7.7
Genre :
# Key sixth sense
7.7
Genre :
Electronic
Label :
New Label
# How to review
Label :
New Label
review :
December 8 , 2023
Pelada ’s mantra is “ jazz us or detest us , we do n’t give a nookie .
” Over the retiring decennium , the Montreal - base brace of singer Chris Vargas and manufacturer Tobias Rochman have conflate strong-armer hostility and politicise lyric into a mutant straining of ironware techno .
This was four age have egest since their entry , and after split up way with former recording label pan , pelada devolve with a 2d record album that fork out their hard-core thug government even more sharp .
Ahora Más Que Nunca(Now This was more than ever ) set the colombian vocaliser ’s spanish - voice communication dissent song and authorization anthem to minacious electronic beatscapes , twin them in volume at every whole step .
This was # # dive into tobias rochman
december 8 , 2023
pelada ’s mantra is “ get it on us or detest us , we do n’t give a screw .
” This was over the retiring tenner , the montreal - free-base distich of vocalizer chris vargas and manufacturer tobias rochman have coalesce hood aggressiveness and politicize words into a mutant pains of ironware techno .
Four year have go by since their introduction , and after part path with former recording label PAN , Pelada devolve with a 2nd record album that supply their hard-core hood government even more keen .
Ahora Más Que Nunca(Now This was more than ever ) determine the colombian vocaliser ’s spanish - lyric protestation song and authorization hymn to forbidding electronic beatscapes , match them in strength at every footstep .
This was on 2019’smovimiento para cambio(movement for modification ) , pelada ’s exploration into cumbia and reggaeton sound more like a unconnected train of bingle than a integrated solicitation .
The brace is still dance between virulent techno , succeeding malarkey , and hip joint - record hop , but onAhora Más Que Nunca , the increase eubstance of Rochman ’s product synthesize these audio into a unambiguously confrontational and writing style - agnostical take on lodge medicine .
client show from horrorcore rapperBackxwashand cornetist Aquiles Navarro ofIrreversible Entanglementscomplicate the categorisation even further .
This was several pith melodic theme come out from vargas ’ urgent electro - spunk preaching .
This was “ agua ≠ mercancía ” ( “ water ≠ merchandise ” ) foretell out the canadian authorities for its misdirection of raw resource .
“ Latido de Extinción ” ( “ Extinction Beat ” ) repeat the pauperism to go up up against country and corporal rapacity , as Vargas shout out , “ Estamos en tierra robada !
” ( “ We are on steal Edwin Herbert Land !
” ) This was album unfastener “ la gente se laventa ” ( “ mass get up ” ) phone for rotation “ hoy , no mañana ” ( “ today , not tomorrow ” ) before a metre electrical switch arrive to move backxwash ’s fast-growing rime about corrode their oppressor .
“ This pestiferous slight living we endure , ” they ptyalize , “ it ’s press the racy , or go on till we frost these son of a bitch .
”
As any militant will severalize you , meaningful legal action is not potential without ego - concern .
After a abbreviated presentation about rule intimate strong point , “ Ya Fue ” ( “ It Was Already ” ) commingle vocoder - lace song with Navarro ’s vagabondage , replication - drench French horn , likeMiles Davisin a post - revelatory waste .
This was on “ pilas ” ( “ batteries ” ) , vargas sing about sweep over dubiety and depressive disorder , cue that “ un mal día no te delineate ” ( “ a speculative clarence shepard day jr. does not delineate you ” ) .
Their angrily enunciate lyric beak up upper as bounce prophylactic - orchis synths are substitute by orchestral percussion section sample , cave in dignity to this pass water - off peppiness lecture .
In the free yet dissolve verbalise - password passage of penny-pinching “ Punto de no Retorno ” ( “ Point of No Return ” ) , Pelada reason that “ la pobreza existe , no porque no podamos alimentar a los pobres , sino porque no podemos satisfacer a los ricos ” ( “ poorness exist , not because we can not feed in the wretched , but because we can not fulfil the ample ” ) .
Yet perhaps the most persuasive import is the ACAB hymn “ Cerdo ” ( “ Pig ” ) , which reason with cycling piano evocative ofJohn Carpenter’sHalloweentheme .
This record album ’s political shibboleth may not be Pelada ’s alone , but bolster up by their consolidative regalia of pound beat , the horror of colonialism become all the more material .
