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We Love La Ley By Kika Pérez 15 years of luscious poetry, madness and slippery style Up front, they seem like fashion gods of rock and roll. But beyond that, it’s clear that the Chilean rock band La Ley has a lot more to offer than hairdos and leather — they own substance. Their ability to speak out through their music and transcend with innovation and poetry — while still remaining true — has made La Ley one of the most influential rock en españolbands for what’s now been a 15-year journey. From the moment they came together in 1989, the band revolutionized what had been the standard of rock in Latin America. They brought a new musical language and a certain presence that set them apart as artists. Originally, La Ley was a quintuplet, but after many adjustments and a tragic car accident that killed Andrés Bobe, one of their founders and guitarists, the band finally found the center to create and cultivate their craft. Since then, La Ley has been known for their unique, trend-setting sense of style — the sexy voice of front man Beto Cuevas and his trademark Mohawk; Pedro Frugone and his irreverent guitar, and the pace-marking precision of Mauricio Clavería’s drums. And the visual masterpiece is always followed by damn good music. Fifteen years have passed and they haven’t aged a bit. By looking closely into Cuevas’ eyes, you can see a very well-prepared crossing to “oldhood.” “It’s the knowing-how-to-die talent, if you consider that we begin to die the day we are born,” says Cuevas, who attributes his youthful good looks to the fact that he’s never smoked or done drugs. “And I drink lots of water and fruit juice, that probably has kept me rust-free,” adds the singer with a smirk. Of course, the band is celebrating its 15th anniversary with more than praises to its preserved youth. A new album of greatest hits with a couple of new creations, a fully loaded special edition DVD, and an upcoming tour are some of the souvenirs they are giving fans in honor of all they’ve received in return. Historias e Histerias (Stories and Madness) is not only the name of the commemorative album, it’s also the definition of an arduous voyage of reminiscence and inventiveness, where the musicians seem to have found a new spirit in the old and an older harmony in the new. “I want to help them continue to innovate and raise the bar,” says producer KC Porter, who worked with them on a couple of the songs. The band insists that their stories are mostly unknown, and that the real versions remain for their authorized biography. “Or the unauthorized,” says Cuevas. The real madness was the madness of the compromise. The band didn’t like the idea of a greatest hits album at that time they were approached with the idea. What they craved was something new and original and the label wanted a compilation album for Christmas. At first, they said no. “It made us feel aged in some way and we still felt restless, musically speaking,” says Cuevas. We had a lot of differences and those negotiations were very draining.” For the album to “have a life,” the Chilean musicians decided to write three new songs. It was still difficult to put together 25 hit songs when only 13 can fit on your CD. But they found a way around it — their DVD features songs, videos and commentary. “All in one for the same price. Sounds like an infomercial,” says Cuevas, laughing. With Open Eyes Social awareness has always been one of La Ley’s most distinctive ideologies. Their words, wizened over the years, often transform and always inspire. Crafted with sophistication and an ineffable sense of literature, Cuevas and his band look to provoke. They procure the sensibility that their songs awaken. La Ley had just come back from Cartagena, after performing at the Miss Colombia Pageant. The city had been victimized for days after heavy rains flooded most of the less privileged areas. The organizers considered canceling the pageant altogether. The band arrived at the port city where a wild mass of fans awaited. After the opening acts, the Chilean rockers took the stage. Cuevas grabbed the mic and, even before expressing the usual gratitude, he expressed La Ley’s empathy and solidarity toward the locals for the weather misfortunes. As eloquent as always, the singer-songwriter spoke for his band and for the peace of mind of those who were suffering. “How could we not speak out when we saw it ourselves,” says Cuevas. “It’s like having a $200,000-dollar car in a country where people are starving. It’s an act of disrespect to humankind. We are not so superficial; we keep our feet on the ground. We read the newspaper every morning. We see what is happening in the world.” The pageant’s crowd had been noticeably affected by the drama and hadn’t really elevated their energy throughout the event. That is, until La Ley comforted them with their awareness. The crowd went crazy. “Looking at the wars and violence, I realize that the most affected of all are the middle men [also original name of the album’s first single “Mírate,” which he started writing in English],” says the singer. “The ones stuck in the middle, the innocent. How do we rescue them? By looking into ourselves and accusing us instead of everybody else.” “Mírate” is a typical example of the kind of philosophical quest that the band often embarks on. “The song invites one to reflect,” adds Cuevas. “To look in the mirror but not at one’s own image. Instead, look into your eyes. And if at your own pace you conquer change, then you can eventually change what’s around you too.” This kind of poetic tour de force, made on a whim, is what’s so capturing about La Ley. They have developed the essence of their messages according to their urgency to feel free, to denounce, to call out. They have written a law, all right. The law of the heart sang through a song. Technical Miracle This law and its understanding is what has given fulfillment to the group. But it wasn’t easy conquering Latin America (as it never is for a local artist), especially Argentina, a country that feels so passionately attached to rock en español Receiving their love at the Luna Park performance, a couple of years ago, was a very moving experience for them since it was the first time they felt the Argentines really embrace them. La Ley won’t ever forget any of the moments with their fans and feel very grateful for the acknowledgment of those who have been stirred by their work. “I remember a concert we were giving in Oaxaca back in ’96. It was a small venue and the audience wasn’t massive but they were so eager,” says Cuevas. “We experienced some serious technical problems. They must’ve waited for more than three hours, tired and very anxious. But they didn’t leave. So when we came out and as they booed and screamed I said to them, ‘Today, we will render the best performance of our lives.’ And we did. We gave them our hearts. I got down from the stage and touched the people. If I’d died that day, I would’ve died at peace. It was incredible.” Feed Me Humble Pie The appreciation La Ley has received has always kept them level-headed. “We are the same as you, we go to the bathroom just like you,” says Pedro, referring to how they control the braless women that sneak up on them. “We feed upon that love but we keep it simple.” They even had the “fortune,” as Cuevas calls it, to have made the early mistake of being pretentious. “It’s a whole issue when a regular person becomes overwhelmingly famous. It can be very tricky,” says Cuevas, as he remembered an episode outside of a Chile club in ’91. “We were newly famous in Chile and Chile only. We started being recognized and glorified. I was outside of a nightclub waiting and the bouncer didn’t let me it. I was infuriated and lashed [out] at him for not knowing who I was. The manager humiliated him in front of everybody and instead of feeling validated, I felt horrific.” After explaining how he later apologized to the man, who was just “doing his job,” he continues, passionately compelled to convey the essential principle that he has forcefully crashed against. “Nobody has to know who you are, that’s why now I lay low and try to put things in perspective.” The fuel for creation comes from the sensibility and the warmth of those who identify with the message. La Ley sees these young guys imitating their style and scanning their every move. “It’s flattering,” says Cuevas. “Not that I feel old. I’m just not 15 any more. …I have no problem telling you my age. I’m 37 years old and I plan on living a lot more. It’s OK. As long as you do it gracefully, especially during the era of the metrosexual.” Pedro Frugone gives Beto a look of total confusion. “Metrosexual?” he asks. Cuevas instantly gave him one of those “I cannot believe you haven’t heard what that is” looks. “It’s men like us, Pedro,” he says. “Who worry about our clothes and use moisturizer.” The real challenge of beauty that La Ley faces is not that of hiding wrinkles and wearing couture, but rather being a model of youth, irreverence and “coolness” to those who listen. Doing it with grace and serenity, knowing that the most important beauty of all is the beauty that one cannot see with the eyes. Vanishing Lines, Mutating Wonders After 15 years, seven albums, countless awards, and a true gallery of relevant and poetic multilingual musical concepts, La Ley’s contribution to the evolution of rock en español as a genre and a movement is eminent. They grew up listening to icons of the likes of Elvis Presley and Buddy Holly but always appeared to be heavily influenced by the “New Romantic” era that started in England in the ’80s with bands like Duran Duran and Depeche Mode. La Ley sings in Spanish, English and French, and did so since the beginning, which has positioned them as true international rock artists that appeal to different young realities. Their sounds have always felt to be ahead of their time. Their lyrics are mystical and elaborate and they speak out to show us how they see the world, with stories of passion, fear and love, keeping it intimate and public at the same time. Freedom is their constant fuel and it is within that freedom that they build their invention. Known as “alternative,” they always keep their distance from the movements of the moment to create something different. That’s probably the most distinguishable gift La Ley has offered the genre. The variety of their inspirations have made them appear exotic and imported; the sophistication of the different languages and the always-poetic approach has made them stand out among other Latin American bands. “Rock is a result of a fusion, like I am a result of a fusion,” says Cuevas, who lived in Canada and Venezuela as a child. “We were influenced by different eras, everything from Elvis to bossa nova, but we are certainly sons of the ’80s. Duran Duran is what I have on my CD player now (among other artists, mostly independent), and I look for anything that recycles on the retro.” They too, have a vision of where this genre might be headed, and surely, the band will continue to be an important influence. “Rock has grown tremendously. A lot of good things have happened,” says Frugone. “There have been moments of glory but right now, I think it’s a little stuck. There will come a time when rock en español will simply be rock.” Bilingual concepts like last year’s breakthrough J.D. Natasha seem to open new roads for this voyage. La Ley seems to find justice in quality. “If the music is good and original, it’ll find its way,” says Cuevas. “English has more resonance for this genre. “Writing in English and then looking for the words in Spanish that fit the beats has given us our unique style.” There are many layers to style, and critics have always been satisfied with the first and most obvious expression of La Ley’s style: their visual aesthetic. But these musicians own a deeper, more substantial sense of style — the style of their true voice. Their law has been printed with melodic rock and lyrical statements of humanism. A law that opens minds and liberates senses; a law that discards captivity and welcomes growth. It’s like they say, “The key to the existence of rock is freedom,” and clearly the key to the existence of La Ley is rock. |
La Ley » Listen to La Ley on Batanga's Alternative Rock station » Subscribe to Club Batanga to watch videos and more! Not that I feel old. I’m just not 15 any more. …I have no problem telling you my age. I’m 37 years old and I plan on living a lot more. It’s OK. -- Beto Cuevas |
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