Cyril Cyril (F) Mengers (Mex)

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CYRIL CYRIL
Getting into an album by Cyril Cyril is being invited to a party where you thought you didn't know anyone, only to realize that this chap’s gal is your bro’s cuz, and leave with everyone's cell. Their music seems familiar because it's not deaf to its neighbors, in the broadest sense : Geneva, their lair, Europe, their playground as a duo, and the world, their grocery store. There’s plenty in those two heads, but just the two of them on stage. Cyril Yeterian fiddles with a polyglot banjo and catches his tangy voice on the fly with pedals. Cyril Bondi hauls around a huge drum kit -voted wackiest of the decade, covered in sonic shells and the occasional pad. And lo and behold, they're both singing, for our most happy confusion. For their third Born Bad album, they have invited two lads from Orchestre Tout Puissant Marcel Duchamp, Inès Mouzoune, multi-instrumentalist from Amami, and Violeta Garcia’s cello on Le Futur ça marche pas. Genosidra, aka Carlos Quebrada, who crafts club delicacies in Bogotá, mixed heavy, full gravy, a challenge given the quantity of material, recorded as a family affair at Insub Studio. On the ruins of Switzerland, people dance hard but consciously, and won’t complain about them having a go at the homeland- notably in « Sweetzerland Bunker Love », where they claim it's time to "free the money from the banks". There's something rotten in the state, wherever it may be, and they prefer to put its fall to music. And they're not shy about it, either: this album features heavy guitar/drums text-driven ballads (beautiful "mensonge", composed for the theater, opens the album with a certain gravitas), polyrhythmic noisy drum splatter with crafty vocal knitting ("Plus rien à faire"), deconstructed and harmonically ambitious compositions ("Les Phoenix de l'amour"), and latino frogs croaks, because yes, why not. Since their previous efforts "Certaine Ruines" and "Yallah Mickey Mouse", it turns out that the future isn't working out so badly for the two Cyrils, who each have a label to run. Bongo Joe for
Yeterian, Insub for Bondi - who also beats the drum for La Tène in his rare spare time. And that's not counting with their supergroup Yalla Miku (with Hyperculte, Anouar Baouna, Ali Boushaki and Samuel Ades). Quietly sitting on crates of records, they patiently build their sound. Never tired of sick networks and never-ending struggles, Cyril Cyril live is a rousing mess, shouting out the common spleen while still managing to have a good laugh.
cyrilcyrilband.bandcamp.com/track/frankie

MENGERS: Theres multitudes contained within the sound of Mengers. The Mexico City power trio has harnessed their musical chops through energetic music with sharp edges and occasional melodic hooks. Their first album—GOLLY (2021)—demonstrated what they were capable of doing and it set them on the path to become one of the most exciting bands in the scene. i/O (2022), their second album, arrives to demonstrate that they're reaching a whole new level and that theres more to Mengers than psychedelic noisy garage-tinged songs. Released in 2021, GOLLY managed to raise Mengers profile to the forefront of Mexicos rock underground. Armed with 12 songs full of punk and psychedelia and making a complex critique and chronicle of life in Mexico City, GOLLY was named one of the years best by local underground blogs and their singles were on the top of many local rock radios. They also appeared on the 2021 edition of the biggest Mexican psych rock festival Hipnosis in Mexico City as well as contributing a session to KEXPs Latin American culture celebration, Aquí y Ahora. Seizing their downtime due to lockdown, Mengers got to write the followup to GOLLY. Inspired in part by the pandemics effect on their psyche, i/O represents an attempt to make sense of a world in crisis reflecting on the repetitive nature of not being able to go outside, as well as isolation, fear of losing loved ones, and feeling like letting life waste away. On i/O - taken from the “on/off” switches on most electronic devices- Mengers reflect on how life doesnt deal in such duality but rather how opposites tend to complement each other. Musically, i/O represents an expansion of what has come to be known as the Mengers sound. The fuzzed-out guitars and frantic drumming of the past are still mostly present but there are experiments that result in some of their most ambitious music to date, exploring further instrumentation on post-punk and art rock giving inflections to their sound to arrive at the best music they can muster. i/O had been critically acclaimed listing on the best latin albums of the year by Rolling Stone, Remezcla, as well as many mexican newspapers, radio stations and blogs.With i/O, Mengers started a promotional tour of 20 in the US, being able to play at Chicago’s Ruido Fest (biggest latin american music festival in the US), Freakout Festival as well as some of the biggest US cities such as New York, Philadelphia, Los Angeles, San Francisco and Seattle. By now, Mengers is one of the most forward thinking bands in the game, a force of nature that will continue to give inspiring music for years to come.

Pitchfork Music Festival CDMX

mengers.bandcamp.com

Einlass: 20:00 Uhr