Year : 2011
Genre : Punk Metal
Label : Independent
Origin : Mexico
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Superscarce are the number of things that can validly claim that they are sexier than a female metal group, - a kickass female metal group would be an example - and Mystica Girls doubtless have a set of immediate zuppaweapons I currently am aware of which with to stick to that position with prestige intact. One is the band's great bassist, and the second is the tits of the lead guitarist. TUKK! Yes, I'm sorry for having to say this, and yes, sexism is immature and kind of repulsive in a review. While you comfily despise me, check a live performance video out right away from these Mexican chicks : in this Metallica cover, the fronter Mystica Girl brings the charisma and freshness of an ancient gym towel, and, to solidify my claim, I'd like to draw your attention to segment 1:36 to 1:41 of the video I just linked. Yeah, the bassist is pulsating and her playing is tight, but I dare you to listen to the singer. "Seek and des- troeeeeeeJJ!! - HA. HAAAA."
Credit must be given where credit is due, nevertheless : the drummer seems to have promise, as she is powerful and relentless behind the covert ops sunglasses, and the bassist simply is great, in my opinion. She reminds me of a female Peter Steele, and her playing is absolutely adept, well articulated and serious. She plays that fucking bass like she MEANS it. The lead guitarist seems to be solid, too : I watched another footage of a live performance in which she delivers an acceptable variant on the Symphony of Destruction solo, and a woman who can do that enjoys/suffers my instant fanboyism. Read more to find out more about this Mexican female metal group Mystica Girls' latest studio outing.
Opening track "My Dinner" is an interesting testament of how punk and goth can work together if to summon the vibe of detective cartoon music, - the verse reeks Inspector Gadget and Michael Flatley, Oh. My. Fucking. God. - and the only element I personally think the track would look better without, are the folkish overtones, - violins and related Leprechaun music - but those are not too prominent, fortunately. The guitar solo herein demands separate mentioning. It greatly reminds me of the solo language of cosmic level shredder Michael Angelo Batio. So, I do not know if the Mystica Girls guitarist gal played this solo into an armed microphone no prob, OR constructed it segment by segment, but the point is that the solo work is truly relevant in this song.
In second track, "Rabia", the bassist chick is super-present, and the guitars/drums produce a truly efficient rebellious rumble with the cyber-organic deep under them. The song sports a freely positioned verse structure with some superb points it decides to emphasize rhythmically, giving you a charismatic result similar to a bonfire song that just decided to wage a war instead. The lead singer is quite natural and efficient here, and an organic, paradox connection is formed between her distant-but-elegant melodies and the punkish rumble the instruments compliment those as. The chorus sounds to me like a folk song with beauty and soul in it, and you can always feel free to give GyZ something with beauty and soul in it, THIS chorus included.
Third delivery, "Mi Sangre" is thrashy like a truck with no driver, and the initial intensity has no problem finding a groove with a huge hook on it in the mid-section. This sonic entity is muscular enough to carry the chorus on its elegant back, then, the aforementioned intensity kicks back in in its original form, looking as badass as ever. A nice instrumental break with a lyrical tint takes your awareness to a deceitful stroll, interrupted by an intense comeback highlighted by the bassist chick's crazy-ass-, adept bass runs.
Next track, "Metal Rose", is the titular delivery of this record, and it is the epitome of the likable song, because it commits so sharply defined "pseudo-mistakes" that you have to pull this baby to your chest to defend it from all ill will. This song proudly and prominently uses the megalithic abusement-rhyme pair "fire" and "desire" in the connotation of a chorus with stupendous cheese factor, but, (cluster) fuck, you can't help but eat in it, because the Mystica Girls serve it with so much full-of-life feminine charm that it gives you no other choice than to submit. Here is the video for the song. The intro section kicks all kinds of monolith butts in my opinion, with the sitting bass etc. Don't be a jerk(off) - fucking creep - and watch the whole thing before amending your initial impression.
"Tortura", following a deceitful intro, unleashes a steady groove on you with a thrash attitude. This nice rumble decides to wander about in the verse section, and the singing on top of it imbues a taming quality on the fury under its - metaphoric - feet. At 2:00, things heat up considerably, as the build takes on punk characteristics for a while with furious tempo, then, you find yourself in an instrumental break, highlighted by tight-, wankery-free solo work from the guitarist girl.
Diluvio starts out like a soundtrack of the first Doom game, only, now with analog instruments. The song has a raging quality and sounds to occupy the emotional position of a good old fashioned rant. My "sentimento". The lyrics in this song are in Spanish. The ending of the song, with the singer belting out a bravely sized testament of a healthy set of lungs, is a perfect conclusion to this charming release.
Mexican Mystica Girls' latest studio delivery is risk-free, likable metal music with a feminine realness and a charismatic punk temper to it. It is free of-, and reigns way beyond the metalcorish suffering narrative, and emerges as a delivery more close at heart to the direction represented by this record of similar character. Mystica Girls is honest, hefty metal music and unalloyed sex appeal, and I'm sure as hell want them to play in my room, and you want them to, too.
Rating : 7.0 / 10
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