Kinky Albums (4)
What The Critics Say
In the same vein as their previous work, Kinky's third record, Reina, combines elements of electronica, rock, and Latin into 40 minutes of hip-shaking music, which has always been what the band has done, anyway. So while the feel of each song may change somewhat between individual tracks ("I Say Hey" is Talking Headsy, "Lay Back" alludes to old-school hip-hop, and "¿Donde Van los Muertos?" uses a ranchera-inspired accordion), the overall intent and focus of the album is on the beat, and even in those moments where things start to become kind of cheesy (as music in which the synthesizer plays a large role, as it does here, is wont to do), the groove is so tight and crisp that it's easy to ignore those missteps and think instead about showing off your moves. That last statement is clearly the objective of Kinky, too, because more than anything else, it sounds like they're having a lot of fun, dancing around the studio as they play their instruments. The bass and guitar are clean and funky, the drums are equally as comfortable playing complex Latin beats (on the fantastic "Uruapan Breaks," for instance) as they are a more straightforward rock rhythm, the keyboards are poppy and quirky, the effects are well placed (the roaring sample in "León," for instance), and singer Gilberto Cerezo's voice is light and airy, a kind of José González-meets-Rob B-from-Stereo MC's (a comparison helped by the fact he often doubles up his vocal tracks), and works as a nice complement to the band's super-produced sound (as does the voice of Men at Work's Colin Hay, who adds his to the sleaze-groove of "Monday Killer"). It's all layered together, looped and twisted, and spread out into 12 easily digestible yet complex and interesting songs, catchy in that fun, plasticy kind of way, meant to be enjoyed and danced to during the summer months and then placed gently aside when the first frost starts to set in, where they'll wait patiently for next spring, when the party can start up all over again. ~ Marisa Brown, All Music Guide
What The Critics Say
With Atlas, Latin rock quintet Kinky move closer to actual rock than the electronic pop of their 2001 debut allowed. But contagious numbers like "Minotauro," built from a great twangy riff, and the breezy, acoustic shuffle of "Not Afraid" clearly put these Monterrey, Mexico, natives in the company of modern stateside pop groups like Sugar Ray. That's not to say the Gil Cerezo-fronted outfit avoids its roots, as traditional South American rhythms on "The Headphonist" create an ideal forum for Cake vocalist John McCrea's spoken observations on sound. Although some might argue that McCrea's visit on track number two is distracting, coming about nine songs too early, the musical flow isn't deterred for long, as the edgy, percussive "Snapshot" affirms. Speaking of Cake, "Airport Feelings" recalls those Californians at their quirkiest and most likable, although Cerezo's paranoia over air travel loses something in the translation to English. He's best served sticking to his native Spanish, as his commendable vocal performance on "Presidente" -- augmented by the undeniably hard, thumping funk groove of his bandmates -- exhibits. ~ John D. Luerssen, All Music Guide
What The Critics Say
Kinky may be a Mexican band, but these guys are a long shot from any preconceived notions you may have about what a Mexican band should sound like. They're anything but traditional and, if tagged as anything, are about as alternative as Latin alternative gets. This is because Kinky is a band that plays electronic dance music without going the computerized beat-making route. Well, at least not wholeheartedly, as they retain their essence as a band above all (rather than program beats, they seem to sample themselves and then loop those samples). It's tough to pin these guys down on their self-titled debut album because it veers all over the place, sometimes within a single song. The album opener, "Más," is a case in point, with its wah-wah guitars spitting out funk licks and its hip-hop breakbeats signifying the multicultural mélange to come. Some songs go a step further, like "Ejercico No. 16" in particular, kicking up such a dance-party dust storm that you're liable to mistake Kinky for Daft Punk. So while Kinky are indeed Latin musicians and sing in Spanish, that's somewhat of a minor issue. Like los Amigos Invisibles or Titan, Kinky emphasize the music, not the singing nor the cultural cues -- they're a universal band with a universal sound that just happens to originate in Monterrey, Mexico. After all, this debut album was licensed by Nettwerk America (a Canadian label best known for releasing albums by Sarah McLachlan and the Barenaked Ladies) and was produced by Chris Allison (a Brit best known for working with Coldplay and Dot Allison), so it doesn't exactly boast a lot of Latin credentials. It doesn't need to when it's this great -- Kinky is the sort of album that should stand on its out, beyond the realm of geographic or demographic categorization, and most certainly beyond cultural expectations or stereotypes. And when taken on its own terms -- an album of music performed by a band -- it's hard to resist the dynamic rocktronica en español of Kinky here, especially if you're keen on pigeonhole-defying multicultural listening experiences. ~ Jason Birchmeier, All Music Guide
