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Camila. Photo: Electric Factory/El Zol

Camila detaches themselves from the ellipse in their nonconformist global tour

The pop rock duo Camila, comprised of Mario Domm and Pablo Hurtado, close their “Elypse” album global tour with fifty concerts in The United States (and, yes,…

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In physics, the ellipse is the curved and conic path between two focal points, in which the two points are constantly and directly at the same distance from each other. Astronomically, our whole entire existence is hinged upon the constancy of the alignment of focal points in our solar system, insured by the perpetual orbit of the Earth around the Sun in its typical spot on the galactic radar. In linguistics, the ellipsis is symbolized by a dot-dot-dot, which tends to signify the trailing-off of a sentence, or the never-ending of a thought. In essence, the ellipse is infinite, never-changing.

However, the Mexican pop rock duo Camila (arguably one of the most famous in Latin America), comprised of the award-winning founder and composer Mario Domm and dexterous guitarist Pablo Hurtado, have ironically broken off from the ellipse with their new album and consequent global tour for the album “Elypse,” and this new nonconformist, metaphorical “road less traveled” focus, will be leading them to Philadelphia on October 9th 2016 at the Electric Factory, presented by El Zol.

The tour, which has been described as “cinematic” and a “grand visual production,” will be closing after about two years with fifty concerts in The United States, a historic record for them. Although the group has had its pitfalls, especially the loss of their vocalist Samuel “Samo” Parra Cruz to a solo career in 2013, the success of their “Elypse” tour is evidence that, at times, leaving the ellipse or separating your sound from the norm is the best risk you can take.

But, branching off into exciting (albeit rather precarious) and innovative content and songwriting was no easy feat for Camila, proven by their three-year disappearance from radio waves, and Mario Domm explained to me that tiresome feelings of conflict invaded their recording studios before making the decision to break-off from what they had traditionally always done as a trio:

“The making and the result of ‘Elypse’ was aggressive and dramatic… See, we wanted to make everyone happy, we wanted to write something happy. But it’s impossible to please everyone, so all of a sudden, we decided, f*** it, let them go to hell,  and thus the writing for ‘Elypse’ began. We were able to let our own inspiration and not what everyone expected of us to guide us. We had something to say, and we put it on paper, and then in song.”

Both Mario Domm and Pablo Hurtado have stuck true to their values as musicians above all else, and consider themselves to be an “artisanal band,” straying from large corporate external producers, and recording the process of their music in their own studios (Pop The Cherry and Cypress Overdrive, respectively), or even in their own living rooms.

“Oftentimes, when we [Hurtado and I] begin to get inspired to write a new song, we start off in our living rooms with only a piano and a guitar. All of that recording technology distracts me, personally, but later once we have the skeleton of the song, we put the meat on it in the studio. There, we play with sounds and manipulate the instrumental parts. Of course, the most beautiful part of the process, is to witness the reaction [from our fans].”

Domm described the process for writing the twelve distinct songs in “Elypse” like “writing the song that you can sing with your life,” which essentially means that not only was their transformation organic, it also is full of passion and aggression, two emotions that Camila had formerly shied from due to the constraints that the label “pop” had put on their music.

Now, in “Elypse” you can catch hints of dubstep in Adicto al Dolor, a promising power ballad within Tu, twisted romantic pop in Decidiste Dejarme, funk in Tu Tiempo Ya Se Fue, and a transition from softer pop rock to its electric antithesis throughout the whole album.

“Basically, once [Samo] left, we [Pablo and I] realized that we were equally important, and equally capable of vibing together. It took us three years to get to where we wanted to go, but we are happy with the end-product. There is more equilibrium, now. We have taken great care of this album and this tour, proposing something different and innovative that demands 100% of our effort, that convinces the audience to continue enjoying our evolution. This experience has allowed us to discover the message we want to convey [through our music].”

Although Camila has not unveiled any new songs during their “Elypse” tour due to the Internet’s uncanny ability to leak any content almost instantly after its reveal, Domm promises that the tour has been ever-changing, playing with the original songs in the album as they play, and always delivering something special. They have the desire to experiment, both with audio and with visuals, which- according to Domm -has given their tour “flavor and depth.”

When I asked Domm what the unprecedented success of their junior tour in The United States has represented for Camila as a Mexican group, Domm began to explain that he could not have ever imagined playing in such grandiose and gorgeous concert halls, and that he and Hurtado had “never expected” so many Latinos in The States. I had to interject, explaining that Philadelphia (which they have never previously performed at), has a huge and ever-growing Latino presence, prominent with Puerto Ricans and Mexicans, and Domm pleasantly surprised:

“See, that’s what is so great about this tour closing in The United States, you realize how lucky you are to not only have people that want to see you, but also to go to places where people can personally connect with the music. We are blessed.”

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