Pending accounts It is an album of Enrique Bunburyin which he radically moves away from his previous work ‘Greta Garbo’ (2023) and even more than previous, more contemporary albums and with certain electronic nuances, such as’ Intensive Levitation Course ‘(2020),’ Possible (2020), ‘Expectations’ (2017) and’ Palosanto ‘(2013). According to the musician is “A third change, a turn that I consider interesting, recorded in Mexico, with American Hispanic musicians”. In this album there is A look backto folklore and traditional rhythms in our common language. With the Spanish guitar, piano, double bass and percussions as absolute protagonists of sound and production.
Recorded in the desert of Los Leones, Mexico, the Chilean teacher Sebastián Aracena participated playing all the guitars and string instruments, the Mexicans Luri Molina in the double bass and Johnny Molina in the percussions. And with the participation of the members of the Holy Innocents: Jorge “Rebe” rebenaque in the piano, accordion and keyboards, and Ramón Gacías in the battery.
Con To get here as the first advance and openness. They give continuity The fucking desire to cry y You can get everything.
Formats: CD, vinyl, cassette and digital.
The direct of ‘pending accounts’ with the traveling hurricane.
‘Pending accounts’ by Enrique Bunbury
When they ask me what place this new album occupies, ‘Pending accounts’, in my discography, a short circuit occurs in my head. It is a difficult puzzle yet, because I hope you still have pieces that have just clarified the final image. Despite the difficulty of talking about an album fresh from the oven, I can establish some certainties and not a few doubts. I am clear that, after four albums (‘Palosanto’, ‘Expectations’, ‘Possible’ and ‘Intensive Levitation Course’, between 2013 to 2020) that looked at contemporary music and struggled to take advantage of the technical possibilities of the digital, the synthesizers and the prop more austere recording and take advantage of the value of the instrument and the interpreter.
Although ‘Greta’ and ‘pending accounts’ are discs that have very clear differences in the genres they visit, they are discs related to the forms. The search for the right arrangement and warm instrumentation have been key pieces. In the recording, (the house/studio desert, the same for both), we have emphasized the arrangement, and the search for the excellence of musicians and collaborators. In ‘pending accounts’, unlike my last seven or eight albums, the gaze turns to Hispanic and Latin American music, choosing the piano, Spanish guitar, double bass and percussion as basic instrumentation. It is not a rock disk, there is no electronics.
You have to go back to ‘Licencia Cantinas’ in 2011 or even before, to my albums with the Hurricane Ambulante (‘Small’, ‘Flamingos’, ‘The trip to nowhere’) to find connections more or less close to what sounds in this album. The main difference would be that, in those albums the miscegenation and the combination of elements were sought, sometimes impossible or crazy. In addition, at all times the gaze came from musicians arising from rockanrol guts. In this case, the album enjoys the genre, recreates, without feeling the need to introduce adverse elements. The chosen musicians are in -depth connoisseurs of the language that is handled, sensitive and enlightened interpreters.
Sebastián Aracena is the Chilean Master of the guitar, Luri Molina contributes his double bass from the Latin Jazz clubs in Mexico City and Johnny Molina seduces us with his percussions, from Cuba with love. Jorge Rebenaque’s piano and Hammond are revealed on this album with unsuspected and unusual nuances in his usual registry and Ramón Gacías (also co-producer of the album) is restrained and appears and disappears in his battery.
The album texts are discussed between the popular and the literary, looking for a complicated balance that I hope I have found. And what are my doubts? When one about genres so purist that so many teachers dominated before, one wonders if something that can be contributed to tradition is really left. I hope that my personality as an author and interpreter inteverates enough so that, even if it is an album with Hispanic and Latin vocation, it is clearly a Bunbury album.
Listen to it
– A Spotify
– and YouTube
