To write his solo debut, Café Tacvba’s Meme del Real first had to surrender

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In Mexico City during the summer, Meme del Real has become frustrated with the constant heavy rainfall. He exclaims, “I’ve had enough!” with a sigh, as there are some who enjoy it, but he feels overwhelmed. The persistent rain confines him indoors, denying him the chance to go outdoors. This situation pushes him to explore new things and engage in inner reflection rather than resisting it.

Lately, the vocalist and keyboardist from renowned Mexican alt-rock band Café Tacvba, Del Real, has been exploring the theme of surrender in his life. A versatile musician who has produced for artists like Julieta Venegas and Natalia Lafourcade, Del Real recently returned to Mexico City after five years in the peaceful Valle de Bravo. The tranquil lakeside town served as a place of solitude for him during his stay, which was about two hours away from Mexico City.

In this urban getaway, the musician found solitude deep enough to connect with something transcendent within himself. With his personal studio nestled amidst a forest view, he found the headspace for introspection. Crucially, he granted himself the freedom to embrace inspiration as it came, without actively seeking it.

Meme describes his “Walden” moment like this: Instead of consciously seeking inspiration when I went to that place, it felt more like a personal tension bubbling up and resolving. As I delved into revisiting old songs and ideas in progression, something new started to sprout within me – an unprecedented blossoming. This was a solitary process I hadn’t formally or intentionally embarked on before. If the resulting songs reflect my physical surroundings at the time, then it could be said that the distance I felt from everything emerged as music in its own unique way.

On Del Real’s upcoming first solo album (still without a title), the songs explore the mysteries hidden within silence and sound expansion. He is unassuming with his musical explorations, never shying away from playful experimentation. “Tumbos” is an electronic love ballad with occasional interruptions of bachata string plinks. Del Real becomes lost in the futuristic rhythm of “Incomprensible,” a bolero-style track that updates the traditional Cuban torch song genre by pushing its signature guitar sounds into psychedelic territories. The atmosphere is crucial in this album; two forthcoming tracks lean towards ambient, focusing on the tones of church bells and chirping birds, as well as the immersive sensation of mushrooms sprouting across a forest floor.

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These small pyres of fiery intensity glow softly from the tender tones of Del Real’s voice. Both dedicated and casual followers of Café Tacvba have come across “Eres” at some point, a hit single from their 2003 album, “Cuatro Caminos,” where Del Real takes the lead vocals. He continues to express love through his songs: The norteña-influenced “Embeces” showcases Del Real’s powerful voice over wobbling trumpets, and “Princesa,” the lead single, combines grand orchestration with trip-hop rhythms and scorching lyrics about broken promises and vows of loyalty.

For music enthusiasts eager for more, Del Real will be offering a sneak peek into his latest work through a unique performance at the Grammy Museum on September 2nd.

Del Real stated, “These songs came along, and I couldn’t ignore them. An irresistible urge compelled me, a situation crying ‘seize the day’. Every mystery and hurdle I’ve encountered has taught me something valuable. On stage with Café Tacvba, I don’t just play and sing; I dance and let my body express me too. As children, we hear a rhythm and move to it, even if we look silly. It’s more rewarding to awkwardly dance and explore than to suppress our feelings.

De Los conversed with Del Real via Zoom from Mexico City, as he’s finding his footing amid several fresh starts: a novel residence, a revised daily schedule, and his debut independent venture, due for release in the upcoming month.

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Instead of numerous spots where artists retreat for solitude and creativity, you seemed to seek something altogether different. As I delved into the album, I noticed similarities between the tracks and the tranquil ambiance provided by natural surroundings. Two songs, in particular, nudge towards ambient music, featuring the soft tolling of a church bell and a faint noise that swells into a thunderous boom.

The creative process is instinctive and unpredictable, mirroring the patterns and shapes of nature. The tangible experience of witnessing creation left an indelible mark on me, being enveloped by such a vibrant forest alongside so much more.

What made creating this solo album distinct from producing a Café Tacvba record, for you? With the band, there’s a certain rhythm of creation – albums, projects, videos, tours, performances – but these songs seemed to emerge spontaneously, almost as if they were waiting to be discovered. At my previous home, I built a studio nestled deep within a vast forest. Living there felt like becoming just another part of the natural world, participating in its cycle of life. It was an enriching experience for me, one that I cherished deeply. The process itself held immense value, and I consider it a personal project. Anything that comes from this experience is a bonus, an added gift. The creation process felt transformative, much like nature itself – something wild, organic, and beyond control or manipulation.

As a music enthusiast, I must say that your approach to describing songs as arrivals rather than creations, especially when connected to a muse, strikes a chord with me. It’s an intriguing perspective that resonates deeply.

In terms of movement, this production is bursting at the seams with it! Bachata, cumbia, electronic music, you name it – there’s plenty here to dance the night away. But it goes beyond that for me; growing up in a musical household, I’ve been fortunate enough to be immersed in various genres throughout my life.

My father was a musician himself and his passion for music was nothing short of inspiring. He filled our home with sounds from every corner of the world. Watching him play the trumpet alongside his orchestra at parties, particularly when they performed those formal Latin American dance numbers – it left an indelible mark on me.

As I began composing my music, the genres emerged quite naturally. If a track sounded similar to Ministry or norteña or bolero or disco or punk, then that’s what it became. Creating needs to have an element of fun, and it should express authenticity; otherwise, it becomes overly intellectualized. I believe there should be a balance between spontaneity, playfulness, intellect, and conceptualization. Listening to all the songs made me unsure if I was creating an album or not. Seeking Gustavo Santaolalla’s [Latin rock legend] feedback clarified things for me, as it became apparent that something unique was taking shape.

Gustavo Santaolalla, the award-winning composer, discusses his work on the 1931 ‘Dracula’ soundtrack. He will perform at the United Theater on Broadway alongside the Los Angeles Opera Orchestra.

In simpler terms, I created the songs in the location I previously shared with you, not just through guitar and piano compositions or demos, but by trying out new elements as well. The arrangements grew more intricate over time, becoming quite rich and complex. However, when presenting a demo to Café Tacvba, I would simply sing it without any alterations. In this particular case, Gustavo took notice of my unique vocal delivery, commenting that it offered a clear snapshot of me at this point in time. Therefore, no changes were made to the original style.

When I was attempting to discern the central theme here, my mind wandered towards the subject’s emotions: This seems filled with affection and longing. Do you identify yourself as someone who is romantic at heart?

In these challenging times, I too have found myself deeply contemplating global issues, the heartrending tragedies that unfold in various parts of the world. However, amidst all this chaos, I’ve discovered a sense of beauty – a profound appreciation for human connections, relationships that stretch from personal to universal, cosmic, or internal. These connections encompass paradoxes and contrasts, which may not be conventionally romantic, but they certainly are captivating. Even in the face of an apocalyptic backdrop, love and beauty seem to be the forces that compel us to persevere, don’t they?

This album is remarkably progressive in its sound, reflecting the prevailing trend of genre blending. Where do you categorize it within this spectrum?”

And for the second part:

“I often find myself baffled by the artistic creations and musical styles of today’s youth. Yet, I can’t help but notice that just like in past eras, artists seem to be responding to the social and political climate around them. The difference now appears to be in the way they express themselves – instead of overt criticism, they create experiences, saying, ‘I’ll seize the moment and have a good time because this is temporary… I must make the most of it with my friends, my community, and our global digital network.’

The statement carries a strong impact, as it simultaneously inspires awe and fills me with sorrow. To be honest, it’s disheartening to imagine a generation that perceives the world’s end. From my perspective, there seems to be minimal optimism, and the complexities are so profound that I prefer to focus on what’s immediately around me instead. As a young person, I feel compelled to make the most of my youth while I can, seizing opportunities for enjoyment now, as I’m unsure whether I’ll have another chance later on.

In my era, things seemed to offer more clarity and foresight. The future appeared to stretch out more distinctly.

This interview was conducted in Spanish, translated, edited and condensed for clarity.

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2025-08-29 00:01