No Me Conan The Tide

As if bellowing humanity’s final, defiant roar of unrestrained creative fervour, Euro-Amazonian five-piece, No Me Coman emerge from beneath a giant octopus to throw the musical flash bomb that is their second, scintillating album, The Tide.

Charged on pure artistic chemistry, the magic of happenstance and creeping political rage, No Me Coman’s streams meet in Winterthur, Switzerland, coalescing around the nucleic partnership of songwriters, the multi-instrumental, Colombian/Swiss artist, Jorge Oswald and his Argentinian counterpart, Leonardo Pedrocca. Seven tracks, three of those purposely fused to form a modern operatic triptych of heady surf rock, wild fuzz and jagged Krautrock, poured like an obviously dangerous, yet irresistible elixir from studio sessions that lasted just one, intense week.

Borderless and without boundaries, Oswald and Pedrocca welcomed the influence of Swiss-Argentinian, classical musician, Carolina Segui into the No Me Coman family, alongside one of Pedrocca’s oldest school friends, Argentinian drummer, Damian Lopez, who resides on the invisible line between Switzerland and France. Barcelona-based percussionist Francisco Pedrocca completes the line-up, tightening the bond between members through blood as Leonardo’s younger brother.

Described by the band themselves as “a void filled with Amazonian distortion, garage tales and soulful moments in between electronic spirals,” the band’s name, Spanish for ‘don’t eat me’ adopts apt resonance as listeners give themselves over to their barely-tamed, shape-shifting beast. Subversively activist, The Tide’s frequencies contain traces of dissent, with the album title and tracks such as The Waves Are Back wrapping up both the global climate emergency and the prevalent threat of right-wing ideologies in a soup of sounds, reminiscent of similarly free spirits, King Gizzard and The Lizard Wizard, Deerhoof and Oh Sees.