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UID:0a9ed769-f8dc-4bc2-97dd-a890b4966bc4@360exp.net
SEQUENCE:29842535
DTSTAMP:20260928T165126Z
LAST-MODIFIED:20260927T233504Z
DTSTART:20261031T020000Z
DTEND:20261031T060000Z
SUMMARY:Diles Que No Me Maten + Sunswept + Ardo
LOCATION:Hi-Dive
DESCRIPTION:Diles que no me maten\n\nEscrito en Agua LP\n\nMoonlight Activi
 ties\n\nFor Diles que no me maten\, every note is a small step into the un
 known. The five-piece Mexico City band have always operated on a first-tho
 ught\, best-thought basis\, drawing on a jam-based\, krautrock philosophy 
 to craft intricate constructions of wiry art rock spiked with bluesy balla
 dry and poetic mysticism. While their fourth album Escrito en Agua (Writ i
 n Water) is their most consciously crafted and accessible to date\, their 
 founding principle of slow\, wide-eyed exploration is alive and well.\n\nF
 ounded by brothers Raúl (drums) and Gerardo (guitar) Ponce in 2017 in a C
 DMX scene set to bubble over\, Diles bonded over a shared improvisational 
 language that grew more complex and fluid with each revelatory rehearsal a
 nd electric live performance. The fiery mix of raw elements that fueled th
 eir 2020 debut EP Cayó de su Gloria el Diablo and LP Edificio coalesced i
 nto solid-built but shapeshifting entities on their breakout album La Vida
  de Alguien Más and its free-flowing follow-up Obrigaggi. Together with t
 he Ponces\, Andrés Lupone (bass)\, Jerónimo Elizondo-García (guitar\, c
 larinet)\, and Jonás Derbez (vocals\, saxophone) have crafted a sound tha
 t’s as unpredictable as it is distinct.\n\nIn a makeshift studio space i
 n their hometown’s Santa María La Ribera neighborhood\, Diles created E
 scrito en Agua through a process of intense experimentation and refinement
 \, guided gently by their longtime collaborator turned producer Sebastián
  Rojas. This setting gave these recordings a scrappy mutability\; unencumb
 ered by the hi-fi confines of an official studio\, they were free to tinke
 r with their unruly creations\, breaking them down and reassembling their 
 best parts in a way they’d never done before.\n\nIt’s evident from the
  opening notes of Escrito en Agua that Diles have entered a new chapter. I
 nstrumental intro “Las Noches Que Dormimos en Sillas” (“The Nights W
 e Sleep on Chairs”) was first conceived as a “Goth Duke Ellington arra
 ngement” by Andrés before some technical malfunctions and a guest perfo
 rmance from legendary saxophonist Alain Derbez (Jonás’s father) led the
  band to realize the song would sound better an octave higher. Thus\, its 
 lugubrious tones became less moody and more spiritual. They leaned in\, in
 jecting elements of funerary music from Oaxaca’s Sierra Mixe that elevat
 e the song far beyond its playful original premise. The track sets the ton
 e for an album that\, while possessing no airs of religiosity\, is as tran
 scendent as gospel.\n\nThis aura is put into words on lead single “Hirik
 u\,” which finds Jonás interpreting José Vincente Anaya’s epic poeti
 c vision quest Híkuri (Peyote) over frenetic krautrock instrumentation. 
 “La mitad que soy no existe\, y la mitad que existe no soy\,” he repea
 ts with mantra-esque calm in the song’s second half (“The half I am do
 esn’t exist\, and I am not the half that exists”). This egocidal phras
 e\, ripped directly from the poem\, is a gauntlet of sorts\; leave your pr
 evious self behind as you enter this record. “Cierro los ojos para ver u
 n lugar donde no estoy\,” he sings elsewhere (“I close my eyes to see 
 a place where I am not”).\n\nSonically\, the high-octane “Hiriku” is
  an exception on a record full of unhurried reflection. Escrito en Agua’
 s languid tone is due in large part to Raúl’s decision to pare down his
  drumming to its most minimal form. “I wanted to make all the drums on t
 he album really tame\,” he says. “I really like that feeling of having
  less things so you can concentrate on all the other things that are happe
 ning at the same time.” Gerardo took a similar tack in his approach to g
 uitar on the album. “Silence is a big element of the record\,” he says
 \, “the spaces that you take in silence and the silence you make after y
 ou play.”\n\nIf “Hiriku” is Escrito en Agua’s thematic looking gla
 ss\, “Perquisidor” is its encryption key. Translating roughly to “In
 vestigator\,” the song’s title character is more of an observant wande
 rer than a traditional detective. “It’s wandering not in the sense of 
 being lost\, just in the sense of seeking something\,” Jonás clarifies.
  “But you're not specifically seeking something that is a goal. You're o
 nly seeking details. I think of it as wandering with a clear vision of som
 ething that you cannot discover. You're on the trail of something that you
  know you're not gonna figure out\, but you're still paying attention to t
 hese clues.”\n\nWhen composing the song’s arrangement\, Andrés put hi
 mself in that role. “I wasn't sure what I was going for\,” he says. 
 “Sometimes the chords are happy and sometimes the chords are sad\, but I
  wouldn't call it either a happy song or a sad song. It's like an epic of 
 nothing.”\n\nThis ambiguity\, which carries throughout Escrito en Agua\,
  is perhaps best exemplified on “Viene el Viento\,” a song about aging
  and death that’s heartbreakingly tender but never overtly depressive. I
 t was the first song Diles recorded for the album\, and they approached it
  like a puzzle\, aiming to present distinct moods musically and lyrically.
  There’s no misdirection here\, though\; in fact\, it’s one of the pro
 ject’s most jarringly vulnerable cuts. Channeling the great Argentinian 
 songwriter Luis Alberto Spinetta (Pescado Rabioso)\, Jonás strove for equ
 al parts emotional depth and childish simplicity. “It's really naked\,
 ” he says.\n\nThe album’s emotional tipping point\, though\, comes on 
 its penultimate track\, “No me.” Growing out of an instantly classic g
 uitar riff from Jerónimo and the only lyrics on the project that Jonás h
 ad written before the sessions began\, it’s rooted in an assertion of st
 rength and self-dependence: “No me está rompiendo. Creo que no me va a 
 romper.” (“It’s not breaking me. I believe that it won’t break me.
 ”) As Jonás says it over and over\, his confidence seems to waver\, the
 n fail\, then rise again. “It was about repeating ‘This is not going t
 o break me’ in a way that it sounds like it has completely broken me dow
 n\,” he explains.\n\n“No me” isn’t a hard song to play technically
 \, but it was the trickiest for Diles que no me maten to nail down. Re-rec
 orded several times across three locations\, it’s now perhaps the track 
 they’re proudest of in their discography. “It's a song where we listen
  to each other a lot while playing\, and when we're on tour and we're play
 ing every day and we have different feelings or a common feeling\, we play
  that song\, and it's like\, ‘OK\, we understand\,’” Jonás says. 
 “That's why it's so important.”\n\nEscrito en Agua has two dedicatees.
  The first is the morning star Tunuwame\, the patron of singers and musici
 ans according to western Mexican indigenous myth. “Estrella tan distante
 \, si te dejo de cantar me desperdiciare\,” Jonás sings on the album’
 s closing track\, named for the celestial orb (“Star so distant\, if I s
 top singing to you\, I’ll waste myself”). The second is Mahmoud Darwis
 h\, widely regarded as Palestine’s national poet\, whose “documentary 
 poems” Jonás looked to for inspiration for various songs on the recordi
 ng a way he’d never done with another writer’s work. “He's just writ
 ing the day-to-day of living in a sieged state\, just writing about the sm
 all visions he sees\,” he reflects\, remembering what first appealed to 
 him so much about Darwish. It’s these smaller visions that make Escrito 
 en Agua the masterpiece it is. Unassuming in its brilliance\, it flows one
  note at a time into a great unknown of endless possibility.\n\nBoletos: h
 ttps://dice.fm/event/g5xoa6-diles-que-no-me-maten-sunswept-ardo-30th-oct-h
 i-dive-denver-tickets
URL;VALUE=URI:https://360exp.net/events/0a9ed769-f8dc-4bc2-97dd-a890b4966bc
 4
STATUS:CONFIRMED
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