How Intocable’s Grammy-winning sound began with dreams, a cow and imagination

As a movie critic with a deep-rooted passion for music that spans decades and genres, I find myself utterly captivated by Intocable’s latest offering, “Modus Operandi.” Born from the fertile soil of Zapata, Texas, these six musicians have crafted an album that transcends the confines of the norteño genre, drawing upon a rich tapestry of influences spanning the best decades of pop music.

In what unique manner does an iconic norteño music band commemorate three decades of uninterrupted hit production amidst fierce competition?

Most people would be more than happy with a luxurious anniversary tour spanning Mexico and the United States, which is what the band Intocable is currently doing. However, the six musicians from Zapata, Texas, went a step further: Earlier this year, they unveiled “Modus Operandi,” an album that marks a new height of ambition and adventurousness for Intocable.

Ricky Muñoz, the lead singer and accordionist of the band, clarified that their latest work’s daring sound was not intentional defiance or boldness. Instead, they aimed to create an album that resonated comfortably with them. He explained, “We wanted to enjoy the process, let loose, and make music that speaks to our inner childish joy.”

As a longtime fan of Intocable and a native Texan who grew up listening to norteño music, I was thrilled to have the opportunity to cover their press conference at the Grammy Museum in downtown L.A. The sweltering heat outside was a stark contrast to the air-conditioned luxury hotel lobby where we were waiting for the event to begin.

I stand in an unoccupied corridor, flanked by six musicians, such as René Orlando Martínez on drums, Sergio Serna on percussion, Johnny Lee Rosas providing harmonious second vocals, Alejandro Gulmar skillfully playing the bajo sexto, and Felix Salinas handling the bass. We line up horizontally, our ears attuned, as we delve into the powerful melodies of our freshly crafted record, analyzing each note together.

As a true movie buff might say, “Indeed, we wield the musical instruments common to a norteño ensemble, but let me tell you, our tunes are far from ordinary.”

As a passionate admirer, I’d rephrase it like this: When my grandpa traded our old cow for a shiny new accordion for me, little did he know he was seeding the growth of a future norteño music titan. Yet, Mexican tunes weren’t the only melodies that echoed in Muñoz and his bandmates’ childhoods.

According to Muñoz, hailing from a small town significantly fueled our creativity. “Since Van Halen wouldn’t come to Zapata, we couldn’t attend their concerts,” he reminisces, his eyes holding a touch of wistfulness. “But instead, we spent countless hours envisioning what it would feel like to experience one of their live shows.”

Intocable’s musical influences can easily be traced back to the ‘60s, ‘70s and ‘80s.

“Martinez notes that no matter what others might claim, we were brought up listening to some of the greatest musical eras, as we hail from a small town,” says Martinez. “We relied heavily on MTV and ‘Night Tracks’ for our music discoveries. The impact was significant.”

Since its beginning, Intocable has combined norteño music with the polished vibe of popular Latin ballads (similar to Camilo Sesto or Leo Dan), amassing countless fans along the way. However, the tracks on “Modus Operandi” show a strong and deliberate connection to mainstream pop-rock, encompassing acts like The Beatles, Led Zeppelin, and Foo Fighters. Don Was, a seasoned producer known for his work with The Rolling Stones and Bob Dylan, is behind the album’s production.

In an unexpected twist for a genre often favoring traditional aesthetics, this band’s gradual bend isn’t entirely novel. On their 2019 album “Percepción,” the song “Tu Soledad y la Mía” starts with an electric guitar hum and a classic rock drum fill. However, when the first chorus transitions into an accordion solo, Muñoz ventures into fascinating new territories. The melody twists and swirls, creating a haunting, timeless lament that could easily fit within various genres or environments.

“He recalls vividly the creation of that solo,” he shares with a smile. “Johnny and I were at our ranch in Texas, crafting the melody, when as he strummed the final chord on his guitar, an idea sparked – reminiscent of Nirvana’s distinctive moments where they shift to a minor key, creating such a profound change. Although it often happens subconsciously, that influence was definitely present.”

On “Obsesión,” the first track from the latest album, an unheard original by Argentine artist Leo Dan (a maestro of the baroque ballad), features a comparable solo. The band similarly explored musical excavation in the album’s title track, “Modus Operandi.”

In the studio with Don Was, who doesn’t understand Spanish, we found that the original version of the song wasn’t quite fitting. Then Johnny presented a riff – the very first one he played when he got his first guitar at 13 years old. That’s what made it onto ‘Modus Operandi.’ This level of detail might seem insignificant in today’s genre context, but to us, it’s just part of our regular process.

“There’s nothing ordinary about ‘Sin Morir (No Puedo)’, either.” This track, claimed as an added bonus, is found at the end of the album. It’s a short, grandiose ballad that revolves around Muñoz’s vocals, gentle acoustic guitar notes, and a rich string arrangement by David Campbell – who happens to be Beck’s father.

“Martínez explained, ‘The reason for going independent and establishing our own record label is because we no longer need to prove anything. Now, we solely cater to our own creative desires rather than answering to an accountant.’ “

Intocable kicked off their 30th-anniversary tour in Hermosillo in July, wrapping up in Monterrey with two performances in December. Cities such as Los Angeles, Las Vegas, and numerous Texas locations are included in this journey as well.

I wonder if the band finds themselves energized by the recent upsurge in Mexican music, led by international sensations such as Peso Pluma.

“He openly admits that he can’t offer an educated viewpoint on those artists since he doesn’t regularly listen to their music. Modern musicians today have the advantage of various promotional tools for their art. However, he is unfamiliar with the instruments they use or the creative process behind their songs. Essentially, it’s like asking him about hip-hop – he acknowledges its significant impact on pop culture, but he hasn’t been influenced by it personally.”

Munoz gleams with enthusiasm when asked about the band’s upcoming plans. With an album like “Modus Operandi” being so transformative, is the thought of going back into the studio a challenging one?

He mentions that at some point, we need to confront the obvious issue and revisit our previous actions. We’re unsure of what might occur next, but typically we begin brainstorming and creating, only for an unforeseen event to take place. Once this happens, it’s crucial to hit the Record button because that spark of inspiration will disappear as quickly as it appeared. Soon after, we find ourselves discussing the experience, yet we can’t recall how everything unfolded.

“Art takes time,” Muñoz adds. “We don’t paint houses here. We are painting the ‘Mona Lisa.’ ”

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2024-08-24 03:02