Bunbury Critic: Greta Garbo – MariskalRock.com

There are bands that are content to release the same album over and over again, with hardly any variation between jobs. Such an attitude may be fine for those lifelong flavor enthusiasts. If grandma’s stew is to die for, why change the slightest thing? For the so-called restless asses, that is not enough for a mere question of artistic dignity, which is why they do not give up experimenting by curling the loop more each time, as if they were actually in a ring fighting against a huge boxer who is nothing more than one same.

Bunbury has been experimenting on albums like ‘Intensive Levitation Course’ or ‘Possible’There is no doubt about that, there is nothing more to notice than the use of synthesizers in the latter. In ‘Greta Garbo’ she does not renounce this, but there is a more direct character, which is sometimes prompted by reflections on such transcendental moments in her career as his farewell to the stage.

In any case, before breaking down the content, it is convenient to throw a jug of cold water on the immobilists, on those who did not even accept that the wandering Aragonese left behind Héroes del Silencio. It is not a purely rock album or anything like it, at most we have a few flashes that will surely become insufficient for more than one, but the personal autonomy of an always non-conformist artist who has earned the right for decades should be respected. to do what comes out of them. Even if he had toget out of step a la Greta Garbo without offering an explanation”, as he sings in “Desaparecer”, one of the best pieces on the album.

A production with a certain krautrock halo welcomes us in “Our worlds do not obey your maps”, an enclave that seems avant-garde but is deactivated as soon as Bunbury begins to recite a characteristic lyric of his signature rock, with highly inspired verses, like the what does it say: “He who leaves without being kicked out will return without being called.”

“Alaska” appeals in the same way to the emotional from that beginning of the seventies that later takes flight and an evasive tone similar to his remembered “Lady Blue”, Bowie’s legacy has not diminished over the years. “Invulnerables” surprises with its total approach to the new wave, to the point that it could be a song by Maika Makovski. A collaboration between the two would seem glorious.

“To be unforgettable” confirms that the main references of the former vocalist of Héroes del Silencio are not in the new millennium, but surely in the sixties and seventies of the last century. A nostalgic sensation of something that perhaps no longer exists flies over. And “De vuelta a casa” may have various interpretations, but upon hearing his heartfelt words it becomes almost impossible not to remember events as recent in his career as his past decision not to tour. It is like a farewell letter to the fans without closing any doors to the future, since she already tells us that “nothing ends here“and that he would have preferred not to say goodbye”So”. Pay attention to the magnificent solo of the song.

“The Perfect Storm” seems ideal for taking a walk through the Mojave desert while one reflects on current times as Enrique does. Another cut with a superb interpretation loaded with Bunburian drama. It’s hard to get the point of “Bash Cars”, despite the fact that its text operates at a fairly high level, it may take a few listens to issue a proper verdict.

Cover in La Heavy nº 452, which will be on sale from June 1.

“Armageddon for Compassion” continues to relapse into rhythms that favor hanging up, although the references to celestial bodies once again recall the sidereal roll of “Lady Blue”. The finishing touch is placed by “Correct the world with a song”, wrapped in psychedelic residue and with that hint of warning that “Never convince anyone of anything at all” from the now distant ‘The Consequences’ from more than a decade ago.

It is likely that many would have wanted a different album by the genius from Zaragoza, but we have said it before, it is not about that, but about respecting the creative freedom of a guy who at this point in his career does not need to prove anything. Let’s appreciate the talent still contained in his works and look to a future as bright as the one glimpsed by Bunbury through his timeless sunglasses.

Alfredo Villaescusa
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Bunbury Critic: Greta Garbo – MariskalRock.com