Band: JOLIETTE
Genres: Punk / Rock / Hardcore / Post-Hardcore / Post-Metal / Screamo / Prog
Related artists: Te Lloraría Un Puto Río, Annapura, Aves, Kill Anniston, Organna, Hong Kong Blood Opera, Oblique Quartet, Muuk, El Shirota, Satón, Aurora, Epiléptica With Abraham and Amstterdam.
Country: Puebla MEXICO
Years Active: 2010-present
Song: "Vacío"
Album: "Luz Devora"
Year: 2019
For fans of: Beast Jesus, Vientre, Zvleta, Devil Sold His Soul, Viva Belgrado, La Parade, Standstill, Ànteros, The Bled, Lyed, Converge, Limbs, Glassjaw, Deftones, Mares Of Thrace and Protest The Hero.
Related artists: Te Lloraría Un Puto Río, Annapura, Aves, Kill Anniston, Organna, Hong Kong Blood Opera, Oblique Quartet, Muuk, El Shirota, Satón, Aurora, Epiléptica With Abraham and Amstterdam.
Country: Puebla MEXICO
Years Active: 2010-present
Song: "Vacío"
Album: "Luz Devora"
Year: 2019
For fans of: Beast Jesus, Vientre, Zvleta, Devil Sold His Soul, Viva Belgrado, La Parade, Standstill, Ànteros, The Bled, Lyed, Converge, Limbs, Glassjaw, Deftones, Mares Of Thrace and Protest The Hero.
Label(s): Self Released / Skeletal Lightning / Moment Of Collapse Records / Zegema Beach Records / Suspended Soul Tapes & Records / Heads Up! Records / Friendly Otter Records / Fvimos Héroes / Epidemic Records / Light And Noise Records / Pobre Diablo
I first became acquainted with JOLIETTE when I put on a show for my friends in Life In Vacuum back August 4th, 2015 in Hamilton, Ontario (show review/videos linked here). To this day JOLIETTE put on one of the most incredible performances I've ever seen, etched in detail thanks to Gaston's parading the streets of Hamilton whilst playing a wireless bass as the band continued in the venue (video of that linked here). This show was surpassed at ZBR Fest 2019 when they blew everyone's socks off and left everyone bewildered at their live show, which after this many shows is nearly legendary.
Following this discography review is an interview with vocalist/guitarist Fernando, which was conducted from July to September 2019. Fernando, Gaston, Jopo and Azael y'all are truly incredible.
Okay...so, upon venturing back before 2014, I was surprised to find that JOLIETTE's debut EP 'Convertirse en Agua' is both heavier and poppier, depending on the section you're listening to. Opener "Solar" is a prime example, as the band switches between Atreyu-esque death-metal/screamo and Protest The Hero/scene clean singing. "¡Bravo! Imbécil" finds a better balance and reaches some nice, epic climaxes.
2013's 'Voltean/Están Felices' houses two tracks that show the evolved band sounding much more like they do now, with opener "Están Felices" showcasing some nice noodles and driving sections. "Voltean" is awesome and pummels the listener with some excellent, deep, resonating guitars and plenty of time changes.
2013 also bore witness to the band's debut full length titled 'Principia', an 11-track romp through metallic hardcore. After the short but haunting opener "Todos Temen" we are met with "Todos Odian", a perfect transitionary song from the band's previous metal leanings toward slightly more melodic post-hardcore. "Quiral" has an infectious groove as the introduction (reminding me of...is that Viva Belgrado?) and a very intoxicating atmospheric section from mid-to-end. Album single "Martina, Merlina y Dale Con Martín" is very playful and more reminiscent of their earlier work due to the stop/start nature of the instrumentals the semi-spoken word vocals. "Say Hola!" has some serious riffs, but it's "Czirros" and those sugary sweet vocals bookended by crushing hardcore that almost take the cake on this record. Even six years after its release, "Qúmulos" is still the most progressive and experimental track that JOLIETTE has put out, and is probably most reminiscent of Glassjaw. "California Yisus" is noisy, bassy and piercing, and "Juan Matón" is fucking incredible while simultaneously being the heaviest song on the record. "Norte Y Bravo" is a straight-up banger while closer "Die Stunde Des Käses" is the longest track at 6:29 and it's also the most epic, bearing resemblance to Devil Sold His Soul more than anything else.
2014 and 2015 were the split years as they dropped three, the first with Tel Aviv, Israel's ZagaZaga, followed by two the next year with my friends Life In Vacuum and Texas metalcore/screamo band Lyed. Even after half a decade I find myself coming back to these songs more than any other release (save the new one, it seems) as the songs are fucking fantastic. Tracks like "Picsa de Cotso" and "" are short and violent, while "Il Yonzorno" and "Serenata" are both melodic and chaotic, utilizing excellent dynamics to create some seriously dancey hardcore. "El Coronel y el Cardenal" is another cool track, driven what by I would assume is Deftones and Glassjaw influence, riding vocal melodies into crushing breakdowns. My favourite has to be "No Es In A Gadda Da Vida", easily distinguishable by the chanting introduction, followed by frantic-yet-methodical metallic hardcore that leads in and out of some excellent guitar tradeoffs between Fernando and Jopo that make their first appearance around 1:17.
JOLIETTE's most aggressive and rabid output thus far is 2016's 'Atáxico' LP. It wastes no time as opener "Verdadero Por Accidente" rips through like a bullet in less than two minutes, with the following song "Tionkel" doing much of the same in 2:35. It's like The Bled blended with Converge ooooo baby. The double-time from 1:30 in "Vibraparrot" is jawdropping, while the record's sole post-hardcore tune "Las Arepas de mi Padr" is refreshing step back from all of the orchestrated mayhem. Uhhhh...unless you count closer "Código", as it's over 10 minutes in length. Okay, so...probably count it.
2018 seemed to be a prep year for the next year's LP, but the band managed to release a 'Frameworks live split' in which the bands recorded a battle set for a 7", unfortunately both songs were released on the previous full length. There was also the 'El Alphabiotista' 7" with the first recording of the title track as well as the fantastic "Dolor de Marinero en la Costa del Vesubio" that first appeared alongside "Habano Billullo Kilimanjaro" on the 'Principia mai' accompaniment cd and is a beauty to behold live. The song plays with the listener for the first 45 seconds, then dismantles them via brute force, opting to let the last two-thirds of the song sway back and forth with an exceptionally hypnotic guitar progression. Hot damn what a song.
Upon relistening to their previous LP, I am now aware how much more variety they concocted for this batch of very ambitious, epic and sprawling punk/hardcore/screamo/metal songs represented as 'Luz Devora'. I noticed from my first listen how much time and preparation went into the songs, and the direction they're veering towards is a spectacular juxtaposition of ridiculously catchy hooks and devastating metallic hardcore. "Cecapsis" opens the record in typical JOLIETTE style...aka utter annihilation, then around 50 seconds there's a mixture of nearly clean sung vocals and noodling which bleeds into a whirlwind of gorgeous post-hardcore. The entire thing lasts less than three minutes but it's like an intricately carved statue and can be listened to again and again only to find new and interesting things missed the times before. Next up is "Vacío" (for which there is a much video for embedded below) that is as mesmerizing as it is venomous. The eerie feels on this make it an exceptional piece of work, especially coupled with that supremely catchy chorus that hits first just before the one-minute mark. The band's Deftones influence shines through quite noticeably on track three's "Júpiter Jovial", while "Muletilla Japonesa (あのう)" isn't far from Converge's 'Axe to Fall' LP. "El Alphabiotista" showed up on the previous year's EP of the same name and houses a crushing riff first heard at 3:21. Both "Las Gorras Mayúsculas", "Strathos" and "Futuras Campanas" are excellent post-hardcore numbers, but it is at "Lázaro" where I go from excited to uncontrollably giddy regarding this album. The song immediately dives into mathy, dueling guitars and lightning-fast eruptions from the bass and drums, taking a break come 35 seconds only to loop back around to othe opening at 1:20. The sing-along at 1:34 is awesome, and once 2:06 hits the mathematical genius of the band is on full display with a brain-fuck of a second half that dips in and out of an impossibly timed, chuggy, prog-rock section. Immediately following is "Pudre Infante", a truly ridiculous display of drumming and technical precision, as JOLIETTE launch through the song in 2:48 and even include a sugary-sweet vocal placement around 1:24 before delving into...is that a spaghetti western part? Whatever it is it's fucking sick. Speaking of sick, "Sr. Mora" is over 7 minutes of vomit inducing amazingness, followed by the behemoth that is the 10:46 closer "Defenestra".
That's one helluva discography thus far. The 2x12" silkscreened 'Luz Devora' was just posted via Moment Of Collapse and Skeletal Lightning so you can find those easily if interested, as they look spectacular. Alright, enough rambling, to the interview!
Maybe first tell us who you are.
My name is Fernando Obregón and I play in a band called joliette.
What got you into music?
I believe I developed a strong affection towards music when I was like 9 or 10 years old. Having an older brother who learned to play piano when he was only 3 and being some kind of a prodigious musical child was probably what attracted me to music since we’ve always been very close. But I was not particularly interested in learning how to play an instrument more than I was interested in just listening to music I would like at the time (to this day, I still believe I like listening to music way more than playing it, but it’s a different feeling of course).
I began listening to boy bands and stuff like that when I was a kid but I moved on to “rock” music territory when MTV entered my life. Like many kids from my generation, I guess I was mostly attracted to bands like Blink-182, Green Day, Limp Bizkit, Metallica and many more of those.
I was 11 when my oldest brother (not a prodigious musician but a pretty damn good lawyer lol) gave me a Smashing Pumpkins Greatest Hits cd and told me “listen to this and put aside all that other crap you’ve been listening to”. To be fair, it changed my life and my whole approach at listening to music and the way I would try to analyze and appreciate it. Not that the Pumpkins were a million times better than most of the bands I listened at the time, I guess that’s subjective. But there was something about their music that just changed my whole perspective on things. And probably falling in love for the first time ever with a classmate that showed me Nine Inch Nails when I was 13 and it also rocked my world haha.
I was 12 or 13 when my brother had put his piano to rest in order to buy an acoustic guitar and then slowly become a songwriter. Having a guitar at home and being a pre-angsty teenager, I decided to grab it and started learning songs by ear. The rest is history.
What excites you about music nowadays?
What excites me about music nowadays is the diversity of stuff you can find and it’s just a click away. I am a physical media collector since always but that doesn’t mean I don’t see the benefits of the digital age. Both as a “musician” and as a music consumer, its given us many many great advantages and the possibility to reach pretty much anywhere in the world and find bands and artists from wherever in the blink of an eye it’s just mind blowing to me.
What other bands have y'all been in?
Jopo and I played in a band called Amstterdam from 2006-2009 and it was like a pre-evolved joliette pokemon. It was pretty shitty (or shittier) to say the least. Other than that I played in bands with high school friends that never recorded anything nor got anywhere haha. I have an older brother who is a songwriter and I occasionally play and record guitars for his songs and have helped him produce a couple of his albums. So, joliette has been my main focus for quite a while now.
I’m currently working on other projects but it’s too early to say what they’re about because I don’t even know if they will ever see the light of day.
Gastón currently plays bass and sings in a (very sick) screamo band called Aves. Before joliette he also played in a couple just-for-fun bands and he played in a high school band with Jopo before Amstterdam. That was like 15-16 years ago or so.
Azael currently plays drums in a band called Kill Aniston, as well as a band called Organna. As far as I know that’s what he’s up to at the moment. In the past he used to play drums for a band called Annapura (highly recommended), a band called Hong Kong Blood Opera, a band called Oblique Quartet, a band called Muuk, as well as the legendary Mexican screamo band Te Lloraría Un Puto Río. I’m probably missing a few other projects he’s been involved in.
Gabo currently plays drums in a noise rock/post hardcore band called El Shirota and he’s also got a new screamo/post hardcore band called Satón. He filled in on drums for Storm{O} on a European tour and as far as I know he’s played with a couple other bands. He also played in several bands before joliette, more than I can remember right now.
Rodrigo, our guitar player from 2012-2013 currently plays in Organna (with Azael) and before joliette we had a short lived band called Aurora but never recorded anything. He also played in a metal band called Epiléptica with Abraham, our first drummer and founding member. Rodrigo and Abraham are two of my best friends and they both remain relevant to what joliette is today.
As stated above, Abraham used to play with Rodrigo in said metal band before joliette and he also played drums in Aurora before that morphed into joliette and Rodrigo joined us later. For several years after he left joliette we’ve been getting together in a room to write songs with the intention of getting somewhere and releasing something. Clearly we haven’t had much success haha. But we’re still trying to get something going.
How was the first part of tour, before entering Canada?
The first part of our tour with joliette went amazing! We did three shows in Baja California, which is a state of Mexico that borders with the US. After these shows we crossed to the US and did a small but amazing run of dates with Nuvolascura, Senza and Elle.
Personally it’s always crazy for me to think that I’ve been able to tour with bands that I look up to and this time was no exception. I had been following Nuvolascura since they were called VRIL and I was beyond stoked to do some shows with them.
I met Mason from Senza almost three years ago when we played in Eugene, OR and before this tour they sent me Senza’s new album which completely blew me away.
Not many months ago we did a small run of dates in Mexico with Loma Prieta and I found them to be lovely people and establishing a friendship with a band you’ve been following for quite some time was a satisfying feeling of course. This being said, I knew Sean plays in Elle and I totally loved “She”, their latest album. When I learned that Trei from Beau Navire also plays in Elle I just flipped out haha. What I mean to say is how unlikely it is for me to be seeing myself in a third person perspective, being an obnoxious fan of the same bands I’m playing on a tour with.
If I asked you for your favourite band of all-time, would it be Smashing Pumpkins?
They probably are. But that doesn’t mean I’ve enjoyed anything they’ve put out after Machina haha (Oceania is dope though)
How big is your physical collection of music?
Well I believe in detachment (but I also strongly believe in having to pay my bills hehe). So, whenever my collection is growing ridiculously big I try to part with lots of what I have. Right now I have over 400 vinyl records, 200 cd’s and 150 tapes. But many years ago my cd collection would grow to more than a thousand as I was and have always been in love with the cd format, but I guess my preference for vinyl is taking over these days. It figures since I bought a pretty decent record player so I don’t have a reason not to spin them.
How were the U.S. shows?
The US shows were all amazing! Of all the times we’ve toured the US I can say this was by far the most gratifying of them all. Every show was special in its own right, and as stated before, touring with so many good bands really added to it.
Was it difficult getting into Canada?
It wasn’t difficult at all getting into Canada. It was all pretty chill. Even when we were rejected back into the US, we were permitted entry to Canada again without any issues.
How was ZBR Fest? (you don't need to sugercoat anything cuz I ran it, be honest 🙂 )
ZBR for me was amazing. It’s definitely among the most fun I’ve had at a festival. Personally I loved that it wasn’t a big scale kind of thing (but I guess it figures because screamo). So many good bands and all around a great feeling of friendship between all of us. I would’ve loved to have a better sounding venue but honestly that’s like the only downside to it.
What happened at the border? How did they treat you?
After playing ZBR fest we attempted to go back into the US with a rental car full of instruments and merch. We had not been able to find anyone who could cross back to the US with our instruments so we would not get into trouble. We took the risk of “getting caught” going into the US with tourists visas and playing shows there. It happened. We were previously warned the US/CAN border gets pretty meticulous and tough to get through and so we did get caught. In the legal frame there is no differentiation between an independent artist or a bigger, self-sustained artist and so everyone who attempts to go into the US and play needs an artist visa, which is completely out of our reach economically as we don’t earn enough money from playing to keep paying for the P2 visas year after year. Plus, when you get an artist visa you have to play a certain amount of shows minimum and certain kind of places/venues (no diy/house/youth centers) so that also puts us on a ridiculously difficult situation as an independent band. It’s like you’re being forced to pose as a band with a high revenue when in reality you can barely get by with gas money and have little to no food budget. That’s why we and 90% of the bands that go and play in the US don’t have artist visas. They all do it the same way. Whereas in other countries you don’t need that kind of permit, nor to pay a ridiculous amount of money each year just to present your music in a country which strategically makes all the sense to go to.
“Well just don’t play there,” “it’s the price you pay for doing things illegally,” “It’s not for you to call the shots when playing in another country” and many many other comments we’ve received lacking empathy. Not understanding that everyone has the right to share their art and what they love. It’s not illegal to have people praise you with fucking gas money for that. We’re not doing anything wrong. The legal frame allows many many things that are wrong but punishes many others that are not. And that’s why we have to stand against it.
I totally agree. The unrealistic expectations that come with Visa permits make them literally unattainable for diy bands. As there is no differentiation you have to either lose a ton of money or straight-up lie.
With the increased insensitivity and outright racism in the U.S. I am quite sure you were targeted as you also come from Mexico. Did it feel like that played into the ordeal?
To be completely honest with you, I don’t think that was the case this time. But that doesn’t mean we have not been treated in a “mean” way previously. I remember crossing to the US from Mexico to Texas to try and get to Florida to play The Fest in 2015 if I’m not mistaken and the border agent pretty much suggested we were introducing drug money into their country because we were most likely drug lords playing in a punk band or something haha. So we needed like seven days to go back and forth from Texas to Florida and she gave us six days instead just because she wanted to. That time we really did feel mistreated just for being Mexicans or whatever. This time around though it just felt as if we were breaking their country’s laws for playing music without the proper paperwork. And at the end of the day that’s actually what happened. There’s no way around things if you look at it that way. Not much I can complain about. Still, I refuse to believe we were doing anything wrong just by trying to get our music out there in such an important musical market as the US is in exchange of gas money and selling a couple pieces of merch. Artists bring joy and entertainment to people. It’s weird we’d have to pay copious amounts of money for that. I mean, passionate musicians always spend more than what they earn anyway. I’m just trying to say it felt a little preposterous and exaggerated, the whole thing. Didn’t go to jail, cool, great. But got targeted and labeled as criminals like we were doing somey damage or being a threat to someone or something. Did I explain myself?
Yes that is a great explanation ❤
What are your next steps in regards to the U.S.? Just wait 5 years and try again or will you try to get visas or something else?
We are still carefully looking at our options. We will probably try to return to the US before 5 years have passed. This time with the proper visas with the help of a record label (hopefully) and trying to get a “pardon” and revoke the ban. It will take us a couple years at the very least, though. Artist visa and ban revocation both cost a good deal of money so it will definitely be a very very strong investment but we cannot just simply not go there because I believe we’ve done pretty well when touring there and there are some people who actually like what we do quite a lot.
Damn right! People love what you're doing. And they showed it in Vancouver, I reckon, when you were sent back to Canada. How was the fundraiser show?
It was amazing! Honestly we couldn’t have asked for a better show to say goodbye to Canada. It was a house show and it was pretty damn packed. It was very moving to see all the support and empathy we received during that week. From the people that hosted us for almost a week (Will ❤️) to Henrietta and Miggy (and you of course) keeping up every single day with our situation and how we were feeling. It was all very heart warming. We even received messages from Mexican people living in Vancouver that went to that house show to show their support.
Tell us about Luz Devora. What inspired it? I remember you telling me that you were worried it was too long or ambitious, how do you feel about it now?
Well. 2014-2018 were pretty vertiginous years for me personally. Like many touring musicians I was struggling with depression and ever growing anxiety. Shortly after we released Principia in 2013 and we became a full time band I encountered many many problems as a consequence of that commitment. A long term relationship I had began falling out until it all ended in 2017 and it left me in bad shape. Financial and family problems didn’t help either. There was much anger inside of me and part of that anger we tried to display on Atáxico, our second album. After all these years dealing with the aforementioned plus alcohol and substance abuse, a much needed line up change in the band and a renewed sense of purpose, we finally got together towards the end of 2017 and wrote twelve songs in a two month span, ending in February 2018 and immediately entered the studio to record it all, aiming for a 2018 release.
Recording the whole thing was the easiest part to say the least. Even though I tried to be as honest as I could with the most heartfelt lyrics I’ve written, that deal with the pain of drifting apart from your loved ones, failed relationships, anxiety and a lack of happiness, I was still not in a good place both mentally and emotionally. Due to many circumstances the album took forever to be mixed and we spent more than a whole year trying to get it all done without any success, to the point that we thought we were jinxed or that there was a curse upon us or something. 2018 was the pinnacle of my depression and at a certain point I started to believe that Luz Devora was a display of all these troubled years and that it wouldn’t come out until I was reformed. Curiously, it kind of happened that way.
All these years served as inspiration to write the songs and lyrics. We tried to get the best from Principia and Atáxico and tossed it all into one bag. The result is a raw sounding, way more honest album than our previous releases. Quite long. Quite diverse. I was indeed afraid people would just “not get it” but it seems I was wrong.
Luz Devora talks all the way through about this idea of trying to reach happiness no matter what and the frustration that comes with it when constantly not succeeding. So what if it’s just an idea that all people are obsessed about? What if that turns out to be more damaging than just living and accepting life as it is? Raw and unjust.
The lyrics are not ultimately all negative as they carry a glimmer of hope even if it’s through resignation.
I am in a much better place now. I have accepted my life as it is. The people I’ve lost because of my choices and the barriers that have been built with some family members. Only after acceptance comes growth. And only after I came to terms with my whole life is when the album finally came out. A year and a half after it was recorded.
I am happy to hear you are doing better. I struggled with alcoholism for years so I have some idea of the pains of trying to help people with issues like that.
Thank you, I really appreciate you trusting me on this. It’s been tough but it does get easier every day and I’ve been exercising a lot to keep anxiety away 😍
Azael is amazing, how did that all happen?
I met Azael back in 2013. He was drumming for an amazing band called Annapura and in 2017 it was just coincidence that he quit that band and we parted ways with Gabriel, our previous drummer. I couldn’t think of anyone other than Azael to be our new drummer but I wasn’t sure he would want to join the band. To my surprise he was actually happy to have been invited to play with us and now we definitely feel more comfortable with this line up than ever before. He is a ridiculously talented musician and I’m super thankful he trusted us to take part in this.
What the hell is the timing in Lazaro? The pumping instrumental part that comes in and out...I can't figure it out lol
About Lázaro, you mean like, after the melodic singing part where comes a bridge that goes in and out until the end? That song has a lot of odd time signatures (and it’s damn fun to play live but if anyone fucks up just one time then the whole thing goes to shit haha. I guess that’s the fun part)
Is it safe to assume that you've written a bunch of new material in that time?
Yes! We already have a bunch of new songs written for many splits we’ll hopefully release next year and many more songs for future EPs or LPs. Still figuring that out. What we believe in most is whatever we leave behind when we’re gone should be all of our work, as in songs. So we’re gonna write and release as much music as we can before eventually disbanding.
Beautiful.What bands were you initially influenced by? (I'm listening to your 2011 EP now...Protest The Hero?)
Protest The Hero for sure, letlive, Underoath, Alexisonfire, Misery Signals. I still listen to many of these but our line up changes also brought major shifts in our sound and since the beginning of the band we’ve always had the idea of trying to change constantly and gradually.
What bands are you influenced by now?
Now I’d say we’re pretty influenced by bands like Deftones, Unwound, Sonic Youth, Cult Of Luna, Capsule (constantly trying to rip off Capsule haha), Daughters, Katatonia and many many more. We’ve also drawn lots of influence from pretty much all the bands we’ve had the pleasure to tour and play with (speaking about the screamo spectrum) and been trying to incorporate a bit of that into the songwriting.
Is there anything else you'd like to say?
I just would like to add that we are in our prime right now. I can’t believe we’ve been a band for eight years now and personally I feel super proud of what we have accomplished so far and I believe this is just “the beginning” of what looks in my head. The best era of joliette is to come, I think haha.
I’m at a better place than ever before, at least in the past ten years. I’m happy of who I am and I finally perceive myself in a way that satisfies me even though there’s still lots of work to do. I’m learning to live and all of which we’ve gone through as individuals and as a band is being written down on the next songs as it’s been on our previous efforts as well. We have many splits planned, a double EP-album and another full length. That’s a whole lot of songs haha and we will try to release it all before age catches up to us and we’re too old to care.
Thanks for reading and thanks David for the opportunity to have such a transparent interview.
I first became acquainted with JOLIETTE when I put on a show for my friends in Life In Vacuum back August 4th, 2015 in Hamilton, Ontario (show review/videos linked here). To this day JOLIETTE put on one of the most incredible performances I've ever seen, etched in detail thanks to Gaston's parading the streets of Hamilton whilst playing a wireless bass as the band continued in the venue (video of that linked here). This show was surpassed at ZBR Fest 2019 when they blew everyone's socks off and left everyone bewildered at their live show, which after this many shows is nearly legendary.
Following this discography review is an interview with vocalist/guitarist Fernando, which was conducted from July to September 2019. Fernando, Gaston, Jopo and Azael y'all are truly incredible.
Okay...so, upon venturing back before 2014, I was surprised to find that JOLIETTE's debut EP 'Convertirse en Agua' is both heavier and poppier, depending on the section you're listening to. Opener "Solar" is a prime example, as the band switches between Atreyu-esque death-metal/screamo and Protest The Hero/scene clean singing. "¡Bravo! Imbécil" finds a better balance and reaches some nice, epic climaxes.
2013's 'Voltean/Están Felices' houses two tracks that show the evolved band sounding much more like they do now, with opener "Están Felices" showcasing some nice noodles and driving sections. "Voltean" is awesome and pummels the listener with some excellent, deep, resonating guitars and plenty of time changes.
2013 also bore witness to the band's debut full length titled 'Principia', an 11-track romp through metallic hardcore. After the short but haunting opener "Todos Temen" we are met with "Todos Odian", a perfect transitionary song from the band's previous metal leanings toward slightly more melodic post-hardcore. "Quiral" has an infectious groove as the introduction (reminding me of...is that Viva Belgrado?) and a very intoxicating atmospheric section from mid-to-end. Album single "Martina, Merlina y Dale Con Martín" is very playful and more reminiscent of their earlier work due to the stop/start nature of the instrumentals the semi-spoken word vocals. "Say Hola!" has some serious riffs, but it's "Czirros" and those sugary sweet vocals bookended by crushing hardcore that almost take the cake on this record. Even six years after its release, "Qúmulos" is still the most progressive and experimental track that JOLIETTE has put out, and is probably most reminiscent of Glassjaw. "California Yisus" is noisy, bassy and piercing, and "Juan Matón" is fucking incredible while simultaneously being the heaviest song on the record. "Norte Y Bravo" is a straight-up banger while closer "Die Stunde Des Käses" is the longest track at 6:29 and it's also the most epic, bearing resemblance to Devil Sold His Soul more than anything else.
2014 and 2015 were the split years as they dropped three, the first with Tel Aviv, Israel's ZagaZaga, followed by two the next year with my friends Life In Vacuum and Texas metalcore/screamo band Lyed. Even after half a decade I find myself coming back to these songs more than any other release (save the new one, it seems) as the songs are fucking fantastic. Tracks like "Picsa de Cotso" and "" are short and violent, while "Il Yonzorno" and "Serenata" are both melodic and chaotic, utilizing excellent dynamics to create some seriously dancey hardcore. "El Coronel y el Cardenal" is another cool track, driven what by I would assume is Deftones and Glassjaw influence, riding vocal melodies into crushing breakdowns. My favourite has to be "No Es In A Gadda Da Vida", easily distinguishable by the chanting introduction, followed by frantic-yet-methodical metallic hardcore that leads in and out of some excellent guitar tradeoffs between Fernando and Jopo that make their first appearance around 1:17.
JOLIETTE's most aggressive and rabid output thus far is 2016's 'Atáxico' LP. It wastes no time as opener "Verdadero Por Accidente" rips through like a bullet in less than two minutes, with the following song "Tionkel" doing much of the same in 2:35. It's like The Bled blended with Converge ooooo baby. The double-time from 1:30 in "Vibraparrot" is jawdropping, while the record's sole post-hardcore tune "Las Arepas de mi Padr" is refreshing step back from all of the orchestrated mayhem. Uhhhh...unless you count closer "Código", as it's over 10 minutes in length. Okay, so...probably count it.
2018 seemed to be a prep year for the next year's LP, but the band managed to release a 'Frameworks live split' in which the bands recorded a battle set for a 7", unfortunately both songs were released on the previous full length. There was also the 'El Alphabiotista' 7" with the first recording of the title track as well as the fantastic "Dolor de Marinero en la Costa del Vesubio" that first appeared alongside "Habano Billullo Kilimanjaro" on the 'Principia mai' accompaniment cd and is a beauty to behold live. The song plays with the listener for the first 45 seconds, then dismantles them via brute force, opting to let the last two-thirds of the song sway back and forth with an exceptionally hypnotic guitar progression. Hot damn what a song.
Upon relistening to their previous LP, I am now aware how much more variety they concocted for this batch of very ambitious, epic and sprawling punk/hardcore/screamo/metal songs represented as 'Luz Devora'. I noticed from my first listen how much time and preparation went into the songs, and the direction they're veering towards is a spectacular juxtaposition of ridiculously catchy hooks and devastating metallic hardcore. "Cecapsis" opens the record in typical JOLIETTE style...aka utter annihilation, then around 50 seconds there's a mixture of nearly clean sung vocals and noodling which bleeds into a whirlwind of gorgeous post-hardcore. The entire thing lasts less than three minutes but it's like an intricately carved statue and can be listened to again and again only to find new and interesting things missed the times before. Next up is "Vacío" (for which there is a much video for embedded below) that is as mesmerizing as it is venomous. The eerie feels on this make it an exceptional piece of work, especially coupled with that supremely catchy chorus that hits first just before the one-minute mark. The band's Deftones influence shines through quite noticeably on track three's "Júpiter Jovial", while "Muletilla Japonesa (あのう)" isn't far from Converge's 'Axe to Fall' LP. "El Alphabiotista" showed up on the previous year's EP of the same name and houses a crushing riff first heard at 3:21. Both "Las Gorras Mayúsculas", "Strathos" and "Futuras Campanas" are excellent post-hardcore numbers, but it is at "Lázaro" where I go from excited to uncontrollably giddy regarding this album. The song immediately dives into mathy, dueling guitars and lightning-fast eruptions from the bass and drums, taking a break come 35 seconds only to loop back around to othe opening at 1:20. The sing-along at 1:34 is awesome, and once 2:06 hits the mathematical genius of the band is on full display with a brain-fuck of a second half that dips in and out of an impossibly timed, chuggy, prog-rock section. Immediately following is "Pudre Infante", a truly ridiculous display of drumming and technical precision, as JOLIETTE launch through the song in 2:48 and even include a sugary-sweet vocal placement around 1:24 before delving into...is that a spaghetti western part? Whatever it is it's fucking sick. Speaking of sick, "Sr. Mora" is over 7 minutes of vomit inducing amazingness, followed by the behemoth that is the 10:46 closer "Defenestra".
That's one helluva discography thus far. The 2x12" silkscreened 'Luz Devora' was just posted via Moment Of Collapse and Skeletal Lightning so you can find those easily if interested, as they look spectacular. Alright, enough rambling, to the interview!
An Interview with:
JOLIETTE
Maybe first tell us who you are.
My name is Fernando Obregón and I play in a band called joliette.
What got you into music?
I believe I developed a strong affection towards music when I was like 9 or 10 years old. Having an older brother who learned to play piano when he was only 3 and being some kind of a prodigious musical child was probably what attracted me to music since we’ve always been very close. But I was not particularly interested in learning how to play an instrument more than I was interested in just listening to music I would like at the time (to this day, I still believe I like listening to music way more than playing it, but it’s a different feeling of course).
I began listening to boy bands and stuff like that when I was a kid but I moved on to “rock” music territory when MTV entered my life. Like many kids from my generation, I guess I was mostly attracted to bands like Blink-182, Green Day, Limp Bizkit, Metallica and many more of those.
I was 11 when my oldest brother (not a prodigious musician but a pretty damn good lawyer lol) gave me a Smashing Pumpkins Greatest Hits cd and told me “listen to this and put aside all that other crap you’ve been listening to”. To be fair, it changed my life and my whole approach at listening to music and the way I would try to analyze and appreciate it. Not that the Pumpkins were a million times better than most of the bands I listened at the time, I guess that’s subjective. But there was something about their music that just changed my whole perspective on things. And probably falling in love for the first time ever with a classmate that showed me Nine Inch Nails when I was 13 and it also rocked my world haha.
I was 12 or 13 when my brother had put his piano to rest in order to buy an acoustic guitar and then slowly become a songwriter. Having a guitar at home and being a pre-angsty teenager, I decided to grab it and started learning songs by ear. The rest is history.
What excites you about music nowadays?
What excites me about music nowadays is the diversity of stuff you can find and it’s just a click away. I am a physical media collector since always but that doesn’t mean I don’t see the benefits of the digital age. Both as a “musician” and as a music consumer, its given us many many great advantages and the possibility to reach pretty much anywhere in the world and find bands and artists from wherever in the blink of an eye it’s just mind blowing to me.
What other bands have y'all been in?
Jopo and I played in a band called Amstterdam from 2006-2009 and it was like a pre-evolved joliette pokemon. It was pretty shitty (or shittier) to say the least. Other than that I played in bands with high school friends that never recorded anything nor got anywhere haha. I have an older brother who is a songwriter and I occasionally play and record guitars for his songs and have helped him produce a couple of his albums. So, joliette has been my main focus for quite a while now.
I’m currently working on other projects but it’s too early to say what they’re about because I don’t even know if they will ever see the light of day.
Gastón currently plays bass and sings in a (very sick) screamo band called Aves. Before joliette he also played in a couple just-for-fun bands and he played in a high school band with Jopo before Amstterdam. That was like 15-16 years ago or so.
Azael currently plays drums in a band called Kill Aniston, as well as a band called Organna. As far as I know that’s what he’s up to at the moment. In the past he used to play drums for a band called Annapura (highly recommended), a band called Hong Kong Blood Opera, a band called Oblique Quartet, a band called Muuk, as well as the legendary Mexican screamo band Te Lloraría Un Puto Río. I’m probably missing a few other projects he’s been involved in.
Gabo currently plays drums in a noise rock/post hardcore band called El Shirota and he’s also got a new screamo/post hardcore band called Satón. He filled in on drums for Storm{O} on a European tour and as far as I know he’s played with a couple other bands. He also played in several bands before joliette, more than I can remember right now.
Rodrigo, our guitar player from 2012-2013 currently plays in Organna (with Azael) and before joliette we had a short lived band called Aurora but never recorded anything. He also played in a metal band called Epiléptica with Abraham, our first drummer and founding member. Rodrigo and Abraham are two of my best friends and they both remain relevant to what joliette is today.
As stated above, Abraham used to play with Rodrigo in said metal band before joliette and he also played drums in Aurora before that morphed into joliette and Rodrigo joined us later. For several years after he left joliette we’ve been getting together in a room to write songs with the intention of getting somewhere and releasing something. Clearly we haven’t had much success haha. But we’re still trying to get something going.
How was the first part of tour, before entering Canada?
The first part of our tour with joliette went amazing! We did three shows in Baja California, which is a state of Mexico that borders with the US. After these shows we crossed to the US and did a small but amazing run of dates with Nuvolascura, Senza and Elle.
Personally it’s always crazy for me to think that I’ve been able to tour with bands that I look up to and this time was no exception. I had been following Nuvolascura since they were called VRIL and I was beyond stoked to do some shows with them.
I met Mason from Senza almost three years ago when we played in Eugene, OR and before this tour they sent me Senza’s new album which completely blew me away.
Not many months ago we did a small run of dates in Mexico with Loma Prieta and I found them to be lovely people and establishing a friendship with a band you’ve been following for quite some time was a satisfying feeling of course. This being said, I knew Sean plays in Elle and I totally loved “She”, their latest album. When I learned that Trei from Beau Navire also plays in Elle I just flipped out haha. What I mean to say is how unlikely it is for me to be seeing myself in a third person perspective, being an obnoxious fan of the same bands I’m playing on a tour with.
If I asked you for your favourite band of all-time, would it be Smashing Pumpkins?
They probably are. But that doesn’t mean I’ve enjoyed anything they’ve put out after Machina haha (Oceania is dope though)
How big is your physical collection of music?
Well I believe in detachment (but I also strongly believe in having to pay my bills hehe). So, whenever my collection is growing ridiculously big I try to part with lots of what I have. Right now I have over 400 vinyl records, 200 cd’s and 150 tapes. But many years ago my cd collection would grow to more than a thousand as I was and have always been in love with the cd format, but I guess my preference for vinyl is taking over these days. It figures since I bought a pretty decent record player so I don’t have a reason not to spin them.
How were the U.S. shows?
The US shows were all amazing! Of all the times we’ve toured the US I can say this was by far the most gratifying of them all. Every show was special in its own right, and as stated before, touring with so many good bands really added to it.
Was it difficult getting into Canada?
It wasn’t difficult at all getting into Canada. It was all pretty chill. Even when we were rejected back into the US, we were permitted entry to Canada again without any issues.
How was ZBR Fest? (you don't need to sugercoat anything cuz I ran it, be honest 🙂 )
ZBR for me was amazing. It’s definitely among the most fun I’ve had at a festival. Personally I loved that it wasn’t a big scale kind of thing (but I guess it figures because screamo). So many good bands and all around a great feeling of friendship between all of us. I would’ve loved to have a better sounding venue but honestly that’s like the only downside to it.
What happened at the border? How did they treat you?
After playing ZBR fest we attempted to go back into the US with a rental car full of instruments and merch. We had not been able to find anyone who could cross back to the US with our instruments so we would not get into trouble. We took the risk of “getting caught” going into the US with tourists visas and playing shows there. It happened. We were previously warned the US/CAN border gets pretty meticulous and tough to get through and so we did get caught. In the legal frame there is no differentiation between an independent artist or a bigger, self-sustained artist and so everyone who attempts to go into the US and play needs an artist visa, which is completely out of our reach economically as we don’t earn enough money from playing to keep paying for the P2 visas year after year. Plus, when you get an artist visa you have to play a certain amount of shows minimum and certain kind of places/venues (no diy/house/youth centers) so that also puts us on a ridiculously difficult situation as an independent band. It’s like you’re being forced to pose as a band with a high revenue when in reality you can barely get by with gas money and have little to no food budget. That’s why we and 90% of the bands that go and play in the US don’t have artist visas. They all do it the same way. Whereas in other countries you don’t need that kind of permit, nor to pay a ridiculous amount of money each year just to present your music in a country which strategically makes all the sense to go to.
“Well just don’t play there,” “it’s the price you pay for doing things illegally,” “It’s not for you to call the shots when playing in another country” and many many other comments we’ve received lacking empathy. Not understanding that everyone has the right to share their art and what they love. It’s not illegal to have people praise you with fucking gas money for that. We’re not doing anything wrong. The legal frame allows many many things that are wrong but punishes many others that are not. And that’s why we have to stand against it.
I totally agree. The unrealistic expectations that come with Visa permits make them literally unattainable for diy bands. As there is no differentiation you have to either lose a ton of money or straight-up lie.
With the increased insensitivity and outright racism in the U.S. I am quite sure you were targeted as you also come from Mexico. Did it feel like that played into the ordeal?
To be completely honest with you, I don’t think that was the case this time. But that doesn’t mean we have not been treated in a “mean” way previously. I remember crossing to the US from Mexico to Texas to try and get to Florida to play The Fest in 2015 if I’m not mistaken and the border agent pretty much suggested we were introducing drug money into their country because we were most likely drug lords playing in a punk band or something haha. So we needed like seven days to go back and forth from Texas to Florida and she gave us six days instead just because she wanted to. That time we really did feel mistreated just for being Mexicans or whatever. This time around though it just felt as if we were breaking their country’s laws for playing music without the proper paperwork. And at the end of the day that’s actually what happened. There’s no way around things if you look at it that way. Not much I can complain about. Still, I refuse to believe we were doing anything wrong just by trying to get our music out there in such an important musical market as the US is in exchange of gas money and selling a couple pieces of merch. Artists bring joy and entertainment to people. It’s weird we’d have to pay copious amounts of money for that. I mean, passionate musicians always spend more than what they earn anyway. I’m just trying to say it felt a little preposterous and exaggerated, the whole thing. Didn’t go to jail, cool, great. But got targeted and labeled as criminals like we were doing somey damage or being a threat to someone or something. Did I explain myself?
Yes that is a great explanation ❤
What are your next steps in regards to the U.S.? Just wait 5 years and try again or will you try to get visas or something else?
We are still carefully looking at our options. We will probably try to return to the US before 5 years have passed. This time with the proper visas with the help of a record label (hopefully) and trying to get a “pardon” and revoke the ban. It will take us a couple years at the very least, though. Artist visa and ban revocation both cost a good deal of money so it will definitely be a very very strong investment but we cannot just simply not go there because I believe we’ve done pretty well when touring there and there are some people who actually like what we do quite a lot.
Damn right! People love what you're doing. And they showed it in Vancouver, I reckon, when you were sent back to Canada. How was the fundraiser show?
It was amazing! Honestly we couldn’t have asked for a better show to say goodbye to Canada. It was a house show and it was pretty damn packed. It was very moving to see all the support and empathy we received during that week. From the people that hosted us for almost a week (Will ❤️) to Henrietta and Miggy (and you of course) keeping up every single day with our situation and how we were feeling. It was all very heart warming. We even received messages from Mexican people living in Vancouver that went to that house show to show their support.
Tell us about Luz Devora. What inspired it? I remember you telling me that you were worried it was too long or ambitious, how do you feel about it now?
Well. 2014-2018 were pretty vertiginous years for me personally. Like many touring musicians I was struggling with depression and ever growing anxiety. Shortly after we released Principia in 2013 and we became a full time band I encountered many many problems as a consequence of that commitment. A long term relationship I had began falling out until it all ended in 2017 and it left me in bad shape. Financial and family problems didn’t help either. There was much anger inside of me and part of that anger we tried to display on Atáxico, our second album. After all these years dealing with the aforementioned plus alcohol and substance abuse, a much needed line up change in the band and a renewed sense of purpose, we finally got together towards the end of 2017 and wrote twelve songs in a two month span, ending in February 2018 and immediately entered the studio to record it all, aiming for a 2018 release.
Recording the whole thing was the easiest part to say the least. Even though I tried to be as honest as I could with the most heartfelt lyrics I’ve written, that deal with the pain of drifting apart from your loved ones, failed relationships, anxiety and a lack of happiness, I was still not in a good place both mentally and emotionally. Due to many circumstances the album took forever to be mixed and we spent more than a whole year trying to get it all done without any success, to the point that we thought we were jinxed or that there was a curse upon us or something. 2018 was the pinnacle of my depression and at a certain point I started to believe that Luz Devora was a display of all these troubled years and that it wouldn’t come out until I was reformed. Curiously, it kind of happened that way.
All these years served as inspiration to write the songs and lyrics. We tried to get the best from Principia and Atáxico and tossed it all into one bag. The result is a raw sounding, way more honest album than our previous releases. Quite long. Quite diverse. I was indeed afraid people would just “not get it” but it seems I was wrong.
Luz Devora talks all the way through about this idea of trying to reach happiness no matter what and the frustration that comes with it when constantly not succeeding. So what if it’s just an idea that all people are obsessed about? What if that turns out to be more damaging than just living and accepting life as it is? Raw and unjust.
The lyrics are not ultimately all negative as they carry a glimmer of hope even if it’s through resignation.
I am in a much better place now. I have accepted my life as it is. The people I’ve lost because of my choices and the barriers that have been built with some family members. Only after acceptance comes growth. And only after I came to terms with my whole life is when the album finally came out. A year and a half after it was recorded.
I am happy to hear you are doing better. I struggled with alcoholism for years so I have some idea of the pains of trying to help people with issues like that.
Thank you, I really appreciate you trusting me on this. It’s been tough but it does get easier every day and I’ve been exercising a lot to keep anxiety away 😍
I met Azael back in 2013. He was drumming for an amazing band called Annapura and in 2017 it was just coincidence that he quit that band and we parted ways with Gabriel, our previous drummer. I couldn’t think of anyone other than Azael to be our new drummer but I wasn’t sure he would want to join the band. To my surprise he was actually happy to have been invited to play with us and now we definitely feel more comfortable with this line up than ever before. He is a ridiculously talented musician and I’m super thankful he trusted us to take part in this.
What the hell is the timing in Lazaro? The pumping instrumental part that comes in and out...I can't figure it out lol
About Lázaro, you mean like, after the melodic singing part where comes a bridge that goes in and out until the end? That song has a lot of odd time signatures (and it’s damn fun to play live but if anyone fucks up just one time then the whole thing goes to shit haha. I guess that’s the fun part)
Is it safe to assume that you've written a bunch of new material in that time?
Yes! We already have a bunch of new songs written for many splits we’ll hopefully release next year and many more songs for future EPs or LPs. Still figuring that out. What we believe in most is whatever we leave behind when we’re gone should be all of our work, as in songs. So we’re gonna write and release as much music as we can before eventually disbanding.
Beautiful.What bands were you initially influenced by? (I'm listening to your 2011 EP now...Protest The Hero?)
Protest The Hero for sure, letlive, Underoath, Alexisonfire, Misery Signals. I still listen to many of these but our line up changes also brought major shifts in our sound and since the beginning of the band we’ve always had the idea of trying to change constantly and gradually.
What bands are you influenced by now?
Now I’d say we’re pretty influenced by bands like Deftones, Unwound, Sonic Youth, Cult Of Luna, Capsule (constantly trying to rip off Capsule haha), Daughters, Katatonia and many many more. We’ve also drawn lots of influence from pretty much all the bands we’ve had the pleasure to tour and play with (speaking about the screamo spectrum) and been trying to incorporate a bit of that into the songwriting.
Is there anything else you'd like to say?
I just would like to add that we are in our prime right now. I can’t believe we’ve been a band for eight years now and personally I feel super proud of what we have accomplished so far and I believe this is just “the beginning” of what looks in my head. The best era of joliette is to come, I think haha.
I’m at a better place than ever before, at least in the past ten years. I’m happy of who I am and I finally perceive myself in a way that satisfies me even though there’s still lots of work to do. I’m learning to live and all of which we’ve gone through as individuals and as a band is being written down on the next songs as it’s been on our previous efforts as well. We have many splits planned, a double EP-album and another full length. That’s a whole lot of songs haha and we will try to release it all before age catches up to us and we’re too old to care.
Thanks for reading and thanks David for the opportunity to have such a transparent interview.
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DISCOGRAPHY
2011 - Convertirse en Agua cdEP (stream/buy here)
2013 - Voltean/Están Felices cassetteEP (stream/buy here)
2013 - Principia cassette/cd/12"LP (stream/buy here)
2014 - ZagaZaga split cdEP (stream/buy here)
2015 - Lyed split 10"EP (stream/buy here)
2015 - Life In Vacuum split cassetteEP (stream/buy here)
2016 - Atáxico cassette/cd/10"/12"LP (stream/buy here)
2018 - Frameworks live split cassetteEP (stream/buy here)
2018 - El Alphabiotista 7"EP (stream/buy here)
2019 - Luz Devora cassette/cd/2x12"LP (stream/buy here) [buy tapes from ZBR in the U.S.A. here / Canada/Int'l here]
(2019) JOLIETTE - "Lázaro" (from 'Luz Devora')
(2019) JOLIETTE - "Vacío" (from 'Luz Devora') official music video
(2019) JOLIETTE - "Muletilla Japonesa (あのう)" (from 'Luz Devora') official music video
(2019) JOLIETTE - "Lázaro + Pudre Infante" live @ZBR Fest
(2018) JOLIETTE - "Dolor de Marinero en la Costa del Vesubio" (from 'El Alphabiotista')
(2018) JOLIETTE - "Tionkel (live)" (from 'Frameworks live split')
(2016) JOLIETTE - "Apáccico" (from 'Atáxico')
(2016) JOLIETTE - "Vibraparrot" (from 'Atáxico')
(2015) JOLIETTE - "No Es In A Gadda Da Vida" (from 'Life In Vacuum' split)
(2015) JOLIETTE - "Il Yonzorno" (from 'Lyed' split)
(2014) JOLIETTE - "Picsa de Cotso" (from 'ZagaZaga' split)
coming soon
(2013) JOLIETTE - "Juan Matón" (from 'Principia')
(2013) JOLIETTE - "Czirros" (from 'Principia')
(2013) JOLIETTE - "Están Felices" (from 'Voltean/Están Felices') official music video
(2011) JOLIETTE - "¡Bravo! Imbécil" (from 'Convertirse en Agua')
2013 - Voltean/Están Felices cassetteEP (stream/buy here)
2013 - Principia cassette/cd/12"LP (stream/buy here)
2014 - ZagaZaga split cdEP (stream/buy here)
2015 - Lyed split 10"EP (stream/buy here)
2015 - Life In Vacuum split cassetteEP (stream/buy here)
2016 - Atáxico cassette/cd/10"/12"LP (stream/buy here)
2018 - Frameworks live split cassetteEP (stream/buy here)
2018 - El Alphabiotista 7"EP (stream/buy here)
2019 - Luz Devora cassette/cd/2x12"LP (stream/buy here) [buy tapes from ZBR in the U.S.A. here / Canada/Int'l here]
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(2019) JOLIETTE - "Lázaro" (from 'Luz Devora')
(2019) JOLIETTE - "Vacío" (from 'Luz Devora') official music video
(2019) JOLIETTE - "Muletilla Japonesa (あのう)" (from 'Luz Devora') official music video
(2019) JOLIETTE - "Lázaro + Pudre Infante" live @ZBR Fest
(2018) JOLIETTE - "Dolor de Marinero en la Costa del Vesubio" (from 'El Alphabiotista')
(2018) JOLIETTE - "Tionkel (live)" (from 'Frameworks live split')
(2016) JOLIETTE - "Apáccico" (from 'Atáxico')
(2016) JOLIETTE - "Vibraparrot" (from 'Atáxico')
(2015) JOLIETTE - "No Es In A Gadda Da Vida" (from 'Life In Vacuum' split)
(2015) JOLIETTE - "Il Yonzorno" (from 'Lyed' split)
(2014) JOLIETTE - "Picsa de Cotso" (from 'ZagaZaga' split)
coming soon
(2013) JOLIETTE - "Juan Matón" (from 'Principia')
(2013) JOLIETTE - "Czirros" (from 'Principia')
(2013) JOLIETTE - "Están Felices" (from 'Voltean/Están Felices') official music video
(2011) JOLIETTE - "¡Bravo! Imbécil" (from 'Convertirse en Agua')
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JOLIETTE additional links
Bandcamp
Facebook
Official Store
"Martina, Merlina y dale con Martín" official music video
JOLIETTE @ZBR Fest 2019
JOLIETTE Hamilton Show
JOLIETTE Toronto Show
Official Store
"Martina, Merlina y dale con Martín" official music video
JOLIETTE @ZBR Fest 2019
JOLIETTE Hamilton Show
JOLIETTE Toronto Show
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wow
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