The Jvnta not from scratch, but from another place. The band reformulated itself as a quartet, settled in Seville and opened a new stage with Calaverita Records with Forget-me-nota single that functions more as a turning point than as a simple comeback.
Because if this movement makes anything clear, it is that their identity, that neo-Mudejar postpunk that they have been building, remains intact, although it is now expanding into more melodic and apparently accessible territories. Only apparently, because La Jvnta continues to move on that edge between the political and the intimate, between tension and chorus.
Forget-me-not It is, in his own words, “a song of love and revolution.” And there is no contradiction in that. The theme intertwines historical memory and desire, fear of the return of fascism and vital drive, leaving images that oscillate between the symbolic and the carnal, gutters scattered with flowers, starless skies and bodies converted into refuge. All this with a writing that avoids the pamphlet and opts for suggestion.
Sonically, the band maintains its progressive pulse while opening new avenues. There are echoes of The Clash in its most expansive stage, nods to Radio Futura and the contemporary audacity of Pony Bravo, all crossed by a base of groove and rumba with eighties whiplash that provides dynamism and light.
This single is the first preview of an LP that will be released in the coming months under the umbrella of Calaverita Records. Recorded at Happy Place and Nada Nuevo studios with Miguel Oterothe album aims to consolidate a second life for La Jvnta in which risk continues to be an essential part of its discourse.
