Las Odio - Autoficción (2019)

Last February 2017 the Odio published their debut album Futuras Esposas by which they became known in Madrid's underground scene as the 4 girls riot grrrl (ou yeah!), Who did something with guitar, keyboard, bass and the voice hardly locatable in some musical genre. The critics and people who listened to them did not know how to define it, if that really matters more than to simplify and shape the product to facilitate its transmission. What they demanded with their critical lyrics and their carefree attitude went beyond music, but it was exhausted on the stage itself.

If anything, Las Odio is a rebellious and subversive presence and a direct hegemony where you really see who you are and what your natural environment is. Its message aims to destabilize and make protagonists of the scene to women, to the alternative, to the other, from self-publishing and conversation with the underground and the most independent music scene.

Well, two years later they came back with a new album: Autoficción. Mixed in the mine and produced by beast, a length of 26 minutes and 11 songs characterized by the description, portrait, satire and passive-aggressiveness. Maybe that's why the façade of the album responds to geometric abstraction, as an attempt to reduce a landscape to geometric shapes, or maybe it's only because they get along well with its creator Antia Van Weill.

The album is a musical outlining in some cases of whimsical will as in its subject I want it all; in others of the savage criticism as in I hate them! as in others, a 3D printer is referred to as a means by which to reproduce and perform what we think we need but only want. That is the album, the portrait of a landscape characterized by satirizing the most established and normal individual aspirations of popular culture and the mainstream. On the other hand, in Right to laziness there is a direct criticism of capitalism claiming laziness as a form of non-production and immobility, a criticism that on the other hand already establishes the group itself as its flag in its forms of production and distribution, if it is that this makes some sense

While lyrically maintains the irony of the first album, at the musical level there is something more order and refinement, even so, gives the feeling of having lost the energy they inspired and monotonous their listening to be only 26 minutes long composed throughout more than a year. They seem to have heard something from critics since the initial confusion has become more familiar sounds, which positions them in pop garage surfing with a psychedelic keyboard; resource that in spite of its little presence, gives enough identity to the group with that sound of detuned organ.

Finally, as a conclusion, I would say that what is important about Las Odio lies in its message and in its attitude, which is the only thing I remember when I finished listening to an album or watching them live, experts in creating slogans but musically, there is still a long way to go. The more the DIY continues to be fostered, the more independent and less conventional means of production and composition will evolve.