Perhaps it is because it is the first original album that the band from La Plata has co-created after the pandemic –with the exception of their work for the soundtrack of “busy”, signed in 2021–, or perhaps it is because the inexorable passage of time has led Santiago Barrionuevo and company to exceptionally delve into the consequences that the fateful confinement brought with it; but what is undeniable is that the sentimental communion that He Killed A Motorized Policeman have generated with the listener by the hand of “Super Horror” it is completely superlative and a magnificent example of how to put a personal story at our entire service.
Despite playing on easily identifiable commonplaces, these ten new songs manage to successfully avoid falling into hackneyed narratives, in favor of addressing us with particular individuality and portraying with delicious literality what many of us feel. His words, now poisoned with that premium of uncertainty and emotional precariousness that this new vital situation offers us, will take us to scenarios marked by anticipated endings, adverse nostalgia, obsolete romances and anesthetized feelings, all of them typical of a difficult generational and afflicted apathy. escape.
As if it were a declaration of intent, “Super Horror” It is revealed from its first verses as the beginning of a new stage and an incessant attempt at redemption by those responsible (“After so much walking and seeing the golden days go by / It’s time for a second plan”we listen in “A background”). A clear sample of how these guys make use of their award-winning experience in the field of discouragement to lick their wounds and emerge stronger than ever with a major album, full of hymns of impeccable craftsmanship and apostilled by a luxury production signed by the award-winning with a Grammy, Eduardo Bergallo.
Through thoughtful attacks of apology and reproach that will make us feel a completely familiar proximity to the discourse of Santiago and his bandmates, we witness how they draw, with successive fidelity, a sketch that captures their deliberate impressions of the toxic and excessive ambition of our present (“You will never be a millionaire, millionaire / I understand that you will not accept that everything that comes is worse”they sing in “Gold medal”), the irremediable temporary volatility of everything that surrounds us (“All this is going to be lost / So many good things, collapsing at the same time”, they lament in “So many good things”), or their convincing desire to sign a new epigraph in their lives (“Reborn and Awaken / Crown the King of the Place”they cry out in “Coronado”). And it is that, although his sorrowful effort to remember the past with excessive romanticism resonates strongly throughout several of his courts (“What will happen when in the end you see that I am not what you expect”, weigh uncertainly in an almost cinematic “broken diamond”), Argentines also deserve to make hope prevail, knowing now that they are more aware than ever of the non-linearity of time and the possibilities that it brings (“I’m going to celebrate the end, I’m going to celebrate a little more”they tell us in a colorful “Moderate”).
Without lowering their guard against that tone, elevated and at the same time human, which places them face to face with the interlocutor, the motorists also proceed to give us a not inconsiderable display of all the sound nuances they use (a freshness renewed through hit of minimalist electronics and eighties synths, which pair wonderfully with their two-thousander indie-rock, now expanded towards nuances and cadences, an immediate crush), overcoming the disturbing vicissitudes of the present and showing us once again why they are one of our most popular bands. darlings from across the pond.