I’ve often admitted that I’m not a huge fan of the Spanish music scene. There are very few bands that I’ve found myself enjoying, and most of the acts I do listen to (such as Polock or The Sunday Drivers), happen to sing in English. One welcome exception to this trend is vetusta morla (who prefer to keep their name lowercase), from Tres Cantos in Madrid, and on first listen to pretty much any of their songs it’s easy to see why.
After about a decade of playing together and a series of self-released demos and EP’s, the band released their first full-length album, “Un Día En El Mundo” (A Day In The World), in 2008 to rave reviews. The six-piece group, led by the charismatic Pucho on vocals and backed by David “el Indio” (drums and backup vocals), Álvaro Baglietto (bass), Jorge González (percussion), Guillermo Galván (guitar, keyboards and backup vocals), and Juan Manuel Latorre (guitars and keyboards), presented a fully formed sound reminiscent of the Brit-rock sounds of Coldplay‘s “Parachutes“ or “The Bends“-era Radiohead, infused with the majestic energy of Arcade Fire. The songs featured swelling guitars and adrenaline-filled builds that fueled their meteoric rise to fame. The record was so strong that one of the standouts from the album, “Copenhague” (Copenhagen) was voted one of the three best Spanish indie songs of the last 30 years, which is no small feat.
With such a solid debut on their hands, it was difficult to imagine how the band could possibly top that. With this year’s “Mapas” (Maps), released in May on their own label, Pequeño Salto Mortal, they may have done just that. Musically, the band has maintained the same formula that worked wonders for them, but has managed to find ways to perfect it. The band looked for a studio in which they would all be able to record simultaneously to analog tape, resulting in a very organic and live feel that is impossible to obtain otherwise and that shows a group dedicated to their craft and who pay great attention to detail. This organic energy becomes immediately apparent in the opening track, “Los Días Raros” (The Weird Days) which begins with a somber piano, slow guitars, and delicate vocals and finishes with an arena-ready build that’s pure ecstasy (an effect that’s amplified tenfold when seeing their live act).
Although “Los Días Raros” sets the bar incredibly high, the rest of the record does not falter and hits you with track after track of intricate lyricism (sorry to all the non-Spanish speakers reading this) and masterful instrumentation. Regardless of whether you understand the lyrics or not, what the band conveys is pure emotion. Pucho’s vocals carry the record throughout, never showing signs of weakness and displaying a wide range of emotions varying from the quiet “Maldita Dulzura” (Damn Sweetness), a lyrical standout, to the almost yelling of “En El Río” (In The River). Live, his vocals display the same range (if in doubt, check out this acoustic version of “Maldita Dulzura”) as they do on record, making it a real treat to watch the band perform on stage.
“Mapas” has become, on its own merits, one of my favorite albums of the year. The album is infectious and offers something for both those willing to enjoy the music as is and those looking to analyze every lyrical phrase. Currently the album is streaming in full on their webpage, and I highly recommend you give it a full listen; it doesn’t disappoint.
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Vetusta Morla – Maldita Dulzura by ListenBeforeYouBuy
Vetusta Morla – Los Días Raros by ListenBeforeYouBuy
