Check the bleating, distorted tenor sax that competes with the guitars and drums for dominance on opener "La Ceremonia de Confusion." "Cuna de Cain" weds the horn to shuffling breakbeats, sweeping keyboards, and lilting guitars as Bunbury wails from the depths. ![]() The listener cannot help but be wrapped inside Bunbury's personal, sometimes harrowing sound world. The second part is delivered almost exclusively in the first person it's even darker, but also vulnerable. The first reflects Bunbury as a social critic who rails on everything from crime, murder, and mediocrity to culture and politics in swaggering rock & roll terms. In addition, Bunbury, who produced the date himself in Los Angeles, also employs an army of vintage keyboards including mini-Moog, Prophet and the Juno 60 synthesizers, and a Mellotron.Įxpectativas is split into halves. It is a primary instrument in this mix - uncommon in Spanish rock. Backed by Los Santos Inocentes, the Spanish shapeshifter has constructed an album around the addition of Santiago de Campo's distinctive saxophone playing. The two pre-release singles, the rowdy swaggering "La Actitud Correcta" and the cinematic midtempo ballad "Parecemos Tontos" (as well as the fantastic Jose Girl-directed "in-the-studio" YouTube video), prepared fans for one of Bunbury's most ambitious, intense, and soulful records. ![]() After four years, two volumes of duets, archive sets, and an MTV Unplugged album, Spain's iconic rock & roller returns with an album of original studio material.
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