*SANTANA — ABRAXAS (50th Anniversary)



















The opening lyrics to the first track of Gustavo Cerati’s 2010 album Fuerza Natural evoke some profound emotions, and they always manage to put me in a reflective mood. Those opening lyrics are haunting….

Puedo equivocarme, Tengo todo por delante Y nunca me senti tan bien, Viajo sin moverme de aqui….

Rock en Español has always been a critical component of my musical DNA, and within that DNA, Gustavo Cerati’s music has played a crucial role in shaping saïd DNA. This is why I was beyond excited when I heard that a documentary about the making of Fuerza Natural was available.

We are transported back to the recording sessions of the Fuerza Natural album, which became Cerati’s final studio album—filmed by Leonardo Fresco, a musician who collaborated with Cerati many times and played keyboards on Fuerza Natural. This documentary is a black and white intimate look at Gustavo Cerati’s recording and creative process. And although this documentary piece is only 15 minutes long, it still manages to capture some remarkable images and moments.

We get to see some cool stuff, like the recording of the song Cactus (Track 8), as Cerati plays the acoustic guitar himself. We get a quick peek at the handwritten lyrics and music notes for He visto a Lucy (Track 13). We see some pretty neat, old-school special effects made in-studio.

He seemed deeply involved in the music-making process. We get to see him carefully listening and fine-tuning every single piece of musical notes, making adjustments, changes, and offering constant feedback to his studio band. There is a moment when we see Cerati providing input on exactly how he wanted the bass to sound like….. that was a pretty cool thing to see.

I also notice his constant chain-smoking, which might have contributed to the respiratory issues that he developed after suffering the stroke. It is pretty surreal watching him happy, full of life, creating magic in the recording studio, and then barely a year later, he would fall into a coma and lay on a hospital bed for four years until he died in 2014.

This short documentary piece is a must-watch for all Soda Stereo and Gustavo Cerati fans; for 15 minutes, we get to pretend that we are there with him, and he still is here with us.














Buen Viaje Pau….Thanks for the music.


It has been three long-ass years since the release of the highly successful Expectativas (2017), and Bunbury is finally delivering another excellent studio album. It comes out at a crucial moment during this global pandemic, where there is this collective hunger for light and positivity—a need for quality in music, films, and art. And POSIBLE arrives at the perfect moment to soothe our souls.

Bunbury has been consistently making some of the most profound and well-crafted albums of the last 20 years, so the expectations are always high when it comes to his work. Hell, in a world where Live albums are a rarity, Bunbury has released two of the most compelling “live” recordings of recent history; Bunbury: MTV Unplugged (2015) and Bunbury: California Live (2019). Both albums are excellent musical productions.

However, Posible (2020) feels more like an experimental album than previous Bunbury albums. There is a straightforward electronic-rock approach to it, full of lyrics that scrutinize certain aspects of his personal life. A more brooding, soul searching, and more personal sounding album. Where the possibilities of living multiple and parallel lives within a singular existence is a central theme here, I could not help but sense a cinematic vibe throughout this album, with a deep metaphysical sensitivity.

There are tons of David Lynch-inspired musical imagery that come across as you listen to this album, especially when you watch the music videos attached to this album. Most Notably, the Video for “Deseos de usar y tirar,” which is beautifully directed by frequent Bunbury collaborator and highly regarded visual artist Jose Girl (she directed all three videos for this album).

This Video has a clear-cut David Lynch influence, which features Sherilyn Fenn (Twin Peaks) and trans woman artist Jessica Hogan.

This Video for “Cualquiera en su sano juicio (se habría vuelto loco por ti)” is also full of David Lynch vibes. I heard Bunbury was influenced to practice transcendental meditation after hearing about Lynch’s creative process, which explains the connection.

I have been playing this album on heavy rotation, and I really think that as time passes by, it will age very nicely amongst some of the very best albums in the entire Bunbury discography.

Electro-rock is a sound that I have always appreciated when done right. U2’s Achtung Baby (1991) comes immediately to mind. And this album is right up there in terms of quality. A mix of elegant sounding lyrics and bold experimentations. POSIBLE is another phenomenal achievement for a remarkable artist.



On my first listen I didn’t like it, and I didn’t really get it, It sounded like the same old and outdated Fito Paez from his 90s glory days. But I gave it a second listen, and then it grew on me. I tend to be very critical of musicians/bands who don’t take chances, who play it safe. Releasing albums that sound and feel the same as their previous albums or their older work. It just feels like they refuse to explore new sounds or don’t have anything new to express musically—and that is what I first thought when I first listened to La Conquista del Espacio.


But then, on my second listen, I paid closer attention to the lyrics and begun to notice just how much personal reflection and socially relevant issues are expressed on most of this nine-track album. There are things on this record that work and some things that I can do without. For example; there are way too many Argentinian slangs and regional issues mentioned throughout this album, which I feel is an issue when trying to connect with audiences outside of Argentina. This has been the Achilles heel for rock en Español artists coming out of Argentina for at least the last 10-15 years. Look, although those issues are important—I feel that an International superstar like Fito Páez can exercise tremendous influence all over the Spanish speaking world with his music. It is also important to note that music has an enormous role to play in creating change and inspiring activism, which is why I take issue with parts of this album.

La Conquista del Espacio was produced by Gustavo Porner, who also produced Calamaro’s Cargar La Suerte—which explains why I had similar issues with both albums. The return of Guillermo Vadalá adds to the importance of this record. Vadalá collaborated previously with Fito on nine albums, most notably on the classic album “El Amor Después del Amor” (1992). The highly accomplished drummer Abraham ‘abe’ Laboriel jr also joins this album—Abe has been playing drums with Paul McCartney’s band since 2001 and has worked with Eric Clapton, Ringo Starr, and Shakira to name a few. Juanes also makes a quick cameo.

Although short and fast, with just nine tracks and under 37 minutes of playing time, La Conquista del Espacio is a solid, well-made album that grows on you pretty quickly. There are a couple of tracks that are destined to become classics, and Maelstrom is my new Fito Paez favorite song. Here is my take:

Track List

  1. La Conquista del Espacio: Opening track sounds like classic Fito Paez, making a mission statement on what this album is all about; Love and freedom—is the thesis of not just this song but the whole album. Juanes and Maria Campos lend their vocals here.
  2. Resucitar: This track was the first promotional single. It’s all about the contradictions of our human condition.
  3. Las Cosas Que Me Hacen Bien: A quote from the “Art of War” by Sun Tzu opens this socially conscious track. The police state, the current social and cultural issues plaguing society are expressed here using examples of modern life and trends. 
  4. La Canción de las Bestias: Now, this is one of my favorite tracks on this album. It sounds raw and reflective. Fito bears his soul while asking deep questions about our humanity. 
  5. Gente en la Calle (feat. Lali): A jazzy love letter to Buenos Aires. Beautiful melody, thoughtful social lyrics. Lali Espósito lends her vocals here. 
  6. Ey, You (feat. Mala Mama): My least favorite track, and allthough the lyrics have some social relevance, still, the musical choices do not work for me. We get some funk, rock, cumbia, and some English and Italian phrases (“Fucking bastard-Vaffanculo”). The Argentinian cumbia band Mala Fama and it’s lead vocalist Hernan Coronel add an unnecessary ingredient. I felt like this song could have worked without the cumbia element. 
  7. Nadie es Nadie: Fito is reaching far here, with lyrics that attempt to appeal to a more inclusive audience, while balancing his classic style of rock. Forgettable track.
  8. Maelstrom: Now here we have the highest mark on this album and my new favorite Fito Paez song. The songwriting and melody are excellent; it is Fito at his best. Everything about this song works. It elevates this album to new heights. 
  9. Todo Se Olvida: This final track is a declaration of where he stands after all these years in music and an icon of rock en Español. A solid way to end this remarkable album.



Rock en Español is not just “rock in Spanish,” it is a hell of a lot more. Out of the many categories and subcategories for Spanish language music, rock en Español is, without a doubt, the richest and most diverse of all Spanish music genres. The name itself should be synonymous with sui generis. While at the same time, it is essential to point out that this genre is not only infused with traditional Latin sounds but also infused with jazz, blues, country, folk, soul, reggae, funk, and even metal. And musicians like Diego Vasallo are a clear example of why this genre is particularly exceptional when compared to other genres of Spanish language music. 

Diego Vasallo-LAS RUTAS DESIERTAS (Galerna, 2020)

Las Rutas Desiertas is Diego Vasallo’s follow up album to the excellent “Baladas para un Autoretrato“(Subterfuge Records,2016). Both records were co-produced by Fernando Macaya, who also plays guitar on this new album, and often plays on some touring gigs with Mikel Erentxun. Although Las Rutas Desiertas has somewhat of a dark sound and feel to it—it is not as bleak as it seems, or as the album title suggests (Deserted Routes). The lyrics are full of positive outtakes, and a hopeful outlook into the future. There is a lot more light and positive vibes on this record, which is a departure in tone from Vasallo’s previous album.

Diego Vasallo is a master lyricist, and this album is a confirmation of his mastery. At times, he sounds similar to Andres Calamaro, which is not a bad thing. Still, If you are sick and tire of Calamaro’s nonsensical lyrics as of late, then Vasallo is the perfect antidote. Diego Vasallo has delivered another fantastic album—full of soul, rock, folk, and a touch of blues. An album worth multiple listening sessions, and I feel that it will age exceptionably well with time. 

Here is a quick breakdown of Las Rutas Desiertas.

Track List:

  1. Mi Historia: Cabaret vibes are the best way to describe this track. Diego has a deep affinity for Bob Fosse’s film Cabaret (1972), which has always inspired and influenced some of his solo work.
  2. Cargamento: It is all about the good times ahead and the promise of a better tomorrow. This is a beautiful song. 
  3. Mecha en la Tormenta: This is such an alluring song. The lyrics are just magical and full of hope. The harmonica makes a cameo and adds a touch of blues towards the end.
  4. Esta Noche No Se Parece a Ninguna: One of my favorite tracks on this album. Everything about this song works. Vasallo is at his songwriting best here. 
  5. Entre el Olvido y el Perdón: This song is pure poetry wrapped in melody.
  6. Erase Una Vez: This track has a cinematic feel to it. I picture the opening of a film, set somewhere in the desert.
  7. Alli Te Esperare: My favorite track in this album. A beautiful love ballad. The lyrics, the vocals, the guitar play—they are all flawless. 
  8. El Rio Baja Crecido: The electric guitar shows up here, and it is impeccable. 
  9. Intemperie: Folksy and mellow. Reminds me of early Duncan Dhu
  10. No Me Niegues Nada: There is this air of blues and folk here. Reminds me of early Eric Clapton and Leonard Cohen
  11. Las Rutas Desiertas: Melancholic notes bring this masterpiece to a close. This final track sounds like a declaration of hope and the possibilities lying ahead in an uncertain future. 


*Andres Calamaro-Cargar La Suerte (Album Recap)

The title of this album references bullfighting, which means to charge closer towards the bull. Bullfighting is something Calamaro is very passionate about, and his support for the ancient bloodsport is blunt and unapologetic.

After a few listening sessions, I can say that Cargar la Suerte is a solid, pretty good but not great rock en Español album. It is a guitar-focused and well-balanced album, similar to previous Calamaro Albums. However, he is not trying something different here. He is staying within his musical lane, which works perfect for him, and it is what Calamaro fans have come to expect. Lyrically is where I take issue with this record. Calamaro has a history of writing lyrics focusing mostly on Argentinian culture and politics, which is difficult to follow if you are not intimately familiar with Argentinian issues, even some of the language and slang choices are not used or understood outside of Argentina. Bunbury and Sabina, for example, are two Spaniards who make use of their extensive vocabulary in most of their lyrics, and still, their message is understood and easy to follow; they avoid falling into opaque and incomprehensible language. Therein lies the difference in the mainstream international appeal of artists like Bunbury and Sabina, where Calamaro, on the other hand, has a limited and off-center appeal in markets outside of Argentina and Spain.

This album won the Latin Grammy for Best Pop/Rock Album of the year, which I do not believe it deserved, and it also won Best Rock Song for Verdades Afiladas, which it also did not deserve. Look, in the past, Calamaro made three incredible records, three records that I consider to be very important, essential and iconic Rock en Español albums; Alta Suciedad (1997), Honestidad Brutal(1999) and El Salmon (2000). Everything else that he has made since has been from pretty good to mediocre. For Example, El Cantante (2004), a non-rock en Español album made up of classic covers of iconic Latin songs and three original tracks. It was a very refreshing departure from his previous albums, I bought El Cantante on CD when it was first released, and I continue to enjoy it ’till this day. Lengua Popular (2007), was a huge commercial success and it was lyrically the closest thing to his earlier work. On the Rock (2010) was another ambitious undertaking where he collaborated with a bunch of different artists like Bunbury, Calle 13, Diego El Cigala to name a few, and even dived into more popular Latin rhythms like cumbia and even some reggaeton. Nevertheless, it was not a remarkable achievement, and it fell flat compared to previous releases. Bohemio (2013) was a forgettable and lazy album. Romaphonic Sessions (Volumen 11, 2016), was a stripped-down studio album recording where Calamaro is only accompanied by a piano, performing a mix of covers and a few of his own, it was an interesting experiment but inconsequential.

Cargar la Suerte Track List:

Track 1-Verdades Afiladas: This track was the first single, and it sounds like a classic Calamaro tune, the closest thing in this album to his previous work. And the lyrics have a quick references to older hits like Te Quiero Igual (Honestidad brutal, ’99) and Las Oportunidades (El Cantante, ’04).
Track 2- Transito Lento: The Saxophone stands out beautifully on this track. Waiting around patiently to travel from place to place and the life of the traveling musician is the main message here. Solid track.
Track 3-Cuarteles de Invierno: The theme here is about returning to Argentina during the cold winter, full of songs and full of nostalgia. It’s a very gratifying rock ballad.
Track 4-Diego Armando Canciones: This song is a mellow and measured ballad. A reflection of how Calamaro currently sees himself as a musician and as a human being. While at the same time addressing some of his detractors.
Track 5-Las Rimas: The most daring track of this album, where Calamaro Raps, rants and rages. Although this is a rap song, there are no hip-hop beats here, its electric guitar-driven, and it works nicely.
Track 6-Siete Vidas: This is one of the best tracks of this album. Fast-paced, up-tempo, a throwback to Calamaro of years past.
Track 7-Mi Ranchera: A passionate and emotional ballad.
Track 8-Falso LV: Fake Louis Vuitton is what the title of this track means. References all the fake rockeros out there, and the hypocrisy of our times. This is a song that would’ve fit perfectly on either Honestidad Brutal or Alta Suciedad.
Track 9- My Mafia: An acoustic and personal ballad, a heart to heart to the value of friendships.
Track 10-Adan Rechaza: Another fast-paced, up-tempo electric guitar-driven track. Very much in the spirit of Calamaro’s older work. It is a manifesto to living his life on his terms even after his death in the afterlife.
Track 11-Egoistas: Pop-rock en Español at its finest.
Track 12-Voy a Volver: It’s a beautiful ballad. The promise of an eventual return home. The idea of leaving things behind, seeing the world and learning along the way how to return home. There is a hidden instrumental track a few seconds after track 12 ends……

All in all, this is a good rock en Español album. It is not an instant classic as Calamaro’s previous work from the ‘90s and early 2000s, but it is still a solid achievement. Nevertheless, considering the standard Calamaro set for himself over twenty years ago, Cargar la Suerte was not deserving of a Latin Grammy for Best Pop/Rock Album of the year. The Latin Grammy Academy has a long history of bestowing this award to the biggest name in the list of nominees regardless of the quality of the work. In the previous award ceremony (2017), Juanes was awarded the Best Pop/Rock Album for Mis Planes Son Amarte, which was a joke of an album, but Juanes was the most popular name within all the nominees. In 2016 Los Fabulosos Cadillacs won in the same category, and it was far from their best work, but once again, they were the most prominent name within the list of nominees. There is a vast disconnect between the people in charge of selecting the nominees and the people voting for the winner.

Calamaro fancies himself as the Rock en Español’s version of Bob Dylan, which he is not. The closest thing we have in Spanish Rock to Dylan is Joaquin Sabina. My issues with Calamaro as of late is that as an icon of Rock en Español, he tends to take himself way too seriously sometimes, calling himself a rockstar every chance he gets, and of course, he is a rockstar. However, on the other hand, you have rockeros like Enrique Bunbury and Mikel Erentxun who do not have to go around shouting to the wind about being a rockstar, and they both embody the rockstar persona without any self-promoting antics. Bunbury and Erentxun keep on making records that sound and feel different from their previous work; they are continually pushing the boundaries, while Calamaro continues on repeating the same formula over and over again, erecting altars to his long-past glory days, and Cargar la suerte is a clear reflection of all of his past work and all of his past glory; A good album but not a great one.

*Bunbury-California​ live (Album Recap)








*Mikel Erentxun-El Ultimo Vuelo Del Hombre Bala (Album Recap)

El Ultimo Vuelo del Hombre Bala es el mas reciente lanzamiento musical de Mikel Erentxun. Ya le di varias escuchadas completas a este album y me parece que es uno de los mejores discos que Erentxun ha creado en su larga y extensa carrera discográfica.

img_9562Este album es la conclusion a la trilogía de discos que Mikel empezó en el 2015 con el lanzamiento de Corazones junto a Paco Loco, quien se a convertido en su productor principal en estos tres recientes discos–junto con John Agnello, quien ha sido el ingeniero musical encargado del sonido de toda esta trilogía. Los tres discos fueron grabados en el estudio de Paco Loco utilizando instrumentos y cintas de grabación analógicas, y masterizados en Sterling Sound de NYC. La consistencia de estas colaboraciones han dado resultados excelentes al nivel artístico y creativo en esta etapa de la carrera musical de Mikel. 

En los primeros diecinueve años de este siglo, Erentxun a creado discos importantes con un sonido diverso y una personalidad peculiar en cada uno de ellos. Cada uno de estos discos tienen un lugar especial en mi lista personal de lo mejor del rock en Español en lo que va de este nuevo siglo. Discos como: Te Dejas Ver (2000), Ciudades de Paso (2003), El Corredor de la Suerte (2006), Detalle del Miedo (2010) y 24 Golpes (2012). 

img_9564Pero Corazones (2015) es sin lugar a dudas mi favorito de todos los discos de Erentxun. Fue un disco que marco una etapa importante en mi vida personal y fue como un soundtrack a la montaña rusa de emociones y cambios que ocurrieron en mi vida entre el 2015 al 2017. Es uno de esos discos que no pasan de moda y no me canso de escucharlo. Especialmente canciones como Dakota y Yo, El Ultimo Vals, Viento Errante, Corazon y Huesos, Un Corazon Llamado Muerte, Los Muros de Jerusalen, Veneno y Corazon, Con El Tiempo a Favor, Tu…en fin, todo el disco es increíble.

img_9563El Hombre sin Sombra (2017), fue el segundo disco de esta colaboración entre Mikel, Paco loco y John Agnello. Este fue otro gran album, y una excelente sequela a Corazones. La participacion de Maika Makovski en la mayoría de las canciones le dan un toque Leonard Cohen a este disco. Canciones como Llamas de Hielo, Héroe, Libélulas, Cicatrices, Y sin embargo te quiero, Tienes que ser tu, El amor te muerde los labios al besar, El Principio del final etc, son parte de la constante rotación de canciones en mi playlist titulada “Favorite tracks Erentxun.” 

img_9570El Ultimo Vuelo del Hombre Bala es un super discazo, se parece un poco mas en cuestión de sonido a Corazones y a Corazon Salvaje EP pero mucho mas eléctrico que los anteriores discos, ya que en este nuevo album no se utilizo ni una sola guitarra acústica. También cuenta con la compañia de Marina Iñesta en los coros. Marina es vocalista de la excelente banda indie Repion, y su voz le da un toque perfecto a las canciones en las que participa. 

Este album empieza con 25 segundos de arpa que da un opening a la canción Tu amor es un nudo (Track 1). Muchacha de ojos tristes (Track 2) se a convertido en una de mis favoritas, ese beat electrico me cautivo inmediatamente.  Circulos (Track 3) difinitivamente se convertira en una de las clasicas del repertorio de Mikel, noto las influencias Lloyd Cole y The Smiths pero con ese toque Erentxun inconfundible. Dejalo Estar (Track 4) nos conecta directamenta con la cancion Jugando con el tiempo del disco Naufragios (1992). Gigante (Track 5) es una rock balada poderosa cargada de letras intensas donde escuchamos referencias a su pequeño rockanrol de 24 Golpes. 

Tiempo de descuento (track6) es pura electricidad. Animales Heridos (Track 7) es la primera vez que Mikel nos entrega un tema socio-politico, con un aire a Duncan Dhu. Es refrescante y bienvenido este lado de Mikel el cual no es comunmente visto en sus canciones, este es un track super corto pero directo al punto. Amor Circular (Track 8) es un poco mas up-tempo y electrico, similar a al track 3. La Vereda (Track 9) fue el primer single y es posiblemente la mas comercial y “radio friendly” del album. Donde estas tu ahora estoy yo (Track 10) esta es definitivamente una de mis favoritas, en la cual tenemos referencia directa al titulo de este album. Tengo ganas de ti (Track 11) otra balada rock que encaja muy bien con el resto del album. Angel en llamas (Track12) Los coros y los drums son los protagonistas de este track. Corazon de mil inviernos (Track 13) Es problamente mi favorita, y siento que es la mejor forma de concluir esta trilogia.

Me pase todo este fin de semana escuchando este discazo, una y otra vez, caminando por las calles gastadas de Brooklyn (un guiño a Mañana de ciudades de paso). Aunque solo en version digital ya que todavia no lo tengo en formato LP. El vinilo recien estara disponible en Estados Unidos el 17 de Mayo. Asi que la ansiedad por escucharlo en mi recientemente adquirido tocadiscos Technics SL-QD33 sera un tremendo placer.

Y bueno, pienso que esta trilogía de discos con el paso del tiempo envejecerán super bien, ya que la calidad de letras, la excelente calidad del sonido y la genialidad en el concepto de cada uno de estos discos formaran parte de lo mejor de lo mejor que se ha producido en la historia del rock en Español.

*ALBUM RECAP — DRACO ROSA: Vagabundo22 (LP, Reissue)

In 1996, Draco Rosa released the album Vagabundo which I still consider to be the most essential record made in the entire decade of the 1990s within the Rock en Español music scene. Indeed, other musicians/bands made important contributions to Spanish Rock, like Andres Calamaro (Alta Suciedad, 1997 & Honestidad Brutal, 1999), Caifanes (El Diablito, 1990, El Silencio, 1992 & El Nervio del Volcan, 1994), Los Fabulosos Cadillacs (Rey Azúcar, 1995 & Fabulosos Calavera, 1997), Enanitos Verdes (Big Bang, 1994 & Nectar, 1999), Jaguares (El Equilibrio de Los Jaguares, 1996 & Bajo El Azul de Tu Misterio, 1999), La Ley (Invisible, 1995). All of those albums are essential and iconic records, But Draco Rosa’s Vagabundo was in a league of its own.

Vagabundo was utterly different from everything else coming out into the Spanish Rock market during the ’90s, and nothing else sounded quite like it. The album was a rollercoaster ride of psychedelic rock, wrapped in raw melodies of love, solitude, desolation, and melancholy. The album was recorded in England and produced by Phil Manzanera, who by that time had already collaborated with other Rock en Español artists like Fito Paez (Circo beat, 1994), Heroes del Silencio (Senderos de Traicion, 1990 & El Espirito del Vino, 1993) as well as Aterciopelados (La Pipa de la Paz, 1996) and with the late Antonio Vega (Océano de Sol, 1994).  Phil Manzanera understands the soul of rock en Español music, and it clearly shows in the records that he has produced.

After 22 years since the release of Vagabundo, we finally have a remastered version and a limited release vinyl LP. It was remastered by the legendary Bob Ludwig (U2, Hendrix, Led Zeppelin, Queen, Nirvana, Paul McCarney). This is truly a unique and special release — additionally, this newly remastered edition takes it to another level.

Here is a quick rundown of all the tracks on the album:


Hablando del Amor: Not really a song, just an intro track. You get the sense of where the record is taking you; you can hear sounds of a forest in the background followed by some poetic lines.

Madre Tierra: This is an excellent rock song, guitars, drums, and Draco’s powerful voice turn this song into a beautiful, fast tempo rock anthem.

Llanto Subterráneo: This track is a beautiful poem wrapped in melody. Slower tempo than the previous track, but the song still maintains a powerful rock vibe with some dark undertones and very intense lyrics.

Vagabundo: This is a more acoustic sounding track, where all you get is guitar, Draco’s voice, and some background vocals. The lyrics are powerful, intense, and there is a touch of occult undertones in the meaning of the lyrics here.

Penelope: This song reminds me of Joan Manuel Serrat’s “Penelope,” but told from a different point of view; while Serrat’s Penelope was told from the point of view of a narrator, this song is told from the point of view of the traveler longing for the love he left behind. This is a beautiful song, one of my favorites.

Delirios: Here, we go back to a faster-paced tempo, more massive sound. Draco displays his great rocker frontman talent while at the same time keeping up with some powerful guitar and drums.

Para No Olvidar: Death, life, and desolation are the themes of this track. It starts slow, setting up the psychedelic mood with a sweet melody; we go from slow to fast and heavy multiple times. This is an intense song.

Blanca Mujer: The closest thing to a rock ballad in this entire album. Piano and guitar in the background create a compelling and persuasive companion to Draco’s voice. I consider this song a classic in Draco Rosa’s catalog.

Vertigo: Another dark and psychedelic sounding track shows a feeling of rawness and heaviness in Draco’s voice that works beautifully on this song.

Vivir: Probably the most personal track on this albumIt starts with a piano intro that feels straight out of a carnival stage show or circus, then the song takes on the first-person narrative, stating Draco’s journey from Popstar to freeing himself from the shackles of stardom and into becoming the artist he longs to be.

Brujería: A mix of psychedelic and gothic vibe give this track a unique sound and energy. Draco’s furious intensity makes this track one of the very best on this album. The guitars are also superb.

La Flor del Frio: This is a raw sounding track that works beautifully as a change of pace from the rest of the album. A piano accompanies Draco. There is a crowd of people talking and clapping in the background, which gives this track a unique feel and vibe. The raw and melancholic melody is the star of this song.

Amantes Hasta el Fin: This song sums up the theme of this album perfectly. It has it all; a beautiful melody, lyrics of love, desolation, death, and despair. Draco’s singing takes you on a ride from a mellow vibe to furious rage. The entire surrealism of the album is best displayed here.

Vertigo22: This track is a gem straight from Vagabundo’s recording studio archives. It is raw, powerful, and heavier than the album version. The song sounds completely different.

Madre Tierra22: This version of Madre Tierra sounds more like a demo, and at the same time, it has a raw and organic feel to it than the album version. Another gem from the PHVX Vault.