Behind the onomatopoeia of its own name, Jejeje hides a conceptual eloquence that makes the minimalism of its music shine, with the unique and playful insight with which the Berlin trio stitches together each of its songs. Now, with a split tape with Nunofyrbeeswax released in 2021, as well as a generous string of concerts since their formation in 2020, Jejeje are finally releasing their first album, entitled «Ambivalencia artificial».
Recorded and mixed with José A. López at La caterva, in «Ambivalencia artificial» Zutoia Ríos (Muerte y destrucción, El relevo alemán), Jordi Tost (Parmesano, Nunofyrbeeswax) and Itacate (Roto) articulate their own language with which they constrain the possibilities of post-punk, thanks to subtly monolithic —even cutting—math-max metrics over which they weave elusive melodies that reveal their sensitivity to the anti-ornamental, as well as a discursive conciseness that becomes poetic. In this way, the album proposes a recalibration (both individual and collective) in the face of the phenomenon of contemporary social uniformity: That is, in the face of the loss of ambiguity and diversity in times of artificial intelligence, in the face of the reproduction of mainstream visionaries, in the face of social acceleration, in the face of reduction to labels and in the face of polished aesthetics; their music is a plea for friction, irritation and ambivalence as levers for imagination, diversity and the alternative.
«Evitacionismo» opens the album with a fear of confrontation, complacency and self-deception, while «Ser» is all confusion, flight from certainty and denial. «Hablar con la pared» refers to manipulation and questioning reality, as well as the consequences of gaslighting, leading us to «Solas en casa». A key song in the repertoire, it deals with reunion, recalibration and reflects on identity. «Patético» confronts order with chaos and method with intuition, before embarking on a journey between Lanzarote and Fuerteventura with people trapped in their screens and «Peces voladores» around them. Then the B-side begins with «Miedo» (fear of unlearning and redefining our liberation), before addressing migrant uprooting in «Copa triangula». For, as «Televisor» says, the medium is indeed the message and, as such, «Rayos X» defines the thresholds of uncertainty over which control is imposed. We reach the end and, faced with fragility as a constant -from the first note of the album- «Socorrista» closes «Ambivalencia artificial» with a call for care and dependence, for solidarity.
