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Control Machete

Control Machete is a hip-hop group formed in , , in 1996 by rappers (Fermín Caballero Elizondo) and Pato Machete (Patricio Chapa Elizalde), along with DJ and producer Toy Kenobi (Antonio Hernández). Pioneers of hip-hop en español in , the group blended raw rap lyrics addressing social issues like gang violence and border policies with traditional sounds such as , norteño, and even metal influences, creating a distinctive urban style that gained international appeal. Their debut album, Mucho Barato (1997), introduced their aggressive, streetwise sound and marked their breakthrough in Mexico's and scenes. The follow-up, Artillería Pesada Presenta (1999), featured the hit single "Sí Señor," which earned Video and Latin Grammy nominations, and helped the first two albums sell over one million copies combined. After departed in 2001 to pursue a solo career and , the remaining duo of Pato Machete and Toy Kenobi released Uno, Dos: Bandera (2003) as a final album before disbanding in 2004. The group has reunited for select performances, including at the Vive Latino festival in 2013 and a joint appearance by Pato Machete and at OktoberFest MX in 2023, and their music has continued to influence subsequent generations of artists through collaborations with acts like Café Tacvba and appearances in films such as .

Formation and Early Years

Origins in Monterrey

During the mid-1990s, , , emerged as a significant hub for in , building on the city's vibrant alternative music scene known as La Avanzada Regia, which had already gained prominence through rock bands incorporating , , and elements. This development was shaped by the local rock influences from groups like Zurdok and , as well as the pervasive norteño and sounds that dominated the area's cultural landscape, providing a foundation for innovative genre blending in urban music. began gaining traction in underground circles amid this eclectic environment, with artists drawing from both global imports and indigenous rhythms to create distinctly Mexican expressions. Control Machete formed in late 1996 in by local artists seeking to fuse rap with elements of Mexican regional music, marking a pivotal moment in the city's evolving landscape. The members met while attending the University of Monterrey. The group, comprising core members Fermín IV Caballero Elizondo, Patricio "Pato" Machete Chapa Elizalde, and DJ Toy Kenobi, originated from the underground scene where enthusiasts experimented with local sounds amid the rock-dominated Avanzada Regia movement. Prior to their major label breakthrough, Control Machete engaged in early local performances at venues and circulated underground mixtapes, which showcased their raw fusion style and built grassroots support within the regional community. These activities culminated in their signing with (later under ) in 1996, propelling the group from local obscurity to national recognition.

Initial Members and Debut

Control Machete was founded as a trio consisting of Fermín IV Caballero Elizondo on vocals, Patricio "Pato" Machete Chapa Elizalde on vocals and guitar, and Antonio "Toy" Hernández, known as DJ Toy Kenobi or Toy Selectah, handling production and scratching. The group assembled in , , drawing from the local scene to create raw, innovative tracks that blended regional sounds with . The debut album, Mucho Barato, was recorded between 1996 and 1997, showcasing a production approach that emphasized the members' hands-on involvement in beats and mixing. Key tracks like "Comprendes Mendes?" highlighted this style, with its gritty lyrics addressing street life and social issues over eclectic samples. The album's DIY ethos reflected the group's limited resources, allowing them to experiment freely without major label interference during the initial sessions. Mucho Barato was released on July 1, 1997, through Universal Music (under the PolyGram imprint). It achieved significant commercial success, selling over 100,000 units in and approximately 400,000 across . Following the release, the group embarked on early promotional tours throughout , opening for international acts such as , , and , which helped build their live presence. Critically, Mucho Barato positioned Control Machete as pioneers of Mexican , praised for introducing a localized, rebellious voice to the genre that fused norteño and elements with . Their debut was hailed for elevating en to mainstream visibility in , influencing subsequent artists with its authentic portrayal of urban Mexican experiences.

Musical Career

Breakthrough Albums

Control Machete achieved significant recognition with their second studio album, Artillería Pesada Presenta, released on March 30, 1999, by Universal Music Latino. The album featured the breakout single "Sí Señor," a high-energy track that blended aggressive rap verses with infectious hooks, and included a notable collaboration on the song "" with members of the , including pianist Rubén González and bassist Orlando "Cachaito" López, recorded in to infuse Cuban rhythms into the hip-hop framework. This project marked a maturation in the group's sound, expanding beyond their debut's raw edge. The track "Sí Señor" gained widespread international exposure when it was featured in a Levi's commercial directed by , titled "Crazy Legs," which aired during the 2002 . The ad, depicting a man's legs dancing uncontrollably to the song's beat, propelled the single to chart success across Latin American markets and introduced Control Machete to broader U.S. audiences, solidifying their crossover appeal. Production on Artillería Pesada Presenta was led by DJ Toy Kenobi (Toy Hernández), who incorporated samples from and rock sources to create dense, culturally layered beats that underscored the group's fusion of regional influences with global . The album's commercial performance was strong in and Latin markets, reflecting the rising demand for innovative rap acts.

Later Releases and Hiatus

Following the departure of in 2002 to pursue a solo career, Control Machete released the Solo Para Fanáticos that same year, serving as a collection of their early hits and bridging their initial success to subsequent projects. The duo of Pato Machete and Toy Kenobi then issued their final studio , Uno, Dos: Bandera, on November 11, 2003, which delved deeply into themes of Mexican identity, pride, and through bilingual and anthemic tracks like the title song "Bandera." The maintained the group's signature heavy production while emphasizing nationalistic motifs, positioning it as a pivotal statement on amid their growing fame. It featured a more experimental approach to with integrated video content on an accompanying VCD. The group entered an indefinite in 2004, with no official disbandment announced, as the remaining members shifted focus to individual endeavors amid the challenges of continuing without their original frontman. Since then, Control Machete has remained largely inactive as a performing and recording entity. Post-, limited releases included the 2006 greatest hits compilation Eat... Breath... And... : Éxitos, which gathered key tracks from their catalog. In 2017, another singles collection titled Singles was issued digitally, compiling 21 tracks but marking no new material or group activity. As of 2025, no full reunion or comeback has been confirmed, with former member stating in a 2024 interview that a return is unlikely due to personal and artistic differences.

Group Members

Core Contributors

Fermín IV Caballero Elizondo, born December 22, 1974, in , , , emerged as the lead rapper and spiritual guide of Control Machete, shaping the group's introspective and socially conscious lyrics through his early songwriting contributions. Prior to the group's formation, he gained initial musical experience as a and vocalist in the local Prófuga de during the early , releasing an independent demo in that showcased his foundational interest in performance and composition. His role extended beyond to embodying the collective's philosophical core, blending personal reflection with cultural commentary in tracks that defined the band's identity. Patricio "Pato" Chapa Elizalde, born October 6, 1975, in , provided secondary vocals and guitar for Control Machete, infusing the music with rock textures drawn from his formative years playing drums in school bands and exploring rhythmic experimentation. This background in percussion and ensemble playing allowed him to bridge beats with guitar-driven elements, enhancing the group's fusion sound and contributing to live performances that highlighted raw energy and instrumental versatility. As a co-founder, Pato's collaborative approach helped solidify the band's dynamic interplay, particularly in harmonizing vocals and layering rock-inspired riffs over urban rhythms. Antonio "Toy" Hernández, known professionally as DJ Toy Kenobi or Toy Selectah and born April 18, 1975, in , served as the group's primary producer and DJ, innovating with custom beats, sampling techniques, and live scratching that propelled Control Machete's sonic experimentation. Drawing from his early involvement in local DJ circuits, he crafted the technical backbone of the band's tracks, merging electronic manipulation with regional influences to create a distinctive production style. Toy's expertise in and beat-making was instrumental in the group's breakthrough, enabling seamless integrations of scratches and loops that elevated their live sets and studio recordings.

Lineup Changes

Fermín IV departed from Control Machete in 2001 to pursue a solo career focused on faith-based music following his conversion to Evangelical Christianity. The greatest hits compilation Solo Para Fanáticos was released on March 19, 2002. He subsequently released his debut solo album Boomerang on July 30, 2002, marking a shift toward Christian rap themes. The group continued as a duo consisting of Pato Machete and Toy Selectah, releasing Uno, Dos: Bandera in 2003, which emphasized their production roles and adjusted dynamics without a third vocalist. This transition resulted in a heavier rock-rap blend, moving away from the trio's layered harmonies to a more aggressive, production-driven sound. No permanent members were added after 2004, with the duo incorporating occasional guest appearances on later projects but maintaining the core lineup during the group's hiatus. The change influenced Control Machete's direction toward experimental production.

Musical Style

Genre Fusion

Control Machete pioneered a distinctive sound in Mexican by fusing it with rock, , and norteño elements, often incorporating samples from traditional Mexican music to create layered, culturally rooted tracks. Their production techniques emphasized DJ scratching by Toy Kenobi layered over verses, blending with live instrumentation and samples to produce dense, rhythmic collages that bridged urban and traditions. For instance, the "Danzón" from their 1999 album Artillería Pesada presenta integrates through collaborations with members of the , including pianist Rubén González, resulting in a rhythm that merges Cuban son influences with flows. Similarly, "Bandera" showcases rock riffs intertwined with hardcore beats, evoking the gritty energy of Monterrey's local rock scene while sampling traditional motifs. The group's sound evolved from the more straightforward rap focus of their 1997 debut Mucho Barato, which relied heavily on drum breaks and U.S. influences like and , to broader experimentation in later works. By Artillería Pesada presenta, they incorporated orchestral and jazz elements, as seen in "Danzón," reflecting a shift toward transnational inspired by Latin acts such as the . Their 2003 album Uno, Dos: Bandera further diversified with electronic textures and rock-driven production, drawing from Monterrey's roots while maintaining hip-hop's core aggression.

Lyrical Content

Control Machete's lyrics prominently explore themes of identity, often portraying a sense of national pride and cultural resilience in the face of external pressures. In tracks like "Humanos Mexicanos," the group asserts unity among Mexicans, rapping lines such as "somos una Raza que toma el / para defender lo que nos pertenece," which symbolize collective resistance to cultural and . This emphasis on heritage draws from the lived experiences of Mexican communities, reinforcing a shared racial and historical solidarity. Border life and form another core focus, reflecting the harsh realities of , , and economic disparity. The same song critiques U.S. policies through vivid imagery of struggle and defiance, highlighting the of undocumented and calling for against oppressive systems: "golpe tras golpe me voy a levantar / y mis paisanos nunca se van a rezagar." Lyrics frequently allude to the parallels between in Mexican barrios and those across the U.S. , underscoring systemic barriers faced by working-class communities. The group's style employs an aggressive, poetic rap delivery infused with Monterrey slang, creating an authentic, street-level voice that resonates with urban youth. This raw approach, evident in the defiant tone of "Comprendes Mendes?," warns of the perils of gang violence and socio-economic while using regional to ground the narrative in local cultural contexts. Bilingual elements, including and occasional English phrases, critique notions of linguistic purity and highlight hybrid identities shaped by border dynamics. In "Sí Señor," the deliver an that celebrates Latin American , with repetitive affirmations like "Sí señor" underscoring resistance to societal constraints and a refusal to conform to marginalization. Fermín IV's contributions in the early often carry subtle undertones of , evolving toward more overt political commentary during the later duo after 2001, as seen in heightened critiques of and cultural preservation. incorporates local idioms and metaphors, such as the as a tool of , to evoke and poetic depth without relying on traditional structures.

Discography

Studio Albums

Control Machete's studio albums represent key milestones in their development as pioneers of , blending raw lyricism with innovative production. The group's debut studio album, Mucho Barato, released in 1997, comprises 18 tracks and embodies a raw sound rooted in the underground scene of , . This release introduced their aggressive style and , with the breakout single "¿Comprendes Mendes?" becoming a defining track that highlighted their rhythmic flow and cultural references. Their sophomore effort, Artillería Pesada Presenta, arrived in with 13 tracks, shifting toward a more polished production while emphasizing collaborations with guest artists and producers to expand their sonic experimentation. The international hit "Sí Señor" exemplifies this evolution, fusing beats with Latin rhythms and achieving widespread acclaim across and beyond. Following Fermín IV's departure in 2001, Control Machete released their third and final studio album, Uno, Dos: Bandera, in 2003, featuring 13 tracks that reflect a transitional phase with new vocal dynamics led by Pato Machete and . The album maintains their core while incorporating influences, demonstrating the group's adaptability amid lineup changes.

Other Releases

In 2002, Control Machete released Solo Para Fanáticos, a featuring , rarities, and selected tracks from their earlier work, serving as a bridge between their initial breakthrough era and subsequent projects. The album includes remixed versions such as "Así Son Mis Días (Remix)" alongside staples like "Sí Señor" and "¿Comprendes Mendes?", highlighting the group's evolving production style with contributions from collaborators like Maigaz on "Pesada." Released by Universal Music Latino, it captured fan-favorite elements and unreleased material, reinforcing their influence in during a transitional period. In 2006, a greatest hits titled Eat, Breath, and Sleep was released, featuring selections from their earlier albums. In , during the group's , Music Mexico issued a titled Singles, aggregating 21 standalone tracks spanning their , with a focus on key releases from the post-2003 period. This collection emphasized non-album singles and rarities, providing accessibility to material from their less-documented output, including collaborations like "El Apostador" featuring . The format allowed for broader distribution, reintroducing tracks to newer audiences amid renewed interest in Mexican hip-hop. Among their prominent singles outside full-length albums, "Sí Señor" from stands out as a defining track, blending aggressive rap flows with rock-infused beats and becoming a cornerstone of their live performances. Released as a promotional ahead of Artillería Pesada Presenta, it showcased Fermín IV's commanding delivery and the group's raw energy. Similarly, "En El Camino" from 2003, featuring Caballeros del Plan G and Sekreto, exemplified their collaborative approach in the Uno Dos: Bandera era, with its rhythmic drive and streetwise lyrics. Control Machete contributed to various s and guest features, enhancing their reach beyond original releases. Tracks like "Sí Señor," "De Perros Amores," and "Pesada" appeared on the 2000 film , integrating their music into Alejandro González Iñárritu's narrative of urban grit. In 1998, they covered "" for the tribute album Volcán: Tributo a , adapting the classic into a framework. Later appearances included "Comprendes Mendes?" in the 2005 video game and selections in films like (2021). These contributions underscored their versatility in blending with cinematic and contexts.

Legacy

Cultural Impact

Control Machete emerged as pioneers of the "avanzada regia" movement in , , blending local sounds with rhythms to help define the scene in during the late 1990s. Their breakthrough album Mucho Barato (1997) and subsequent releases achieved commercial success that popularized the term "avanzada regia," inspiring subsequent acts such as , who built on their raw, street-level approach to , and Kinky, which incorporated similar regional fusions into electronic and rock elements. This influence extended across , positioning as a hub for innovative music. The group promoted regional pride through their use of northern slang, colloquialisms, and cultural references in , often delivered in a distinctive accent that challenged the dominance of U.S.-centric models. By primarily in while incorporating occasional phrases and themes of local identity, Control Machete boosted 's acceptance in during the 1990s and 2000s, making it a viable medium for on issues like urban violence and inequality. Their efforts helped legitimize hip-hop as a genre, encouraging a wave of artists to explore similar bilingual and culturally rooted expressions. Commercially, Control Machete sold over one million records across , with their debut album alone moving 400,000 units regionally. They received a Latin Grammy nomination in 2000 for Best Rock Song for "Sí Señor," highlighting their crossover impact in urban music categories. As of 2025, Control Machete's legacy endures in discussions of Mexican urban music evolution, where they are frequently cited as foundational figures who paved the way for contemporary and fusions in the region. The group has reunited for select performances since their 2004 disbandment, including a notable appearance at the Vive Latino festival in , and maintains a dedicated fanbase, evidenced by millions of monthly streams on platforms like and ongoing tributes in retrospectives.

Media Appearances

Control Machete's music has been featured in various film soundtracks, providing energetic hip-hop elements to narratives often centered on urban or action themes. The track "Sí Señor" from their 1999 album Artillería Pesada, Presenta... was included in Alejandro González Iñárritu's Amores Perros (2000), enhancing the film's raw depiction of Mexico City life. Additionally, "De Perros Amores," a collaboration with Ely Guerra, appeared on the same soundtrack, blending rap with alternative influences. These inclusions marked early international exposure for the group beyond Latin America. The enduring popularity of "Sí Señor" led to its use in major productions during the late 2010s. It featured in Terminator: Dark Fate (2019), accompanying high-stakes chase scenes and underscoring themes of resilience. The song also appeared in Zack Snyder's (2021), integrating into the film's to evoke intensity. Other Control Machete tracks have surfaced in films like George A. Romero's (2005) and Neveldine/Taylor's (2006), where their raw energy complemented fast-paced action. In , Control Machete's contributions have amplified their reach among gaming audiences. Multiple songs from Mucho Barato (), including "Comprendes Mendes?", "Humanos Mexicanos," and "Cheve," were part of the for : A Gunslinger's Tale in (2005), a title set in a stylized Mexican border world that aligned with the group's cultural motifs. Tracks such as "Bien, Bien" and "De" from Uno, Dos: Bandera (2003) were licensed for : The World Is Yours (2006), enhancing the game's narrative of ambition and street life. The group's breakthrough to broader commercial media came through advertising and television. "Sí Señor" served as the backing track for Levi's "Crazy Legs" commercial, directed by and aired during the 2002 , showcasing a surreal sequence that highlighted the ' flexibility. On television, Control Machete performed live at the Latinoamérica in , delivering "En el 2000" and "Bien, Bien" to a regional audience. They also appeared on Latin America with unplugged sessions, including a rendition of "Andamos Armados" from Artillería Pesada, Presenta.... Following their hiatus in the mid-2000s, Control Machete's catalog has seen renewed integration into contemporary media. "Sí Señor" continued to appear in 2020s projects like Army of the Dead, maintaining the track's status as a go-to for high-energy scenes. Their songs feature prominently in streaming playlists on platforms such as Spotify, where tracks like "Comprendes Mendes?" have accumulated approximately 162 million streams as of October 2025, reflecting ongoing digital accessibility. The group is frequently highlighted in discussions and visuals within documentaries exploring the evolution of Mexican hip-hop.

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