Greta Garbo

Following 2020s Curso de Levitacion Intensivo and Posible, Enrique Bunbury proved controversial when he decided to embrace conspiracy theories about the pandemic, the alleged complicity of Bill Gates, and support for Donald Trumps decision to withdraw the U.S. from the World Health Organization. (The latter was especially significant since Bunbury lives half-time in Los Angeles.) The songs on Greta Garbo were mostly penned in 2022, after Bunbury received a medical diagnosis of a severe allergy to glycol (the prime ingredient smoke machines used on stages during concerts) that forced him to consider retiring. The albums title reflects the artists wishes after receiving that information: to leave in total silence as the film star had. Greta Garbo collects ten songs that reflect the tension between hope and hopelessness, endings and beginnings, and futility and inspiration. Bunbury left the Holy Innocents -- his band for the last decade -- off the album. Instead, he chose to work with producer/bassist Adan Jodorowsky, guitarist Raoul Chichin, keyboardist Victor Mechanick, and drummer Guillo Morales Vitola. They recorded the set in analog in Mexico City. In contrast with its two predecessors, this albums approach is more warm, direct, and accessible. It forgoes electronics and industrial sounds in favor of straight-up rock & roll. Opener "Nuestros Mundos No Obedecen A Tus Mapas" starts with a motorik Krautrock snare-and-bass rhythm that gives way to a glam rave-up (complete with saxophones) a la the David Bowie of Diamond Dogs. "Alaska" follows with a soul guitar and jaunty Rhodes piano vamp recalling Sly Stones "Everyday People" as Bunbury delivers a bucolic, easy rocker that advocates escape from the troubled world to one that is fresh, clean, and solitary. "Invulnerables" is swaggering, angular 1980s new wave with spiky guitars (think Gang of Four), pulsing, precise drums, and a chorus hook to swoon for. "Para Ser Inolvidables" weds 70s funk, pop/rock, and early new wave in a song that flirts with sudden exits and studied disappearances. "La Tormentas Perfecta" is autobiographical, a taut rocker addressing Bunburys critics that unironically compares his persecution to that of Jesus Christ. "Autos de Choke" is mellower but lyrically picks up on its predecessor, addressing a society that almost regards its citizens as easily expendable. "Armageddon por Compassion" commences with a Morricone-esque spaghetti Western theme before adopting a shuffling Latin rhythm under the swaying electric guitars. Bunbury sings "I am the alpha and the omega/time on a wheel/the flame that renews/I am the germ of a better future." "Corregir el Mundo con una Cancion" is a bluesy dirge with emotive saxophone, biting electric guitars (a la Nick Cave and the Bad Seeds circa The Good Son), and droning basslines as Bunbury sings of all hes gained, lost, and abandoned in fear throughout his life. While Greta Garbo represents the artists return to hooky pop/rock & roll, its more emotionally resonant and sophisticated -- lyrically and harmonically -- than any outing since 2013s Palosanto. Bravo. ~ Thom Jurek