Le Mans


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Grimsey Records gives us a double album release by the Spanish quintet Le Mans. The first half of this release, self-titled Le Mans, is fun pop music. These songs have wonderful melodies that also create a sweet, funky feel, maybe a cross between Tiger Trap, Go Sailor, and the Sundays. Le Mans have guitars that comp, basslines with simple grooves, drums that accent on the right spot with congas, and keyboards that sprinkle on top of everything like a Casio demonstration song. What sets this group apart from others are the vocals of Teresa Iturrioz. Her casual, off-the-cuff delivery gives all of the songs a sadness. The listener may be in on the recording session when the vocalist may be having a bad day. This element definitely adds to the record. Le Mans offer up music in the pop vein, combining late-'60s psychedelic pop and '90s guitar pop. Even if you do not know Spanish, these tunes are singalongs; you will make up your own words. "H.E.L.L.O." is a standout song on the first half of this album. It is a dramatic dialog between male and female, guest vocalist Borja Sanchez and Teresa Iturrioz. "H.E.L.L.O." has a slightly different feel, late '70s perhaps, than the rest of Le Mans' songs, but works with their other tunes. Entresemana is definitely more produced than the self-titled counterpart. This record has an airy, spacey, shoegazer feel. The female vocals are less lackadaisical and wispier. Strings weave in and out of the jangly guitars. Entresemana has a K Records sound. "Mejor Dormir" haunts the listener with guitar plucking a lullaby, while Iturrioz whispers lyrics in your ear. The last song, "Perezosa y Tonta," is a wonderful closer. Le Mans sound as if they have been listening to Nick Drake. Le Mans has presented a delightfully fun record, but one cannot leave this album without a twinge of sadness.

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