Coto and the Plagues (2021)

Coto and the Plagues

Music technology has advanced into previously unthought of territories, creative processes have co-evolved with this technology exponentially over the past 50 years. Audio engineers have the ability to auto-tune vocals to perfection, and cinematographers have the option to create endless realities using CGI. Coto and the Plagues were forged out of a common love for b-movie horror films and DIY culture. The Los Angeles-based trio’s self-titled debut is heavily influenced by ‘80s goth rock and new-wave, and unfolds like a soundtrack to a low budget slasher film of the same era.

(Pictured Above, Left to Right: Dev Horch, Coto Loco, Fritz Zar, Photo Credit: Johnny Liu)

Coto and the Plagues arrives through Horch Records, an independent label owned by Plagues’ Dev Horch. The platform is still in its early stages, but has an eclectic collection that unifies around a cinematic theme. Apart from a single from lead singer Coto Loco, Horch Records has strayed away from pop music until Coto and the Plagues. Beyond this release, Dev recently put out a single that is rooted in jazz by cellist, Hellacello, as well as an experimental electronic compilation, Creature Feature Vol. 1, which features the label head on synthesizer.

(Video: Coto and the Plagues, “Dance with the Dead,” dir by; Dev Horch)

The album opens with the only track without bassist Coto Loco on lead vocals. “Dance with the Dead” (above) is an outlier compared to its neighboring songs, primarily because it features Horch as the vocalist. Dev’s vocals are layered with effects, which transforms the

“And we dance with the dead”

lyrics into a powerful reverberating chant. The instrumentation on the lead track is also different because it relies on Loco’s only piece of guitar work on the album, which is replaced by his bass and Horch’s synth for the duration of the album. The airtight playing that remains at the center of the record kicks off around the one minute mark, when Coto tears through a guitar solo as Horch adds flare to the backing track with an array of noisy synthesizer effects.

After the opener, the Plagues jump into “Stay Out of My Dreams” (below), which is reminiscent of an ‘80s goth/pop-rock crossover. Each member of Coto and the Plagues explores different angles of their lengthy musical and varied careers. Drummer Fritz Zar has spent years bouncing around the Los Angeles punk scene, and is well-known as a core member of reggae roots band, The Steady 45’s. Across the entire record, his drumming is impeccable, tight-knit, and well-timed. Zar maintains an unmatched focus as a technical drummer, and likely influenced some of the faster-paced songs on the record. In the context of “Stay Out of My Dreams,” Loco’s bassline parallels quintessential west-coast punk, as though it were straight out of a Circle Jerks song. Loco’s vocal track and the colorful synth melody provided by Horch redirect the sound of the track closer to new-wave.

The record slows down with a handful of drug-induced hypnagogic tracks scattered throughout. “Folded Hands” (below) features an overpowering bassline as the lead over Loco’s airy vocals. While it’s not common for a band to replace conventional lead and rhythm guitars with a bass and synthesizers, the Plagues make it work with their give-and-take melodic rapport. Throughout all of “Folded Hands,” Horch disperses eerie sound effects that alternate volume levels as he warps their tones. As the song builds, these effects become more discernible, and over the last thirty seconds, they begin to match the significance of Coto’s lead bassline which previously overpowered the synthesizers. Horch uses an assortment of modular effects throughout the record, and his placement of these noises often dictates the mood of the song. His use of effects on “Folded Hands” morphs the song from a mellow indie ballad into a post-apocalyptic sounding rumination.

Coto and the Plagues thrive in simplicity. One of the record’s strongest points is “Now That I Know,” which showcases Coto Loco’s vocal range better than any previous recording from his career. As a solo artist, Loco has released beat tapes, Central American folk songs, and noisy experimental bedroom pop. Throughout this catalog, he often adds distortion or other weighted effects to his voice. On the Plagues’ tracks, his deep voice sounds like a glam-era Brian Eno, and his lyrics are more cohesive than on previous records.. When he bellows the lyrics,

“Understanding the feeling is right/Enjoy each other’s company without a fight”

his words are intentionally straightforward, and still emotionally charged due to his delivery. “Now That I Know” is one of the most upbeat tracks on the record, and the end result recalls brighter singles from goth favorites like Joy Division and The Cure.

(Video: Coto and the Plagues, “Folded Hands,” dir by; Dev Horch)

Each member of the Plagues is a talented musician with a diverse musical background, but their recordings also contradict one another on paper. At the core of Coto and the Plagues is a shared love of a niche and alternative culture that does not directly relate to music. There are no terrifying elements to their debut, and apart from the moodiness that coats each song, there are very few direct references that specify concrete moments in horror culture. Upon release, Dev created several videos that soundtrack different songs from the album to scenes from passé horror b-movies. The Coto and the Plagues debut incorporates characteristics across generations of horror culture, and tweaks them to create a modern new-wave record. The way that The Plagues recorded this record, rolled it out, its sound, and presentation mimic the creative passion at the foundation of the cult cinematic scene that influenced this record.

©Total Trash Ltd, 2021