{"id":202926,"date":"2026-03-23T07:00:00","date_gmt":"2026-03-23T13:00:00","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=202926"},"modified":"2026-03-22T22:34:52","modified_gmt":"2026-03-23T04:34:52","slug":"corre-y-suelta-a-los-perros","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/corre-y-suelta-a-los-perros\/","title":{"rendered":"Corre y suelta a los perros"},"content":{"rendered":"

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?
<\/strong>Beneath the surface, this album hides a very deep connection to rugged, omen-filled worlds in literature\u2014like those of Elena Garro<\/a><\/strong>, Juan Rulfo<\/a><\/strong>, Rosario Castellanos<\/a><\/strong>. Images began to seep in\u2014splattered with dust, silence, shadows soaked in an endless night, and dogs howling along a dirt road. All of this started to form a heart, an atmospheric current that gathered the essence of each song, placing them within their own world.\u00a0<\/p>\n\n\n\n

What was the process of deciding which songs would and wouldn't be part of the album?
<\/strong>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\u2019s continuity was shaped by performative needs and the breath of the audience.\u00a0<\/p>\n\n\n\n

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What changed in the way of writing, recording, or producing on this album compared to previous recordings?
<\/strong>This album had previously been attempted\u2014meticulously, carefully calculating every step\u2014but none of those versions were completed or released. This version of Corre y suelta a los perros<\/strong><\/a><\/em> 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\u2014an ensemble moving as a single body.<\/p>\n\n\n\n

Were there any songs that were particularly difficult to finish or let go of? Why?
<\/strong>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 \u201cCorre y a suelta los perros<\/a><\/strong>.\u201d I always knew I wanted to record it in a single take, without cuts. We first attempted an initial version with caj\u00f3n, two voices, and a twelve-string guitar; it carried more hope, it was fresher, more na\u00efve. <\/p>\n\n\n\n

It wasn\u2019t until one unexpected night, when I sang a version with Cocotito de mel\u00f3n<\/a><\/strong> using only guitar in a room filled with organic echo, that I understood this was the texture I had been searching for\u2014that 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.\u00a0<\/p>\n\n\n\n

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