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UID:0746f743-1d03-4471-8e75-87c20c09589b@findlocal.community
DTSTAMP:20261016T041040Z
DTSTART;TZID=America/New_York:20261112T190000
DTEND;TZID=America/New_York:20261112T210000
SUMMARY:LPR Presents: Diles que no me maten with support from Military Ge
 nius
DESCRIPTION:For Diles que no me maten\, every note is a small step into t
 he unknown. The five-piece Mexico City band have always operated on a fi
 rst-thought\, best-thought basis\, drawing on a jam-based\, krautrock ph
 ilosophy to craft intricate constructions of wiry art rock spiked with b
 luesy balladry and poetic mysticism. While their fourth album Escrito en
  Agua (Writ in Water) is their most consciously crafted and accessible t
 o date\, their founding principle of slow\, wide-eyed exploration is ali
 ve and well. What’s a Rich Text element? The rich text element allows yo
 u to create and format headings\, paragraphs\, blockquotes\, images\, an
 d video all in one place instead of having to add and format them indivi
 dually. Just double-click and easily create content. Static and dynamic 
 content editing A rich text element can be used with static or dynamic c
 ontent. For static content\, just drop it into any page and begin editin
 g. For dynamic content\, add a rich text field to any collection and the
 n connect a rich text element to that field in the settings panel. Voila
 ! How to customize formatting for each rich text Headings\, paragraphs\,
  blockquotes\, figures\, images\, and figure captions can all be styled 
 after a class is added to the rich text element using the "When inside o
 f" nested selector system. Founded by brothers Raúl (drums) and Gerardo 
 (guitar) Ponce in 2017 in a CDMX scene set to bubble over\, Diles bonded
  over a shared improvisational language that grew more complex and fluid
  with each revelatory rehearsal and electric live performance. The fiery
  mix of raw elements that fueled their 2020 debut EP Cayó de su Gloria e
 l Diablo and LP Edificio coalesced into solid-built but shapeshifting en
 tities on their breakout album La Vida de Alguien Más and its free-flowi
 ng follow-up Obrigaggi. Together with the Ponces\, Andrés Lupone (bass)\
 , Jerónimo Elizondo-García (guitar\, clarinet)\, and Jonás Derbez (vocal
 s\, saxophone) have crafted a sound that’s as unpredictable as it is dis
 tinct. In a makeshift studio space in their hometown’s Santa María La Ri
 bera neighborhood\, Diles created Escrito en Agua through a process of i
 ntense experimentation and refinement\, guided gently by their longtime 
 collaborator turned producer Sebastián Rojas. This setting gave these re
 cordings a scrappy mutability\; unencumbered by the hi-fi confines of an
  official studio\, they were free to tinker with their unruly creations\
 , breaking them down and reassembling their best parts in a way they’d n
 ever done before. It’s evident from the opening notes of Escrito en Agua
  that Diles have entered a new chapter. Instrumental intro “Las Noches Q
 ue Dormimos en Sillas” (“The Nights We Sleep on Chairs”) was first conce
 ived as a “Goth Duke Ellington arrangement” by Andrés before some techni
 cal malfunctions and a guest performance from legendary saxophonist Alai
 n Derbez (Jonás’s father) led the band to realize the song would sound b
 etter an octave higher. Thus\, its lugubrious tones became less moody an
 d more spiritual. They leaned in\, injecting elements of funerary music 
 from Oaxaca’s Sierra Mixe that elevate the song far beyond its playful o
 riginal premise. The track sets the tone for an album that\, while posse
 ssing no airs of religiosity\, is as transcendent as gospel. This aura i
 s put into words on lead single “Hiriku\,” which finds Jonás interpretin
 g José Vincente Anaya’s epic poetic vision quest Híkuri (Peyote) over fr
 enetic krautrock instrumentation. “La mitad que soy no existe\, y la mit
 ad que existe no soy\,” he repeats with mantra-esque calm in the song’s 
 second half (“The half I am doesn’t exist\, and I am not the half that e
 xists”). This egocidal phrase\, ripped directly from the poem\, is a gau
 ntlet of sorts\; leave your previous self behind as you enter this recor
 d. “Cierro los ojos para ver un lugar donde no estoy\,” he sings elsewhe
 re (“I close my eyes to see a place where I am not”). Sonically\, the hi
 gh-octane “Hiriku” is an exception on a record full of unhurried reflect
 ion. Escrito en Agua’s languid tone is due in large part to Raúl’s decis
 ion to pare down his drumming to its most minimal form. “I wanted to mak
 e all the drums on the album really tame\,” he says. “I really like that
  feeling of having less things so you can concentrate on all the other t
 hings that are happening at the same time.” Gerardo took a similar tack 
 in his approach to guitar on the album. “Silence is a big element of the
  record\,” he says\, “the spaces that you take in silence and the silenc
 e you make after you play.” If “Hiriku” is Escrito en Agua’s thematic lo
 oking glass\, “Perquisidor” is its encryption key. Translating roughly t
 o “Investigator\,” the song’s title character is more of an observant wa
 nderer 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 s
 omething 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 attentio
 n to these clues.” This performance is 18+ only. This is a standing room
  only performance. If you require accessibility accommodations\, please 
 email boxoffice@nationalsawdust.org. When composing the song’s arrangeme
 nt\, Andrés put himself in that role. “I wasn't sure what I was going fo
 r\,” he says. “Sometimes the chords are happy and sometimes the chords a
 re sad\, but I wouldn't call it either a happy song or a sad song. It's 
 like an epic of nothing.” This ambiguity\, which carries throughout Escr
 ito en Agua\, is perhaps best exemplified on “Viene el Viento\,” a song 
 about aging and death that’s heartbreakingly tender but never overtly de
 pressive. It 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 o
 ne of the project’s most jarringly vulnerable cuts. Channeling the great
  Argentinian songwriter Luis Alberto Spinetta (Pescado Rabioso)\, Jonás 
 strove for equal parts emotional depth and childish simplicity. “It's re
 ally naked\,” he says. The album’s emotional tipping point\, though\, co
 mes on its penultimate track\, “No me.” Growing out of an instantly clas
 sic guitar riff from Jerónimo and the only lyrics on the project that Jo
 nás had written before the sessions began\, it’s rooted in an assertion 
 of strength and self-dependence: “No me está rompiendo. Creo que no me v
 a 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\, then f
 ail\, then rise again. “It was about repeating ‘This is not going to bre
 ak me’ in a way that it sounds like it has completely broken me down\,” 
 he explains. “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-recorded severa
 l times across three locations\, it’s now perhaps the track they’re prou
 dest 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 playing every da
 y 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.” Escrito en Agua has two dedicatees. The first is the morn
 ing star Tunuwame\, the patron of singers and musicians according to wes
 tern Mexican indigenous myth. “Estrella tan distante\, si te dejo de can
 tar me desperdiciare\,” Jonás sings on the album’s closing track\, named
  for the celestial orb (“Star so distant\, if I stop singing to you\, I’
 ll waste myself”). The second is Mahmoud Darwish\, widely regarded as Pa
 lestine’s national poet\, whose “documentary poems” Jonás looked to for 
 inspiration for various songs on the recording a way he’d never done wit
 h another writer’s work. “He's just writing the day-to-day of living in 
 a sieged state\, just writing about the small visions he sees\,” he refl
 ects\, 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\nTickets: https://ci.ovationtix.com/3
 6490/production/1272279\n\nhttps://findlocal.community/event/0746f743-1d
 03-4471-8e75-87c20c09589b
LOCATION:National Sawdust\, Brooklyn\, NY
URL:https://findlocal.community/event/0746f743-1d03-4471-8e75-87c20c09589
 b
STATUS:CONFIRMED
SEQUENCE:0
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