MOW: “Come as You Care,” “Grasiah”

Sorry for the hyperspeedy shove-in-your-face bombasticness but my jugular’s jolting with the ammo of four large cups of coffee and I’ve just got to tell you that…

Madrid’s 23-year-old MOW is crashing through the internationally acclaimed windshield with unforeseen fortitude.

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Picked up by EST 1989 indie queen label Subterfuge, MOW’s post-scene-kid, vengeful-Bjork aura is uniquely enticing. Her mere two track releases are host to a vast wealth techniques, showcasing technically savvy composition and an unconventional artistic vision. Although the two singles were written almost five years apart, 23-year-old frontwoman Gabriela Casero describes the them as sister tracks, similarly musing on teenage complications that have moseyed their way into her adult life. MOW’s voice depicts sweet soprano melodies through her cover art’s blood-stained smile, all substantiated under a starkly EDM foundation and yet dismaler tales of destructive relationships. The melodies themselves paint a sort of impending doom, a calm before the storm where desperately schizophrenic cries trickle through an uncannily calm rhythmic improvisation, in “Come as You Care”’s “anyone can save me now anyone…” repeated outro. Yet, MOW’s haunting trust-impaired vocals are as suited for problematic bedrooms as they are for DJ mixes; her deliciously off-putting melodic structures are underscored by rich EDM organs, pingy synth lines, and of course, whipping drum and bass.

tl;dr, MOW is an enigma. Her music is like that dodgy fling injected with the thrill of the chase, by not knowing what’s to come or how it got there in the first place… you were drawn in by the striking obscurity, by the alluring sweet-naughty simultaneity, yet suddenly you realize you’re sucked in for good by a certain warm familiarity of poppy three-chord changes, of sad-boy indie guitar noodles, of kitschy coo click tracks.

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