Estoy desconectado
Me siento intoxicado
Un último cigarro
Que siga la fiesta sin mí
The legend of the rat king, a grotesque symbol of urban myth and collective dread, tells of a ghastly phenomenon where multiple rats become entangled by their tails, forming a writhing mass. This horrifying entity, often found in dank, forgotten corners of medieval Europe, was believed to signify plague, decay, and the relentless persistence of vermin in human squalour.
The rat king embodies a surreal horror, a living nightmare of intertwining creatures, grotesquely bound together. Their entanglement, whether by filth or misfortune, creates a single, grotesque organism—an unsettling image that haunts the imagination. The rat king is an eerie confluence of fear and fascination; a chilling reminder of nature’s occasional descent into the bizarre and the repulsive.
This vision, in turn, has inspired the macabre moniker of Mexico City’s Rey Rata. Since their inception in 2022, this band has been a disruptive force, consistently upending expectations and forging an unapologetic path with a daring blend of irreverence and wit.
In a world teetering on the brink of predictability, Rey Rata reclaims the stage with their sophomore album, Deleznable. This distinctive excursion through the realms of post-punk and darkwave conjures the essence of the 80s with its compelling fusion of sounds. “Rey Rata’s music is an experience that transports you to another era,” comments Germán Rodríguez, the band’s keyboardist and bassist. “We take pride in offering something unique in today’s music scene, and this new EP is a testament to our dedication to innovation and creativity.”
Channeling the spirits of 45 Grave, Sex Gang Children, Bauhaus, Specimen, and 13th Chime, this collection exudes a minimalist punk essence with eerie guitar riffs and spectral synths.
The album begins with Rasquera (Scratch), a haunting chant featuring methodical guitar rhythms and a desperate vocal cry. It transitions into Malditos Poseídos (Damned Possessed), a fervent incantation that feels like a call for an exorcism. Descontrol (Lack of Control) moves into dark wave territory, with melancholic synths.
La Danza del Odio radiates a fervent disdain for life’s mundane elements: pets, relatives, band performances, social gatherings, mornings, Mondays, and various types of people. The singer basks in their ability to hate, delighting in the role of a menacing misanthrope. 3AM plunges us into a nocturnal haze of disconnection and intoxication. The singer, moving like a mechanical dancer, confronts their inner demons and spirals into mental chaos. They withdraw from the ongoing revelry, symbolized by a final cigarette, as their mind succumbs to a cacophony of static and white noise.
Poltergeist opens with an unsettling synth before plunging into an ominous bassline accompanied by hushed vocals. Drawing inspiration from the brooding intensity of Depeche Mode and the martial rhythms of Laibach, this track emerges as a darkly seductive anthem for the dance floor. The infectiously catchy Eres Loco (You’re Crazy) continues the theme with an aggressive darkwave chant – something to invoke in your next argument or baneful magic session?
Ritual unfurls with scorched vocals over spectral synths, conjuring the atmosphere of a haunted house rave. The plodding backbeat drives the track, creating an eerie, hypnotic rhythm that envelops the listener in its otherworldly embrace. Muñeca spins an eerie yarn of a possessed and possessive doll. This malevolent figure, lurking in hidden corners, consumes their beer and sends chilling messages urging murder, cannibalism, and the hoarding of skulls. Despite desperate attempts to banish it, the doll perpetually returns. How does one extricate themselves from such a relentless curse? The album concludes with the sinister Visión Disociada (Dissociated Vision), which leaves us vaguely disturbed.
Deleznable is now available on all streaming platforms. Listen below, and order here:
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The post Listen to Mexican Dark Post-Punk Duo Rey Rata’s New Album “Deleznable” appeared first on Post-Punk.com.
