PUTOCHINOMARICÓN

2023

11/04/2023
PUTOCHINOMARICÓN "Auphmoy" Single Digital

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).

"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 Carnebrothers 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.

21/04/2023
PUTOCHINOMARICON "Afong" Digital Album

The first of the four albums that will make up this creative combo with which Chenta Tsai makes it clear once again that their creativity is in full drive. Each new step that Chenta takes gives us the feeling that we are two kilometers ahead of everyone else. This is especially admirable in these fast, urgent, lightspeed times, when it is difficult to settle down and get comfortable because once you do you realize you aren’t keeping up.

“Afong (Mordió La Mano Del Amo)” is the equivalent of the Minutes section of “SMHD (Arte Contenido)”. The title comes from Afong Moy, the first known female Chinese immigrant to arrive to the United States in 1834. Taken by the Carnebrothers 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.

04/10/2023
PUTOCHINOMARICÓN “Soy un idiota" Single Digital

An advance single from “pasadas de moda” (an imaginary album from the artist DADÁ, child of nepotism, who longs for viral fame and recognition). And the pen is still a sharp sword. “soy un idiota” is a confession, a kind of self-harm that works as a rebound effect from society’s aggressiveness. Based, sound-wise, on blog house, with echoes of DIPLO, CUT COPY and JUSTICE, PUTOCHINOMARICÓN continues to grow their role as an artist, defying stylistic limits, yes, but also defying the listener, pushing them out of their comfort zone, reflecting on all the things that define our lives these days.

13/10/2023
PUTOCHINOMARICÓN “tu padre es un facha y tu madre una terf" Single

What we have here is punk, the spirit of the Ramones, roughness and speed, immediacy, exactness.

18/10/2023
PUTOCHINOMARICÓN “arthoe" Single Digital

This song takes a deeper look at the idea of the artist as an object of consumption, and their commercialization in the XXI century. All of this is done with an electroclash rhythm, somewhere between LE TIGRE and FISCHERSPOONER, and with a clear tribute to CSS’ “Art Bitch”.

27/10/2023
PUTOCHINOMARICÓN “pasadas de moda" Album Digital

“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.