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Ya no te buscaré

Mercutio Leaves Early tells the story of the one character in Romeo and Juliet who understands the system — and leaves before it finishes him.

This is not a love story.
It’s an album about wit as a survival technology, and what happens when irony exits a world that can no longer tolerate play.

The first half moves fast: language as armour, jokes as evasive manoeuvres, intelligence alive in the room. Mercutio mocks destiny, dismantles romance, and treats seriousness as a dangerous affectation. Then he dies — abruptly, accidentally, without ceremony.

The second half unfolds in his absence. Words remain, but their timing is gone. Love becomes earnest and therefore lethal. Conviction accelerates into action. Blame widens from individuals to systems. By the end, what’s left isn’t grief, but a quieter, colder truth: when the smartest voice leaves early, the world doesn’t mourn — it simply hardens.

Musically, the album begins with witty, kinetic pop and drifts steadily into minimal, distant electronic spaces, mirroring the loss of humour, flexibility, and human margin. It ends not with closure, but with silence — the sound of a room after the intelligence that made it bearable has gone.

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Son Mieux

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