The best youth: L-KAN have given color to those interminable nights on the best techno-pop dance floors Madrid has to offer with albums like “Cosas Que Miden Poco” and “Discazo”. But the moment arrives to change direction, to open new doors, to try new things, and the irreverent immediacy turns into uncontainable restlessness. Luis and Belén (huge activists of the Madrid night-life, responsible for clubs like Ocho y Medio …
The best youth: L-KAN have given color to those interminable nights on the best techno-pop dance floors Madrid has to offer with albums like “Cosas Que Miden Poco” and “Discazo”. But the moment arrives to change direction, to open new doors, to try new things, and the irreverent immediacy turns into uncontainable restlessness. Luis and Belén (huge activists of the Madrid night-life, responsible for clubs like Ocho y Medio and Elástico) decide to form BLA (an L-KAN parallel project) to let loose all of those things that are going on in their heads, with music geared toward a more organic sound with slightly sharper lyrics. The first result of all this is “La Mejor Enfermedad”, an album that finds its two composers with much clearer ideas, with a new proposal in their hands, and with a highly uncommon ability with arrangements and melodies. From the fantasy of “Cómo Seremos” to the irreverence of “Los Ex-novios”, from the delicacy of “Yo Soy Como Portugal” to the introspection of “Mira Lo Que Se Oye Cuando Estamos Callados”. From the totally obvious reference to the dance floor in “Siempre Hay Una Más” to the perfectionist pop of “La Canción Que Nunca Llegó a Serlo”. Luis and Belén have brought us something refreshing, original, new, and above all fun, assimilating their inheritance of those who are most representative of Spanish-sung pop: LOS FRESONES REBELDES, ASTRUD, FAMILY, CARLOS BERLANGA, CHICO Y CHICA and more. Everyone will be talking about BLA and their great sickness.
