Selvatica "Macumba"

Selvatica "Macumba" (p)2019 Discos De Kirlian

If the album only managed to sustain the qualities of the first three tracks this would be the album of the year. I almost started my review with: "And while the country is desperately waiting for the debut Carolina Durante slab, the Album of the Year is already here". These tracks - namely "Quien Es La Sombra", "Solo Llueve En Mi Casa" and especially "Reino De Papel" - are the fast, sonorous, effervescent, ultra-melodic songs. But as the album flows by further it deviates from its initial course set by these amazing pieces and intrudes the air space of Her Majesty the Diversity with inclusion of saxo and tropical rhythms. There's nothing wrong with it and I really like saxo within the indie rock song context. So, all the subsequent tracks are good in their own right but as a result of the stylistic digressions the overall impression gets somehow blurred.

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FCBK

Peepshow "Como Hacer Una Bomba Atomica"

Peepshow "Como Hacer Una Bomba Atomica" (p)2018 Polar Records

Peepshow is the rock formation from Valencia that’s got family ties to (i.o. shares the drummer German Garcia with) another local combo En Septiembre that appeared to be one of my last year’ discoveries.

I started to get familiar with the band from the first video filmed for this album: “Nuevo Imperio”. The song sounded like it could fit to the last Dorian’s album so initially I thought Peepshow was one of these electro rock bands. Recently it revealed that sound-wise this danceable song had little in common with the rest of the album. Musically – apart from the aforementioned “Nuevo Imperio” – two main influences are easily distinguishable (or at least they seem distinguishable for me personally): the Nacho Vegas’ narratives and Viva Suecia’s guitar-fueled sonic grandeur. The band’s modus operandi is when a song starts with the subtle arrangements over the slow-paced drum beat, gains up and then blossoms into the epic-like space rock crescendo midway. 

The lyrics are bittersweet, sarcastic and rather biting regardless of the matter the frontman Uve Martinez is singing about: the social issues (“1999”, “Nuevo Imperio”), or the indie music mythos (“Gente Normal”), or the human intercourse (“Como Hacer Una Bomba Atomica”).

The production qualities are additionally complementing already top-notch album, the band sounds really big. In the world better than ours they could make a considerable splash with it. 

FCBK

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Oso Leone "Gallery Love"

Oso Leone "Gallery Love" (p)2019 Apollo Records

It’s been awhile since the Oso Leone’s previous effort – the magnificent “Mokragora” - was brought to light so I have never expected the Mallorcan band picking up right where they left off almost 6 years ago. But taking in mind the “Mokragora” undeniable perfection it’s impossible not to compare the new album with the previous one, and it goes like that. Instead of resuming the unhurried walks through the dewy forest undergrowth you are about to enter the sanitized vapourized and kinda sterile environment of the airport hi-class lounge. Its air tastes rich, it sounds vulnerable and trembling all around, and apparently its space is full of beautiful and intellectually gifted creatures but it’s nothing about a couple of cold waterdrops accidentally dripping at your cheek from a lacy spider’s web you shake while moving forward through the trees – unless it’s a drop of champagne on your tuxedo. 

The music is inventively constructed and perfectly crafted to include a lot of tiny details and hardly audible undertones. Focusing on the main melodic progressions you may let all these sonic subtleties that set “Gallery Love” aside from your average Buddha Bar comps go out unnoticed. So you still need to listen carefully to fully enjoy the record. Anyway, despite its own advantages, I can’t avoid admitting “Gallery Love” apparently lacks the predecessor’s true original feel.

FCBK

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