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music news tijuana

Nortec Collective Upset

Members of the Nortec Collective stand at the beach
From left: Panóptica (Roberto Mendoza), Bostich (Ramon Amezcua), Hiperboreal (P.G. Beas), Clorofila (Jorge Verdin), Fussible (Pepe Mogt)

A few weeks ago, the progressive Tijuana magazine ZETA published a candid interview with Pepe Mogt (Fussible). In the interview, he expresses his outrage that fellow Nortec Collective member Roberto Mendoza (Panóptica) individually trademarked the name “Nortec” as his own:

Nortec isn’t something between just the five of us. Nortec is part of the same people of Tijuana that made it possible to define the sound and its own cultural movement. Nortec is a sound. Nortec isn’t a brand, nor is it something that belongs to one person alone, or a specific group of people. At least to those of us in the collective it’s ours in the musical sense, but Nortec came from many people that gave an aesthetic and musical life to this movement; and if we have to mention names, we’d say Torolab, Acamonchi, Ángeles Moreno and an uncountable group of others. (Translation of Pepe Mogt’s comments in ZETA)

Mogt describes the name Nortec as an abbreviation of “Norteño Techno.” He clarifies that the collective registered the name “Nortec Collective” for international distribution, but says he’s unsure of the legalities in Mexico. He says this all came out of nowhere; he was notified on paper and hadn’t yet spoken to Mendoza.

Another collective member, P.G. Beas (Hiperboreal), blogged about the controversy. He confirms the group had no plans to tour in 2008 as each member works on individual or duo projects.

I haven’t the least idea of Robert Mendoza’s plans with his band named Nortec Panóptica Orchestra. The use of the name Nortec like this pisses us off; it’s already disingenuous that a band that isn’t the Nortec Collective uses the name Nortec. It’s obvious that no one in the collective knew that Robert Mendoza would register the name Nortec in Mexico as his own. This would seem obvious, but in some news it wasn’t made clear. Another thing that would seem obvious, but I’d like to underline it, is that we have said a thousand times that without Tijuana, Nortec simply wouldn’t exist. It would be nothing. (Translation of P.G. Beas’ blog post)

Bloggers (BeamTV, Xeelee) clearly agree with the anti-Mendoza sentiment, using words that just don’t have the same ring in English :)

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Steal This Riff #2

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Garage Band Layout

Here’s another diddy, mixed in Garage Band. I threw in a few of the default drum loops for fun. Download the individual tracks for your mixing pleasure: Guitar, Wah, Rhythm.

2 x o o x x x – 4 x o o x x x – A
F#m – A – E – F#m
G# – A – C#m – B
F#m – D – A – E
C#m – A – C#m – B
C#m – A – B – G#

This work by Nathan Gibbs is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.

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Steal This Riff #1

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Here’s a track I’ve fiddled with the last few days. I’m posting this for you musicians to remix. I’m licensing it under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License. That means you are free to use it as long as give me credit (attribution), don’t make money with it (noncommercial), and license any work you make under the same license (share alike). Contact me if you want to use it outside those parameters.

For your mixing pleasure, download the individual pieces (recorded at 72bpm): main guitar riff (mp3), accent guitars (mp3), bassline (mp3) and reversed cymbols (mp3). The bass and cymbols came straight out of Garage Band, so feel free to discard those and come up with something better. If you use these pieces in some way, post a link in the comments.

Bm7 – A – D
G – Bâ™­ – D
Bm – Gâ™­ – A – E
Bm – A – G – A – Gâ™­

This work by Nathan Gibbs is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.

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Ode to a Lost Song

I’ve played the piano and guitar most of my life. I’ve improvised an endless number of riffs that never materialize into songs. I’m going to try and start recording and posting them online with a flexible copyright, hoping that the creative geniuses out there will make something out of it.

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memories music

The Third Half

A Wednesday morning phone call woke me with news that one of my best childhood friends, Benson Krause, had died.

Portrait

It had been more than 10 years since my last letter went unanswered. It was harder to keep in touch after he moved back to Chicago when we were 15 years old. I’m left with a deep sense of loss; I always hoped we’d reunite one day, reminiscing about the good old days and share where our lives had taken us.

Continue reading “The Third Half”
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From the Archives: Floating Point

This video is an eight minute excerpt of a 12 minute improvisation (I think Sarah ran out of tape). As students in an M.F.A. program (it looks like their site went downhill after Fish went to RISD), the four of us had been playing together for a few months. We recorded some really interesting sessions, learning the soundscape of each instrument. The masks were donned as last-minute inspiration, but it was the first time we’d played with them:

This is the one and only public performance from the group we called Floating Point: Andrew Lynn on cello, Stephan Moore on laptop, Naomi Ture on violin, and myself on guitar.