Oh, how we have been waiting for this moment. This is why the “New Adventures In Pop” collection was created. So that it could become a selection of delicious albums and, above all, to support the first steps of unique, special musicians and artists who sometimes even then became references in the music scene. PAPA TOPO, TRONCO, LISASINSON, CARIÑO, AXOLOTES MEXICANOS and AIKO EL GRUPO are just a few clear examples of this. And we are sure that MARINITA PRECARIA will be another example of this soon. Because Marina Gómez Marín has made one of those unique albums, where the musical calligraphy of our star stands out from the very first second – in the way she produces, in her voice, in her melodies and in her lyrics. “No Me Miréis” takes us to so many places, but in the end it reaches a clear, pristine goal: the most exciting pop possible, or sadness served in the shape of a sugar cube.
Wouldn’t Javier Aramburu and Iñaki Gametxogoikoetxea have just chosen “Tú Pa Qué” to lead a longed-for return of FAMILY? “Y cuando le duele canta / Y cuando llueve suena rotita su voz” (And when it hurts, she sings / And when it rains, her voice breaks). Candor, dreaminess, melancholy, delicateness. It’s all there. “Celosa” takes us to SINGLE and LE MANS at the same time. And the spirit of NOSOTRÄSH’s “Popemas” album lives in the metaphoric and bucolic darkness of “Una Montaña”. “Espatifilo” takes us straight from the title to our beloved VAINICA DOBLE: “Todo me dura tres días / Las ganas, la miel, la resaca homicida / Las flores del espatifilo con vida / La intención de hablarte, la habitación limpia /…/ Todo lo que hablo es mentira / Que no recuerdo haberte visto aquel día” (Everything lasts three days / Energy, honey, killer hangovers / The peace lily flowers / The intention to talk to you, a clean room /…/ Everything I say is a lie / I don’t remember seeing you that day). But at the same time songs like “Al Campo” make us think of those new voices who, from their bedrooms, make songs that connect the past and the present with great inspiration and even greater melodies, like rebe or Dani.
But what most makes MARINITA PRECARIA’s songs stand out from all those other references is the elegance, the humor, the sarcasm and the delicateness with which she submerges herself in negativity, fatalism and the tragic. On “Breve Momento De Voluntad” she says “Los pilares se desplazan de su eje / Y amenazan con colapso estructural / Yo, visto lo visto; callo, espero y miro / Tiene cierto encanto esta calamidad” (The pillars shift off their axes / And the structure threatens to collapse / I, with what I’ve seen, keep quiet, wait and see / This calamity has a certain charm) while that guitar makes us think of the luminous and unique album, “Entresemana”. And on the statement of intentions that is “Todos Tristes” she tosses out: “No me puedo quejar / Pero estamos todos tristes / Desde este otro lugar / No parece tan terrible / Hay un bosque donde juegan los camaleones al escondite” (I can’t complain / But we are all sad / From over here / It doesn’t seem so bad / There is a forest where the chameleons play hide and seek). Or that obtuse negation of death, that impossible dialogue that is “Letra De Niña”, full of dark humor, biblical references, apocalypses… It’s delicious.
Starting with the cover, moving to those lines on the back that explain that these songs came out of the most absolute idleness (that emptiness created by this pandemic), and to the acknowledgements “to everyone, I hope you are all happy”, it is all proof that “No Me Miréis” was born out of an emotional state that fills every note, and that sparkles with effervescence in the hands of a unique artist, whose name we will never be able to forget.
