MUNLET published CAÑON (Gaztelupeko Hotsak) undoubtedly an album that reaches beyond. Beyond because this amazing album is full of unpublished resources, angular melodies strange beauty of incorruptible influences, magical exploits raw talent, finally, an unheard music wearing some letters that are light years to as written today. Crude social criticism and bathed in surgical Surrealism naive perspective, moral decadence, Introspective existential, hedonistic counterculture, hatred, rage, helplessness, are some of the features that make songs like Decapante, Alquitrán, Doctor Muerte or Cañon, a kick in the eggs to the hypocrisy that surrounds us. Pop gems such as Mitochondria or Electricidad, offset by the enigmatic atmosphere of punk funk in Infección or Invertebrado, the tenebrous of D30, the pulp fiction of Control, the punk of Mundo Infierno, the strength of Radial , the twitch of Tormento, or the kinematic environments running through our spine in Cannibal Cafe, and explode in the winding of Cuerpos . Songs, songs, many in royalties to 15, and you can not stay with each slap rhythm takes you to the next, holding each issue their own world, its own theme, dress sonic transports you to different places, and turn it all makes sense together, like a journey that travels different roads but in the same car. This landscape is dressed for the cover, design, drawings, which presents its director, Pablo Fermin, brilliant artist that fits like a glove in the imagery of Cañon.
