uvilov

Our video "Las reinas no pueden escoger lo que su corazón quiere" is on the Top 12 Best videos of 2011 from the most popular latin american blog Club Fonograma - Club Fonograma

Our video "Las reinas no pueden escoger lo que su corazón quiere" is on the Top 12 Best videos of 2011 from the most popular latin american blog Club Fonograma - Club Fonograma

Videopoem Contributions: the group UVILOV (Elizabeth Onofre, Onofre Javier and Santiago de Vela).
- MMOMA site

Videopoem Contributions: the group UVILOV (Elizabeth Onofre, Onofre Javier and Santiago de Vela).
- MMOMA site

On their new release Caligari EP, Monterrey’s dreampop quartet Uvi.Lov fully submerges into the conceptual panorama of Robert Wiene’s The Cabinet of Dr. Caligari. Last year, the band live scored the German expressionist horror classic and they’ve captured the wonderful experience on their new album. The video for their single “Las Reinas No Pueden Escoger Lo Que Su Corazón Quiere” is sinister, perverse and quite frightening. Shot on a very cold and highly contrasted black&white, the clip keeps the isolated corners and dark fringes of the silent film era. We get very little gestures on who these characters are, or what they're doing, but if we were to follow the concept of the EP, I would say the three characters in the video are somnambulists lost on their unconsciousness. Caligari is now available for open download via Belafonte Melodias.
- Club fonograma

On their new release Caligari EP, Monterrey’s dreampop quartet Uvi.Lov fully submerges into the conceptual panorama of Robert Wiene’s The Cabinet of Dr. Caligari. Last year, the band live scored the German expressionist horror classic and they’ve captured the wonderful experience on their new album. The video for their single “Las Reinas No Pueden Escoger Lo Que Su Corazón Quiere” is sinister, perverse and quite frightening. Shot on a very cold and highly contrasted black&white, the clip keeps the isolated corners and dark fringes of the silent film era. We get very little gestures on who these characters are, or what they're doing, but if we were to follow the concept of the EP, I would say the three characters in the video are somnambulists lost on their unconsciousness. Caligari is now available for open download via Belafonte Melodias.
- Club fonograma

When friends Javo Onofre and Santiago Vela first shot loops from a drum machine and played around with a number of instruments, they considered it a musical experiment. That is, until they realized that the project was much larger than a hobby. They added Javo's sister Laiza to the mix and began to churn out ethereal dream pop from their Monterrey, Mexico, hometown by the name Uvi.lov. The group has performed at local festivals including Festival Normal and Mediaarte, sharing the stage with indie acts such as Apparat, Señor Coconut and Mouse on Mars. Spinner spoke with the members of the band -- who recently added a new bassist by the name of Adrian -- about their brand of music, Vela's made-up language of three -letter words and their SXSW debut.

Describe your sound in your own words.

Javo Onofre: Well, we call it dream pop: It's like eclectic pop. The new songs havea little dance-floor fusion to them.

Santiago Vela: The sound, it's pop but a little ambient and punk rock – it's more likely dream pop – kind of similar to M83 and Of Montreal.

How did your band form?

JN: We started rehearsing, like, as a hobby about five years ago, Santiago and I were having fun with the drum machine; it was more like an experiment. The songs were taking their shape and we decided it could be a serious project. My sister came along and that is the start of Uvi.lov. It was the summer of 2005. And now we also have our bassist Adrian.

We had a year off studying and getting our master's degrees, and now we are back and ready to play. We are playing at this festival in Monterrey called Normal Festival tomorrow.

What are your musical influences?

SV: we all have common influences the basics are Radiohead, Björk, Sigur Rós. My personal influence is John Cage -- he's my favorite musician.

Laiza Onofre: I like a lot of folk music like Jose Gonzalez and Daniel Johnston, and then the Eels, Bon Iver.

JO: Straight pop music: Of Montreal, the xx, Phoenix and with new music, JJ No 2.

How did you come up with your band name?

JO: It was Santiago's idea -- it is of a new language -- he invented the language and it consists of three-letter words. In terms of meaning, it is something like "Naive love."

Have you been to SXSW, and what's in your festival survival kit?

JO: It is our first time, we have been applying since 2008 and this is the first time we were invited to be there. We don't even have a place to stay right now; we are still in a lot of drama right now. No, there's always a nice, cool vibe, seems like everyone is very ... drunk.

LO: I'm bringing my teddy bear, Cosme!

JO: I just like to have fun and let the music flow.

Who was your first celeb crush?

LO: I'm really into that guy from the Eels [Mark Oliver Everett].

SV: Kim Basinger.

JO: I don't remember ... Susan Sarandon.We had a year off studying and getting our master's degrees, and now we are back and ready to play. We are playing at this festival in Monterrey called Normal Festival tomorrow.

What are your musical influences?

SV: we all have common influences the basics are Radiohead, Björk, Sigur Rós. My personal influence is John Cage -- he's my favorite musician.

Laiza Onofre: I like a lot of folk music like Jose Gonzalez and Daniel Johnston, and then the Eels, Bon Iver.

JO: Straight pop music: Of Montreal, the xx, Phoenix and with new music, JJ No 2.

How did you come up with your band name?

JO: It was Santiago's idea -- it is of a new language -- he invented the language and it consists of three-letter words. In terms of meaning, it is something like "Naive love."

Have you been to SXSW, and what's in your festival survival kit?

JO: It is our first time, we have been applying since 2008 and this is the first time we were invited to be there. We don't even have a place to stay right now; we are still in a lot of drama right now. No, there's always a nice, cool vibe, seems like everyone is very ... drunk.

LO: I'm bringing my teddy bear, Cosme!

JO: I just like to have fun and let the music flow.

Who was your first celeb crush?

LO: I'm really into that guy from the Eels [Mark Oliver Everett].

SV: Kim Basinger.

JO: I don't remember ... Susan Sarandon.


What's your musical guilty pleasure?

SV: Lots of Latin music, Tropical Panama, Robbie Williams, Selena y los Dinos.

LO: Spice Girls, Selena y los Dinos.

JO: a lot of metal: I used to listen to gothic metal and then Metallica, Megadeth, Tool.

Beatles or Stones?

SV: Beatles, totally, just because. The first band I played in was very the Beatles. I have a crush with Beatles, the band that makes me happy.

JO: He has a crush on Ringo.

SV: No, the Stones were always the straight rock 'n' roll. The Stones sound exactly the same now as they did back then.

What's the craziest thing you've seen or experienced while on tour?

JO: They were playing this song [of ours] a lot called 'Cuack!!!' on [New Jersey freeform ra - Spinner

When friends Javo Onofre and Santiago Vela first shot loops from a drum machine and played around with a number of instruments, they considered it a musical experiment. That is, until they realized that the project was much larger than a hobby. They added Javo's sister Laiza to the mix and began to churn out ethereal dream pop from their Monterrey, Mexico, hometown by the name Uvi.lov. The group has performed at local festivals including Festival Normal and Mediaarte, sharing the stage with indie acts such as Apparat, Señor Coconut and Mouse on Mars. Spinner spoke with the members of the band -- who recently added a new bassist by the name of Adrian -- about their brand of music, Vela's made-up language of three -letter words and their SXSW debut.

Describe your sound in your own words.

Javo Onofre: Well, we call it dream pop: It's like eclectic pop. The new songs havea little dance-floor fusion to them.

Santiago Vela: The sound, it's pop but a little ambient and punk rock – it's more likely dream pop – kind of similar to M83 and Of Montreal.

How did your band form?

JN: We started rehearsing, like, as a hobby about five years ago, Santiago and I were having fun with the drum machine; it was more like an experiment. The songs were taking their shape and we decided it could be a serious project. My sister came along and that is the start of Uvi.lov. It was the summer of 2005. And now we also have our bassist Adrian.

We had a year off studying and getting our master's degrees, and now we are back and ready to play. We are playing at this festival in Monterrey called Normal Festival tomorrow.

What are your musical influences?

SV: we all have common influences the basics are Radiohead, Björk, Sigur Rós. My personal influence is John Cage -- he's my favorite musician.

Laiza Onofre: I like a lot of folk music like Jose Gonzalez and Daniel Johnston, and then the Eels, Bon Iver.

JO: Straight pop music: Of Montreal, the xx, Phoenix and with new music, JJ No 2.

How did you come up with your band name?

JO: It was Santiago's idea -- it is of a new language -- he invented the language and it consists of three-letter words. In terms of meaning, it is something like "Naive love."

Have you been to SXSW, and what's in your festival survival kit?

JO: It is our first time, we have been applying since 2008 and this is the first time we were invited to be there. We don't even have a place to stay right now; we are still in a lot of drama right now. No, there's always a nice, cool vibe, seems like everyone is very ... drunk.

LO: I'm bringing my teddy bear, Cosme!

JO: I just like to have fun and let the music flow.

Who was your first celeb crush?

LO: I'm really into that guy from the Eels [Mark Oliver Everett].

SV: Kim Basinger.

JO: I don't remember ... Susan Sarandon.We had a year off studying and getting our master's degrees, and now we are back and ready to play. We are playing at this festival in Monterrey called Normal Festival tomorrow.

What are your musical influences?

SV: we all have common influences the basics are Radiohead, Björk, Sigur Rós. My personal influence is John Cage -- he's my favorite musician.

Laiza Onofre: I like a lot of folk music like Jose Gonzalez and Daniel Johnston, and then the Eels, Bon Iver.

JO: Straight pop music: Of Montreal, the xx, Phoenix and with new music, JJ No 2.

How did you come up with your band name?

JO: It was Santiago's idea -- it is of a new language -- he invented the language and it consists of three-letter words. In terms of meaning, it is something like "Naive love."

Have you been to SXSW, and what's in your festival survival kit?

JO: It is our first time, we have been applying since 2008 and this is the first time we were invited to be there. We don't even have a place to stay right now; we are still in a lot of drama right now. No, there's always a nice, cool vibe, seems like everyone is very ... drunk.

LO: I'm bringing my teddy bear, Cosme!

JO: I just like to have fun and let the music flow.

Who was your first celeb crush?

LO: I'm really into that guy from the Eels [Mark Oliver Everett].

SV: Kim Basinger.

JO: I don't remember ... Susan Sarandon.


What's your musical guilty pleasure?

SV: Lots of Latin music, Tropical Panama, Robbie Williams, Selena y los Dinos.

LO: Spice Girls, Selena y los Dinos.

JO: a lot of metal: I used to listen to gothic metal and then Metallica, Megadeth, Tool.

Beatles or Stones?

SV: Beatles, totally, just because. The first band I played in was very the Beatles. I have a crush with Beatles, the band that makes me happy.

JO: He has a crush on Ringo.

SV: No, the Stones were always the straight rock 'n' roll. The Stones sound exactly the same now as they did back then.

What's the craziest thing you've seen or experienced while on tour?

JO: They were playing this song [of ours] a lot called 'Cuack!!!' on [New Jersey freeform ra - Spinner

Since then, the band has won many small victories appearing at festivals, magazines and cultural events in Mexico and abroad, sharing the stage with bands like Mr. Coconut, Apparat, Mouse on Mars or Takagi Masakatsu among others.

Currently, and after having released four EP s, are writing their first LP records under the label molecule (DF) and Socsub (DF) to be launched in 2011. Have important contributions from Latin American artists and Lido Pimienta (Colombia) and Fakuta (Chile), among others, plus a short tour of summer festivals in Spain and France.

Among his many works, the band successfully musicalized the film The Cabinet of Dr. Caligari Cineteca presenting in Nuevo León in mid-November 2010 and which also aims to present in various Mexican and international cultural festivals in 2011.

Here you have two songs from his new EP 'Caligari' inspired by the German film. - Revista Plástica

Since then, the band has won many small victories appearing at festivals, magazines and cultural events in Mexico and abroad, sharing the stage with bands like Mr. Coconut, Apparat, Mouse on Mars or Takagi Masakatsu among others.

Currently, and after having released four EP s, are writing their first LP records under the label molecule (DF) and Socsub (DF) to be launched in 2011. Have important contributions from Latin American artists and Lido Pimienta (Colombia) and Fakuta (Chile), among others, plus a short tour of summer festivals in Spain and France.

Among his many works, the band successfully musicalized the film The Cabinet of Dr. Caligari Cineteca presenting in Nuevo León in mid-November 2010 and which also aims to present in various Mexican and international cultural festivals in 2011.

Here you have two songs from his new EP 'Caligari' inspired by the German film. - Revista Plástica

"Do not be upset that some comrades
do not believe in great future of space exploration.
And I, behold, believe it! Deeply and firmly believe it! "

From April 14 to May 9 in Moscow Museum of Modern Art (MMSI) with the support of the Embassy of Mexico in the Russian Federation and the National Council of Mexican Art and Culture will host the exhibition "Hello Gagarin: popularity is irreparable. " The idea of ??the exhibition lies at the intersection of art and poetry, reality and myth, everyday life and stories with great characters, Mexican and Russian traditions. Image Gagarin snagged some important string of artists - people that grew out of traditional ideas about the possible and the first time peeking at Earth from outside. The man, who gave their lives for something strange and impractical in terms of narrow-minded and at the same time, the hero myth.


The composition of the Mexican group Uvilov be used recordings made ??at the time of launch April 12, 1961.
- Big Echo

"Do not be upset that some comrades
do not believe in great future of space exploration.
And I, behold, believe it! Deeply and firmly believe it! "

From April 14 to May 9 in Moscow Museum of Modern Art (MMSI) with the support of the Embassy of Mexico in the Russian Federation and the National Council of Mexican Art and Culture will host the exhibition "Hello Gagarin: popularity is irreparable. " The idea of ??the exhibition lies at the intersection of art and poetry, reality and myth, everyday life and stories with great characters, Mexican and Russian traditions. Image Gagarin snagged some important string of artists - people that grew out of traditional ideas about the possible and the first time peeking at Earth from outside. The man, who gave their lives for something strange and impractical in terms of narrow-minded and at the same time, the hero myth.


The composition of the Mexican group Uvilov be used recordings made ??at the time of launch April 12, 1961.
- Big Echo

Monterrey’s Uvi.Lov doesn’t take the “cinematic” description slightly. As our friends at Matinée As Hell point out, they’ve caught the attention of academic institutions within the cultural circuit, and they’re taking full advantage of such unsuspected encounters. After musicalizing Robert Wiene’s The Cabinet of Dr. Caligari and making a conceptual album out of it, Uvi.Lov is back in the scholar department with a stunning audiovisual piece titled ???????! (which translates as “Vamonos!”). This time, the band pays homage to Soviet cosmonaut Yuri Gagarin (“first human being to journey into outer space”, 50 years ago). “???????!” is part of the art exhibit Saludos Gagarin: La Popularidad Irreparable, and brings Uvi.Lov to an astrophysical paradise. Through the accommodation (and manipulation) of historic audio, the song takes us straight to the moment of the launch as it celebrates a man’s journey into spacecraft.
- Club Fonograma

Monterrey’s Uvi.Lov doesn’t take the “cinematic” description slightly. As our friends at Matinée As Hell point out, they’ve caught the attention of academic institutions within the cultural circuit, and they’re taking full advantage of such unsuspected encounters. After musicalizing Robert Wiene’s The Cabinet of Dr. Caligari and making a conceptual album out of it, Uvi.Lov is back in the scholar department with a stunning audiovisual piece titled ???????! (which translates as “Vamonos!”). This time, the band pays homage to Soviet cosmonaut Yuri Gagarin (“first human being to journey into outer space”, 50 years ago). “???????!” is part of the art exhibit Saludos Gagarin: La Popularidad Irreparable, and brings Uvi.Lov to an astrophysical paradise. Through the accommodation (and manipulation) of historic audio, the song takes us straight to the moment of the launch as it celebrates a man’s journey into spacecraft.
- Club Fonograma

uvi.lov e a calça que experimentamos no Shopping D (club de las serpientes #41)

O correio ainda faz coisas que o e-mail, o twitter e o messenger preferem não arriscar. Quando um envelope chega, recheado, com postal, disco, desenho e polaroids, meu e-mail fica triste, quieto, quase deprimido, na fossa do computador. Mp3s e jpgs, sempre tão bons, não têm essa marca suja que mancha a foto e tem cadeira cativa na história da gente. O pacote vem do México, bem mais curioso; a diversão começa pelo selo, pelo endereço, que não termina num gmail.com. A remetente, para não me acusarem de saudosista - que eu sou - é herança do myspace. Celesta en la cesta, quando está sozinha; uvi.lov, acompanhada do amigo e do irmão.

Club de las serpientes, empréstimo que negociei com Cortázar, são pessoas na mesma sala, em sintonia, por pouco que possam ter em comum. Acontece: desavisado, numa mesa de bar, ou restaurante, pode ser Botucatu, um assunto que encanta todo mundo. Você, que não fuma, acende um cigarro e declara: um brinde, senhores - às coisas que não esperam por uma segunda vez.

Não sentamos num bar, Celesta e eu. Na verdade, nunca nos vimos. Mas escrevemos no mesmo postal. E ouvi a música dela; enquanto leu um texto meu. Mandei mensagens no twitter, recebi comentários no myspace; postei cds e enquadrei um desenho dela. Porque os clubes acidentais e inconstantes são regra na vida da gente. A Júlia foi para Fortaleza. O melhor amigo fez intercâmbio no colegial. Cantamos juntos "Don't let me down". Dançamos num boliche em Palermo. Saímos para buscar o mesmo autógrafo. Almoçamos, em restaurantes diferentes, um prato igual. Fomos vizinhos na last.fm. Sem saber, linkamos o mesmo blog. Jogamos dominó no mesmo 16 de março de 99. E experimentamos essa calça escura no shopping D. Você, de manhã; eu, três horas depois. Especulamos sobre páginas de livros e sociedades secretas. Ets, Sábato e todas essas coisas. Além de livros na ponta da língua, lembranças da casa na árvore e o sonho de amizade incondicional. Às terças-feiras, caríssimos, desceremos o barranco gramado em caixas desmontadas de papelão.

Celesta en la siesta, uvi.lov, amigos serpentes, estamos todos no mesmo barco. E não importa se ainda não sabemos aonde isso tudo vai dar.

link to article:
http://mtv.uol.com.br/dominodromo/blog - Dominodromo MTV Brasil

Uvi.lov is a self-described dream pop band. Upon hearing the term dream pop, I was intrigued to discover what such a sound encompassed. More notably, how does dream pop sound from Mexico. When I think of such music, I often think of a little Brazilian label called Si No Puedo Bailar, No Es Mi Revolución. And it’s no surprise, Uvi.lov would fit in amidst artists like Balún and Juan Stewart, whose pop sensiblities include highly melodic, hypnotic electronica, otherwise known as dream pop.
Uvi.lov, too, sings in their songs in Spanish. “CUACK” is spacious in its attempts to reach inside the mind and willingly drag the listener into its happy melody and quacking vocals. “El dia en que la television se suicido” finds the band increasing the dose of dreaminess and adding memorable vocal hooks, while “En la isla de las ovejas los techos son de pasto” is a softer tune focusing more on instrumental quality.
And it shows; “En la isla”, while short, is a breathtaking diversion into how you’d expect you pleasant subconscious to sound as you drift off to sleep. “Laiza se cayo de la cama y desperto entre conejos y castores” merely continues this trend. “MODERNO” finds Uvi.lov dishing out its most memorable vocal hook. These are songs whose ambiance is atmospheric, whose electronic nature is both melodic and experimental, whose greatness comes in their underground nature as well as their ability to successfully clash the both electronic sensibilities with pop aesthetics and the dream world with lucid one.

- Fense Post

Uvi.lov is a self-described dream pop band. Upon hearing the term dream pop, I was intrigued to discover what such a sound encompassed. More notably, how does dream pop sound from Mexico. When I think of such music, I often think of a little Brazilian label called Si No Puedo Bailar, No Es Mi Revolución. And it’s no surprise, Uvi.lov would fit in amidst artists like Balún and Juan Stewart, whose pop sensiblities include highly melodic, hypnotic electronica, otherwise known as dream pop.
Uvi.lov, too, sings in their songs in Spanish. “CUACK” is spacious in its attempts to reach inside the mind and willingly drag the listener into its happy melody and quacking vocals. “El dia en que la television se suicido” finds the band increasing the dose of dreaminess and adding memorable vocal hooks, while “En la isla de las ovejas los techos son de pasto” is a softer tune focusing more on instrumental quality.
And it shows; “En la isla”, while short, is a breathtaking diversion into how you’d expect you pleasant subconscious to sound as you drift off to sleep. “Laiza se cayo de la cama y desperto entre conejos y castores” merely continues this trend. “MODERNO” finds Uvi.lov dishing out its most memorable vocal hook. These are songs whose ambiance is atmospheric, whose electronic nature is both melodic and experimental, whose greatness comes in their underground nature as well as their ability to successfully clash the both electronic sensibilities with pop aesthetics and the dream world with lucid one.

- Fense Post

A lo largo de los 4 años que lleva respirando Uvi.Lov en este planeta, se ha desdoblado en diferentes ideas y estilos musicales. Una evolución gradual es la que se ha ido dando en esta banda que comenzaría como un proyecto más cargado al lado de los algoritmos y lo artificial. Las obvias comparaciones no se harían esperar y así se daría el siguiente paso y el siguiente. Así sucesivamente. El EP homónimo de la banda es una compilación de todas esas etapas, como un mapa de crecimiento para la búsqueda de su identidad propia, tomando, absorbiendo y expresando las influencias más marcadas de cada uno de los integrantes en distintas épocas de sus vidas.
Pop infantil, IDM, electro, twee, rock, post-rock, folk son algunos de los sabores que se le pueden sacar a este EP tejido por sus propias manos. Tantos géneros bien amarrados que la ejecución no falla en ningún momento. El problema con esto, es que entre tanto cambio, género e influencia el verdadero sonido sello de Uvi.Lov llega a desvanecerse. Ese sonido y actitud que los ha caracterizado en esas últimas presentaciones que dieron en vivo en el 2008, el cual se queda plasmado en canciones como Dinosaurios bailando en el patio y El día en que la televisión se suicido, temas cargados de esa energía y emoción por demostrar que los sintetizadores y las computadoras también tienen corazón.
Uvi.Lov ya queda grande en la diminuta escena de pop de la ciudad, al igual que Los Mocks; así que sus aspiraciones deberían ir hacia algo más lejano, otras ciudades, países o continentes. Un buen proyecto con buenas ideas, al cual le falta poco por encontrar su actitud propia y que seguirá navegando por ese mundo de indiepop infantiloide y música electrónica. - Milenio.com

A lo largo de los 4 años que lleva respirando Uvi.Lov en este planeta, se ha desdoblado en diferentes ideas y estilos musicales. Una evolución gradual es la que se ha ido dando en esta banda que comenzaría como un proyecto más cargado al lado de los algoritmos y lo artificial. Las obvias comparaciones no se harían esperar y así se daría el siguiente paso y el siguiente. Así sucesivamente. El EP homónimo de la banda es una compilación de todas esas etapas, como un mapa de crecimiento para la búsqueda de su identidad propia, tomando, absorbiendo y expresando las influencias más marcadas de cada uno de los integrantes en distintas épocas de sus vidas.
Pop infantil, IDM, electro, twee, rock, post-rock, folk son algunos de los sabores que se le pueden sacar a este EP tejido por sus propias manos. Tantos géneros bien amarrados que la ejecución no falla en ningún momento. El problema con esto, es que entre tanto cambio, género e influencia el verdadero sonido sello de Uvi.Lov llega a desvanecerse. Ese sonido y actitud que los ha caracterizado en esas últimas presentaciones que dieron en vivo en el 2008, el cual se queda plasmado en canciones como Dinosaurios bailando en el patio y El día en que la televisión se suicido, temas cargados de esa energía y emoción por demostrar que los sintetizadores y las computadoras también tienen corazón.
Uvi.Lov ya queda grande en la diminuta escena de pop de la ciudad, al igual que Los Mocks; así que sus aspiraciones deberían ir hacia algo más lejano, otras ciudades, países o continentes. Un buen proyecto con buenas ideas, al cual le falta poco por encontrar su actitud propia y que seguirá navegando por ese mundo de indiepop infantiloide y música electrónica. - Milenio.com

Electro-pop and post-rock beats conduct this loose collection of songs across both great and awkward moments in which the prevailing theme is childhood or something like it, with a dash of naiveté but which, unlike múm’s or even Zerova’s music, lacks a certain depth of dramatism. Like hearing those old covers years later once again, there’s something missing apart from (obviously) the original’s voice, while at the same time there’s something extra that the first version doesn’t have. In this case, not having that underlying intensity, that tense suggestion of innocence lacking the purity our idealized notion ascribes to it, does give uvi.lov’s pieces a cheerful, if sometimes superficial, something extra. The superficiality is lessened by a form of self-consciousness that makes emphasis on the fact that these are grown people trying to recapture the spirit of childhood with playful instrumentation and sweet self-referencing lyrics: “Siempre cantando/la misma canción/al mismo tiempo/y no sabemos dónde estamos” (“Always singing/the same song/at the same time/and we don’t know where we are”), sung by all the band members at the same time, backed up by twinkly synth lines and a delayed tremolo-ing guitar typical of post-rock bands.

Listening to the album, I couldn’t help but be pushed to my own limit of ‘childhood nostalgia’; the music reached a point, especially with “Cuack”, when it started to be thoroughly annoying. It wasn’t just the overdone singing – the music, in all its elaboration and good grasp of ambient and shoegaze elements, can become predictably poppy. In any case, (maybe thanks to that pop edge) the album has some great production value. If listened to with earphones, one can find plenty of details that make the pieces quite rich, and each and every one of those sounds is clear as day.

In the end, I believe that uvi.lov just need a small push to find their own voice and their own way; they have almost everything pop-post-rock down to a science and are more than capable of going over the edge of both their themes and their sound, bringing something more profound, maybe something new to the table. Otherwise their music will eventually only be subject of future (perhaps in 2050) compilations of which our kids will say “yeah, there’s some covers of Icelandic music, but in Spanish, which are really fun and all, but I’d still rather listen to the original.” Besides, almost three years have passed since their first EP, and Silent Ballet writer Alan Miles had practically the same impression I had with this new album. It’s like they’re on the verge of something really cool, but just can’t give that all-important step forward. - The silent ballet

Electro-pop and post-rock beats conduct this loose collection of songs across both great and awkward moments in which the prevailing theme is childhood or something like it, with a dash of naiveté but which, unlike múm’s or even Zerova’s music, lacks a certain depth of dramatism. Like hearing those old covers years later once again, there’s something missing apart from (obviously) the original’s voice, while at the same time there’s something extra that the first version doesn’t have. In this case, not having that underlying intensity, that tense suggestion of innocence lacking the purity our idealized notion ascribes to it, does give uvi.lov’s pieces a cheerful, if sometimes superficial, something extra. The superficiality is lessened by a form of self-consciousness that makes emphasis on the fact that these are grown people trying to recapture the spirit of childhood with playful instrumentation and sweet self-referencing lyrics: “Siempre cantando/la misma canción/al mismo tiempo/y no sabemos dónde estamos” (“Always singing/the same song/at the same time/and we don’t know where we are”), sung by all the band members at the same time, backed up by twinkly synth lines and a delayed tremolo-ing guitar typical of post-rock bands.

Listening to the album, I couldn’t help but be pushed to my own limit of ‘childhood nostalgia’; the music reached a point, especially with “Cuack”, when it started to be thoroughly annoying. It wasn’t just the overdone singing – the music, in all its elaboration and good grasp of ambient and shoegaze elements, can become predictably poppy. In any case, (maybe thanks to that pop edge) the album has some great production value. If listened to with earphones, one can find plenty of details that make the pieces quite rich, and each and every one of those sounds is clear as day.

In the end, I believe that uvi.lov just need a small push to find their own voice and their own way; they have almost everything pop-post-rock down to a science and are more than capable of going over the edge of both their themes and their sound, bringing something more profound, maybe something new to the table. Otherwise their music will eventually only be subject of future (perhaps in 2050) compilations of which our kids will say “yeah, there’s some covers of Icelandic music, but in Spanish, which are really fun and all, but I’d still rather listen to the original.” Besides, almost three years have passed since their first EP, and Silent Ballet writer Alan Miles had practically the same impression I had with this new album. It’s like they’re on the verge of something really cool, but just can’t give that all-important step forward. - The silent ballet