The band Plastilina Mosh has spent three decades infecting audiences with its “battle cry”—one stripped of violence and filled with the “chaos” of the party— that moment when, as the Mexican duo puts it, people “put down their phones” and “stop thinking” to feel free in an “increasingly controlled” world.
In contrast to that “digital magnifying glass” that sees everything and seeks to dictate “our behavior,” live music —created in the “pre-internet” era—is an alternative for unleashing “chaos,” the band’s founders, Alejandro Rosso and Jonás González, told EFE in an interview ahead of their upcoming tour of Europe, a continent they haven’t set foot on in more than 20 years.
“Plastilina Mosh is our ‘playground,’ our chance to just let loose. We never had any grand pretensions of showing off our skills or making a ‘statement.’ It was always about having a great weekend so we wouldn’t have to keep thinking about the heavy stuff,” explains González, better known as Jonaz.
The group’s flexible approach to political correctness is reflected in its unclassifiable musical style, which fuses everything from rap to punk rock with a “Spanglish” typical of cities in northern Mexico, such as Monterrey—the birthplace of the band, which emerged during the Avanzada Regia countercultural movement in 1990.
“Aquamosh” in Europe by Plastilina Mosh
Back then, Rosso and Jonaz, both under 30, rose to fame with their debut album *Aquamosh* (1998), which took the country by storm amid liters of beer and the irreverence of songs like “Niño bomba” and “Mr. P-Mosh”—songs they’ve decided to revive on tours through Mexico and Europe because “they’re still relevant.”
The tour will kick off on August 29 in Amsterdam and will mark his return to Spain with five dates in September: Vive Latino in Zaragoza (4), Sala Copérnico in Madrid (7), Sala Moon in Valencia (9), Es Gremi in Palma de Mallorca (12), and Sala Bikini in Barcelona (13).
Jonaz, laughing, admits that he wants to celebrate “Aquamosh’s” “andropause” in Spain, where they performed it in 1998 at a concert where admission was still charged in pesetas.
“This is his second wind, his andropause: he bought a motorcycle and grew a mustache,” jokes the 53-year-old singer as he shakes out his gray mohawk.
Rosso argues that the emergence of “Aquamosh” also coincides with the “cultural resurgence” triggered by the COVID-19 pandemic, which, according to the artist, will last another ten years or so, during which “new forms of expression” will break with the “musical democracy” they had already warned about in *Peligroso Pop* (2003), one of their classics.
“It’s a fresh start,” they predict, while acknowledging Kevis & Maykyy’s “regio” rap as part of that new music scene in Monterrey.
During this phase of global experimentation, the Mexican duo continues to reinvent itself with singles like “Conquistador” (2025), which they illustrated with an image generated by artificial intelligence (AI) in which they are seen wearing armor similar to that used by the Spanish conquistadors in the Americas.
Both agree that using AI for images and videos saves them “time and money” because, at the end of the day, “what we love is making music.”
They also maintain that their music is “free of prejudice,” so they are open to using AI in future productions.
With or without AI, Rosso and Jonaz are pursuing the same goal they had 30 years ago: the desire to inspire the audience with that “battle cry for celebration” in a world that “will always be battered,” reported Agencia EFE.
