When I discovered that Barcelona quartet Mujeres (Women) was actually formed by four men, I immediately thought of Girls, initially a male duo. The comparisons with the San Francisco band stop there though, since sonically the two bands are worlds apart (and not just because they’re from different continents).
The four-piece, comprised of Yago Alcover and Martí Gallén (guitars and vocals), Martín Gutierrez (bass and howls, according to their Facebook info) and Pol Rodellar (bass and balls – seriously, I’m just translating), met in college while studying film and decided to keep in touch after graduating by forming a rock band. The rest, as they say, “is unimportant”.
As I listened through their self-titled debut album, released in 2009, I immediately thought of Atlanta band Black Lips, as both bands make filthy garage rock and have a don’t-give-a-damn attitude with regards to much else. They’re the typical band that wants you to like them for their music, not sweetening their persona up in order to gain a larger appeal. Lead vocalist Yago Alcover even admitted in an interview hating The Beatles (gasp!), citing “A Day in the Life” as a song that he hates loving.
Clocking in at just 27 minutes, with no songs over the 3-minute mark, “Mujeres” (the album) goes by incredibly fast, but will only be enjoyed by those looking for a rough ride. The record can be perfectly summed up in the first 15 seconds of the opening track “Blood Meridian”, which at first features a clean guitar riff, and is then backed by a heavy distorted guitar and some howling (I guess Gutierrez is really doing his part) that really bring the energy that is maintained throughout the first half, until “Right On”, the sixth number, slows things down for just a bit, allowing the listener to catch their breath briefly, before hitting hard with another six relentless songs.
But Mujeres aren’t just about making a racket (something they’re damn good at). Buried under the noise, distortion and lo-fi production are hooks, with jangly guitars in abundance, one of my favorite moments comes in “Oh My!”, and choruses such as the one in “L.A.”. “Wanna Boom” serves as a good closer, summing up the band’s sound nicely, presenting maybe a cleaner version of what the band is capable of, backup vocals included.
The four-piece is getting ready to head into the studio to record their sophomore effort, which is expected in February. We’ll have to see if the band clean up their act, à la “Good Bad Not Evil” or if they prefer to go down a dirtier path. I, for one, will be intrigued to hear the final result.
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