This Weinf article was written by Anton Sanatov, a GIGsoup contributor. Edited by Natalie Whitehouse.

It is difficult to paint with words, even more so with music. It is especially arduous for artists of the modern times, ones so spoiled by a vast pool of influences, to have the dexterity to blend the mastery of the great antecedents and produce a canvas that is worthy of appreciation. Weinf, an indie strummer from Spain, has managed to achieve just that on his most recent release ‘Requiem for Myself’; a concoction of notes from an assortment of harvests that is both insightfully mature and smooth enough to swallow.

The opening track ‘Farewell’ does exactly what it should by setting the tone for the rest of the album with wah-contoured guitar lines, saturated in delay that drip like water into the listener’s ear. Weinf’s penchant for an effect-laden sound is prevalent throughout the record, yet whilst for it some the infinite bounce of echoes may appear one-dimensional, it does indeed appear to work in creating that evasive, fluid and consistent soundscape that lasts throughout the posthumous journey that ‘Requiem for Myself’ embarks on

As the title suggests, the record is an individual foray into the private depths of one’s own metaphysical demise. After bidding farewell, Weinf reminisces in sombre, Dylan-esque cadences of the places gone and memories made. And if for some the thematic direction of the record may seem to expel a much too extravagant melancholy, it is definitely not your typical sulking tale of gothic introspection; it has balls. Instead of delving into pits of depressive contemplation, Weinf sets any morbid reticence and approaches the end with gusto, often exploding from expected shades of blue funk with red hot guitar parts and unrepentant hooks; tracks like ‘Keep My Mind Away’, ‘My Time Is Running Out’ and ‘Road Trip’ being prime examples of such progressions. The latter two being the highlights of the album.

One the most exciting achievements of ‘Requiem for Myself’ remains its musicianship. While the songwriting is persistently dynamic – if complacent at certain moments (though tastefully so) – and the vocals suit Weinf’s direction in the most sartorial of fashions, it is his subtle proficiency on guitar that highlights the panorama of this album. The bursts of creamy blues licks evocative of Clapton’s psychedelic period and the understated yet poignant transcendental melodic textures in the likes of John Frusciante establish Weinf as not only a good songwriter, but a respectable instrumentalist. And even though the album may not scream originality or boundless awe, it is well deserving of artistic recognition.

‘Requiem For Myself’ is out now via Aiguamoll Records. 

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