A wondrously mesmeric, clever and quirky eighth album of experimental pop by the Argentinian singer, musician and comedian composed largely of analogue synths, originally from improvisations and recorded over several years in her home studio surrounded by her pets, and also in Canada. Now 64, Molina was one of Argentina’s biggest comedians with her sketch show Juana y Sus Hermanas (Juana and Her Sisters), in which she portrayed a series of oddball characters, but then began to pursue a career in music. She has a number of famous fans including David Byrne and Feist. This is one of her best to date, more coherent than her last, 2017’s Halo, although that’s another wonderfully entertaining and experimental release. Originally beginning to form before lockdown with “Improviset” shows performed with keyboardist Odín Schwartz, then a live recording at the NRMAL Festival in Mexico City. It was then spending hundreds of hours hunched over synths and guitars that this album was born, also working with a producer, Emilio Haro, for the first time since her debut LP. Alongside the eccentric synth sounds, some of which mimic an orchestra, Molina plays guitars that she and Haro have variously distorted, such as on Miro Todo (I See Everything), to deliberately sound like lazy, indifferent violins. There’s a dry, dark, musical and lyrical humour throughout, Molina mischievous and very much against anything that resembles solemnity. Other highlights include opener uno es árbol, desinhumano, siestas ahí, indignan a un zorzál, and lengthy closer rina soi, but it’s a very enjoyable, subtle clever experience from start to finish. A unique and wonderful artist. Out on Sonamos.
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