Celia Spellman has been shelling out, piece by piece, the contents of what is going to be her first release under the name NENAS, while managing to maintain that delicate mystery of her identity, which is actually a part of her musical discourse. Somewhere between chiptune and bubblegum, and closely in line with PUTOCHINOMARICÓN, we have been enjoying her spiteful perspective of the night on “Fuckboys”, bet…
Celia Spellman has been shelling out, piece by piece, the contents of what is going to be her first release under the name NENAS, while managing to maintain that delicate mystery of her identity, which is actually a part of her musical discourse. Somewhere between chiptune and bubblegum, and closely in line with PUTOCHINOMARICÓN, we have been enjoying her spiteful perspective of the night on “Fuckboys”, between clicks and pops, delicate rhythms and melodies that go straight to your toes; we have danced like crazy to that impossible love story that is “xfa”, somewhere between loneliness, shyness and madness; and we have exploded with that exercise in surrealism overflowing with cynicism that we got on “Nuevos Heteros”, with that chorus that is an anthem in and of itself: “Los nuevos heteros / Ya no van de duros / Sólo quieren ser modernos” (The new heteros / Don’t try to be tough anymore / They just want to be hipsters).
But we still had “Último Perdón” left to discover. It’s an unleashed digicore song with the collaboration of Míriam LABORDE (LISASINSON), who continues growing her surprising roster of collaborations. This is another song that builds a multifaceted universe, that plays with religious references, guilty pleasures and sex, an open, direct provocation, that is meant to be enjoyed in the mosh pit. In the end, the EP’s title, “Diario Secreto”, gives us a lot of clues about NENA’s first step with Elefant Records. Four songs that make up a very special musical proposal that is unique and hard to define, full of sharp edges, irreverent, imaginative and danceable. What more can you ask for?
