Project. Sin retorno al principio Vol. 1
Ale Limón
Asgard Mendizábal
Graphic design & back photo. Urban Samurai
Ale Limón
Asgard Mendizábal
Graphic design & back photo. Urban Samurai
It was 2009. Doc had released some demos on his My Space (I believe three or four), Sin retorno al principio was going to be the next one, but it turned into his professional debut.
Unlike his past works, this wasn't him making minimal beats with classic music samples and rapping over them, he took a three sentence phrase and divided it to make the titles, then he gave each one a beat and sent it to who he considered were the best mexican rappers at the time. The goal was that they completed the idea behind each title and the phrase: "Paradigmas para saber que nuestras ideas nos siguen. Estamos muertos sin importar qué tango brillemos. Nunca hubo dolor, a pesar de que las lágrimas sueñen". The final result was 5 instrumentals with scratching and 7 tracks with rapping.
Although not every track was fully achieved or fitted the idea behind the phrase, he made it with some of the them, like "Para saber" with Sick Morrison, "Nos siguen" with Nayasuza, "Nunca hugo dolor" with Zake or "Las lágrimas sueñen" where he raps. And most important, the sound has no precedents in hip-hop (not only mexican hip-hop). On Sin retorno al principio, he went from a beatmaker to a real producer, giving each track a sound, a feeling and a voice that speaks to the listener from the deep of his dark soul.
When we hear it, we knew it should be published on cd. We talked to him and he tell us the idea for the cover: an old people sitting in the park. That was it.
Ale searched a lot of parks around the city, but we didn't like any. We wanted to give a nostalgic and broken mood, but all of them looked either trashy and abandoned or so new and alive with the new games in the city.
Finally she found this one, it had the old, big trees with long bushes and the old games, unpainted, but not broken. I took the photos. It was a long session 'cause the old lady was tired after the first ten photos in one of the places (they were going to be like three or four places: the bench and some games). Well, she didn't want more, it started to rain like there were no tomorrow, so we returned the next weekend. Again, the same thing or worst. She was tired and moody after the first five photos at one place. I pushed her, but we had to skip some scenarios, so we shot the last one, the one behind the swing. Just before we leaved, Urban Samurai decided to take the one from the hands.
The Samurai was a regular collaborator En El Bus at that time. He did the graphic design that added the dark side to the nostalgic face and the sad place.
As any other job with Sonido Líquido Crew, this was a personal job for a friend and it became more significant since the old lady died one month after the photoshoot. That face was real, I made her remember and cry. She went happy. She was my grandma.
Unlike his past works, this wasn't him making minimal beats with classic music samples and rapping over them, he took a three sentence phrase and divided it to make the titles, then he gave each one a beat and sent it to who he considered were the best mexican rappers at the time. The goal was that they completed the idea behind each title and the phrase: "Paradigmas para saber que nuestras ideas nos siguen. Estamos muertos sin importar qué tango brillemos. Nunca hubo dolor, a pesar de que las lágrimas sueñen". The final result was 5 instrumentals with scratching and 7 tracks with rapping.
Although not every track was fully achieved or fitted the idea behind the phrase, he made it with some of the them, like "Para saber" with Sick Morrison, "Nos siguen" with Nayasuza, "Nunca hugo dolor" with Zake or "Las lágrimas sueñen" where he raps. And most important, the sound has no precedents in hip-hop (not only mexican hip-hop). On Sin retorno al principio, he went from a beatmaker to a real producer, giving each track a sound, a feeling and a voice that speaks to the listener from the deep of his dark soul.
When we hear it, we knew it should be published on cd. We talked to him and he tell us the idea for the cover: an old people sitting in the park. That was it.
Ale searched a lot of parks around the city, but we didn't like any. We wanted to give a nostalgic and broken mood, but all of them looked either trashy and abandoned or so new and alive with the new games in the city.
Finally she found this one, it had the old, big trees with long bushes and the old games, unpainted, but not broken. I took the photos. It was a long session 'cause the old lady was tired after the first ten photos in one of the places (they were going to be like three or four places: the bench and some games). Well, she didn't want more, it started to rain like there were no tomorrow, so we returned the next weekend. Again, the same thing or worst. She was tired and moody after the first five photos at one place. I pushed her, but we had to skip some scenarios, so we shot the last one, the one behind the swing. Just before we leaved, Urban Samurai decided to take the one from the hands.
The Samurai was a regular collaborator En El Bus at that time. He did the graphic design that added the dark side to the nostalgic face and the sad place.
As any other job with Sonido Líquido Crew, this was a personal job for a friend and it became more significant since the old lady died one month after the photoshoot. That face was real, I made her remember and cry. She went happy. She was my grandma.
We gave the cd for free, we were tired of those that think that they are going to become rich with hip-hop music in Mexico. There are some copies left. If you want one, you can ask for it at: interrumpo@enelbus.com.
