Waves That Flood Everything they make their long debut with World Crisis of the 1940san album crossed by vintage synthesizers, post punk drive and generational anxiety. The duo from Albacete transforms contemporary emotional collapse into dark, melodic and deeply visceral electronica.
There is something deeply uncomfortable about World Crisis of the 1940s. And precisely there lies a large part of its success. The debut of OQLIT, the project formed by Dario Garrido and Bea de la Cruzdoes not try to disguise emotional exhaustion or disguise generational vertigo under layers of synthetic nostalgia. What it does is convert all that into sound fuel.
Between Roland TR-808 and 909 boxes, ambient guitars, transverse flutes and electronics that at times look to the harshest post punk and at other times to atmospheric indie pop, the duo from Albacete builds an album crossed by the constant feeling of collapse. Personal, sentimental and also collective. Because World Crisis of the 1940s It speaks of relationships that wear out, inherited expectations that were never met and a generation forced to survive between emotional precariousness and excess stimuli.
The production of Javi Milla (Chucho, TodoMal), finishes pushing that hybrid character of the album. There is electronic muscle, yes, but also a very marked melodic search and a constant tendency towards atmospheric tension. OQLIT seem more interested in generating emotional states than in fitting into a specific scene.
From “I’m Ready”, almost converted into a generational manifesto against the mirage of promised stability, to “El Obsolescente”, where technological dependence is directly transformed into emotional dystopia, the album functions as a kind of map of contemporary anxiety. More luminous or directly hedonistic moments also appear, such as “Cada Segundo”, where pleasure and beauty emerge like small trenches against the outside noise.
In reality, a good part of the project’s appeal comes precisely from this coexistence between extremes. OQLIT handle very well the contrast between enveloping melodies and lyrics crossed by disenchantment, between the impulse to dance and the permanent feeling of collapse. There are echoes of electronic post punk, dark synthwave and even a certain industrial imagery, but everything appears filtered from a quite emotional and close sensitivity.
The multidisciplinary origin of the project is also perceived. Even before the album, OQLIT had already traveled through fields linked to video poetry and audiovisual experimentation, something that ends up permeating both the lyrics and the narrative construction of the album. Dario, previously linked to Chucho and Seizu, and Bea, who specializes in transverse flute, ensure that the album is never limited to a simple exercise in electronic revival.
More than looking for answers, World Crisis of the 1940s seems interested in putting sound to a very recognizable sensation: that of trying to maintain a certain emotional balance while everything around shows signs of exhaustion.
