A new single from Alaska and Fangoria, titled A Little Bit of Everything, threads together satirical takes on honesty and social masks. The song argues that lying can feel like a strategic tool in daily life, a shield against the friction of blunt truth. When asked how their senior year went or what a listener thinks about a fellow artist’s latest release, the duo would rather skip the awkward details. This sentiment echoes through the dialogue surrounding the project, capturing a resistance to oversharing that permeates their art.
With a principle rooted in coexistence, the five‑song EP Ex profeso marks the closing of a trilogy called Entre paréntesis. It is a compact, purposeful cycle of short albums that invites comparison to the early 1990s epic Un día cualquiera en Vulcano, a period when intrigue and mystery surrounded the artists. The question remains whether the pair will once again push for new sonic territory after this parenthetical phase. They have been clear that they do not chase a single sound. Instead they listen for fresh currents and allow influences as diverse as Boney M, Gary Glitter, the Sex Pistols, The Beloved, and Orbital to shape their evolving language.
Miley Cyrus and rock and roll
Ex profeso features a rebellious thread that often begins with provocative phrases about Satanism and abstract art, now anchored by a nod to the New York Dolls. In other moments the EP’s epilogue suggests rock and roll, techno pop, or acid house, signaling a fascination with the hidden histories of art. The作品 draws on a recent CCCB exhibition titled La llum negra, which explores how certain artistic traditions have repeatedly attracted attention even when they faced heavy criticism. The duo notes that digressive attacks were once aimed at acts like the New York Dolls, and they lean into that historical tension in their own work. The recurring lure of this dynamic suggests that controversy, like a recurring tide, keeps resurfacing. Contemporary names such as Måneskin and popular figures like Britney Spears and Miley Cyrus are cited for their rhythmic pull, underscoring the enduring appeal of a compelling groove. The influence is clear when observing the impact of a country music lineage through Billy Ray Cyrus’s daughter, illustrating how rock’s lineage continues to resonate across generations.
Alaska and Nacho Canut seem to slip into a second youth, gliding over fashion and trends with ease. The humor in their commentary occasionally acknowledges anxiety about the pace of change, yet the mood remains relaxed and confident. They are mindful of how Spain’s musical canon is evolving, noting that the techno foundations seen in tracks by Quevedo, BZRP, Rojuu, and Depresión Sonora share a kinship with darker post-punk influences reminiscent of the Sisters of Mercy. The dialogue drifts through names that the artists feel a close affinity with, including figures like y girls i like and aitanalar, and other seeds of modern Spanish experimentation.
More important than any single star
The conversation returns to the elemental figures who have shaped popular music. Michael Jackson and his Thriller anniversary are acknowledged as a landmark, with the artists weighing the idea that cancellation culture did not topple him during his era due to the era’s own peculiar dynamics. The reflection turns into a broader statement about influence: Michael’s impact on music history is placed on a pedestal alongside Bowie, with contemporary stars like Beyoncé and Drake seen as continuing that lineage. Alaska and Canut view these milestones as a reminder of the lasting reach of charismatic, transformative figures in music.
There is a candid note about media presence and the choice to avoid controversy for its own sake. Canut voices a preference for focusing on music rather than courting attention online, suggesting that some topics stay better outside the rapid churn of social media. Alaska’s public persona is described as recalibrated, with a sense that the most enduring work comes from the art itself rather than personal theatrics. The duo hints at forthcoming live appearances described as performances rather than conventional tours, emphasizing a folkloric approach to their shows and a focus on intimate, contract-based engagements rather than mass‑market spectacle.