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Mourn, review of his album The Avoider (2024)

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Mourn, review of his album The Avoider (2024)

A Mourn We met them approximately a decade ago, when they were already showing signs in an astonishing way, taking over the stages of festivals such as Primavera Sound or the Pitchfork Music Festival in Chicago back in 2015, presenting their first self-titled LP after forming in 2013 when they were little more than teenagers. Fresh out of high school full of rage and desire to make music inspired by legendary artists such as Nirvana, PJ Harvey, Sunny Day Real Estate, Sleater-Kinney or Fugazi.

For Jazz and Leia, voice and guitar and bassist respectively, we do not know if they get the talent from the cradle that their father Ramón (The New Raemon alone and part of Madee and Ghouls’n’Ghosts) rocked when they were little girls, but What is clear is that both they and the guitarist Carla have music running through their veins and that their career has only just begun despite the fact that “The Avoider” It is nothing more and nothing less than their fifth LP and they have already traveled more of the world spreading their message than most people at their age.

With Oriol Font (Los Valientes) already settled on the drums in the place occupied by Antonio Postius (part of Madee’s last formation and now in Barg) and after the contribution of Víctor Pelusa (Anchord, Tano!) in “Self Woth” and some live performances, this new line-up brings back the freshness of powerful 90s rock dressed up with pop, punk and a millimetered “noise” through eleven new songs that make up “The Avoider”an album produced by Santi and Víctor García and published simultaneously by the Montgrí de Cala Vento and Cielos Estrellados labels, with which they made their debut after passing through the American label Captured Tracks and Subterfuge.

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“The Avoider” It has everything you could expect from a contemporary rock album: freshness, choruses, guitars and just the right immediacy to enjoy without feeling that you have eaten too many songs or that they have left you hungry. In thirty-two minutes, Mourn They stand out in unison between light and darkness, even adding trumpets in several songs that directly bring to mind The World Is A Beautiful Place & I Am No Longer Afraid To Die, American Football, Cap’n Jazz or Foxing and giving a touch orchestral and elegant to the whole.

The Catalans’ fifth reference is a perfect example that this is still their moment. Without giving up their origins and main influences, it is immediately recognized that they are them in both the most pop songs and “Could Be Friends” (first and only preview of the LP – it is appreciated to encourage a complete listen in the midst of the era of weekly singles galore-) or in the eighties-era yet crushing “The Avoider” (which he shares with “Wasted Day” a timid approach to more electronic sounds) as well as the powerful “Headache”, “Aftertaste” y “Scepter”in which the pop punk of the early 2000s also emerged.

Just as in “Truck Driver” y “At Midnight” They remind us of a PJ Harvey absorbed by emo, throughout the set of songs they transport us to different styles, including folk in “Heal Hill” (where they mix English and Spanish), relying on rock as a base and without losing its punch or essence at any time and condensing all its juice in this new device that seems to aim a little higher than its two previous references.

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We can say without fear that Mourn They are the present and we hope that they are part of the future of peninsular rock, the one that will be fondly remembered by the women of the future when they decide to pick up a guitar or pick up a microphone to make noise thanks to all those who previously paved a way, be they Mourn, Dover, Bala, Hinds, Belako, Ginebras, Sandré or Bones Of Minerva their mentors. Sex and identity are increasingly far from being an impediment or distinction in the industry, and all of them are “guilty” that this change is becoming a reality.

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