“The Doublethink is an album with a thousand faces. The epistolary conjunction in the distance of two of the most original and talented musicians on the Madrid underground scene: Julen Palacios and Kim Warsen has resulted in an album in which at no point do we find what we might expect.
The cohesion and coherence of this album lies precisely in its chaos, in the difference between songs. Tracks in which Kim’s voice is travesties as different characters: from the old woman with a limp in “She is on the radio” to a sinister, not-so-secret agent “No so secret agent man” passing through the brilliant registers to which this brilliant singer has accustomed us. Or the guitars of Julen Palacios, raised in the school of The Residents or Pere Ubu, who in this album takes his sound to an extreme that has no reference, full of genius and genuine, personal and original.
All this is reflected in the always ironic apparent darkness of songs like “El redentor” or “Parachute man”, the conscious, almost lullaby-like light of “When you pull a gun”. Between these two extremes we find songs that stick and make us hum with a smile all day long, hits to dance alone (“She is on the radio”) and a certain rage, not to say criticism, which is logical because let’s remember that the second part of the album was made with both authors confined to their respective countries at two ends of the world.
Titles like “Se te ve el requeté” or “No so secret agent man” explain this not taking oneself too seriously, which is a pleasant note of the house at a time when smug gravity pervades almost everything. But this distant humour does not mean that important things are not being told. Quite the contrary. The messages are blunt and intelligent.
The Doublethink is an album that you love at first listen. That you listen twice for pleasure, not because you aren’t able to assimilate it. An album full of surprises, literally, made to get out of lethargy and which makes you want to smile and transgress and go out into the street to kiss and hug strangers tightly”.
Sil Ggrijalba, 2021