What was the process of deciding which songs would and wouldn't be part of the album?
I envisioned writing this music around three elements: fire, glass, and omen. From these central spheres, different nuances branched out and blurred into one another, resulting in an uninterrupted journey. Following this intuitive logic, each song is a step that builds a progression and a rhythm for listening. The songs are grouped and arranged in the same order in which we began performing them live before recording the album; therefore, the album’s continuity was shaped by performative needs and the breath of the audience. 

What changed in the way of writing, recording, or producing on this album compared to previous recordings?
This album had previously been attempted—meticulously, carefully calculating every step—but none of those versions were completed or released. This version of Corre y suelta a los perros fulfilled its purpose because we allowed ourselves to be impulsive, rebellious in its creation. We recorded it intensively over one week in the middle of a mini tour through Veracruz; we returned to Xalapa, went into the studio together, and recorded everything. The album is an extension of that unity and cohesion—an ensemble moving as a single body.

Were there any songs that were particularly difficult to finish or let go of? Why?
Each song had its own needs, and we followed their pace. Some required more care than others, but if any song held up the process, it was “Corre y a suelta los perros.” I always knew I wanted to record it in a single take, without cuts. We first attempted an initial version with cajón, two voices, and a twelve-string guitar; it carried more hope, it was fresher, more naïve.

It wasn’t until one unexpected night, when I sang a version with Cocotito de melón using only guitar in a room filled with organic echo, that I understood this was the texture I had been searching for—that degree of shadow and whisper, more stripped down and breathable. The album was already being mixed, and without overthinking it, the following night we were recording this new version, very subtle and without pauses. It took us twenty minutes to achieve that atmosphere, and with that, the album was finished. 

What role did intuition and error play during the process?
A completely crucial one. The presence of the indeterminate, the improbable, paradoxically became the foundation of an album built around vertigo, play, and the present moment. Listening to the present in the studio was essential. In fact, three songs on the album include sections built from improvisation: “Desierto“, “Chiquito pa’ ciudad" and "Lo sagrado" with a group of brutally incredible singers.

Was the order of the songs intended as a narrative? How was the order decided? 
The order of the songs was shaped by the experience of performing this music live. The corners of this sonic world are the result of a four-year process of arranging and performing. I observed how the music settled into people’s hearts and understood what the most compelling order was—so they wouldn’t let go of our hands and could move lightly and effortlessly through the journey of Corre y suelta a los perros.

Which composers, musicians, bands, producers, and studios would you like to collaborate with in the future?
I would love to continue collaborating with friends from the composing community in Xalapa. It would also be a dream to collaborate with those who have explored musical horizons beyond Veracruz, like Fuensanta , and with other musicians from across the country such as Abro Parentesis, Anthony Escandón, Mar del Desierto, Jimena Inch, Niño Flor, or internationally with Monica María and Javiera Electra. 

César y su Jardín

A transdisciplinary singer-songwriter from Xalapa, Veracruz, working between music and theater.

www.instagram.com/cesar_ysu_jardin/

La entrada Corre y suelta a los perros se publicó primero en ERRR MAGAZINE.