201

Was there any obsession, fixed idea, or image that guided the creative process of the album, even if it is not evident to the listener?
Not really. Our biggest obsession is always the song we’re working on at that moment. We don’t usually work with an overarching concept—each song stands for a particular emotion and idea. If anything, we tend to realize connections a posteriori.

What was the process of deciding which songs would and wouldn't be part of the album?
All the songs we had at that moment ended up on the album. We usually don’t finish songs unless we can imagine them being part of a release. Very few ideas were left behind, and those were never finished—they were more like sketches that never became full songs. The decision process happens while we’re composing; at that stage we already know whether the song has a future and makes sense for us.

What changed in the way of writing, recording, or producing on this album compared to previous recordings?
Nothing specifically and everything at the same time. Unlike other albums, this one is very closely tied to our lives in real time—that is, we composed and released the songs within a very short gap. The big difference for us is that it deals with topics that still hurt or worry us. The process was very fast, and the album reflects our lives, which never stop and are always changing. The songs are like that too. On the production side, we spent a bit more time on it since it’s a full-length album. Also, working with Santi Garcíafor the second time made us much more confident and open to exploring. That’s why, although it keeps our essence, we consider it quite fresh.

Were there any songs that were particularly difficult to finish or let go of? Why?
The song "Quiero más", which has a slightly unusual structure. It’s actually a bit contradictory because we used to make fairly complex song structures before, so a track with a less archetypal structure is kind of a classic for Repion. We had to wrestle with it a bit and make several changes until we found the right key.

What role did intuition and error play during the process?
We usually play with those concepts mainly when inventing the arrangements. With the basic structure of the song—drums and guitars—we rarely improvise because we bring the songs very worked out and well rehearsed into the studio. Santi comes up with the bass parts in situ , letting himself be guided by what the song suggests to him. As we go, we tell him what convinces us the most.

Sometimes we bring the guitar solos clearly planned, and other times we improvise phrases by looping a fragment; the result is usually something very fresh and very much ours—simple but straight to the point. The synth arrangements are also composed on the spot; we hum melodies that come to mind until we find the one that works. The three of us understood each other very well throughout the whole process.

Was the order of the songs intended as a narrative? How was the order decided?
We didn’t have it clear until the end. Once the songs were finished, we tried different orders, letting intuition guide us. In this case it played a pretty important role. With “Otro día será” we were quite sure it should be the opening track because of the drum break it starts with—just by itself and very powerful. The rest fell into place along the way; we didn’t overthink it too much. We did want “Atocha” to be the last one: very few elements and very raw, leaving a good aftertaste. It’s like the moment of relaxation after giving the body a lot of intensity.

Which composers, musicians, bands, producers, and studios would you like to collaborate with in the future?
We always fantasize about trying to include an orchestra in some of our productions, like Amaral did on the album Pájaros en la cabeza or, more recently, on Rosalía’s, Lux. For us that would be a dream—and then bringing it to the live show would be incredible. On the other hand, right now it’s hard for us to decide on bands we’d like to collaborate with. We’re coming from a very intense year in 2025, where we worked with many artists. Still, we’d love to collaborate with Amaral, Luz Casal, Aiko El Grupo, Mourn, El Mató a un Policía Motorizado…

As for producers—besides Santi, of course, because we obviously love working with him—we also really like the work of Víctor Cabezuelo and Manuel Cabezalí. They’re also friends and super nice people, which is essential when choosing a producer.