In this, their sixth album release Quetzal turns to the matter of animals in urban space—including roosters, ants, owls, geese, squirrels, coyotes, pigeons, spiders, dogs, and butterflies—to imagine a world not merely from the animal’s perspective but that shatters the colonial distinctions between persons, things, and animals. The animals in Quetzanimales come to life through the sounds of funky cumbia beats, bluesy melodies, and country inflected soulful ballads.
Quetzanimales is situated at the intersection of space, human life, and animal existence, thereby channeling the spirit of a world Gloria Anzáldua once theorized as “un mundo surdo” (a left-handed world) which she intentionally spelled with an “s” to symbolize the radical power held in thinking and imagining wrongly, in other words, refusing to accept our world as it is. Quetzanimales creates un mundo surdo, a world cultivated through souls thriving and surviving that offer teachings that may allow us to recover our own souls. Quetzanimales offers us what feminist theorists would call a “posthuman” praxis for appreciating the offerings of the rooster’s awakenings and the coyote’s hunger. Such offerings assembled in this album call us to imagine life relationally across different beings rather than across the same beings. As Martha Gonzalez explains, the project configures “an animal world that can give us insight into our own humanity.”