Three topless and a revelation | Revista independiente de música

Indie music magazine in:

More poplacara:

Three topless and a revelation

Both Tres Esfinges de Bikini and The Strangers knew how to raise an unquestionable assertion at Sala Malandar: directing it towards the live performance bears good fruits as for quality, projection and of course, fun. With two very different themes, the first one perhaps better known by the Sevillian audience, the two bands worked thoroughly to deliver a good night, making the closing, doubtlessly, strange. But the coincidences game is not just a mere good impression. Both bands are young, between two and four years of longevity. And that was noticeable even through something as simple as the fact that they give you a badge, apart from a download link for their new song —in the case of Tres Esfinges— along with the ticket. They both navigate the ocean of promotion online with skill and that new culture which implies closeness and constant dialogue with your followers is not alien to them, whether it is through social networks or other tools —even that those very followers dare to give lyrics to one of your songs—. But even so both bands, with tinges, have brought their names to light by dint of wearing down a vast number of demos and live shows. And as for Tres Esfinges de Bikini, after exhausting strings and drumsticks wandering and participating in diverse jam sessions —one of the causes of this band's genesis—.

We were given the first sample to taste it, with the lowering of the lights and a discreet ascent of the Strangers to stage, calibrating their guitars with an absent look. The distortions and the game of pedals start to discover through general brush-strokes, the features of their proposal: atmospheric rock, powerful and onomatopoeic. With a bloody rhythm, the drums lead the way for some interventions without big changes which settle the voices in metallic and industrial grounds, with post-punk touches and ways more appropriate for garage, regarding the composition as well as the aspirations. If we looked for comparisons we would find them similar to The Strokes in their shape and as for their taste, to a dark version of Arctic Monkeys.

In their revision of the songs from their first and more recent LP #1, the hard and instrumental tone had space for some ballads. "If you want to cheer up, we will cheer you up. If you don't, don't worry, we have a calm one" jokes Dani (singer) before introducing us to Dangerous Room, song which does not have enough with the low tempo, reverting to a new session of thrashed riffs, and in the next songs like El Mosky, a game of permanent sound effects which does not focus on the intros but floods every gap in the dynamics of the Strangers. A spontaneous mini-mosh served as a farewell for the quartet from Huelva who had the time to pay a little tribute in the round of introductions to Alfonso, with the function of last-minute substitute bassist.

Given the initial dark atmosphere, inertia has to transport us into a bit of light. Quite a groovy bass guitar in the hands of Rubén, Groovend to his friends, and chaotic and crazy drums in the hands of Alberto El Cucharillas, presents to us this Andalucian mix that is Tres Esfinges de Bikini. With funky sounds the season opens to the first battery of songs going over, in the words of Sir Walter Scott (guitar and voice) the past, present and future of the band. Concerning the past, we had songs like La Luna Iluminando el Sol followed by others like Me Lleno, Arde and El Templo Negro, a song which reminds of the front cover of the album where those female mannequins metamorphose, illuminated by light bulbs, sphinxes which are never missing flanking the band at their live shows. The Dadá moment stood out, song by means of which fans were able to leave their stamp helping compose its lyrics.

Although the despicable tone stays constant, the tinges of funky dissolve little by little to give way to a second part which illuminates the instrumental drifts with a more stressed role of blues rock and psychedelia, with skilled cuts and rhythm changes which prove the individual expertise of each sphinx. As in the red-hot Deja que te quite el disfraz, one of the topless moments in which the band dropped pearls and advances from his new and next LP. Also an advance and marking the final stages, Tres Esfinges de Bikini (the song of the download link) was one responsible for putting a fake end to the gradual escape of the band to backstage. They didn't let them, and we had to find time from anywhere to make room for a couple of encores: the first song with which the band was known (Dime donde estás) and a very personal version of Come together.

 

Translation: Irene Soto.

¡share!