If the United States were to expand its current wall, I shall stand on the Mexican side of the border beside José Orozco Mora AKA Camedor. His two-song debut via Debacle is a powerful blast of positivity that can break any stone, cut any wire, and melt any icy hearts. It’s fitting that much of Mora’s work borrows from motorik (or if you must, krautrock), considering how the genre was partially born out of a German youth at odds with the whitewashing of Nazism and the on-going “normalization” of post-national Germany. The music was a testament to bringing down the guarded culture, and was a physical embodiment of (eventually) tearing down the Berlin Wall that had, for some many years, been a prison wall that separated families and caused psychic and political divides that were unnecessary. So as an orange-tinged leader promotes nationalism and the further advancement of a wall between the American and Mexican border, Mora stands as a post-kraut bombardment of those 70s German principles. Side A furthers the cause by playfully adapting Terry Riley’s “In C” into a kraut classic, full of urban sprawl encroaching on a wall meant to exclude and isolate. It’s the sound of the 21st Century (as was the original) coming to fruition; a world awaking to a global movement that will soon overtake the bad feelings and misguided attempts from those afraid of change. Original composition “Alba” envelopes the B-side, and continues Mora’s assault on the chain link that we build in each of us to wall off ourselves. Many have risen against our fight-or-flight instinct to embrace a realistic, but optimistic, longview of humanity. Mora is clearly a drum leader worth following if this showing is any indication. So like Hasselhoff before him, I urge Mora to show up at our borders, climb what section he can muster to mount on our ramshackle wall, and urge us all to unite as humans in anthematic repose.