The previous singles have raised our expectations through the roof. Songs like “Romancero Propio”, “San Peter”, “Baby”, “No Soy Un XoXo” and “Pogo En Casa”, have given us an advance look at something great, crazy, unbiased, overflowing with attitude, with fantastic songs. And here it is, finally – “No hay un Dios”. With a gatefold cover and a yellow vinyl (did anyone else think “Wizard Of Oz” or “The Neverending Story”? The eighties, illustrated?), designed, just like their previous singles, by Laurel Cala, and with the indispensable production work of Vau Boy. The new PIPIOLAS album makes it clear that what they are doing transcends the musical: coming from purely artistic studies and passions, their songs draw from multiple disciplines, with a special dramatic and esthetic richness, as well as emotional and spiritual. Don’t be fooled; this is also full of impertinence, partying, spite, rage, energy, joy and so much excitement. Because if there is no God, we have to have something to live for.

They work with eclecticism, the understanding that richness comes from diversity, that there are thousands of horizons to explore, and that we can find happiness in all of them. Because the punk hedonism of “Pogo En Casa” radically contrasts with the transcendental epicness of “Cuando Me Muera”. An ultrasensitive elegance resides in “Semana Del Mono”, but it quickly transforms into disbelief, sarcasm, reproaches, and synth-pop. “Bailas o Qué?” goes from eurodisco to fifties R’n’B and shows us how important and significant dancing is for Paula and Adriana. “Canción De Amor Para Ti” has some of the ambient epicness of shoegaze, with a powerful base and lysergic flows, and those lyrics that dress up the melancholy and give us goosebumps. “Albanta” is a music box melody, a deconstructed, playful siren song that takes Luis Eduardo Aute’s song to another dimension. “Pero Pero Pero” positions them as a force in positive energy, vitality, wiping out toxicity to the beat of the synthesizer, somewhere between the italo-Moroderian and the melodies of MECANO. Their friends LAS GINEBRAS couldn’t not participate on the album, and they get to work lifting “Todas Las Horas” to new heights, with clean guitar strokes, turning it into an exciting exercise in dynamism, distortion and pop spirit. And to close what that “Preludio” opened full of groove in collaboration with Vau Boy, “No hay un Dios”, with vocoders that get this under-two-minute tour de force started, explosive, and that ends with house and glitchcore, and marvelous lyrics that should be on display in a museum. We can’t limit ourselves to just a couple of lines to highlight; you can see them all in the inside of that beautiful foldout album.

We have no doubt that, with the amount of creativity that comes from Paula and Adriana every second, with the imagination and energy that oozes out of every pore on their body, we are looking at artists with a huge trajectory ahead of them. They are already working with a musical language all their own that is mature and fresh and tremendously fun. And they already have a handful of solid hits in their repertoire. Huge. Enormous. And eternally young. Forever PIPIOLAS.

No hay un Dios

Canción De Amor Para Ti

Bailas o Qué?

Semana Del Mono

Cuando Me Muera

Preludio (Feat. Vau Boy)

La Niña Bonita

La Niña Bonita (Feat. Rigoberta Bandini)

Llorarme

Llorarme (Feat. Kiko Veneno)

PIPIOLAS is a duo with two radically charismatic people. But even more important is their overwhelmingly artistic spirit. They have that “certain something” that makes them stand out from the crowd. They are what makes them special.

Their sound moves from bedroom pop to house, then suddenly to techno-pop, and then another quick change and you’re rubbing elbows with punk-pop, after a few epic turns. It sounds amazing.

Cuando Me Muera

Pipiolas

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