-=- SHGZ -=- * Shoegaze * Indie * Post-Rock * Grunge * Dream Pop * Psych-Rock * Ethereal * ARTIST..: Fin Del Mundo ALBUM...: Todo Va Hacia El Mar GENRE...: Indie STYLE...: Post Rock, Indie Rock, Dream Pop, Indie Rock, Shoegaze, Midwest Emo YEAR....: 2023 LABEL...: Spinda COUNTRY.: Argentina PLACE...: Buenos Aires, Ciudad Aut≤noma de Buenos Aires FORMED..: 12 June 2019 ENCODER.: LAME 3.100 -V0 BITRATE.: 268 kbps avg QUALITY.: 44.1kHz / Joint Stereo SOURCE..: CD TRACKS..: 8 SIZE....: 67.14 MB URL..: https://lasfindelmundo.wixsite.com/fin-del-mundo https://www.facebook.com/lasfindelmundo - TRACKLIST 1 La Noche 3:35 2 Las Flores 4:08 3 La Distancia 3:19 4 El Fin Del Mundo 5:25 5 Hacia Los Bosques 4:06 6 El Pr≤ximo Verano 4:31 7 Desvelo 4:36 8 El Incendio 5:10 Total Playtime: 34:50 Fin del Mundo was formed in 2019 in Buenos Aires (Argentina), with roots in Tierra del Fuego and Chubut in Southern Patagonia. Their exquisite mix of emotional post-rock, shoegaze, dream pop and indie rock has allowed them to position themselves as one of the most interesting bands on the Latin American independent music scene in a very short time. Their live session for the legendary US radio station KEXP reached 1 million views in just under 9 months. The band formed by Tita (drums), Juli (guitar), Yan (bass) and Lu (guitar, vocals) also toured Europe. * Vienen de conquistar Espa±a, sin tapujos ni medias tintas, confirmßndose como una de las apuestas mejor tiradas de los ·ltimos meses por el sector promotor de nuestro paφs. La publicaci≤n de su debut formal en larga duraci≤n (compuesto por la suma de sus dos EPs previos, que conforman ahora "Todo Va Hacia El Mar") les ha permitido cruzar el charco y clavar su albiceleste bandera en diferentes puntos de nuestra geografφa, demostrßndonos su talento y la fructφfera salud ya manifiesta de la siempre fΘrtil escena argentina. Las chicas de Fin del Mundo consagran asφ un inicio de carrera estelar, plagado de buenos presagios y momentos inolvidables, gracias a ocho estupendas canciones que plasman y cierran esta primera etapa del cuarteto, arrancada en un ya lejano 2019. Tomando su nombre del lugar de origen de una de sus componentes (Ushuaia, considerado el extremo austral de SudamΘrica y apodado como el "Fin del Mundo"), Julieta Heredia, Lucφa Masnatta, Julieta Limia y Yanina Silva han logrado hacerse fuertes en tiempo rΘcord dentro de esa suma de sonidos que nos lleva desde el shoegaze al post-rock, pasando por un dream-pop comedidamente agresivo y un post-punk mel≤dico y enso±ador que avanza sin prisa. Nos mecen pacientemente y con temple entre riffs contemplativos que huyen de la premura (a los dos minutos y medio de solo en "Las Flores" o a la breve pincelada de letra en canciones como "El fin del mundo" nos remitimos), para poco a poco hacernos partφcipes de su narrativa, vaporosa y suave, plagada de metßforas que aluden tanto a su entorno mßs cercano como a la inmensidad mßs colectiva ("Las luces se olvidaron de quien un dφa fui / Espero que pronto vuelvan hacia mφ", cantan entre aguaceros de seis cuerdas con sabor a noise). La voz de la ensayista bonaerense Alejandra Pizarnik se oscurece entre matices de belleza y decadencia gracias a la adaptaci≤n de uno de los poemas de su repertorio para "La Noche", el primer corte del LP y la sentencia de un tono melanc≤lico y l≤brego que se mantendrß sostenido a lo largo del resto del trabajo de las argentinas. Un sentir gΘlido, remarcado entre briznas de frφo y gui±os al sur de su paφs que, de un modo u otro, condicionan y precisan su particular invitaci≤n a que conectemos con su m·sica y nos sintamos parte de esa unidad a cuatro que les ha empujado a vivir el viaje de sus vidas ("La ciudad que dejamos extra±a nuestras manos y pide que nos volvamos a ver", cantan en "El Pr≤ximo Verano", dando paso a un tramo a coro que supone uno de los momentos mßs bellos y comunales del ßlbum). Aunque no serß hasta los versos de "El Incendio", el octavo y ·ltimo corte del disco, que las componentes de Fin del Mundo revelen (tras unos pegadizos acordes) el sentido mßs literal del tφtulo de su trabajo ("Me dejo llevar, si todo va hacia el mar") y el esperado mensaje que Θstas buscan reflejar con el mismo (apelando a un relajado sentir que desean contagiarnos, nuevamente de la mano de ese contraste entre dulzura tonal y contundencia instrumental que nos traslada del todo embriagados a la vera del mar). Es, ademßs, esa orilla la que nos recibe y nos despide respectivamente (de la mano de su portada, obra de ╙scar Mßlaga) la que envuelve un trabajo que re·ne con oportuna precisi≤n el diverso bagaje de sus ejecutoras y los implφcitos deseos de las mismas por conformar una propuesta con pretensiones de banda instrumental sin renunciar a otras f≤rmulas tan efectivas como congruentes (del radiante pop de "La Distancia" a la euforia contenida del "Desvelo"). A d≤nde pueda terminar llevßndoles esta marea solo lo saben ellas, pero el vaivΘn de las olas no podrφa haber arrancado mejor. * They have come from conquering Spain, without any concealment or half-measures, confirming themselves as one of the best bets of the last months by the promoter sector of our country. The release of their formal debut full-length (composed by the sum of their two previous EPs, which now make up "Todo Va Hacia El Mar") has allowed them to cross the pond and nail their albiceleste flag in different points of our geography, demonstrating their talent and the fruitful health already manifested in the always fertile Argentine scene. The girls of Fin del Mundo thus consecrate a stellar start to their career, full of good omens and unforgettable moments, thanks to eight great songs that capture and close this first stage of the quartet, started in an already distant 2019. Taking their name from the place of origin of one of their members (Ushuaia, considered the southernmost tip of South America and nicknamed the "End of the World"), Julieta Heredia, Lucφa Masnatta, Julieta Limia and Yanina Silva have managed to become strong in record time within that sum of sounds that takes us from shoegaze to post-rock, passing through a restrainedly aggressive dream-pop and a melodic and dreamy post-punk that moves forward without haste. They patiently and temperately rock us between contemplative riffs that flee from haste (we refer to the two and a half minutes of solo in "Las Flores" or the brief brushstroke of lyrics in songs like "El fin del mundo"), to gradually make us participants of their narrative, vaporous and soft, full of metaphors that allude both to their closest environment and to the most collective immensity ("Las luces se olvidaron de quien un dφa fui / Espero que pronto vuelvan hacia mφ", they sing between downpours of six strings with a noise flavor). The voice of Buenos Aires essayist Alejandra Pizarnik darkens between shades of beauty and decadence thanks to the adaptation of one of the poems of her repertoire for "La Noche", the first cut of the LP and the sentence of a melancholic and gloomy tone that will be sustained throughout the rest of the Argentinean band's work. An icy feeling, highlighted by shivers of cold and winks to the south of their country that, in one way or another, condition and specify their particular invitation to connect with their music and feel part of that unity of four that has pushed them to live the journey of their lives ("La ciudad que dejamos extra±a nuestras manos y pide que nos volvamos a ver", they sing in "El Pr≤ximo Verano", giving way to a chorus section that is one of the most beautiful and communal moments of the album). Although it will not be until the verses of "El Incendio", the eighth and last cut of the album, that the members of Fin del Mundo reveal (after some catchy chords) the most literal sense of the title of their work ("Me dejo llevar, si todo va hacia el mar") and the expected message that they seek to reflect with it (appealing to a relaxed feeling that they want to infect us, again from the hand of that contrast between tonal sweetness and instrumental forcefulness that transports us completely intoxicated to the shore of the sea). It is, in addition, that shore that welcomes and dismisses us respectively (of the hand of its cover, work of ╙scar Mßlaga) the one that wraps a work that reunites with opportune precision the diverse baggage of its executors and the implicit desires of the same ones to conform a proposal with pretensions of instrumental band without resigning to other formulas as effective as congruent (from the radiant pop of "La Distancia" to the contained euphoria of "Desvelo"). Where this tide may end up taking them only they know, but the swaying of the waves could not have started better. -=- SHGZ -=- -=-=-==-=-=- Shoegaze is a genre of alternative rock that originated in the late 80s. The genre is very difficult to define, and it is even more difficult to evaluate music within it. Generally, the genre is characterized by its shimmering vocals, reverberating guitars, and textural distortion that create a tranquil, opaque feeling. ---==--==---