The influential Mexican producers talk their new Greatest Hits compilation and the Tijuana hedonism that raised them
record is exclusively comprised of tracks by both of us.
There is no doubt your music resonated with a global audience far beyond a Mexican or Chicano context. Why do you think Nortec became such an international sensation?Nortec has a distinctly Mexican sound, and by colliding banda, norteño and electronic music it can elicit a morbid interest from people who can’t fathom those combinations. But on first listen, most people realize we’re not making kitschy music or a joke. It’s musically solid and explores a regional context.
That’s what caught people’s attention on the outside. The work we’ve put into the project is serious, experimenting with new equipment, rediscovering regional music, telling real stories. Visual collaborators like Jorge Verdin and Fritz Torres, who worked on the design end, loved the idea of melding visual folklore with new technology.
As you mentioned, Nortec is the product of many cultural, social and political intersections meeting in Tijuana. Why has Tijuana become such an intrinsic part of your artistic identity?Nortec has always been a projection of border life and Tijuana has lived many constant, sudden changes. Before the Eighties, Tijuana sustained itself largely on tourism and immigration. Politically, Baja California was the first state where an opposition party defeated the PRI after about 50 years in power.
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