Fuck Brooklyn, Fuck Her, or the Terrorists Win
Delhotel Records, Mexico
Rating: 77
By Carlos Reyes
Unabashed electropop that sounds like rock; it’s the latest well-heeled step forward from Monterrey’s Fuck Her, or the Terrorists. The duo comprised by Roberto Polo (Mr. Racoon) and Roger Camara (Bul) finds two of Mexico’s most interesting personas working together. They have so many bands under their arms, but this sure seems like one of their dearest projects; in fact, we could call it a superband, one that’s miles better than the underwhelming and utterly awful all-star projects such as Los Odio and Los Concorde. Fuck Brooklyn is the duo’s second EP that follows their impressive self-titled debut. While the record doesn’t provide an immediate anthem (and anti-anthem) as spirited as “Hipsters,” the new EP is full of awe-inspiring tracks that are as interesting as the band’s name.
Nothing more anthem-striking than to name a song after you, the opening track “Fuck Her, Or The Terrorists Win” is a nice introduction to their melodic flair and vocal juxtaposition, in addition of having one of the best lines in a song this year “you know that payback is a bitch, you better fuck her, or the terrorists win.” The duo features guest vocals from Baby Vargas in a couple of tracks, most notably in “Bounce Back”, where her bubbly intervention twists the electro piece into something closer to hip hop, resembling to last year’s We Come In Piece by d3NdRON. “Circumstance” rumbles in circles, perhaps a bit too obvious at times, but pushes its condition forward with weird, but efficient lyrical styling.
I argue FHOTTW sounds like a rock band, mostly because I find Rock to be complicated and contradictory; although this album is not the hardest thing to digest, my pop sensibilities struggle to recognize and allocate much of their bytes. Nonetheless, these guys bring the house down in something like “Hummback”, the catchiest song here where they prove to be in absolute control of timing and speed. Perhaps the best track in the album comes with the magnificent closing track “Heaventaken”; its structure is anything but nonlinear and yet so cohesive and surprising, it’s the minute where each part really exceed their talent.
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