Large-format premiere of the British rock band and the conclusion is just as great, since the music and protagonist musicians testify to the ambition of the proposal: this prelude to ecstasy transmits a sensation of clarity, security and self-confidence that invites us to think that this alone It is the beginning of an outstanding proposal with the intention of staying. It is notable from the outset that its status as a phenomenon in mainstream tastes, playlists or as a young female band eager to take on the world is supported by an elaborate, solid and high-quality sound and conceptual proposal.
Made live before locking themselves in the recording studio – and already signed by a major –, the quintet has managed to capture that proposal that they have effectively refined live: pop with rather dark and gothic overtones supported by muscle and forceful rock guitar, and rhythms with dance roots. And also with an undisguised tendency towards grandeur in the structure of the songs, something that runs parallel to a positive feeling that the work conveys in its entirety. A grandeur that is perceived from the very – and risky – start, with the song that gives its name to the album and with a clear cinematic profile, an instrumental with orchestra included, something that is repeated on subsequent occasions... although in a less spectacular way. In any case, one more ingredient in a varied menu where there is room for Ennio Morricone or Siouxie and the Banshees.
Those from Baltimore give shape in People who aren't there anymore to a little more of the same, that is, a new bite of a dish already tried before. On the pivot of Sam Herring's voice and lyrics, melodies of good and recognizable construction and the fluorescent synth-pop sound costume, the dozen songs parade with strict pleasure.
At the top of local urban music, the Alt Camp duo illuminates their second installment with a prolonged stylistic compote. Throughout twenty songs, with a few already becoming great hits such as Mussegu, To the vent of Raimon.
Vila's sonorous and interpretive nudity is synonymous/reflective of maturity, which in his case is remarkably fruitful. Without double-talk and with brilliantly succinct instrumental walls, the singer-songwriter glides with lyrical credibility through current and near themes, whether climatic – as in the captivating Desert with David Carabén – or sentimental.
