Hold on to your hats, the best news from the other world has arrived. The new songs by LA CASA AZUL are finally here. As we had previously announced, “Fauna Y Flora Subacuática” is coming in two parts. We now have the first part in our hands, “Fauna Subacuática”, and in February 2027, it will be the kingdom of plants’ turn with “Flora Subacuática”. A new world divided into two semi-verses for a…
Hold on to your hats, the best news from the other world has arrived. The new songs by LA CASA AZUL are finally here. As we had previously announced, “Fauna Y Flora Subacuática” is coming in two parts. We now have the first part in our hands, “Fauna Subacuática”, and in February 2027, it will be the kingdom of plants’ turn with “Flora Subacuática”. A new world divided into two semi-verses for an album that should be definitive in LA CASA AZUL's career. In it, the essence of Guille Milkyway’s music reaches new heights, and his pop culture overflowing across every track on the album: influences from Japanese music, synthpop, electropop, contemporary R&B, urban music, soft pop, Latin pop, indie, disco, impossible arrangements, and the definitive takeover of the dance floor… An album that should catapult him to the ranks of many of those masters who have taken disco music to a new level, such as MASTERS AT WORK, PARCELS, JUNGLE, JUSTICE, KAVINSKY, or, of course, DAFT PUNK.
Here we find some of the best melodies Guille has ever written. We get to relive that lyrical spirit from his early live shows, amplified a thousandfold, yet without losing an ounce of energy on the dance floor. We return to sonic and instrumental exploration (pay attention to the strings and clavichords on this record), to vocoders, and to the influence of every conceivable musical style put through his personal sonic shredder. But at the same time, we’re witnessing an unprecedented step forward in his career: “Fauna Subacuática” is an exercise in musical colorism, in 21st-century frequency expressionism. It’s the result of the trance of an artist who sees all the possibilities of compositional infinity and decides to play with different parameters while diving into the depths of the sea, which has become the inspiration for his new exercise in escapism. An album with an extraordinary poetic spirit, exciting, vibrant, and more luminous than ever, that the maritime imagery and instrumental textures turn into an absolute musical experience. Excuse us, or rather, this half-album, as we have already warned you that another installment with seven new songs is coming in February.
“Bajo El Hielo De Titán” starts off strong: an ode to resilience, to bringing light to life through disco beats, to finding beauty on the asphalt, to Studio 54, to the Philadelphia sound. It’s the kind of hit that only Guille Milkyway knows how to make. And we had already heard “En Mi Cabeza”, with its baroque spirit, its strings, the vocals of dani dicostas, the jungle, the Europop, the sky-high BPMs, Michael Nyman, the wonderful bridge that recaptures the soul of Brian Wilson, and the dance between psychedelia and THE DIVINE COMEDY, between BIS and DINARAMA. We live with the longing for something that could have happened, something that never did but that we intensely wished to achieve. Something that lives in our head and that we feel as if it were real, but which, deep down, is like daydreaming: a back road that offers us a different view of life. And that’s what “En Mi Cabeza” is about, closing our eyes and letting everything be possible in our minds.
“Prometo No Olvidar” is another of the singles we already knew when we were still unaware of what was yet to come. Synthpop, techno-disco, and a nod to reggaeton. It’s impossible not to dance to it in a state of pure ecstasy with those deep basslines and the live band’s visuals. An example of precision and infallibility, as if it were a hundred-thousand-piece puzzle full of details that make the difficult seem easy. A perfect chorus, bursts of energy, endless nights, and the feeling that living in Guille’s music is like living in an infinite paradise he has built brick by brick to help us forget the world and believe there are better places to be.
“Terraformar” is co-written and co-produced by Pau Aymí and Dianka, who has already performed the song “Vamos A Olvidar” live on several occasions with LA CASA AZUL (the song is performed by Soleá Morente on the album). Pau is a multi-instrumentalist, eclectic, and innovative producer who has collaborated with many artists such as Amaia, Alba Morena, Sila Lua, NIÑO DE ELCHE, SEV’S, or Jeanette in producing or songwriting. And, of course, Pau is the right-hand man and lead producer for Dianka, one of Spain’s most promising electronic pop artists. She has been releasing songs since 2022 and has collaborated with important artists such as LA BIEN QUERIDA, Maria Rodés, and Alba Morena. “Terraformar” is a new meteorological and cosmological metaphor in which chemistry explains and translates human emotions. A small, fragile, subtle, orchestral tour de force that moves toward warmth, toward new opportunities, toward adrenaline and dopamine. “Y brotar en el océano la vida” (And let life spring forth in the ocean). Nothing more to say, Your Honor. Let’s dance.
“¿Cuándo Me Empezaste A Odiar?” is Europop and funk. It’s probably the track that proves Guille has never forgotten who he is or where he comes from, as he knows how to look back, look ahead, and reinvent himself. Exquisite pop, Shangri-La, fantasy in seven colors. A song with a shifting, explosive structure. A 100% LA CASA AZUL classic. On the other hand, “Entra En Mi Vida”, the first single from “Fauna Subacuática”, proves that Guille also knows how to incorporate the latest rhythms and make them his own: that agile phrasing, the syncopated rhythm, and suddenly, the luminous explosion, Northern soul, Juan y Junior, LOS ÁNGELES, the BEACH BOYS, THE SUPREMES, ELO, OMD, SAINT ETIENNE and PIZZICATO FIVE. A journey through time to the past and the future, overlapping layers, small arrangements, thousands of details throughout a song full of references and lyrics as accurate as few: “Y es precisamente ahora / Cuando todo andaba mal / Cuando todos los problemas / Se agolpaban sin parar / Es precisamente ahora / Cuando apareces tú y la luz del sol / Entra en mi vida sin temor” (And it’s precisely now / When everything was going wrong / When all the problems / Were piling up nonstop / It’s precisely now / When you appear and the sunlight / Enters my life without fear).
And the final climax is “Lo Profundo”, a track that encapsulates everything that makes up this vast, unfathomable work. It begins like a tiny music box from the future, a fragile, delicate ode that grows into a four-four symphony filled with stars and suns; thrilling, disarming, poetry in motion. Furthermore, the sampler of Silvia's voice from NIZA and that tribute to "Viaje A Los Sueños Polares" by FAMILY make us think of the thousands of connections hidden in this song. Because it is clear that there is something special in it, something deeply personal that makes this impossible composer to bare his soul once again, even if only for a few seconds.
Half an album. Half a universe. And we’re completely overwhelmed and speechless. We knew what Guille was capable of, or at least we thought we did. Now, with just seven songs, with only half the story, doubt overcomes us. How far can something so immense go?
