1. Please tell us about the band’s first steps, and the origin of the name.

We love literature a lot.  The name Cabezas de Cera comes from an Alejo Carpentier book called “The Kingdom of this World”, which refers to Haiti’s independence from France and the work and presence of human individuality in the world. The first chapter is entitled “Cabezas de Cera” (heads of wax) and the last chapter is “Agnus Dei”.   So initially we chose the name of “Agnus Dei y Las Cabezas de Cera” (Agnus Dei and The Heads of Wax).  But I remember that when we played in a place called Rockotitlan the name of the band was so large that it could not fit in the marquee.  So we decided to make it shorter and Cabezas de Cera was born.

2. How and why did you create Cabezas de Cera?    Looking to the past, do you think the main idea behind the band is still the same nowadays?

Obviously some things have changed, as life gives you different lessons.  But what prevails is the freedom in our music and the commitment we have with it. We always challenge ourselves in order to improve what we do.  There have been some changes, even in the band’s line-up, though my brother Francisco and I  have been here since the beginning.  Ramses Luna joined in 1998, and I believe it was in 2000 that the band acquired its own identity. Our thoughts have also changed.  We are now tougher on ourselves and we want to keep improving, so in the end these changes are for the good of the band.

3.  Speaking of my own experience, the first time I saw the band I discovered that you played a “Charrófono”, which surprised me.  The first thing that came to mind was, “What did he say?”.  I later realized that you make your own instruments, which is another example of your originality. Could you please tell us something about this?   How did you come up with the idea of creating your own instruments and its weird and peculiar names?

This is a project called “MetalMusica”.   Francisco is the one who makes the instruments, while my job is to deform them when playing [Mauricio laughs].   Francisco studied in the Escuela de Artesanias de Bellas Artes and in 1998 he acquired his degree working on a project concerned with the invention and construction of metal based instruments.  So little by little these instruments became part of our music.  The names of “Charrófono”, “Jarana Prisma” and “Armatoste” were basically christened in a playful way.  They don't have any deeper meaning.

4. Being a band full of talent, I imagine you have a musical past,   I mean, you seem to have studied musical composition, or perhaps you are just gifted guys!   What can you tell me about this?

We are actually self-taught guys.   My brother studied in an arts school, but he was not really attracted to the orthodox system that the music school had.   I learnt by myself - well, with my brother’s help, because the first chord I ever played was because of him - and so we started with this musical life.  As kids, we wanted to be like our idols and so with time the urge of learning led us to improve and become better every single day.  I think Cabezas de Cera’s musical language is largely intuitive.

5. Who is Edgar Arrellín and what is his role inside the band?   I am asking this because you consider him as the 4th member.

Edgar is our sound engineer.  He is our ears.  He lets us know that we have to have our own unique sound, a Cabezas de Cera sound.  He is a great friend and ally who helps us with several issues.  Basically, because of him, we can have an optimum sound in our albums and shows.

6. For me, speaking personally of course, you are a progressive rock band.   However, for a lot of people you are an experimental band or just a rock band.   I would like to know what you think about the importance of labelling music and how it can influence the listener?

We label ourselves as "Mexican contemporary music", since we want to express what happens in our country.  Curiously, we were never fans of prog rock before creating the band, so it was not our intention to enter this market.  But fortunately, progressive rock fans know us and accept us.  I think the BajaProg invitation we received some years ago was really helpful because it meant that more people could listen to our music.   I remember that a month later we appeared on the front page of “Expose” magazine.

7. So what is your opinión on the reaction of Mexican people to your music, and to progressive rock in general?

It has been great.  I think we have had some good luck.  Of course, it is difficult to leave a mark on all people because there is music for everyone, but we create music for those who like it.   Fortunately, we have had a good media response and we have done well in the festivals.   Talking about progressive rock in México, I think is somewhat fragmented.   The bands are scattered.   However, a clear example that progressive rock is still alive here is the Baja Prog Fest.  Another thing I would like to mention is the importance of websites, such as ProgArchives, because through them bands like us can be discovered world wide.

8. Two questions in one: What did you listen to as a child, and did you absorb some particular influences thanks to that music? 

Yes, totally.  I will tell you about my personal tastes because one of the band’s main characteristics is that we are all very different.  Of course, there are some bands that we all love, but when I was a kid I listened to what my parents listened to.  Mexican music, mainly.  My first contact with rock and roll was when I listened to the “Teen Tops” with Jailhouse Rock, etc.   But that was long ago.  Nowadays, youngsters listen to their own music, they have their own personal style.  In those days we listened to what our parents inculcated.  I also listened to what my brother liked (he is my elder brother). We loved listening to Dire Straits or Caifanes.

Nowadays, my influences come from jazz, the kind of jazz where all the members gather together from several countries and constantly put a migration theme into their music. There are some musicians whose influence on me has been big, such as N’Guyen Lee, a                              French guitar player with Vietnamese origins who plays jazz rock, and Anouar Brahem from Tunisia who plays the lute and now lives in France and mixes jazz with his country’s music.  Another one is Avishai Cohen, a Swiss counterbass player, whose fresh music I love.  From the progressive scene, well, there is always King Crimson - it’s kind of mandatory, they are always there.  I also like listening to Il Balleto di Bronzo, D.F.A and Akinetón Retard, for example.  And from my country, I can mention Iconoclasta.

9. Which is the most representative Cabezas de Cera album, and which is the one you really feel proud of?

Each of the albums is representative.  The first one is very representative since with it we reached what we wanted to do at that moment.  However, I believe that “Fractal Sónico” may be a great album for those who barely know our music.   There they can see our evolution as a band.   Personally, I think “Metalmúsica:Aleaciones Aleatorias” is a very complete album.  It creates a lot of satisfaction for me.

10. What is your opinion on the music industry here in México?   We know that much of it is corrupted and some things are not clear.

It is a complex topic.  Nowadays, the industry prefers bands who look good.   They prefer the public image and marketing, and not really the music.  The industry is so perverted.  We can see that any band wants to be an “indie” band, but they have lost their basic principles.   We can be happy and proud because we have improved and advanced.   Our steps are always going forward, not back, and the band is a success because people like yourself listen to our music and support us.    Bands like ourselves are formed thanks to their talent and their audience, not because of the industry.

11. Does Cabezas de Cera regret anything?

Well, I don't think we regret anything.    People sometimes create things believing they are right.  We are responsible for our actions.  Every single thing we do is done honestly and with the goal of being better every day..

12. When composing do you conceive of your music in an abstract way, as a series of unfolding visual shapes, or is it a more instinctive process? I ask this because there is a strong psychedelic element in your music, similar to Ozric Tentacles, which makes your music very visual despite its rythmical roots.

Well, it´s half and half.  Any sound can be a pretext to create a piece of music.  Each piece has its own different story.   There is indeed an intuitive part, and also a cerebral part, and, of course, there is always an image where one can listen to the music, close one's eyes and see things.  Each person sees what they want to see.  Sometimes, the music just generates some new images; sometimes, the images are based on previous experiences.  The most gratifying thing while making music is provoking something in people.   After a concert, it is beautiful when someone comes to you and tells you what they think, what they liked or didn't like.  We want people to tell us their thoughts.  We like critics.

Francisco is commited only to the band (Cabezas de Cera) http://www.cabezasdecera.com.mx/sys/index.php - http://www.cabezasdecera.com.mx/sys/index.php , http://www.myspace.com/cabezasdecera - http://www.myspace.com/cabezasdecera , although he is also a teacher in Bellas Artes.   Ramsés http://www.myspace.com/ramsesluna - http://www.myspace.com/ramsesluna plays with OMS, and I play with SantosSotelos http://www.myspace.com/santosotelos - http://www.myspace.com/santosotelos .  We also have had a project with friends from Spain called “Vientos y Lugares” (Winds and places) http://www.myspace.com/vientosylugares - http://www.myspace.com/vientosylugares

For 2009, we are invited to NearFest, which is one of the most important festivals, and I believe it is a great opportunity for us to share our music with the world.  We are now really excited and motivated.  We are going to open the festival and I am sure it will be wonderful.    We are also planning a visit to Chile, and we would like to make a new album, but we have to take our time in order to release a good studio album.

14.  Is there anything else would you like to share with ProgArchives?

Yes, keep searching for music because there is always something new.   Live every second of your life and take a look at this side of the globe.  Mexico is not only mariachi and tequila, there are lots of other things worth discovering!

Thank you very much for your time and attention Mauricio.  You are very kind.