Wild Honey - Ruinas Futuras - VINYL LP
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The songs of Ruinas Futuras appeared in Guillermo Farre's voice memos as if by magic. After Torres Blancas (2017), Wild Honey's last album to date, Guillermo's life became somewhat of a topsy turvy affair, not in the least because he became a dad twice in the space of less than two years. Between fatherhood and office work, the days went by at lightning speed, and there was hardly any room for music. Or was there. One day, while traveling by train, Guillermo started listening to the voice memos he'd been accumulating on his phone. He discovered sketches of songs in which, behind kids' babbling, crying and screaming, he could hear pianos, guitars and out-of-tune ah-ah-ahs he didn't recall recording. It was like opening a chest found in the attic, forgotten and left there by a previous tenant. Wanting to fit the tiny pieces of the puzzle together into an album, Guillermo turned to Remate, the musician he's been collaborating with in recent years, composing and producing soundtracks in an almost symbiotic way. From the start, they knew they wanted to apply their soundtrack production experiments to the classical song . But then, Guillermo's life took another turn, a global one this time, and his plans to record the album in the traditional way were blown up with the onset of the pandemic. Guillermo and Remate began to work remotely, with continuous video calls and files going back and forth over the internet-the next mutation of Guillermo's voice memos. They worked like this for months, and they seized the opportunity to collaborate with musicians confined to different cities. Shawn Lee took care of the drums and percussion from London; Javier Lorente and Anita Steinberg did the bass tracks and backing vocals from Berlin, and the album was finished off by Ali Chant, mixing the songs in his studio in Bristol, where he had previously worked with artists such as Aldous Har
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- GenreDance and electronicDescriptionThe songs of Ruinas Futuras appeared in Guillermo Farre's voice memos as if by magic. After Torres Blancas (2017), Wild Honey's last album to date, Guillermo's life became somewhat of a topsy turvy affair, not in the least because he became a dad twice in the space of less than two years. Between fatherhood and office work, the days went by at lightning speed, and there was hardly any room for music. Or was there. One day, while traveling by train, Guillermo started listening to the voice memos he'd been accumulating on his phone. He discovered sketches of songs in which, behind kids' babbling, crying and screaming, he could hear pianos, guitars and out-of-tune ah-ah-ahs he didn't recall recording. It was like opening a chest found in the attic, forgotten and left there by a previous tenant. Wanting to fit the tiny pieces of the puzzle together into an album, Guillermo turned to Remate, the musician he's been collaborating with in recent years, composing and producing soundtracks in an almost symbiotic way. From the start, they knew they wanted to apply their soundtrack production experiments to the classical song . But then, Guillermo's life took another turn, a global one this time, and his plans to record the album in the traditional way were blown up with the onset of the pandemic. Guillermo and Remate began to work remotely, with continuous video calls and files going back and forth over the internet-the next mutation of Guillermo's voice memos. They worked like this for months, and they seized the opportunity to collaborate with musicians confined to different cities. Shawn Lee took care of the drums and percussion from London; Javier Lorente and Anita Steinberg did the bass tracks and backing vocals from Berlin, and the album was finished off by Ali Chant, mixing the songs in his studio in Bristol, where he had previously worked with artists such as Aldous HarArtistWild HoneyTitleRuinas FuturasFormatVINYLLabelLovemonk
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The songs of Ruinas Futuras appeared in Guillermo Farre's voice memos as if by magic. After Torres Blancas (2017), Wild Honey's last album to date, Guillermo's life became somewhat of a topsy turvy affair, not in the least because he became a dad twice in the space of less than two years. Between fatherhood and office work, the days went by at lightning speed, and there was hardly any room for music. Or was there. One day, while traveling by train, Guillermo started listening to the voice memos he'd been accumulating on his phone. He discovered sketches of songs in which, behind kids' babbling, crying and screaming, he could hear pianos, guitars and out-of-tune ah-ah-ahs he didn't recall recording. It was like opening a chest found in the attic, forgotten and left there by a previous tenant. Wanting to fit the tiny pieces of the puzzle together into an album, Guillermo turned to Remate, the musician he's been collaborating with in recent years, composing and producing soundtracks in an almost symbiotic way. From the start, they knew they wanted to apply their soundtrack production experiments to the classical song . But then, Guillermo's life took another turn, a global one this time, and his plans to record the album in the traditional way were blown up with the onset of the pandemic. Guillermo and Remate began to work remotely, with continuous video calls and files going back and forth over the internet-the next mutation of Guillermo's voice memos. They worked like this for months, and they seized the opportunity to collaborate with musicians confined to different cities. Shawn Lee took care of the drums and percussion from London; Javier Lorente and Anita Steinberg did the bass tracks and backing vocals from Berlin, and the album was finished off by Ali Chant, mixing the songs in his studio in Bristol, where he had previously worked with artists such as Aldous Har
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