Desaparecidos – “Te Amo Camila Vallejo” / “The Underground Man”

Stream: Desaparecidos – “Te Amo Camila Vallejo” / “The Underground Man”

Conor Oberst’s recently regrouped punk band Desaparecidos continues its trend of dropping new songs in twos with the single “Te Amo Camila Vallejo” b/w “The Underground Man.” The reunion still appears to be going in full force, with the band’s take on post-hardcore being as angular, breezy, and melodramatic as ever.

The two songs are also available as an independently-released double A-side 7″ that can be ordered here:¬†

Desaparecidos – “Anonymous” / “The Left Is Right”

Stream: Desaparecidos – “Anonymous” / “The Left Is Right”

Conor Oberst’s post-hardcore band Desaparecidos made its return after a ten-year hiatus last year with the
Backsell / MariKKKopa” single, a pair of songs that criticized the music industry and the attitude many anti-immigration activists hold, respectively. The group is now back again with another single, “Anonymous / The Left Is Right,” which can be streamed via the SoundCloud widget above.

The single continues down the lyrically passionate road of the band’s previous single, this time speaking out in support of both the Anonymous “hacktivist” group and the Occupy Movement. Certain lyrics play out as rallying cries, such as the “You can’t stop us, we are Anonymous/ Expect us, we are Anonymous!” of the A-side. The music matches the galvanizing words, with anthemic vocal melodies, soaring guitar leads, and an urgent punk energy defining both tracks. It is far from being a subtle set of songs, but respectable in its forgoing of restraint.


Top-50 Singles of 2012

Here is a YouTube playlist of all the songs that made this list.

Desaparecidos- “Backsell” (Loved)

Remember that track I posted almost a week ago about the newest track dropped by the recently reformed Conor Oberst-fronted Desaparecidos? Yeah, the “Marikkopa” single, that’s the one. Well, here is the b-side streaming above, “Backsell.”

It’s a heavy, hard-hitting jab at the music industry, featuring what seem to be samples of phone messages sent to Oberst by record execs. HILARIOUS! And of course the lyrics are clever, too. That’s an Oberst trademark, if I say so myself:

“I was scanning through the stations, every channel sounded clear.”

Good one, my son. I see what you did there.

Though the vocal delivery is fiery, the drums pound, and the guitars scream. It’s just how I like my rock music: rebellious.

Desaparecidos- “MariKKKopa”

To be completely honest, when it comes to the work of singer-songwriter Conor Oberst, I can’t help but feel like I’ve grown out of his work a little bit. I used to be pretty passionate about his overly emotional songwriting years ago, but it’s not something I’ve been all that passionate about as of late. For instance, I didn’t really care for Bright Eyes’ Cassadaga, and the People’s Key made me recoil a bit. Basically, I didn’t really think I’d enjoy another Bright Eyes album again, and now that Oberst had called it quit on his longtime songwriting project, that’s pretty much confirmed.

However, he’s recently revived the band he used to lead back in the day in Nebraska, Desaparecidos. The single streaming above is the first piece of new material they’ve released ten years. A ten-year gap in material brings some pretty lofty expectations, and I’d say Oberst and co. meet the challenge with brave faces.

“MariKKKopa” isn’t just a rowdy, reeling rocker, but it’s also got a message. It’s a lyrical attack on the anti-immigration sentiments that have snowballed in places like Arizona, which is a subject Oberst has been vocal on before. The words are written from the standpoint of some narrow-minded, angry racists looking to keep their hometown of Maricopa white, white, white.

Needless to say, it’s a pretty disturbing depiction, which I’m sure is Oberst’s goal. What better way to shock than to show people raw, angry thoughts that fuel the kind of legislation that’s sprouted up in Arizona?

The production this thing is solid, too. Lots of harmonized guitar leads, energetic drum beats, and the kind of pounding guitar riffs that remind me of how awesome indie rock was when it hit a peak of popularity in the 2000s.