There are very few artists who, tracking through some of their publications

from ten or fifteen years ago, can compile them in to a work that con inues

to sound futuristic and perpetually out of time and out of focus.

The Mexican Tony Gallardo is one of those beings from a sonorous underworld that inhabits multiple personalities: he is a dark bakala when he calls himself Boi Patrol, he is a dilapidated electropop divo when he calls himself María y José, he is an experimental surf-rocker with El Capricho or a pioneer of alternative dembow like Agualoka and, above all, he is a self-boycotting kamikaze like Tony Gallardo.

Capital figure of that movement known a s “Ruido són’’ in Tijuana that made

eyes at the label Cocobass that he directed, Gallardo is an enigma and

an ultra-mystical rare bird when he dons the tracksuit and pajamas of

his own alter ego. This is demonstrated by these selected works: a compilation of some

one of the most unpredictable and chaotic jewels that he produced

between 2008 and 2013, in an imaginary in which DJ Playero, Frank Zappa,

OutKast, the first Jo e Crepúsculo and a dance Daniel Johns ton roam

free to forge the identity of a new sound Latin.