We have been anxiously awaiting news from Chenta Tsai. Yes, there are a lot of expectations about what this limitless and unpredictable artist is capable of doing. At the beginning of 2022, their new album, “JÁJÁ ÉQÚÍSDÉ (DISTOPÍA ABURRIDA)” will finally arrive. Maybe this is the album of a generation, the definitive hyperpop reference, but either way it is definitely going to stir up the music scene in Spain and in so many other places. A release like this needs to be savored little by little, to enjoy it the way it deserves to be enjoyed. And we will explain this new universe that PUTOCHINOMARICÓN has created piece by piece. JÁJÁ ÉQÚÍSDÉ is a fictitious place projected by Chenta that came about as a result of not being able to find a place where they belonged, of feeling like they were “from neither here nor from there”, and the desire was born to build a space where they felt like they could be their true defragmented self. That’s why we are bringing you a Digital Single with two advance songs, “DM” and “Chique De Internet”, where we can see PUTOCHINOMARICÓN’s obsessions: the reality of virtual emotions, communication in the XXI century and relationships in a digital world.

“DM” makes it clear that this new album has been cared for and tended to, to the last detail, with exquisite production that is defined by something that significantly characterizes these new songs: a legion of collaborators. In this case, we have RRÚCCULLA, which is to say, Izaskun González and her collection of sounds and blips that here create silky textures that serve a song about a romantic relationship that was formed virtually, with all its uncertainties. And that’s where Chenta’s genious shines especially bright, their capacity to carve away the excess and describe romantic relationships as they have been redefined in and by this digital world. The stereotypes have changed, expectations move in different environments. And the chorus is pure sugar. “Chique De Internet”, on the other hand, dances between high-speed house and hard-core. The digital play is infinite, the sound of the new songs is like nothing else. There are filtered vocals, rap, vocoder, autotune… And the co-production work comes from the London-based DJ, Andrea Guidi, aka UVCORE. Here, Chenta transcends the post-modern esthetic to illustrate the longing of a small mass who are searching for references, who are looking to break away from everything that has existed until now, without looking back, always looking forward. Both songs were mixed and mastered by Ignacio Redard.

And to top things off, we have this spectacular video for DM, directed by our beloved Daniel Cuenca (LA CASA AZUL, THE PERFECT KISS, Soleá Morente, Cristina Quesada ...) with a very unique story. They introduce us to BAOBAE, the phenomenon of the moment, a boyband formed by five bois that goes viral from one day to the next, breaking the hearts of pubescent teenagers carried away by the idea of romantic love. What their fans don’t know is that the five bois aren’t really human, and are actually industry plants – man-plants built in a greenhouse laboratory by Man A’ Ger, a selfish, greedy scientist whose Machiavellian plan is to make the perfect boyband to dominate the world through frequencies emitted in their songs which are generated through a machine called Main-x-treme. Man A’ Ger holds the five bois captive, hiding their hearts in a crystal box. And that’s all we can tell you; you’ll have to discover the surprising end to this story for yourselves.

Come to these new PUTOCHINOMARICÓN songs with your ears and spirit wide open, as well as your heart. There are folx who already embrace them as those songs in which they finally feel represented and identify with them. And to those are just getting here, little by little, your minds will be blown. We are sure of it.

Chique De Internet

JÁJÁ ÉQÚÍSDÉ (Distopía Aburrida)

Tamagotchi (Feat. GFOTY)

Some albums are destined to become references, the reflection of a specific moment, a snapshot of the sounds and realities that move the world. And we wouldn’t be wrong if we say that “JÁJÁ ÉQÚÍSDÉ (Distopía Aburrida)”, the third pack of songs from PUTOCHINOMARICÓN, is one of hyperpop’s / futurepop’s album of reference. And it is one precisely because of the way it accepts its imperatives and stretches them out, twists them, pushes their limits and mixes them with thousands of other styles and influences. At this moment, and thanks to artists like Chenta Tsai, a sound or a musical movement becomes a style, an ingredient that can be added to any cocktail. That’s what happens when we talk about JOY DIVISION and post-punk, or MASSIVE ATTACK and trip-hop, to give a few examples. And “JÁJÁ ÉQÚÍSDÉ (Distopía Aburrida)” does this with an immense and surprising collection of national and international collaborators who have made this album’s sonic map so tremendous.

Despite the long list of collaborators, despite the mix of absolutely innumerable styles, despite even the collection of ornamentation each song offers, there is something that stands out above all of that, and that makes “JÁJÁ ÉQÚÍSDÉ (Distopía Aburrida)” an unforgettable album, one that marks a moment in time and in the music industry. Ultimately, it is the work of the immense persona that is Chenta Tsai, someone with a gift, with the capacity to strip down the world they live in and transgress it, not only conceptually, but using art – in all the disciplines possible – as a powerful scalpel. That’s why “JÁJÁ ÉQÚÍSDÉ (Distopía Aburrida)” is an album about the times we live in, so difficult to understand (and thanks to this album we can be accept and interpret it better), and of course about the sounds that live in the ears of the post-millennial generation right now. This is a piece of work that could only be made by geniuses, unique personalities, who are so rare and so necessary. And we are lucky enough to live and appreciate one of them. Long live PUTOCHINOMARICÓN.

Tu Foto De Perfil

Traumas

Rubberhand (Feat. Tami T)

Otra Fisicalidad (Feat. Diana Starshine)

Internacional Call

Adulto Incomprendido

AliExpréss

Intro (Renacentista De Tutorial)

We will never get tired of saying it. There have been key artists throughout history, and they reached this status because of their ability to read the times they live in and deconstruct and process them, regurgitate them and create beauty, reflection, excitement and impact. Each new step that Chenta Tsai takes gives us the feeling of being two kilometers ahead. This is especially admirable in these fast, urgent, lightspeeding times, when it is difficult to settle down and get comfortable because once you do you realize you aren’t keeping up. And now PUTOCHINOMARICÓN is here with an immense, prodigious project, made up of four albums that are a part of a project called “SMHD (Arte Contenido)” (acronym for Seconds Minutes Hours Days).

The project comes from the conflict that currently exists between the definition of content creator and artist, the search for authenticity in a context of cloned identities. That’s where the concept of “Arte Contenido” (Content Art) comes from, which drives these four albums, and which somehow delves into that idea that Chenta is so focused on: What is identity? Is it something static and consistent? Can we have multiple identities? What does the idea of identity itself mean for an artist? Twenty-first century philosophy in the mind of a relentless, prolific, multidisciplinary creator, who not only sees the times we live in, with the accuracy of a surgeon, on a conceptual level, but also on an artistic level, and of course, musically.

Today we bring you “Auphmoy”, a Digital Single that works as an advance of the first of the albums, "Afong (Mordió La Mano Del Amo)", and which is part of the Minutes section within this “Arte Contenido” project. Auphmoy is the name that Afong Moy, the first known female Chinese immigrant to arrive to the United States in 1834, was registered under on the ship that took her to New York. Taken by the Carne brothers from Guangzhou, she was exhibited around the country as “The Chinese Lady”. It is a starting point we can use to reflect how essentialism about identity can lead to a parody of oneself, and the need that artists in the XXI century feel to develop all of their aspects, their facets, their I’s, in search of what will be the most easily digestible for the masses waiting for them on the other side of their screens.

PUTOCHINOMARICÓN opens up a new space for investigation, for discovery, for thinking and feeling. “Auphmoy” is definitely a key reference, a before and after. Huge. Immeasurable. We love and adore all the I’s of Chenta Tsai.

Auphmoy

ántífá káwáíí / nárrátívá

The title of this album comes from Afong Moy, the first known female Chinese immigrant to arrive to the United States in 1834. Taken by the Carne brothers from Guangzhou, she was exhibited around the country as “The Chinese Lady”. It is a reflection on stereotypes and identities, and that subtitle (which means, “She bit the hand that feeds her”) shows us the path the artist can follow to become totally free, shaking off their chains and embracing their complexities and multiplicities.

But there is more here than sociological concepts. Because in a world where TikTok tries to convince us that we don’t need songs longer than 30 seconds, and a mixtape is an exercise in nostalgia dressed up as modernity, PUTOCHINOMARICÓN is giving us songs that are three at the same time, united, overlapping, interconnected. This approach makes the exercise of listening to music, composing it, developing it, acquire new dimensions. These are songs to listen to a thousand times, to analyze to the point of exasperation. To dance to and sing along with, to think about, to love, to hate, but never forget.

Using resources and elements like the voice of a Spanish-speaking Chinese text-to-speech generator, Chinese instruments that are glitched beyond recognition, extreme frequency processing. PUTOCHINOMARICÓN has developed a musical language that opens up new artistic spaces. They connect with the conceptualism of pop art like no one else had ever done before, with existentialism, discrimination, and they do this using their principles of sound, not exclusively verbal. Once again, something unprecedented, an impact it will take us decades to understand, an exercise that Chenta is carrying out again and again every few weeks.

Afong (Mordió La Mano Del Amo)

ámóré (ábró híló - té ódíó) / chínító dé ámól (Feat. Paloma Chen)

íntró (éstádó cónstánté dé críngé)

soy un idiota

tu padre es un facha y tu madre una terf

arthoe

We’ve finally got it. “pasadas de moda” is the second album from the PUTOCHINOMARICÓN project called “Segundos Minutos Horas Días” – a project that questions the nature, esthetic and consumption of music in an era where everything is fleeting and consumed without reflection. It is a critique of current music consumption, which has moved toward ephemeral interaction on networks and away from genuinely enjoying physical format or streaming platforms. It is an imaginary album by the artist dadá, a product of nepotism, which serves as a vehicle to criticize the artist as a content creator, like a house pet that wants to please instead of challenge. At the same time, it’s an opportunity to review some of the musical movements from the beginning of the century, like blog house, indie sleaze and electroclash, although not as an exercise in nostalgia but instead as a way to update the sound, criticizing the elitism and exclusiveness. This provokes a surprising change in Chenta’s sound, making it more accessible, pure, more spacious, and letting the album show off their more pop spirit, throwing names in the mix like LE TIGRE, TINGS TINGS, FISCHERSPOONER, MISS KITTIN’, TIGA and many more.

This simplification aims to return to the essence of pop: music made for dancing, having fun and feeling absolutely carefree”. Is that why we love “pasadas de moda” so much? Are we trapped in that empty hedonism? Is this album a trick we can’t help fall for? Our heads are spinning. These are the side effects of such intense exposure to PUTCHINOMARICÓN’s universe.

pasadas de moda

pero

la rae (me la trae)

bla bla bla

mamá, quiero ser viral

Corazón De Cerdo Con Ginseng Al Vapor

No Tengo Wifi

El Test De La Bravo Y La Superpop

Remedio Casero

Tú No Eres Activista

Gente De Mierda

Puto Chino Maricón

Tu Puta Vida Nos Da (Un Poco) Igual

Miseria Humana

Ojalá (Te Murieras)

Parkineo

Hasta El Fin Del Mundo

Sometimes, some groups spread so quickly online and on social networks, and their songs and messages have such an impact that when their first songs are officially released they are already really well known. They’ve already been applauded by the media and stalked by the most unconditional fans. Such is the case with Chenta Tsai Tseng, better known as PUTOCHINOMARICÓN (CHINK FAG). A migrant originally from China, he is an architect, a musician, an activist, and a unique, inimitable character in love with pop culture from recent decades. Interviews in El País, La Sexta, El Confidencial, FantasticPlastic, Radio 3… Concerts where the audience goes crazy and songs that are authentic protest anthems for new generations…

"Corazón De Cerdo Con Ginseng Al Vapor" is his first album: techno-pop, with echoes of synth-pop, J-pop, disco and breakbeat, various brushstrokes of electric and auto-tunes.

“Miseria Humana” is trap, cyborg-pop, bubblegum, hip hop, synth-pop… A new album conceived to reflect the current way of consuming. A critique of the way we consume songs today, the consumer culture and the ephemeral life of all the things that surround us.

PUTOCHINOMARICÓN

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