A pọju poetic and musical passage, Alex E. Chávez ká akọkọ album, Sonorous Present, tẹsiwaju awọn iroyin ti o pọju, iṣeduro, ati iṣoro lori awọn agbegbe Amẹrika, bi awọn ibi ti ara ati awọn agbegbe. Ti o bẹrẹ bi a igbẹkẹle igbẹkẹle ni 2019-iwe-iwe nipasẹ awọn music ati poetics ti Chávez ká awujo akọkọ iwe Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño (Duke 2017)—ti a ti fi sori ẹrọ bi ọkọ ayọkẹlẹ album ni ifowosowopo pẹlu awọn Grammy Award-awọju producer Quetzal Flores.

Gba ọpọlọpọ ọdun ninu awọn ṣiṣe, Sonorous Present jẹ ifowosowopo ti Chávez—ọkan, olugba, ati borderlands sonic theorist ti a mọ fun awọn oniwe-ọna akọkọ ati lori akọkọ pẹlu Dos Santos (International Anthem), Caramelo Haze (Nacional Records), Smithsonian Folkways, ni afikun si awọn iṣowo pẹlu awọn olokiki Mexican olokiki ati huapango olokiki Guillermo Velázquez, awọn olokiki Grammy Award Quetzal ati Grupo Fantasma, ati awọn olokiki Grammy-awọn olokiki Black Pumas ati Antibalas. Ni Sonorous Present, Chávez ṣe gbogbo awọn ipo wọnyi lati ṣẹda nigba ti o ṣẹda awọn ipo ti o mu awọn aye ati awọn idunnu ti awọn ọkunrin, ọkunrin, ati ọbẹ rẹ. Awọn ipa ti o jẹ kan ti o dara julọ ati iyanu ti o fihan nipasẹ awọn sunburst surreal ti awọn ile-iṣẹ music ati awọn ile-iṣẹ ti Amẹrika ti a fi nipasẹ awọn akọsilẹ akọsilẹ ti awọn onibara iwaju, iwaju, ati awọn ipolowo ti awọn akoko wa.

<pfseg id="0">Tọkasi ni Los Angeles ati Chicago, awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti awọn ipilẹ ti

<pfseg id="0">Tẹsiwaju lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹ lẹsẹsẹsẹ lẹsẹsẹ lẹsẹs

The song features duet vocals by Chávez and Laura Cambrón—lauded son jarocho musician, activist, and veteran of the Los Angeles and Chicago Mexican folk music scenes. A paced huapango rhythm cradles the wistful voices of Cambrón and Chávez, ushered along by Matt Ulery’s whimsical string arrangements, all of which finally crescendos into a melancholic dirge reminiscent of mariachi laments in the tradition of western Mexico’s son de la tierra caliente.

Hauntingly tender and at times cutting, Sonorous Present confidently places Chávez’s songcraft and lyricism on display, highlighting an assured, empathetic voice, as well as his seasoned musicianship and scholarly work. He elaborates the deep and multitudinous possibilities of grief and healing through verse, melody, and ethnographic songwriting. As Roger Reeves explains, “often, we think of elegies as commemorations, as moments of sadness, but really, an elegy is about the praise of something. You can’t mourn something you don’t love.”

Chávez’s first solo album is a tour de force marking a crucial moment in the career of an artist fully integrating all dimensions of his work and talents to reimagine the creative horizons of what a studio album can sound like and the multi-modal forms scholarship can take, all while boldly exploring the sonorous politics of borders.

Sonorous Present is out October 18th, 2024 through Artivist Entertainment.

“Tọkasi, akọkọ, “catalina” ti wa ni ifowosowopo si ọkunrin mi – Catalina – eyi ti o ti wa ni ifọwọkan ti iṣoro ile-iwe nigba ti o ni 18 ọdun. A song ti iyanu ati iyanu, Mo fẹ lati ko ni anfani lati fi sori ẹrọ rẹ si rẹ: “Lori mi, ohun gbogbo ti wa ni iṣoro laarin ti o ba ti mo; ki o si iwaju mi, Mo ri o ninu awọn ojuami.” Mo ti o ni ọdun ọdun ọdun, ati eyi akoko ti iṣoro ati awọn iṣoro ti o ni ilọsiwaju ninu iroyin mi ati iwaju mi bi ọrọ.