Entertainment

How Intocable's Grammy-winning sound began with dreams, a cow and imagination

Published

2 years ago

August 25, 2024

How Intocable's Grammy-winning sound began with dreams, a cow and imagination

How does a legendary band in the highly competitive field of norteño music celebrate three decades of non-stop hitmaking?

Most would be perfectly content with a lavish anniversary tour across Mexico and the U.S., and that’s exactly what Intocable is doing. But the six musicians from Zapata, Texas, took an extra step: Earlier this year, they released “Modus Operandi,” Intocable’s most ambitious and adventurous album to date.

“We never intended to appear daring or rebellious,” says Ricky Muñoz, the band’s singer and accordionist, when asked about the radical sound of the band’s latest effort. “The idea was to make an album that felt comfortable to us. Let’s enjoy the moment and free ourselves. Let’s make the kind of music that will please the inner children still living in our hearts.”

It’s a blistering afternoon in downtown L.A., and Intocable is about to hold a press conference at the Grammy Museum, where the group will donate an accordion to the institution’s permanent collection. We’re in the lobby of a luxury hotel, steps away from the rooftop event, but in keeping with the humble ethos of most norteño musicians, our interview setup is entirely improvised. After looking around, a couple of chairs are borrowed.

We sit in an empty hallway — the six musicians side by side, including René Orlando Martínez, drums; Sergio Serna, percussion; Johnny Lee Rosas, second vocals; Alejandro Gulmar, bajo sexto; and Felix Salinas, bass. They form a horizontal line, listening intently to each other as they dissect the bold sonics of the new record.

“Sure, we play the instruments of a typical norteño conjunto,” reflects Muñoz. “Our music, however, is anything but.”

When Muñoz’s grandfather sold a cow so that he could afford a brand new accordion for his nieto, he probably never imagined that he was investing in a future norteño powerhouse. But Mexican music wasn’t the only influence that Muñoz and his bandmates grew up with.

“Being from a small town strengthened our imagination,” says Muñoz, a nostalgic tinge in his eyes. “We couldn’t see Van Halen live — they would never make it to Zapata, of course — but we spent a lot of time imagining what it would be like to see them in concert.”

Intocable’s musical influences can easily be traced back to the ‘60s, ‘70s and ‘80s.

“No matter what people may say, we happened to grow up listening to music from the best decades,” adds Martínez. “We’re from a small town, and relied on MTV and the ‘Night Tracks’ television show to discover new music. But the influence was huge.”

From its inception, Intocable blended norteño with the slick sheen of commercial Latin balladry (think Camilo Sesto, or Leo Dan), gaining millions of fans in the process. But the songs on “Modus Operandi” — and the production by veteran helmer Don Was, of Rolling Stones and Bob Dylan fame — betray a deep and precise kinship with mainstream pop-rock, from the Beatles and Led Zeppelin to Foo Fighters.

This progressive bend — highly unusual for a genre that tends to reward the comforts of a conservative aesthetic — is not entirely new. On the band’s 2019 album “Percepción,” the track “Tu Soledad y la Mía” begins with the hum of an electric guitar and a rock ’n’ roll drum fill. When the first chorus segues into an accordion solo, Muñoz takes off into wondrous new directions. His melody twists and spirals, a haunting, timeless lament that would feel at home in many different styles and settings.

“I remember exactly how that solo came to be,” he says with a smile. “Johnny and I were at the rancho in Texas, working on the melody, and as he played the last note of his guitar, I thought of Nirvana — those passages where they switch to a minor key and everything is transformed. That kind of influence is always there, although on an unconscious level.”

A similar solo graces “Obsesión,” the opening track of the new album, a previously unreleased original by Argentina’s Leo Dan — master of the baroque ballad. The band also delved into musical archaeology on the title track, “Modus Operandi.”

“We were in the studio with Don Was, who doesn’t speak a lick of Spanish, and the original version of the tune wasn’t really working out,” Muñoz remembers. “Then Johnny brought out a riff — the first riff he ever played, when he was 13 and got his first guitar. That’s what ended up on ‘Modus Operandi.’ This kind of detail may sound fractious compared to where this genre stands right now. To us, it’s normal.”

There’s nothing normal about “Sin Morir (No Puedo),” either. A self-professed “bonus track” at the tail end of the album, it is a brief majestic ballad anchored to Muñoz’s vocals, lilting acoustic guitar, and a lush string section arranged by David Campbell — Beck’s father.

“This is why we went independent and have our own record label,” adds Martínez. “We have nothing to prove now. We have only ourselves to satisfy — not the needs of an accountant.”

Intocable’s 30th anniversary tour began in July in Hermosillo, and will conclude in December with two dates in Monterrey. Los Angeles, Las Vegas and many Texas cities are also part of the trek.

I ask Muñoz if the band feels invigorated by the current surge in música mexicana spearheaded by global stars like Peso Pluma.

“I can’t give you an informed opinion, because I don’t really listen to those artists,” he admits. “Young musicians have access to new tools that allow them to promote their music. But I don’t even know what instruments they play, or how their songs are made. It’s like if you asked me about hip-hop. I know it’s a major force in pop culture, but I haven’t been influenced by it.”

Muñoz lights up when asked about the band’s next step. After such a transcendent album as “Modus Operandi,” does the prospect of returning to the studio feel daunting?

“Eventually we’ll have to address the elephant in the room and go back,” he says. “We have no idea what will transpire. Usually we start jamming, and then an unexpected moment takes place. When that happens, you better press the Record button, because that moment of inspiration will fade away just as swiftly as it arrived. Next thing you know we’re sitting here talking about the experience, and you don’t really remember how it all happened.”

“Art takes time,” Muñoz adds. “We don’t paint houses here. We are painting the ‘Mona Lisa.’ ”

Movie Reviews

‘Michael’ Review: A Perfect Puzzle With Major Missing Pieces

Published

13 minutes ago

April 24, 2026

Press Room

‘Michael’ Review: A Perfect Puzzle With Major Missing Pieces

Lionsgate

SPOILER NOTICE:

The following movie review does not contains direct spoilers for the film Michael, however general information in regards to the plot, characters, key climax points, biographical information and themes explored in the film will be heavily discussed. Please read at your own discretion, or after seeing the film in theaters.

There have been, so far, four films that aim to depict some portion of the beautifully tragic life of late pop music pioneer Michael Jackson, otherwise known to the world as The King Of Pop.

You’ve got The Jacksons: An American Dream, the near-perfect 1992 ABC miniseries that gave MJ, his brothers and verbally abusive father Joe Jackson equal screen time in order to make for a proper origin story. Then there’s Man in the Mirror: The Michael Jackson Story, an abysmal 2004 VH1 TV movie that acts as a spiritual sequel yet truly should’ve never been made. Almost a decade ago we got Michael Jackson: Searching for Neverland, the 2017 Lifetime Network attempt to cover his final years of life, told from the perspective of two bodyguards employed by him for merely two-and-a-half years.

Today (April 24), the world finally gets to see Michael. The 2026 true-to-form biopic boasts the biggest budget compared to the previous three projects, distribution handled by the renowned Lionsgate Films, a director’s chair occupied by Antoine Fuqua (Training Day, Brooklyn’s Finest) and MJ’s own nephew, Jaafar Jackson, starring in the titular role alongside a glowing supporting cast that includes Colman Domingo (Rustin), Nia Long (Love Jones), Miles Teller (Divergent) and Larenz Tate (Menace II Society) just to name a few. Not to mention, it’s got full backing from The Jacksons family and 100% musical clearance to assure his biggest hits are heard on the big screen.

With all that said, you might be expecting a masterpiece that borrows the best aspects from the original and rights the wrongs of the last two. Unfortunately, that’s not the case when it comes to Michael. Thankfully though, there’s so much more to love about this film in addition to a very strong potential for more.

Yes folks, we may very well be getting the first-ever sequel to a biopic sometime in the near future.

RELATED: You, Me & Tuscany Review – Sappy, Sweet, C+ Rom-Com

Before we get ahead of ourselves by discussing a potential sequel, let’s first start off with what you get out of Michael. The film covers Joe’s formation of The Jackson 5 in 1966 and ends with MJ’s iconic 1988 Wembley Stadium stop on the Bad Tour. The filler in-between covers their Chitlin’ Circuit days, the Motown era, run-ins with Gladys Knight and The Pips, finding his voice with Off The Wall, the epic creation of Thriller, the Motown 25 NBC special and the infamous Pepsi burning incident. Each of these scenes are done with great detail and a passion from all involved to get it as close to the real-life moments. However, what’s missing stands out like a sore thumb.

Both Rebbie and Janet are nowhere to be found — they each requested their likeness not be depicted — and neither is MJ’s longtime muse, Diana Ross. It was reported that actress Kat Graham was actually casted in the part, only to later have her scenes cut completely due to legalities. Off The Wall also gets painted as his solo debut of sorts, completely ignoring the four successful solo albums that preceded it when he was just a preteen. Also, while it’s perfectly clear who the movie is about based on the title, it does feel a bit off to see the closest people in his life demoted to barely-speaking supporting characters, save for Domingo’s powerful portrayal as mean ol’ Joe, Long as the ever-caring Mrs. Katherine and longtime bodyguard Bill Bray played by KeiLyn Durrel Jones.

On the positive side, Michael ultimately does more good than confusion. Jaafar is simply captivating when it comes to embodying his late superstar uncle, nailing everything from those easily-recognizable voice inflections to the classic dance moves. The film ends in 1988, right before MJ invests in Neverland Ranch, so don’t expect the heavy topic of his acquitted child sexual abuse allegations from 1993 and 2003 to be brought up either — well, yet anyway.

If in fact a “Jackson” sequel is in the works, we can only hope his full story is told with care, respect and most importantly the truth. Other important aspects we’d hope to see be depicted include an honest look at his vitiligo journey, the toll he suffered mentally as a result of the trials, the marriage, the kids, the dichotomy of balancing unprecedented riches against a substantial amount of debt and, yes, the prescription drug abuse that ultimately ended his life.

Overall, for everything Michael lacks there is something just as good to love about the film, and the potential for a sequel gives us hope that the best is still yet to come.

Watch the trailer for Michael below, and see for yourselves how The King Of Pop’s story began as his latest biopic hits theaters starting today:

Entertainment

Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman

Published

2 hours ago

April 24, 2026

Press Room

Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman

Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.

The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.

Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):

Channel 1

3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo

Channel 2

3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus

Sirius XM Music Row Happy Hour

1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo

Sirius XM Y’Allternative

5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber

Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Published

12 hours ago

April 23, 2026

Press Room

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.