Hermanos Gutiérrez Nails Western Motif With Cosmic Charm on ‘Sonido C​ó​smico’ (ALBUM REVIEW)

Photo Credit: Jim Herrington

Hermanos Gutiérrez’s previous release, the excellent El Bueno Y El Malo, was steeped in the ‘Spaghetti Western’ allure of Sergio Leone’s expansive films. For their follow-up, Sonido C​ó​smico, they relax, looking into the cosmos for some outer space waves of inspiration as their guitars continue to weave instrumental magic. 

The duo (Estevan and Alejandro Gutiérrez) doesn’t completely leave the desert soundscapes behind, but on their second album, working with producer Dan Auerbach, things feel a bit more open and floating. The brothers are joined by other musicians to help flush out the sound in various ways, with Mike Rojas (keys), Sam Bacco (percussion), Adam Schreiber/Jeffrey Clemens (drums), and Auerbach himself pitching in on a bunch of different instruments.      

Opening with “Lágrimas Negras,” the duo uses gorgeous layers of guitar tone to offer a spacey soundtrack to an artistic modern western. The strings mix with Rojas’ harmonium and Hammond B3, creating an eerie tone. “El Fantasma keeps the western motif vibrating with Farfisa organ, percussion, echo-laden wah-wah, and metallic riffs. At the same time, “Los Navegantes” uses cascading lines and feels like traveling on horseback at night in the Southwestern United States after taking just a little bit of peyote.   

Hermanos Gutiérrez has been influenced by spaced-out sounds. Pink Floyd is a clear touch point on both the straight-ahead “It’s All In Your Mind” and “Low Sun,” which feels like it could roll blissfully on and on forever. The group deftly keeps listeners engaged without singing. Yet, tracks like the theatrically large “Abuelita” and the cool percussive groove of album standout “Barrio Hustle” are both perfectly crafted for a remix with vocals. 

A few efforts can wander a bit without much of a reward, as the title track seems to be setting the stage for something grander but stays mellow, while “Luz Y Sombra” is outshined by more engaging efforts. Some of those, like the understated “Cumbia Lunar,” the shimmering grandeur of guitars carrying on a musical conversation in “Until We Meet Again,” and vibrating closer “Misterio Verde,” are pleasurable journeys through hypnotic guitar work and more.     

Sonido C​ó​smico is perfectly titled. This record from Hermanos Gutiérrez goes for a cosmic sound and nails it while still retaining the Latin guitar traits that make the instrumental duo a joy. 

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