame 4:45
06 Esto Con Eso 4:09
07 La Perla 7:00
08 Electro Movimiento 3:16
09 Intro Fiesta De Locos 0:18
10 Fiesta De Locos 4:27
11 Los De Atrás Vienen Conmigo 3:36
12 Tal Para Cual 3:47
13 Interlude Rasta Irie Man 0:22
14 Bienvenidos A Mi Mundo 3:57
15 John El Esquizofrénico 4:34
16 Outro 0:47
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Calle 13 kick off Entren los Que Quieran in exactly the same manner they did their previous two albums, with a parody intro, this time around a raucous send-up to their own record company set to a mock show tune theme, complete with several over the top vocalists. It immediately segues into the abrasive single "Calma Pueblo," a rampant tirade against the powers that be (which in Calle 13's world are quite a few, and often fairly specific -- namely, the government of Puerto Rico, inauthentic artists, the entertainment industry, multinational corporations, and the Vatican), the violence of the words matched at every turn by the vicious guitar of the Mars Volta's Omar Rodriguez-Lopez. By the third track, it's time to hit the dancefloor, with the sassy Bollywood-meets-Caribbean "Baile de los Pobres," a trademark Calle 13 party hit. So far, absolutely spectacular. The rest of the album is by no means a letdown, but little by little the problems inherent in Calle 13's commanding discourse begin to appear. As with most acts that deal largely in controversy, Calle 13's songs are seldom more impressive than upon first listen. As the album progresses, while the beats remain strong and the lyrics clever, this maximum-impact approach tends to eventually exhaust itself. Admittedly, there is a marked effort to introduce enough musical variety, as Eduardo Cabra's tracks have long escaped the confines of reggaeton. Entren los Que Quieran excitingly mixes cumbia, merengue, funk, reggae, rock, and hip-hop, as well as boasting collaborations from icons of Latin American music such as Argentine producer Gustavo Santaolalla and vocalists such as Brazil's Maria Rita, Peru's Susana Baca, and Colombia's Totó la Momposina, as well as the aforementioned Omar Rodriguez-Lopez. Yet, there is no denying that Residente's absolutely overpowering raps are what make Calle 13 so special, and will always take center stage to the point of rendering the background almost negligible by comparison. He is in fine form on Entren los Que Quieran, now more concerned with politics -- check the scathing attack on the major of San Juan on "Digo Lo Que Pienso" -- than sex (for a reggaeton/hip-hop album, it is refreshingly devoid of woman bashing), typically alternating brilliant rhymes with messianic or contradictory statements. For all of his word wizardry, his logorrheic delivery and choice topics do become repetitive in the long run -- and by now we are on the fourth Calle 13 album. Entren los Que Quieran is another strong addition to a proud discography, one that almost single-handedly elevates the artistic credibility of reggaeton. Make no mistake, Calle 13 are still miles above their peers and countless imitators, but unless they introduce some radical change to their approach (singing, perhaps?), it is unlikely they will ever surpass the shock value of their early work.
Calle 13 - Entren Los Que Quieran (flac 349mb)
01 Intro
02 Calma Pueblo
03 Baile De Los Pobres
04 La Vuelta Al Mundo
05 La Bala
06 Vamo' A Portarnos Mal
07 Latinoamerica
08 Inter-En Annunakilandia
09 Digo Lo Que Pienso
10 Muerte En Hawaii
11 Todo Se Mueve
12 El Hormiguero
13 Preparame La Cena
14 Outro
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Kicking off their career with hungry and hedonistic club hits, Puerto Rican hip-hop duo Calle 13 have been blowing up expectations with each successive album, but MultiViral ups the ante. Here the political commentary and the genre-jumping which came to the forefront on 2010's Entren Los Que Quieran remains in place, but there's a sense of earned artistic freedom throughout the album, one that allows the group to slowly stroll up to "El Aguante," the album's first hook-filled cut, which doesn't arrive 'til the track counter reads "4." Early on in the Calle 13 discography, that would have felt like drudgery, but now, lead singer Residente is more compelling and in command, excelling on free-form songs like "Respira el Momento." With topics like Yo Soy 132, Julian Assange, and money-hungry gangsta rappers all fueling his ire, it's amazing the album doesn't fall apart because of weight, or come off like a dry civics class. Thanks to Residente's wit, and producer/step brother Visitante's brilliant backing tracks, the album holds tight and excites like few others and winds up an excellent entry point into the band's work, even if it isn't the easiest introduction. Silvio Rodríguez, Tom Morello, John Leguizamo, and Eduardo Galeano all lend a hand, making the guest list as diverse and deep as the album itself.
Calle 13 - Multi Viral (flac 357mb)
01 Intro - El Viaje
02 Respira El Momento
03 Interludio - Un Buen Día Para Morir
04 El Aguante
05 Ojos Color Sol
06 Multi_viral
07 Cuando Los Pies Besan El Piso
08 Adentro
09 Interludio - Stupid Is As Stupid Does
10 Los Idiotas
11 Fuera De La Atmósfera Del Cráneo
12 Perseguido
13 Gato Que Avanza, Perro Que Ladra
14 Me Vieron Cruzar
15 Así De Grandes Son Las Ideas
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Hello. Thank you for calle 13. It looks like "entren los que quieran" and "los de atras vienen conmigo" have the same link.
ReplyDelete- Jolo
Hello Yes a sloppy mistake, entering the wrong link-the right one is there now..n-joy
ReplyDelete