Orsini – Ezin Atera

It might have sounded counterintuitive, once upon a time, to deliberately borrow classic, time-stamped genre elements to make your music sound dated. Today, it seems one of the most interesting choices a band can make. I’ve not heard many do it better than Orsini. Their debut album, Ezin Atera, takes on a distinctly early-to-mid-’80s European post-punk feel.

Even the album art delivers on this. From its structured, geometric, angular style and choppy typography, some may already recognize the work of Barcelona-based Venezuelan DIY artist and musician Jonathan Sirit, also of post-punk band Belgrado. Sung entirely in Basque, the album’s title roughly translates to Cannot Get Out, as the Bilbao natives explain. It centers on personal struggles conveyed in a “straightforward, linear way, looking back at that huge black hole we ended up in, and how, in the end, making it through actually made us stronger.” It’s something symbolized so clearly in Sirit’s illustration: from the huge black hole to the individual’s uphill battle while carrying a heavy load.

Beyond their surface-level punk defiance, driving riffs, upbeat rhythms, and singalong hooks, Orsini prove their ability to tackle grittier themes of gentrification and DIY spirit. They show an immovable stance on staying true to their core identity, resisting anything threatening to change that.

After just ten seconds, I knew I was going to like this record. What an opener. Dealing with confrontation in all its forms, “Luces Azules (Denis & Denis)” (Blue Lights) sets the tone for what’s to come over these eight punchy tracks. Infectious, dynamic guitar licks offer the urgency of the Ramones, Buzzcocks, and The Saints while also emitting pure post-punk ’80s guitar jangle, leaving it feeling as fresh as it does nostalgic. Singer Jokin’s passionate bellows keep in step with Uri’s relentless drums. There’s even a bass solo thrown in at some stage, too.

“Somos” (We Are) follows that up with another of Jokin and Kalim’s serrated riffs, marred with distortion. This feels freer and noticeably more melodic: remember The Cure’s late-’70s debut, Three Imaginary Boys? Essentially, it seems to be a fumbling love song. Though, amid plucky notes, it still keeps its essential grit, going further to prove just how tight the band are as a unit.

Lyrics are emotively spat at us, reminiscent of Slavic punk at times, on “Otra Vez” (Again). Off-kilter, shimmering guitar and a steady, slapping drumbeat kick things off. With a rallying, singalong chorus, the song’s ending opens it out further into chamber-like reverb and vocal improv. Lyrics point to some kind of messy, scattered anxiety diary, which continues on the infectious title track, against a backing of pretty melody dancing over a sturdy riff.

Amping up the aggression are “Titulares de prensa” (Press Headlines) and “Frio Cemento” (Cold Concrete), with rollicking starts hinting at traces of Oi! and second-wave punk, strengthened by catchy chants, abrasive feedback, skittering drums, and Ángel’s incessant bassline. Resisting the gentrification of their city and fighting for liberation, both tracks are unquestionably punk, in music and meaning.

“Hitzen Errebotean” (The Rebound of Words) features Sali, describing the impact that gossip and rumors can have. It takes a melancholic, post-punk turn, in spite of furious drumming and snarling spoken word. “Más fuerte que ayer” (Stronger than Yesterday) is the liberating album closer. Big, shout-out main hooks perfectly convey the song’s optimism at being a better person now that past problems are overcome. Ending softly, twinkling, lighter segments also get a look-in.

A strong debut from the Basque band, there isn’t a bad (or even average) track on Ezin Atera. There’s something for all ’70s punk and ’80s goth fans: from post-punk, Euro punk, and street punk to elements of darkwave and jangle pop, making the whole thing an eclectic expression that longs for simpler times. Despite sharing moments of both, Ezin Atera doesn’t feel angry or gloomy. It comes across like it’s already combated those emotions and made it out the other side. Something that, in today’s world, is a thing to be celebrated.