Latest / Murder Files Unsealed / The Murder of Musician Jonathan Melendez and His Family

Transcript

The Murder of Musician Jonathan Melendez and His Family · Murder Files Unsealed

• 0:00
  Speaker 1: I want you to take a second and just try
• 0:03
  Speaker 1: to imagine being in the middle of a massive, really
• 0:07
  Speaker 1: crowded arena.
• 0:07
  Speaker 2: Oh, like one of those shows where you can barely move.
• 0:09
  Speaker 1: Yeah, exactly. The lights are completely cut. There's that electric,
• 0:14
  Speaker 1: heavy hum of anticipation in the air.
• 0:16
  Speaker 2: Right. The kind where you can actually feel the collective
• 0:18
  Speaker 2: body heat of like 10,000 people pressing in around you. Yes.
• 0:22
  Speaker 1: And then a wave of sound just washes over the crowd.
• 0:26
  Speaker 1: It is this lush, incredibly dense atmosphere. synth-driven atmosphere that
• 0:31
  Speaker 1: instantly makes your chest cavity vibrate.
• 0:34
  Speaker 2: It's physical.
• 0:34
  Speaker 1: It really is. It has the soundtrack of your youth,
• 0:37
  Speaker 1: you know, of your specific generation, scoring the lives of
• 0:41
  Speaker 1: millions of people in real time.
• 0:42
  Speaker 2: Right.
• 0:43
  Speaker 1: You are standing there completely lost in the music, feeling
• 0:45
  Speaker 1: entirely safe, totally connected to these strangers standing shoulder to
• 0:49
  Speaker 1: shoulder with you. And then I want you to imagine
• 0:51
  Speaker 1: someone just reaches over and rips the main power cord
• 0:55
  Speaker 1: right out of the wall.
• 0:56
  Speaker 2: Oh, wow.
• 0:57
  Speaker 1: Violent, absolute, deafening silence.
• 1:01
  Speaker 2: Yeah, I mean, that forces an immediate biological response, honestly. Well,
• 1:05
  Speaker 2: when a soundscape of that magnitude is just terminated without
• 1:08
  Speaker 2: a fade out, you know, without any musical resolution, the
• 1:11
  Speaker 2: human brain really struggles to process the absence of that stimulus.
• 1:16
  Speaker 1: That's like a shock to the system.
• 1:17
  Speaker 2: Exactly. It registers as trauma, basically. The sudden silence isn't
• 1:21
  Speaker 2: just quiet, it feels oppressive.
• 1:24
  Speaker 1: And that profound unsettling shock, you know, that feeling of
• 1:29
  Speaker 1: environment being ripped away with zero warning, that is the
• 1:32
  Speaker 1: emotional baseline we have to navigate today.
• 1:34
  Speaker 2: Yeah, it's a heavy one.
• 1:36
  Speaker 1: It is. Because today we are taking a deep dive
• 1:39
  Speaker 1: into a dual narrative. That is going to give you
• 1:42
  Speaker 1: absolute whiplash.
• 1:43
  Speaker 2: Completely.
• 1:44
  Speaker 1: We are looking at the life of Jonathan Melendez, who
• 1:46
  Speaker 1: is universally known to his fans across Latin America as Honus.
• 1:50
  Speaker 2: Right. Honus.
• 1:51
  Speaker 1: He was a founding architect of the incredibly celebrated Mexican
• 1:54
  Speaker 1: indie band Camilo Septimo.
• 1:56
  Speaker 2: A massive, massive group.
• 1:57
  Speaker 1: Yeah. And we are going to trace the mechanics of
• 2:00
  Speaker 1: how he built that enveloping sound. But we also have
• 2:04
  Speaker 1: to confront the multi-victim tragedy that ended his life.
• 2:07
  Speaker 2: And the lives of his family. Right.
• 2:08
  Speaker 1: In an instant on September 12th, 2026.
• 2:11
  Speaker 2: Which really requires a very specific analytical lens from us today.
• 2:15
  Speaker 1: Definitely.
• 2:16
  Speaker 2: Our primary roadmap for this deep dive is a rigorously
• 2:19
  Speaker 2: detailed investigative piece. It was published on September 2, 2026
• 2:24
  Speaker 2: by the journalist Laura Eilis.
• 2:26
  Speaker 1: Over for the publication, Mercast 2.0.
• 2:28
  Speaker 2: Exactly. And her reporting lays out the facts of both
• 2:31
  Speaker 2: the musician's towering cultural legacy and, unfortunately, the horrific circumstances
• 2:36
  Speaker 2: of his death.
• 2:37
  Speaker 1: So we have to... Bridge that gap.
• 2:39
  Speaker 2: Right. Our objective is to synthesize those two extremes. We
• 2:42
  Speaker 2: are looking at the fragility of massive success, the weaponization
• 2:45
  Speaker 2: of trust, and.
• 2:46
  Speaker 1: And how someone who commands that much safety in an
• 2:49
  Speaker 1: arena can be so vulnerable, right? Yes.
• 2:52
  Speaker 2: How a cultural icon finds himself utterly vulnerable in his
• 2:55
  Speaker 2: most private space.
• 2:56
  Speaker 1: I mean, I am approaching this as someone who really
• 2:59
  Speaker 1: reveres the specific kind of indie electronic music that Camila
• 3:03
  Speaker 1: Septimo pioneered.
• 3:03
  Speaker 2: It's a huge loss for the scene.
• 3:05
  Speaker 1: The cultural loss is immense. But the details of the
• 3:08
  Speaker 1: crime scene, they require us to strip away the mythology
• 3:12
  Speaker 1: of the rock star, I think.
• 3:13
  Speaker 2: We have to look at the stark, brutal mechanics of
• 3:16
  Speaker 2: human behavior.
• 3:17
  Speaker 1: Exactly. But before we can truly comprehend the gravity of
• 3:21
  Speaker 1: the loss on September 1st, we need to understand the
• 3:25
  Speaker 1: architecture of what was actually lost.
• 3:27
  Speaker 2: We have to go back to the beginning.
• 3:28
  Speaker 1: Right. We have to rewind to Mexico City in 2013. Mm-hmm.
• 3:32
  Speaker 1: If you know anything about the geography and culture of
• 3:35
  Speaker 1: Mexico City.
• 3:35
  Speaker 2: It's a beast.
• 3:36
  Speaker 1: It operates like its own gravitational pull. The alternative and
• 3:40
  Speaker 1: indie music scene down there isn't just a couple of clubs. No,
• 3:44
  Speaker 1: not at all. It is dense. It is cutthroat. And
• 3:47
  Speaker 1: it is an absolute crucible for talent.
• 3:49
  Speaker 2: Right. And to contextualize that crucible for a listener who,
• 3:53
  Speaker 2: you know, might not be completely familiar with the Latin
• 3:55
  Speaker 2: American music industry.
• 3:57
  Speaker 1: Please do.
• 3:57
  Speaker 2: Mexico City in the early 2010s was experiencing this massive
• 4:01
  Speaker 2: sonic shift.
• 4:02
  Speaker 1: Moving away from the older stuff.
• 4:03
  Speaker 2: Yeah, it was moving away from traditional rock on Espanol
• 4:06
  Speaker 2: and heavily, heavily embracing globalized indie pop and electronica.
• 4:11
  Speaker 1: I figured that makes sense.
• 4:12
  Speaker 2: But because the population is so massive, I mean, the
• 4:15
  Speaker 2: sheer volume of bands trying to break out is staggering. Right.
• 4:18
  Speaker 1: Everybody wants to be the next big thing.
• 4:20
  Speaker 2: Exactly. You couldn't just be a group of kids playing
• 4:23
  Speaker 2: three distorted chords in a garage anymore. That wasn't going
• 4:25
  Speaker 2: to cut it.
• 4:27
  Speaker 1: So what did you need?
• 4:28
  Speaker 2: The threshold for entry into the professional tier required a
• 4:32
  Speaker 2: highly distinct, totally polished identity right out of the gate.
• 4:36
  Speaker 1: And according to the Marquette 2.0 piece, the core lineup
• 4:39
  Speaker 1: of Camilo Septimo that emerged from that scene was a trio.
• 4:42
  Speaker 2: Right. Just three guys initially.
• 4:44
  Speaker 1: You had Manuel Comendoza on vocals and bass. You had
• 4:48
  Speaker 1: Eric Vazquez on guitar. And you had Jonathan Ones Melendez.
• 4:52
  Speaker 2: Honus was really the anchor there.
• 4:54
  Speaker 1: Yeah, the source highlights that Honus was on keyboards and synthesizers,
• 4:58
  Speaker 1: but it explicitly credits him as a composer and a producer.
• 5:01
  Speaker 2: That's a crucial distinction.
• 5:03
  Speaker 1: And I really want to stop and look at that
• 5:04
  Speaker 1: title because, you know, producer gets thrown around a lot.
• 5:07
  Speaker 2: Constantly.
• 5:08
  Speaker 1: People picture a guy in a swivel chair just nodding
• 5:11
  Speaker 1: along to a beat. But in the context of an
• 5:14
  Speaker 1: indie band trying to cut through the noise of Mexico City,
• 5:17
  Speaker 1: what does that role actually demand?
• 5:20
  Speaker 2: It demands an individual who operates simultaneously as a technical
• 5:24
  Speaker 2: engineer and, honestly, a behavioral psychologist.
• 5:27
  Speaker 1: Wait, a psychotagist?
• 5:28
  Speaker 2: How so?
• 5:29
  Speaker 1: Well, let's break down the instrumentation first. A guitar and
• 5:32
  Speaker 1: a bass are acoustic instruments, even when they're amplified.
• 5:36
  Speaker 2: Right, they have strings.
• 5:37
  Speaker 1: Yeah, they have natural decay, they have physical properties that
• 5:40
  Speaker 1: create a recognizable sound. Synthesizers are entirely different.
• 5:45
  Speaker 2: Okay, walk me through that.
• 5:46
  Speaker 1: When the article describes... Camilo Septimorta's trademark sound has a
• 5:51
  Speaker 1: blend of indie rock, pop, electronic music, and synth-driven atmospheres.
• 5:56
  Speaker 1: It is describing a hybrid.
• 5:58
  Speaker 2: So it's not just a rock band with a keyboard.
• 6:00
  Speaker 1: No, not at all. A synthesizer, fundamentally, is a machine
• 6:04
  Speaker 1: that generates electrical signals, which are then converted into sound waves.
• 6:07
  Speaker 2: Sounds very clinical.
• 6:09
  Speaker 1: It is. Honus's job? at the keyboard was manipulating oscillators,
• 6:13
  Speaker 1: the actual circuits that create those raw sound waves.
• 6:15
  Speaker 2: I need to interrupt because, like, manipulating oscillators sounds like
• 6:18
  Speaker 2: he's operating ham radio or something.
• 6:20
  Speaker 1: It kind of looks like it sometimes, yeah. When you
• 6:22
  Speaker 1: say he's blending electronic music with indie rock, I'm trying
• 6:25
  Speaker 1: to visualize the actual mechanism. Is he just, you know,
• 6:29
  Speaker 1: finding a cool preset sound on a keyboard and holding
• 6:32
  Speaker 1: down a chord while the singer does the heavy lifting?
• 6:35
  Speaker 2: Oh, absolutely not. That is the critical distinction between just
• 6:38
  Speaker 2: a keyboard player and a producer-composer.
• 6:40
  Speaker 1: Okay, so what's the difference?
• 6:42
  Speaker 2: Let's look at the mechanics of what Hannes was actually doing.
• 6:44
  Speaker 2: A raw oscillator produces a very harsh grating sound, like
• 6:49
  Speaker 2: a continuous beep or buzz.
• 6:51
  Speaker 1: Like an alarm.
• 6:52
  Speaker 2: Exactly. To make that sound emotional, to make it fit
• 6:55
  Speaker 2: into a moody indie pop song, you have to run
• 6:58
  Speaker 2: it through filters. You sculpt it.
• 6:59
  Speaker 1: Oh, I see.
• 7:00
  Speaker 2: You use something called an ADSR envelope attack, decay, sustain, release.
• 7:05
  Speaker 1: Attack, decay, sustain, release. Okay.
• 7:08
  Speaker 2: You tell the machine exactly how fast the sound should
• 7:11
  Speaker 2: swell up when you press the key and how slowly
• 7:13
  Speaker 2: it should fade away into the shadows when you let go.
• 7:16
  Speaker 1: That's incredibly precise.
• 7:17
  Speaker 2: It is. Hannes wasn't just playing notes. He was designing
• 7:20
  Speaker 2: the physical shape of the sound wave to mimic human emotion.
• 7:24
  Speaker 1: Wait, give me an example of that.
• 7:25
  Speaker 2: Well, a slow attack makes the synth sound mournful and swelling,
• 7:30
  Speaker 2: like it's creeping in. A fast release makes it sound
• 7:33
  Speaker 2: urgent and clipped, like a heartbeat.
• 7:36
  Speaker 1: You know, I look at a band's sound like the
• 7:38
  Speaker 1: architecture of a building.
• 7:39
  Speaker 2: That's a great way to put it.
• 7:40
  Speaker 1: Right. Like the lead singer, the front man, they are
• 7:43
  Speaker 1: the facade of the building. They are the ornate front door,
• 7:47
  Speaker 1: the part that catches your eye from the street.
• 7:48
  Speaker 2: They're what sells the ticket.
• 7:50
  Speaker 1: Exactly. The guitarist is maybe the structural framing.
• 7:54
  Speaker 2: Right.
• 7:54
  Speaker 1: But the synth player... especially one acting as the producer,
• 7:58
  Speaker 1: is building the actual room you are standing in.
• 8:01
  Speaker 2: Yeah, they create the space.
• 8:02
  Speaker 1: They are dictating the ambient temperature of the room. They
• 8:06
  Speaker 1: decide if the lighting is harsh neon or, you know,
• 8:08
  Speaker 1: a soft dim glow.
• 8:09
  Speaker 2: That is so spot on.
• 8:11
  Speaker 1: So Honus was physically constructing the sonic atmosphere that the
• 8:14
  Speaker 1: listener actually inhabits.
• 8:16
  Speaker 2: That structural metaphor is highly accurate, especially when applied to
• 8:19
  Speaker 2: acoustic physics.
• 8:20
  Speaker 1: Really?
• 8:21
  Speaker 2: Oh, yeah. Because in a live setting or in a
• 8:23
  Speaker 2: recording studio using a digital audio workstation, sound takes up
• 8:27
  Speaker 2: literal physical space on a frequency spectrum.
• 8:30
  Speaker 1: Okay, so like low, mid, high.
• 8:33
  Speaker 2: Exactly. You have low frequencies, mid-range, and high frequencies. If
• 8:38
  Speaker 2: the bass guitar is taking up the low end and
• 8:41
  Speaker 2: the singer's voice sits right in the middle... The producer
• 8:43
  Speaker 2: has to figure out where the synthesizers fit without muddying
• 8:47
  Speaker 2: the waters.
• 8:47
  Speaker 1: Without it just turning into noise.
• 8:49
  Speaker 2: Right. If Honest programmed a synth patch that had too
• 8:52
  Speaker 2: much mid-range, it would completely drown out vocals.
• 8:55
  Speaker 1: Oh, wow. So he really is the glue.
• 8:57
  Speaker 2: He is the mortar holding the bricks together. It meant
• 9:00
  Speaker 2: he had to mathematically understand frequency masking.
• 9:03
  Speaker 1: Frequency masking.
• 9:04
  Speaker 2: He had to carve out sonic space so that every
• 9:06
  Speaker 2: other member of the band could shine.
• 9:08
  Speaker 1: Which means he requires an immense amount of emotional intelligence,
• 9:12
  Speaker 1: not just technical skill.
• 9:13
  Speaker 2: Absolutely.
• 9:14
  Speaker 1: I mean, you have this cold calculating machine, a synthesizer,
• 9:18
  Speaker 1: and you have to program it to evoke longing or
• 9:21
  Speaker 1: nostalgia or heartbreak.
• 9:22
  Speaker 2: And do it consistently.
• 9:24
  Speaker 1: Right. And then you have to map that perfectly alongside
• 9:26
  Speaker 1: a human voice.
• 9:27
  Speaker 2: Precisely. A synthesizer can sound incredibly sterile if left to
• 9:31
  Speaker 2: its default state. The art of the producer in this
• 9:34
  Speaker 2: specific genre is humanizing the digital.
• 9:37
  Speaker 1: How do you do that?
• 9:38
  Speaker 2: It adds adding slight imperfections, subtle modulations to the pitch,
• 9:43
  Speaker 2: so the synth sounds like it's breathing, like it's slightly unstable.
• 9:46
  Speaker 1: Oh, that's fascinating.
• 9:47
  Speaker 2: Yeah, that instability is what actually resonates with a listener's
• 9:50
  Speaker 2: emotional core. It makes it feel real.
• 9:53
  Speaker 1: Okay, so he is building these intricate emotional atmospheres, but
• 9:58
  Speaker 1: crafting a beautiful sound in a studio is just one
• 10:02
  Speaker 1: side of the coin, right?
• 10:03
  Speaker 2: It's a completely different beast than playing live.
• 10:05
  Speaker 1: Exactly. The other side is commerce and scale. How does
• 10:09
  Speaker 1: a band take that incredibly nuanced, meticulously carved sonic room
• 10:15
  Speaker 1: and blow it up to fit tens of thousands of people?
• 10:17
  Speaker 2: That's the million-dollar question.
• 10:19
  Speaker 1: Because the Mercaco 2.0 article lists a catalog of hit
• 10:23
  Speaker 1: songs that define their rise.
• 10:25
  Speaker 2: Huge tracks.
• 10:26
  Speaker 1: We were talking about tracks like No Confis in Me, Mienteme, Vicio, Inevitable,
• 10:32
  Speaker 1: and No Te Puedo Olvidar.
• 10:34
  Speaker 2: And if you analyze those titles, you see the thematic
• 10:36
  Speaker 2: throughline right away.
• 10:37
  Speaker 1: Yeah, they're intense.
• 10:39
  Speaker 2: Don't trust me. Lie to Me, Vice, Inevitable, I Can't
• 10:41
  Speaker 2: Forget You. These are narratives of real relational turbulence.
• 10:44
  Speaker 1: They deal with obsession.
• 10:45
  Speaker 2: Right. Obsession, betrayal, love. The inescapable gravity of past lovers.
• 10:50
  Speaker 1: They are deeply melodramatic. And, you know, I mean that
• 10:55
  Speaker 1: in the best, most cinematic sense possible.
• 10:58
  Speaker 2: Oh, it's a great aesthetic.
• 10:59
  Speaker 1: The lyrical concepts are perfectly suited for the dark, moody,
• 11:02
  Speaker 1: sprawling atmospheres Honus was designing. It's music for driving alone
• 11:07
  Speaker 1: at 2 a.m.
• 11:08
  Speaker 2: But they definitely didn't stay confined to solitary late-night playlists.
• 11:12
  Speaker 1: No, the resonance was explosive. The venues they conquered? explicitly
• 11:17
  Speaker 1: named in the source, track an astronomical upward trajectory.
• 11:20
  Speaker 2: Glist is staggering for an indie band.
• 11:23
  Speaker 1: The Auditorio Nacional. The Palacio de los Deportes. The Teatro Metropolitan.
• 11:29
  Speaker 1: The Pepsi Center.
• 11:30
  Speaker 2: We really need to unpack the cultural weight of those
• 11:33
  Speaker 2: specific buildings.
• 11:34
  Speaker 1: Please, because I know they're big, but how big?
• 11:36
  Speaker 2: Well, for a listener outside of Mexico, it is vital
• 11:38
  Speaker 2: to understand that the Auditorio Nacional is not just a
• 11:41
  Speaker 2: large room. It has a capacity of nearly 10,000 people.
• 11:43
  Speaker 1: Wow. 10,000? Yeah.
• 11:47
  Speaker 2: It is considered the premier entertainment venue in the country.
• 11:50
  Speaker 2: Booking that room isn't just a matter of having a
• 11:51
  Speaker 2: good booking agent. It is a coronation.
• 11:53
  Speaker 1: A coronation. I like that.
• 11:55
  Speaker 2: You only headline the Auditorium National when you have become
• 11:58
  Speaker 2: an undeniable cultural force.
• 12:00
  Speaker 1: So it's basically the equivalent of playing Madison Square Garden
• 12:03
  Speaker 1: in New York.
• 12:04
  Speaker 2: Very much so.
• 12:04
  Speaker 1: You don't just show up. You arrive. Yeah. And they
• 12:07
  Speaker 1: were also headlining massive cultural touchstone festival like Vive Latino
• 12:12
  Speaker 1: and Paul Norte.
• 12:13
  Speaker 2: Right. Playing to tens of thousands in an open field.
• 12:16
  Speaker 1: But here is where my understanding of live music production
• 12:20
  Speaker 1: gets fuzzy. I can comprehend making a song sound intimate
• 12:25
  Speaker 1: and emotional in headphones. Sure. But when you walk onto
• 12:28
  Speaker 1: the stage of the Palacio de los Suportes, which is
• 12:31
  Speaker 1: this massive cavernous dome. Doesn't that intimate, intricate synth sound
• 12:36
  Speaker 1: just get completely lost in the echo?
• 12:38
  Speaker 2: It easily could, yes.
• 12:39
  Speaker 1: How does the producer scale it up without ruining it?
• 12:42
  Speaker 2: That is the exact challenge that separates mid-tier indie bands
• 12:45
  Speaker 2: from actual arena acts.
• 12:47
  Speaker 1: Okay.
• 12:47
  Speaker 2: When you play a 200-person club, the room doesn't have
• 12:50
  Speaker 2: much natural reverberation. The sound hits the bodies in the
• 12:53
  Speaker 2: crowd and just stops.
• 12:54
  Speaker 1: It's absorbed.
• 12:55
  Speaker 2: Right. But when you play a sports palace or an arena,
• 12:58
  Speaker 2: the sound waves travel hundreds of feet, hit solid concrete walls,
• 13:02
  Speaker 2: and bounce back.
• 13:04
  Speaker 1: That sounds like a nightmare for a sound engineer. It is.
• 13:06
  Speaker 2: This is called acoustic reflection. If a synth part is
• 13:10
  Speaker 2: too fast or too cluttered, all those reflections will overlap
• 13:14
  Speaker 2: and it just creates a giant, unintelligible wash of noise.
• 13:17
  Speaker 1: It just turns to mud.
• 13:19
  Speaker 2: Exactly.
• 13:20
  Speaker 1: Mud.
• 13:21
  Speaker 2: So as a producer adapting the music for an arena tour,
• 13:24
  Speaker 2: Honus would have to completely rethink the arrangements.
• 13:27
  Speaker 1: He couldn't just play the album versions.
• 13:29
  Speaker 2: Usually not. You actually have to simplify certain elements. You
• 13:31
  Speaker 2: rely more heavily on sub-bass frequencies.
• 13:34
  Speaker 1: Sub bass.
• 13:35
  Speaker 2: Yeah, those are the sounds you feel vibrating in your
• 13:37
  Speaker 2: sternum rather than here with your ears.
• 13:40
  Speaker 1: Oh, I know that feeling.
• 13:41
  Speaker 2: And you use longer, more sweeping synth pads that can
• 13:43
  Speaker 2: just hang in the air of an arena without clashing
• 13:46
  Speaker 2: with the drums.
• 13:47
  Speaker 1: That makes a lot of sense.
• 13:47
  Speaker 2: You are no longer just filling a room. You are
• 13:50
  Speaker 2: literally managing the atmospheric pressure of a stadium. The fact
• 13:54
  Speaker 2: that Camilo Septimo successfully made that transition speaks volumes about
• 13:59
  Speaker 2: Hannes' grasp of both the micro details of studio recording...
• 14:02
  Speaker 2: And the macro physics of arena sound.
• 14:05
  Speaker 1: And it really makes you wonder about the arc of
• 14:07
  Speaker 1: a career like that.
• 14:08
  Speaker 2: Because it's hard to sustain.
• 14:10
  Speaker 1: Exactly. Because when a band hits that level, selling out
• 14:13
  Speaker 1: the Auditoria National, conquering Vive Latino, there is a very
• 14:17
  Speaker 1: common trap.
• 14:18
  Speaker 2: They get comfortable.
• 14:19
  Speaker 1: They find a formula. They figure out exactly what the
• 14:21
  Speaker 1: algorithm wants. They lock in that sound. And they just coast.
• 14:25
  Speaker 2: We've seen it a hundred times.
• 14:26
  Speaker 1: They become a legacy act in their own time, just
• 14:29
  Speaker 1: touring on the nostalgia of those first few hits. So...
• 14:32
  Speaker 1: I have to ask, was Honus on a creative downswing
• 14:36
  Speaker 1: by 2026?
• 14:36
  Speaker 2: The timeline provided in the Mercat 2.0 reporting definitively refutes that.
• 14:41
  Speaker 1: So they weren't coasting?
• 14:42
  Speaker 2: The band was not resting on past accolades at all.
• 14:45
  Speaker 2: In May of 2026, just months before his death, Camilo
• 14:49
  Speaker 2: Septimo released a new project titled Mappas II.
• 14:51
  Speaker 1: Okay, May 2026.
• 14:53
  Speaker 2: And the credits on that release are vital to note.
• 14:55
  Speaker 2: Jonathan Honus Melendez is explicitly credited for production, technical work,
• 14:59
  Speaker 2: and songwriting.
• 15:01
  Speaker 1: Okay, so this wasn't a guy who would step back
• 15:03
  Speaker 1: to just collect royalty checks on a beach somewhere.
• 15:06
  Speaker 2: Far from it.
• 15:07
  Speaker 1: He was actively in the trenches, turning the knobs, writing
• 15:09
  Speaker 1: the melodies. He was killed at the absolute zenith of
• 15:13
  Speaker 1: his creative output.
• 15:14
  Speaker 2: That is the tragic reality here. The release of Mappas
• 15:17
  Speaker 2: II indicates a musician who was relentlessly pushing his own boundaries. Right.
• 15:21
  Speaker 2: The leap from club circuits to arenas is exhausting. It
• 15:25
  Speaker 2: burns a lot of artists out completely.
• 15:27
  Speaker 1: I can imagine.
• 15:28
  Speaker 2: The fact that he was still in an active phase
• 15:30
  Speaker 2: of generation, still building new sonic architecture in the spring
• 15:34
  Speaker 2: of 2026, it demonstrates a profound, enduring commitment to the craft.
• 15:40
  Speaker 1: And that is exactly what makes the pivot in this
• 15:42
  Speaker 1: narrative so incredibly difficult to process.
• 15:45
  Speaker 2: It's jarring.
• 15:46
  Speaker 1: We were tracking a timeline of public celebration... artistic expansion,
• 15:50
  Speaker 1: and massive cultural connection in May of 2026.
• 15:53
  Speaker 2: A total high point.
• 15:54
  Speaker 1: And then we hit a brick wall. We move to
• 15:56
  Speaker 1: the devastating, incomprehensible reality of September 1st, 2026.
• 16:00
  Speaker 2: The contrast is almost total. You transition from the expansive
• 16:05
  Speaker 2: communal environment of an arena concert straight into an intensely closed, private,
• 16:10
  Speaker 2: and ultimately fatal environment.
• 16:13
  Speaker 1: I am going to lay out the geographical and temporal
• 16:16
  Speaker 1: facts exactly as they were reported by Laura Eilis, because Honestly,
• 16:20
  Speaker 1: we need to be clinical about this.
• 16:21
  Speaker 2: It's the only way to handle it.
• 16:23
  Speaker 1: The date is September 4, 2026. The location is a
• 16:27
  Speaker 1: residence located inside the Grand Vieux development.
• 16:29
  Speaker 2: Grand Vieux.
• 16:30
  Speaker 1: Right. This is situated in Zona Esmeralda, in the municipality
• 16:34
  Speaker 1: of Atizapán de Zaragoza. Okay. For geographical context, this is
• 16:38
  Speaker 1: in the state of Mexico, directly northwest of Mexico City.
• 16:41
  Speaker 2: To understand the nature of the crime, we have to
• 16:43
  Speaker 2: really understand the nature of Zona Esmeralda.
• 16:46
  Speaker 1: What's it like?
• 16:47
  Speaker 2: This is not a random street corner. Zona Esmeralda is
• 16:50
  Speaker 2: renowned as one of the most exclusive, affluent areas in
• 16:53
  Speaker 2: the entire region.
• 16:54
  Speaker 1: So it's very wealthy.
• 16:55
  Speaker 2: Extremely. It is characterized by luxury gated communities, sprawling wooded areas,
• 17:01
  Speaker 2: and heavy private security.
• 17:03
  Speaker 1: A fortress.
• 17:04
  Speaker 2: The Grand Vieira development is designed specifically to offer a
• 17:06
  Speaker 2: sanctuary away from the chaos and crime that can affect
• 17:09
  Speaker 2: major metropolitan areas like Mexico City.
• 17:12
  Speaker 1: You are buying isolation.
• 17:14
  Speaker 2: You are.
• 17:15
  Speaker 1: You are paying a premium. to guarantee that the unpredictability
• 17:19
  Speaker 1: of the outside world cannot reach your front door. You
• 17:22
  Speaker 1: literally buy into a fortress.
• 17:24
  Speaker 2: And that illusion of safety is a big part of this.
• 17:26
  Speaker 1: But before we get into how that fortress was breached,
• 17:30
  Speaker 1: I need to methodically list the victims found inside that residence.
• 17:33
  Speaker 2: Yes, we need to name them.
• 17:35
  Speaker 1: Because this is the point where the narrative stops being
• 17:38
  Speaker 1: a true crime story and turns into just a nightmare.
• 17:41
  Speaker 2: It really does.
• 17:42
  Speaker 1: According to the investigation, the victims were Jonathan Melendez, his
• 17:47
  Speaker 1: pregnant wife.
• 17:48
  Speaker 2: Oh, God.
• 17:48
  Speaker 1: Their three-year-old daughter, a domestic worker, and the family dog.
• 17:54
  Speaker 2: It is an eradication.
• 17:55
  Speaker 1: That's the only word for it.
• 17:56
  Speaker 2: It goes beyond a targeted killing and enters the realm
• 17:59
  Speaker 2: of total annihilation.
• 18:00
  Speaker 1: I cannot get past the sheer thoroughness of the violence.
• 18:03
  Speaker 2: It's hard to stump.
• 18:04
  Speaker 1: I want to push back on something we see in
• 18:06
  Speaker 1: media all the time. You know, the idea of a
• 18:08
  Speaker 1: robbery gone wrong.
• 18:09
  Speaker 2: Right, the panicked burglar trope. Exactly.
• 18:11
  Speaker 1: Exactly. If criminals break into a multimillion-dollar home to steal
• 18:16
  Speaker 1: jewelry or electronics, and they are surprised by the homeowner,
• 18:20
  Speaker 1: panic ensues.
• 18:21
  Speaker 2: Sure, things escalate.
• 18:23
  Speaker 1: Maybe a struggle happens. Maybe there's a tragic casualty. But
• 18:26
  Speaker 1: you do not systematically execute a pregnant woman, a toddler,
• 18:31
  Speaker 1: a domestic employee, and the family pet in a panic.
• 18:35
  Speaker 2: No, you don't.
• 18:35
  Speaker 1: The extermination of every living, breathing entity in that house
• 18:40
  Speaker 1: points to a level of profound panic. terrifying intent.
• 18:43
  Speaker 2: Your analysis aligns completely with the primary deduction made by
• 18:46
  Speaker 2: investigators at the scene.
• 18:47
  Speaker 1: They saw it too, then?
• 18:49
  Speaker 2: Of course. The authorities immediately recognized that this scene did
• 18:52
  Speaker 2: not fit the profile of a random home invasion.
• 18:55
  Speaker 1: The violence was too specific.
• 18:56
  Speaker 2: Yes. And that deduction is supported by a chilling detail
• 19:00
  Speaker 2: included in the Merca 2.0 report regarding how the perpetrators
• 19:03
  Speaker 2: actually entered the home. Right.
• 19:04
  Speaker 1: How did they get past all that security?
• 19:06
  Speaker 2: They did not breach the perimeter walls of Grand Vieux.
• 19:09
  Speaker 2: They did not smash a window or kick down a door.
• 19:11
  Speaker 1: They didn't have to break in.
• 19:13
  Speaker 2: The authorities believe the suspects gained access to the property
• 19:16
  Speaker 2: by exploiting an existing relationship of trust with the victims.
• 19:20
  Speaker 1: So the million-dollar security gate, the guards, the high walls,
• 19:25
  Speaker 1: they were completely useless.
• 19:27
  Speaker 2: Completely bypassed.
• 19:28
  Speaker 1: Because the threat didn't have to break in. The threat
• 19:31
  Speaker 1: was invited inside.
• 19:32
  Speaker 2: That phrase, relationship of trust, contains the true psychological horror
• 19:37
  Speaker 2: of this entire event.
• 19:38
  Speaker 1: It really messes with your head.
• 19:40
  Speaker 2: We dedicate so much of our mental bandwidth to fearing
• 19:43
  Speaker 2: the unknown, right? We build physical walls to keep out strangers.
• 19:47
  Speaker 1: We install alarms to warn us of external breach.
• 19:50
  Speaker 2: Exactly. But the concept of vulnerability is fundamentally misunderstood by
• 19:54
  Speaker 2: most people.
• 19:55
  Speaker 1: How so?
• 19:56
  Speaker 2: The most profound danger does not come from the stranger
• 19:58
  Speaker 2: in the dark. It comes from the person who already
• 20:01
  Speaker 2: has your phone number.
• 20:02
  Speaker 1: The person who knows your routine. Yes.
• 20:04
  Speaker 2: The person you pour a cup of coffee for when
• 20:05
  Speaker 2: they walk right into your kitchen.
• 20:07
  Speaker 1: Because the people in your inner circle don't have to
• 20:09
  Speaker 1: pick the locks, you hand them the keys.
• 20:10
  Speaker 2: That's it, exactly.
• 20:11
  Speaker 1: And the devastation here is the complete perversion of that
• 20:15
  Speaker 1: social contract. The very mechanism that is essential for human
• 20:20
  Speaker 1: connection trust was weaponized.
• 20:22
  Speaker 2: It was used against them.
• 20:23
  Speaker 1: They used his hospitality as the Trojan horse to commit
• 20:27
  Speaker 1: an atrocity.
• 20:28
  Speaker 2: It's sickening.
• 20:29
  Speaker 1: But it's not an absolute eradication, is it? The report
• 20:33
  Speaker 1: contains one detail that completely shatters you.
• 20:35
  Speaker 2: Yes, it does. The investigators noted a solitary instance of
• 20:40
  Speaker 2: survival amidst the massacre. Another child was reportedly found alive
• 20:45
  Speaker 2: inside the residence.
• 20:46
  Speaker 1: The psychological weight of that, a child left alive in
• 20:49
  Speaker 1: a house where their entire world has just been extinguished,
• 20:52
  Speaker 1: is almost too immense to even touch.
• 20:54
  Speaker 2: It reframes the entire crime.
• 20:56
  Speaker 1: It does. So how does the investigation proceed from a
• 20:59
  Speaker 1: scene like that? How does that exploited trust lead the
• 21:02
  Speaker 1: authorities to the suspects?
• 21:03
  Speaker 2: Well, the trail was seemingly very short.
• 21:05
  Speaker 1: Because when we get to the reported motive, the narrative
• 21:09
  Speaker 1: takes a turn into a level of banality that is
• 21:11
  Speaker 1: genuinely difficult to accept.
• 21:13
  Speaker 2: The investigation is being spearheaded by the State of Mexico
• 21:17
  Speaker 2: Attorney General's Office, the FGJEM.
• 21:19
  Speaker 1: Right.
• 21:20
  Speaker 2: And given the high-profile nature of the victim and the
• 21:22
  Speaker 2: horrific nature of the crime, the pressure to produce results
• 21:26
  Speaker 2: would be astronomical.
• 21:28
  Speaker 1: Oh, the whole country must have been watching. Absolutely. Absolutely.
• 21:31
  Speaker 2: The report indicates they moved with speed, detaining two men
• 21:34
  Speaker 2: identified as Diego Sebastian N. and Gerardo N.
• 21:38
  Speaker 1: Which brings us to the motive. According to the Mercat 2.0 article,
• 21:42
  Speaker 1: a Mexican journalist named Carlos Jimenez, who specializes in covering
• 21:46
  Speaker 1: the police and security beats, reported on the potential catalyst
• 21:49
  Speaker 1: for the massacre.
• 21:50
  Speaker 2: And what did he find?
• 21:51
  Speaker 1: He reported that the detained suspect, Diego Sebastian N., was
• 21:55
  Speaker 1: a business associate of Melendez.
• 21:57
  Speaker 2: A business associate.
• 21:58
  Speaker 1: And the alleged dispute that led to this total eradication
• 22:01
  Speaker 1: of a family. It centered around a loan.
• 22:03
  Speaker 2: A loan.
• 22:04
  Speaker 1: Specifically, a loan of 300,000 Mexican pesos that Honest Melendez
• 22:08
  Speaker 1: was allegedly going to provide to this associate. An argument
• 22:11
  Speaker 1: reportedly broke out over this transaction, culminating in the quadruple homicide.
• 22:15
  Speaker 2: Okay, before we dissect the psychology of that reported motive,
• 22:19
  Speaker 2: We really must firmly establish a legal and journalistic caveat here.
• 22:23
  Speaker 1: Of course.
• 22:24
  Speaker 2: The Mercat 2.0 article explicitly states that this 300,000 peso
• 22:28
  Speaker 2: dispute is a reported possible motive.
• 22:31
  Speaker 1: Meaning it's not set in stone.
• 22:32
  Speaker 2: Right. It is a working theory based on journalistic sources.
• 22:36
  Speaker 2: It is not yet a judicially established fact.
• 22:39
  Speaker 1: That's an important distinction.
• 22:40
  Speaker 2: The FGJMM is still actively working to definitively establish the
• 22:44
  Speaker 2: precise individual responsibility of the suspects in a court of law.
• 22:49
  Speaker 2: We are analyzing a narrative as it currently exists in
• 22:51
  Speaker 2: the public domain, not issuing a legal verdict.
• 22:54
  Speaker 1: And we will maintain that strict impartial boundary. Absolutely. But
• 22:59
  Speaker 1: as analysts looking at the reported facts, I stop and
• 23:01
  Speaker 1: do the math here.
• 23:02
  Speaker 2: Let's do it.
• 23:03
  Speaker 1: 300,000 Mexican pesos, depending on the exchange rate in 2026,
• 23:07
  Speaker 1: is roughly 15,000 to 18,000 U.S. dollars.
• 23:09
  Speaker 2: Right. Not an insignificant amount of money, but.
• 23:12
  Speaker 1: But I am looking at a quadruple homicide. A beloved
• 23:15
  Speaker 1: public figure, his pregnant wife, a toddler... An employee? A dog?
• 23:20
  Speaker 2: It's incomprehensible.
• 23:22
  Speaker 1: My mind naturally tries to construct a grand cinematic conspiracy
• 23:26
  Speaker 1: to explain violence on this scale. You assume massive cartel entanglement,
• 23:30
  Speaker 1: deep underworld debts, some insurmountable existential betrayal.
• 23:35
  Speaker 2: You want it to make sense.
• 23:36
  Speaker 1: Right. But you're telling me this entire ecosystem of life
• 23:39
  Speaker 1: was wiped out over an argument regarding a $ 15, 000 business loan.
• 23:43
  Speaker 1: That does not compute.
• 23:45
  Speaker 2: It defies logic.
• 23:46
  Speaker 1: The disproportion between the cause and the effect is utterly staggering.
• 23:50
  Speaker 1: It's like detonating a nuclear weapon to swat a fly.
• 23:53
  Speaker 2: The severe disproportion you are highlighting is exactly why this
• 23:56
  Speaker 2: reported motive is so disturbing. It induces cognitive dissonance.
• 24:01
  Speaker 1: What do you mean by that?
• 24:02
  Speaker 2: As humans, we desperately want massive, catastrophic tragedies to have
• 24:06
  Speaker 2: equally massive, complex, and sophisticated causes.
• 24:09
  Speaker 1: Right, because otherwise it's just chaos.
• 24:12
  Speaker 2: Exactly. If a beloved icon is murdered... We want the
• 24:15
  Speaker 2: villain to be a mastermind. We crave that symmetry because
• 24:18
  Speaker 2: it helps us make sense of the world. It provides
• 24:20
  Speaker 2: a false sense of security. Right.
• 24:22
  Speaker 1: Because I can tell myself, well, I'm not involved in
• 24:24
  Speaker 1: complex underworld conspiracies, so I am safe. That kind of
• 24:27
  Speaker 1: violence will never touch me.
• 24:29
  Speaker 2: But if this reported motive holds true, it strips away
• 24:32
  Speaker 2: that protective illusion entirely.
• 24:34
  Speaker 1: It really does.
• 24:35
  Speaker 2: It suggests that the destruction of a vibrant family, the
• 24:38
  Speaker 2: silencing of a generational musical talent, it did not require
• 24:42
  Speaker 2: a sophisticated conspiracy.
• 24:43
  Speaker 1: It just took one bad conversation.
• 24:45
  Speaker 2: It hinged on a shockingly basic, mundane human conflict. A
• 24:51
  Speaker 2: trivial dispute over money. A sudden flare of ego or desperation.
• 24:56
  Speaker 1: Just a spark.
• 24:56
  Speaker 2: It exposes the terrifying reality that extreme violence isn't always
• 25:00
  Speaker 2: the result of extreme circumstances. Sometimes it is simply the
• 25:04
  Speaker 2: result of an utterly disproportionate reaction to an everyday friction.
• 25:08
  Speaker 1: It is the banality of evil. in its purest form.
• 25:11
  Speaker 2: Absolutely.
• 25:11
  Speaker 1: And the tragic irony is just suffocating. You have Jonathan Melendez,
• 25:15
  Speaker 1: a man whose entire existence, whose professional legacy was dedicated
• 25:18
  Speaker 1: to building beautiful, complex, soaring sonic structures.
• 25:22
  Speaker 2: He was a builder of emotions.
• 25:23
  Speaker 1: He mathematically calculated frequencies to evoke joy, nostalgia, and connection.
• 25:30
  Speaker 1: He orchestrated the emotions of 10,000 people in an arena
• 25:33
  Speaker 1: singing in absolute unison.
• 25:35
  Speaker 2: He brought people together.
• 25:37
  Speaker 1: He built monuments of sound. And yet, He was allegedly
• 25:40
  Speaker 1: brought down by the ugliest, most base, primal, and uncalculated
• 25:45
  Speaker 1: human impulse imaginable. A petty argument over cash?
• 25:49
  Speaker 2: It is the ultimate collision of two opposing forces.
• 25:52
  Speaker 1: That's a good way to phrase it.
• 25:53
  Speaker 2: The high-minded pursuit of art and emotional resonance violently interrupted
• 25:57
  Speaker 2: by the lowest, most transactional form of human behavior.
• 26:01
  Speaker 1: It's devastating.
• 26:01
  Speaker 2: It leaves a jagged, permanent scar. And not just on
• 26:05
  Speaker 2: his surviving family, but on the entirety of the Latin
• 26:08
  Speaker 2: American impendent music scene.
• 26:10
  Speaker 1: The Murca 2.0 piece specifically notes the shockwaves this sent
• 26:14
  Speaker 1: through the country's music community.
• 26:15
  Speaker 2: Oh, I can only imagine the grief.
• 26:16
  Speaker 1: And it's not just because they lost a peer. It's
• 26:19
  Speaker 1: because of what Camilo Septimo represented. They weren't just a band.
• 26:22
  Speaker 1: They were the proof of concept.
• 26:24
  Speaker 2: How do you mean?
• 26:24
  Speaker 1: They proved that you could start in the underground clubs
• 26:27
  Speaker 1: of Mexico City, refuse to compromise your distinct indie electronic sound,
• 26:32
  Speaker 1: and still rise to headline the Auditorio Nacional.
• 26:35
  Speaker 2: They paved the way.
• 26:36
  Speaker 1: They were the standard bearers for an entire generation of
• 26:38
  Speaker 1: independent musicians.
• 26:39
  Speaker 2: And Honus Melendez was the sonic architect of that standard.
• 26:42
  Speaker 2: We have traced his journey from the competitive crucible of
• 26:45
  Speaker 2: the 2013 alternative scene.
• 26:47
  Speaker 1: Right.
• 26:47
  Speaker 2: We explored the deep technical mechanics of how he manipulated
• 26:51
  Speaker 2: synthesizers to craft that distinctive enveloping atmosphere.
• 26:55
  Speaker 1: The frequency masking, all of it.
• 26:56
  Speaker 2: We saw the cultural ascension through anthems like Mienteme and Vicio.
• 27:02
  Speaker 2: Mastering the acoustics of massive festivals and arenas.
• 27:05
  Speaker 1: They conquered it all.
• 27:06
  Speaker 2: And we saw him reaching a fresh creative zenith with
• 27:08
  Speaker 2: the production of Moppus II in May of 2026.
• 27:12
  Speaker 1: A timeline of continuous upward creation. Until that abrupt, horrifying
• 27:17
  Speaker 1: terminus on September 1st, where a multi-million dollar sanctuary in
• 27:21
  Speaker 1: Zona Esmeralda was transformed into a site of incomprehensible total violence.
• 27:26
  Speaker 2: It forces a severe reckoning for anyone who consumes pop culture.
• 27:29
  Speaker 1: It really does. And for you listening to this deep
• 27:32
  Speaker 1: dive right now, I think that is the core vital
• 27:36
  Speaker 1: takeaway here.
• 27:36
  Speaker 2: We take it all for granted.
• 27:38
  Speaker 1: We really do. We are surrounded by art. We stream
• 27:40
  Speaker 1: music constantly. We walk around the city with these lush,
• 27:44
  Speaker 1: meticulously produced soundtracks playing in our headphones while we commute,
• 27:48
  Speaker 1: while we work, while we live our mundane lives.
• 27:50
  Speaker 2: It just becomes background noise.
• 27:52
  Speaker 1: Exactly. We consume the final product so passively that we
• 27:56
  Speaker 1: entirely forget the fragile humanity of the creators behind the sound.
• 28:00
  Speaker 2: We forget there's a person turning those knobs.
• 28:03
  Speaker 1: This tragedy is a stark, devastating reminder to revere those creators.
• 28:08
  Speaker 1: Because the ability to create the spark of genius that
• 28:12
  Speaker 1: calculates those frequencies and builds those sonic worlds, it can
• 28:15
  Speaker 1: be extinguished without any warning. It can be wiped out
• 28:18
  Speaker 1: in an afternoon over something as senseless and trivial as
• 28:21
  Speaker 1: a sudden argument.
• 28:22
  Speaker 2: The art will inevitably outlive the artist. The songs will
• 28:25
  Speaker 2: remain on the streaming platforms.
• 28:26
  Speaker 1: But the human cost.
• 28:28
  Speaker 2: Exactly. The unwritten songs. The unlived years. That absence is immeasurable.
• 28:33
  Speaker 1: Which brings me to a final thought I want to
• 28:35
  Speaker 1: leave you with. A concept to mull over long after
• 28:38
  Speaker 1: this audio stops playing.
• 28:40
  Speaker 2: It's about the survivor, right?
• 28:41
  Speaker 1: Yes. Earlier we discussed the victims. The calculated eradication of
• 28:46
  Speaker 1: a household. But we lingered on that one heartbreaking detail.
• 28:50
  Speaker 1: A child was found alive in that residence.
• 28:53
  Speaker 2: The lone survivor of an obliterated world.
• 28:55
  Speaker 1: When that child grows up, when they are finally old
• 28:58
  Speaker 1: enough to try and conceptualize who their father was, their
• 29:01
  Speaker 1: primary connection to him won't be new memories.
• 29:03
  Speaker 2: They won't have those.
• 29:04
  Speaker 1: No. It won't be new conversations. Their bridge to their
• 29:08
  Speaker 1: father will be the music.
• 29:09
  Speaker 2: That's powerful.
• 29:10
  Speaker 1: It'll be the specific synthesizer patches he programmed, the lyrics
• 29:13
  Speaker 1: he wrote, the electronic atmospheres he left behind on records
• 29:16
  Speaker 1: like Mappus II.
• 29:18
  Speaker 2: It becomes a time capsule.
• 29:19
  Speaker 1: So how does art fundamentally change when it undergoes that transition? Yeah.
• 29:24
  Speaker 1: How does a song mutate when it goes from being
• 29:26
  Speaker 1: a massive pop culture product that millions of strangers dance
• 29:30
  Speaker 1: to in an arena to being the singular surviving testament
• 29:34
  Speaker 1: of a destroyed family?
• 29:35
  Speaker 2: The context permanently alters the frequency of the music.
• 29:38
  Speaker 1: It really does.
• 29:39
  Speaker 2: A pop song of longing transforms into an artifact of grief.
• 29:43
  Speaker 2: The notes remain the exact same, but the listener's ear
• 29:46
  Speaker 2: has fundamentally changed.
• 29:47
  Speaker 1: Imagine being that child, putting on headphones, closing your eyes,
• 29:52
  Speaker 1: and listening to the sonic room your father built, knowing
• 29:55
  Speaker 1: you could never step inside it in the real world.
• 29:57
  Speaker 2: It's haunting.
• 29:58
  Speaker 1: Imagine that arena again. The one we started in. The
• 30:00
  Speaker 1: lights are low. The heavy hum of the crowd. The
• 30:03
  Speaker 1: massive synth-driven wave of sound washes over you, vibrating in
• 30:07
  Speaker 1: your chest. The soundtrack of a generation.
• 30:09
  Speaker 2: It's all still there.
• 30:10
  Speaker 1: But now, when you listen to it, you know exactly
• 30:12
  Speaker 1: what the silence sounds like.