Bunbury fights with Rock the hopelessness of reality

Out of microphone, while team of last TV country all for recording of Interview, Bunbury (Zaragoza, 1967) stops in chatting about last celebration of Monkey Week Festival, which a few days ago brought toger dozens of emerging musicians in Seville and Underground, outside radar of media and majority public. He was one of ideologues and main supporters of this interesting contest, which began in port of Santa Maria, Cadiz, more than a decade ago. He wants to know new names to follow track. Shortly before, after recognizing that he has not yet assimilated death of Tom Petty and lamenting not to go to his last concert in Los Angeles with Lucinda Williams, he comments with interest new albums of National or War on drugs, with which he is fascinated and whose last Album, he says, he'd shoot Bob Dylan. Although it has weight of a rock star, so given to disconnect from real world, and in this genre is most international Spanish musician, Bunbury continues to show profile of type music that was always and, above all, attached to reality, that criticism with it refers Za on his new album, Expectations.

"It's a record that has an important social component." I try to reflect in letters time that I have lived. The whole social part is bleak, dark and extremely hopeless. "I don't see why I feel optimistic," he confesses sitting on a couch in room Costello Privé, in center of Madrid. The album began to Gestate at end of 2013, just at end of Rosewood tour, and ended up becoming a compositional torrent. More than 40 songs that passed different screens to stay in 11. "I think it's going to be first time that some of songs that have been left out will go into next album," he says.

He said that it was not conceived as a conceptual or musical album or lyrical but now he feels that re is a unitary concept. During interview, one of most repeating phrases is that he always wants to have "one foot in present". That foot also treads on that terrain in sonorous aspect, in order to eliminate "rocker tics" from or decades. "The idea was to see what possibilities technology offers us to show this with a new and updated face," he explains. This is why he talks about connection of album with "Contemporary Rock artists". "I feel more comfortable in compared to Queens of Stone Age, Black Keys or Jack White than in ors that are more root," he points out.

Since he debuted solo in 1997 with Radical Sonora, is first time he incorporates sound of Sax because, according to his words, wanted to find that "dye a little crazy of free jazz." Santi del Campo, who has worked in fields of Afrobeat and jazz, joins his band, The Innocent Saints, and helps to show anor sound mold in career of Bunbury. "To me it is not change for change." For me it's what I want to learn, he says. "There are a number of artists that what y do is show what y dominate." of what many of us rejoice. For example, someone who knows how to make soul a mor and you are delighted in life. My records are born from when in process I want to do something I don't know. For me to make a record now looking at cabaret, Mediterranean or Latin music, I'm less interested. "It's a terrain I've already stepped on and I know keys," he says.

At this point, after great success with Heroes of Silence and Solo, Bunbury is a referential artist, who look with admiration for management of his work and his triumphant leap to Latin America generation of Spanish musicians who has developed ir careers in 21st century. It is easy to find first and second pop-rock swords national Citandole as an example. It says to feel grateful and, beyond councils, values that young people who succeed now overcome problems of daring to go abroad of ir generation-"desclasada, neir of eighty nor of Indies"-and previous one. "The musicians are nomads." The public does not come to us and we are ones who go to public. "From moment you grab a guitar, you can get your passport out."

Your passport has three fixed destinations, apart from everyone else. Bunbury, who lives in Los Angeles, feels very close to everything that happens in United States, Spain and Mexico, a country he loves and has an audience as important as Spanish. With its desolate and aggressive letters, expectations has both feet in battered present. "My despair has to do with what I see out re and my shelter with what I see inside me: The Songs of Love, cinema, literature, painting ..." "The politicians bring me headlong." In this way, in cradle of Cain, he sings: "Exile is better than our prison of mediocrity and vulgarity." An exile that for him goes through art: "To me only thing that makes me want is to immerse myself in my collection of vinyl and hide head and say, ' By God, when I finish this time I know '." But at same time, he recognizes that this is not way, as he sings in ceremony of confusion, silver platter, or we look foolish. "Yet I believe re is an exit at end of tunnel." But we cannot leave it in hands of our rulers. I think it has to do with all social action. "It's our daily actions that can change world," he says.

With his rock muscle, his new album encourages combating Reality, which is formed by expectations of life, which is not always fulfilled, but also and fortunately by songs, which are not always true but, at best , y keep whole truth. "For me David Bowie is measure of all things," he confesses when he is reminded of British genius, whom Bunbury has always shown devotion and who also went as Tom petty ahead of time. and sentence: "I think many times if Bowie would consider wher this is right or wrong with regard to anything in life." As are times of turbulent, full of enlightened, preachers and arson leaders, it seems much better to walk through life.