Gemelo, the third album from Angélica Garcia, is a first in more ways than one. On top of being her first release via Partisan Records, Gemelo, which translates to twin in English, finds Garcia embracing Spanish, bringing her closer to her roots while becoming more distinct than any other pop auteur. Employing the help of producer and fellow LA native Carlos Arévalo, best known as the lead guitarist of Chicano Batman, she bares her soul without any filter. More than ever, Garcia comes into her own as a forward-thinking artist, looking inward and liberating herself from previously healing scars that have become the source of her best work to date.
Synergy Between Singer and Production
Early on, Garcia becomes one with the ever-evolving instrumentals that stand out from her catalog and anyone else operating at similar levels of creativity. “Juanita,” in particular, is a showcase for the many emotions heard in her voice, ranging from frustration to desperation. The second chorus is one of the album’s most searing moments, with Garcia detailing how everything she does favors Juanita. Eerie echoes and backing vocals consume Garcia on “Juanita” and similarly enchanting songs, representing the vocal lengths she can reach. The vulnerable cries on “Color De Dolor” are just as impressive as the confrontational screams on “Y Grito,” with each vocal performance matching the diverse production.
Two Sides to Everything
Garcia has never let one characteristic define her or her music. Whether it’s her Mexican and Salvadoran lineage or her successful crossovers into other genres, she uses songwriting as a conduit for spellbinding narratives. The same is true for Gemelo, split between sides A and B. Side A opens the album on a haunting note as if the listener is inside a vortex leading to Garcia’s psyche. Bass ruptures, and drums backing the first five tracks shake the Earth from ear to ear, a tease for the increasingly experimental nature of Gemelo.
Once the second half comes on “Y Grito,” side B ends up making the excitable moments of “Mirame” and “Juanita” look modest in comparison. Garcia warmongers on each subsequent track, rallying up the troops like it’s the last call to the battlefield. Although there are moments where a false sense of comfort is established, the album keeps matters unpredictable. When “Paloma” comes along, Gemelo becomes a far cry from the gentle, operatic melodies heard on side A.
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A Vanguard of the Avant-Garde
Never one to shy away from experimentation, Garcia pushes the boundaries of what most might expect from a singer-songwriter, especially one who rightfully goes against any genre trappings. “Gemini,” which speaks directly to the dual identity of the album, is the sole song primarily sung in English, marked by a chorus that repeats, “I see double / I see double everywhere I go.”
As proven repeatedly on Gemelo, Garcia seizes every opportunity to multiply the intensity by two, never settling for one emotion or atmosphere. She often does so on a single track, creating entire odysseys to explore in hopes of communicating her experiences, which she does with flying colors.
Considering Gemelo is a concise, harrowing body of work, it’s only fair it gets to be heard by countless crowds around the world for the rest of a lengthy 2024 touring season. While Garcia is currently playing a slew of UK dates both independently and for IDLES, she will formally embark on a US tour supporting Nilüfer Yanya, which includes an LA date at The Fonda Theatre on Oct. 24 and a show at August Hall in San Francisco on Oct. 22.
Words: David Sosa
Visit Angélica Garcia on Bandcamp and Instagram to stay updated on new music and tickets to upcoming tour dates.
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