If their contribution - a cover of an 1960s Mexican pop song - to the soundtrack to Alfonso Cuaron’s Y Tu Mama Tambien was any indication of Jonas and Rosso’s direction, it’s that they are suffering from a mild case of identity crisis. Juan Manuel was ambitious, but a far cry from the spontaneous musical globetrotting found on Aquamosh. The album, produced by Chris Allison, (Coldplay, Beta Band) and Money Mark (Beastie Boys) was more musically Eurocentric, taking on Plastilina Mosh’s tendencies for experimental pop, lounge, and disco and incorporating deep house, trip-hop, and garage rock. Plastilina Mosh signed to Astralwerks in 2000, and released Juan Manuel, a little gem of polished electronica. It’s safe to say Plastilina Mosh represent a more globalized, cosmopolitan approach to music that the likes of Britain’s Cornershop and Canada’s Bran Van 3000 produce on their albums.
Pmosh”, and the band became the first Latin Alternative act to have their music video on MTV’s rotation.
Aquamosh never reached the critical or commercial success of Odelay but it did chart two international hits, “Nino Bomba” and “Mr. It wasn’t even entirely in Spanish but a multilingual effort sung in French, Japanese, and Spanglish. The album wasn’t founded on rock, but on disparate collages of lounge, disco, electronica, and pop. Their major label debut was as a direct aim at Odelay style mishmash and white-boy rap/hip-hop, yet Juan “Jonas” Gonzalez and Alejandro Rosso presented an unstructured approach that was nothing close to representing the ensuing Rock En Espanol movement. When Monterrey, Mexico’s Plastilina Mosh released Aquamosh in 1998, it was hard not to describe them as a south of the border version of Beck.
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