The Diableros You Can't Break the Strings in Our Olympic Hearts

The Diableros You Can't Break the Strings in Our Olympic Hearts
The Diableros’ debut is like a flare blast — anyone who hears it knows immediately that something is up. They love shoegazer and fuzz pop, but don’t stew their songs in distortion; they’re self-conscious romantics, but love a good riff. The combination of foggy-eyed floridity and consistently high energy brings to mind Interpol, but with humility — poised for radio saturation, but charming still to music purists. The resolution of a frustrating polarity between wispy, melodic naval-gazing and thoughtless ballast, the Diableros’ layer cake is spiked. "Tropical Pets” throws a sheet-like organ over a wicked, barely audible guitar lick while the harmony vacillates from bleak to bittersweet. The comparatively introspective track, "Through the Foam” is sweet-as-pie, but bursts into chorus after a short, terraced build-up. Fuzz pervades but lacquers completed songs rather than effaces the writing, creating a wall of noise you can really smash your head into — there are thoughtful attentions to detail, and musical complexities that are lovely to unravel. The music speaks for itself, and as luck would have it, the Diableros belong to a well-sought-after genre; you can be sure the band will catch on in a big way this year.

You guys formed to play a Jesus & Mary Chain tribute night. With your inspirations present from the outset, how do you think you formed your own identity? Drummer Phoebe Lee: We’re more about identity theft. Singer Pete Carmichael: Yeah, it’s more of a multiple personality disorder… I think we can all agree on the fuzz bass as a starting place. Little dollops of noise, not every song, one guitar player just stands in front of his amp and deafens himself.

How did you want the album to sound, production-wise? Lee: I think it’s in keeping with our live show. You know when you go see a band, and you hear their album, and they don’t really sound anything alike? It’s sort of disappointing in one way or another. Carmichael: If we wanted to make a perfect recording, we’d be thinking too hard. You can take three years to mix a record if you want to, it doesn’t mean it’s going to be good.

How do you think the band’s going to stand up over touring? Lee: I think the sexual tension might be… I don’t know if I can fight it anymore. Carmichael: Four boys, two girls… it’ll reveal itself, midway through the tour, in Calgary… Guitarist Ian Jackson: There’ll be Polaroids taken, I’m sure. (Baudelaire)