Tribu Ultravioleta

Like many electronic music producers, Tribu Ultravioleta (José "Cebolla" Briceño) was bit by the musical bug at a young age, but that is about as far as any comparison can go.

Born and raised in Venezuela, he was exposed to the music of his homeland at a time when his peers where discovering bands like U2 and INXS. In essence, he traded the traditional pop music most kids embrace as the soundtrack to their youth for a deep understanding, appreciation and proficiency of cultural standards and instruments like the mandolin, guitar, cuatro while playing in Venezuelan Christmas bands named "Gaitas". As he furthered his education toward medical school as an adult, he continued to have a musical aspect to his life via his friends, but this time learning percussion and how to play bass.

By the time he reached medical school, his summers off were spent working in a record store, and it was there that his musical knowledge grew even broader and deeper, treating the store's inventory like a student would their university library. The resulting factor of all these influences coupled with an undying curiosity to continue to expand his musical knowledge base was 2008's "Guayabera y Analogos," an album of original material with took the best of what he had learned up to that point and put it to practice. This initial effort stood out for its equal reliance on both programmed electronic sentiments and classic cultural instrumentation, and in doing so creating a chilling and unique soundscape of mostly downtempo offerings.

Living now in the states, Tribu Ultravioleta has once again put his musical prowess back in the studio and is excited to present his latest EP, "Piñata." Just as its title suggests, it is a tightly packed six track EP that when allowed to hit the listener just right, it explodes with hidden aural treasures which remain reverent to his cultural influences, displaying a wider spectrum of electronic grooves and offers a warmer, more upbeat side to his listeners.

"Piñata" picks up where his last LP left off with the first track, "Machete," being more on the downtempo side. It's enveloping synths and chord progression evoke a feeling of growth and the spirit of a new beginning.
Up next is the standout "Flying" with its disco-infused baseline and vocal provided by Angela Smith, echoing the instrumental ideals set forth at the EP's start.

"Guayacan" brings with it subtle reminders of Briceño's musical background, seamlessly blending both live and programmed elements with a rhythm guitar taking the lead before being bolstered by different interpretations of the chord progression via intermingling electronic melodies. The title track is the most playful of the bunch, and placed perfectly as its mid-tempo, infectious groove brings with it a sense of movement and continues to harbor the warm vibes set forth by its predecessors.
The highlight track "Incandila" reaffirms for the listener the mood of travel and growth and is the most dance floor focused of all the cuts. Flirty synths seem to build to only be swallowed by the bass line only to be rebuilt to a crescendo, all the while interweaving Jose's own vocal.
"Piñata" comes to a close "Te Veo," another reminder of his cultural influences via his chose of instruments, this time with a pan flute taking the lead melody of this mid-tempo lullaby.

Hard to categorize and seemingly simple, Tribu Ultravioleta's "Piñata" EP is jam packed with a passion rarely so audible, warm feelings of growth and the uncanny sense of movement, threading the needle from the first track to the last. His maturity in the studio paired with producer Mauricio Hernandez Blanca has allowed his sound to blossom, displaying to listeners an ability to create six distinctly unique yet culturally cohesive pieces that span tempos and intentions. Whether for use at a pre-party, at the heart of the party, or an intimate after party, Tribu Ultravioleta proves why no party is really complete without a "Piñata." - Electronic Groove

Like many electronic music producers, Tribu Ultravioleta (José "Cebolla" Briceño) was bit by the musical bug at a young age, but that is about as far as any comparison can go.

Born and raised in Venezuela, he was exposed to the music of his homeland at a time when his peers where discovering bands like U2 and INXS. In essence, he traded the traditional pop music most kids embrace as the soundtrack to their youth for a deep understanding, appreciation and proficiency of cultural standards and instruments like the mandolin, guitar, cuatro while playing in Venezuelan Christmas bands named "Gaitas". As he furthered his education toward medical school as an adult, he continued to have a musical aspect to his life via his friends, but this time learning percussion and how to play bass.

By the time he reached medical school, his summers off were spent working in a record store, and it was there that his musical knowledge grew even broader and deeper, treating the store's inventory like a student would their university library. The resulting factor of all these influences coupled with an undying curiosity to continue to expand his musical knowledge base was 2008's "Guayabera y Analogos," an album of original material with took the best of what he had learned up to that point and put it to practice. This initial effort stood out for its equal reliance on both programmed electronic sentiments and classic cultural instrumentation, and in doing so creating a chilling and unique soundscape of mostly downtempo offerings.

Living now in the states, Tribu Ultravioleta has once again put his musical prowess back in the studio and is excited to present his latest EP, "Piñata." Just as its title suggests, it is a tightly packed six track EP that when allowed to hit the listener just right, it explodes with hidden aural treasures which remain reverent to his cultural influences, displaying a wider spectrum of electronic grooves and offers a warmer, more upbeat side to his listeners.

"Piñata" picks up where his last LP left off with the first track, "Machete," being more on the downtempo side. It's enveloping synths and chord progression evoke a feeling of growth and the spirit of a new beginning.
Up next is the standout "Flying" with its disco-infused baseline and vocal provided by Angela Smith, echoing the instrumental ideals set forth at the EP's start.

"Guayacan" brings with it subtle reminders of Briceño's musical background, seamlessly blending both live and programmed elements with a rhythm guitar taking the lead before being bolstered by different interpretations of the chord progression via intermingling electronic melodies. The title track is the most playful of the bunch, and placed perfectly as its mid-tempo, infectious groove brings with it a sense of movement and continues to harbor the warm vibes set forth by its predecessors.
The highlight track "Incandila" reaffirms for the listener the mood of travel and growth and is the most dance floor focused of all the cuts. Flirty synths seem to build to only be swallowed by the bass line only to be rebuilt to a crescendo, all the while interweaving Jose's own vocal.
"Piñata" comes to a close "Te Veo," another reminder of his cultural influences via his chose of instruments, this time with a pan flute taking the lead melody of this mid-tempo lullaby.

Hard to categorize and seemingly simple, Tribu Ultravioleta's "Piñata" EP is jam packed with a passion rarely so audible, warm feelings of growth and the uncanny sense of movement, threading the needle from the first track to the last. His maturity in the studio paired with producer Mauricio Hernandez Blanca has allowed his sound to blossom, displaying to listeners an ability to create six distinctly unique yet culturally cohesive pieces that span tempos and intentions. Whether for use at a pre-party, at the heart of the party, or an intimate after party, Tribu Ultravioleta proves why no party is really complete without a "Piñata." - Electronic Groove