Like all Son Jarocho fans, we were conscious that its execution requires a high dose of virtuosity -so we decided to mix it with the “do-it-yourself” spirit (DIY, so common in the USA) of the most rudimentary rock. The power of the band would then need to be based on the originality of the offer. We soon realized that multiple contact points existed between the Son Jarocho and Rock: the strong attack on guitars, dramatic volume variations and a full irreverence in the lyrics. In theory, all this made sense, since the Son shares the African and creole origins of blues, but in practice the compatibility was more immediate: the electroacoustic travestied jarana was as willing to give a rock twist to the Son -through the celebrated Big Muff pedal- as to give a jarocho twist to our most rocker repertory. The only thing lacking was giving a name to the project. Emphasizing its conceptual nature, we decided to name it Bachelor Sound Machin as a tribute to Marcel DuChamp, whose “Vidrio Grande” (Large Glass) was originally called ‘Bachelor Machine’.

The four of us had grown up during the nineties and found a common language in our taste for some sort of post cultural blend -expressed in a vein extending from the Xochimilcas, passing through the Tepetatles, Botellita de Jerez and Café Tacvba, to branches ending-up in post national groupings such as Cornershop or Plastilina Mosh. We also share a taste for Mexican science fiction such as the Santo or Chano Urrutia films; we seeded to cultivate a clearly Mexican futurist aesthetic which mixed sensibilities such as Sun Ra’s afro-futurism and Kraftwerk’s “motorik” automatism. Although some Mexican bands had come close to this aesthetic (the “synthesized Sinaloa band”, of the Grupo el Mexicano, as much as anyone else), we wanted to go farther with our musical efforts, mixing both sculptural and performance elements on the stage (in this sense, Guillermo Gómez Peña and his Pochanostra are particularly acute precursors).