Enrique Bunbury Returns with Greta Garbo Studio Work
Enrique Bunbury, born in Zaragoza in 1967, unveils a new studio project titled Greta Garbo released by Warner in 2023. The choice of the album name mirrors recent personal and professional shifts Bunbury has faced, including stepping away from live stages due to throat issues. He explained that the songs for Greta Garbo were written during that difficult period and in the ensuing months. Some tracks carry the weight of frustration and discontent with the situation, while others glow with a quiet hope. The collection unveils a mix of unease and enthusiasm as Bunbury contemplates what he terms the Greta Garbo syndrome, inspired by the Swedish actress who left cinema at the height of her career. The album was recorded at El Desierto Casa Estudio in Mexico. A few days after the release, Bunbury spoke with EL PERIÓDICO DE ESPAÑA, answering questions from the Prensa Ibérica group.
Q. I’m quoting Nicolas Cage about the film Next: This is the future. So if you see it, it changes. How do you view the future, including your own, especially when your path seems so bright you might need sunglasses while singing on Back Home?
This reflection echoes a line Bunbury admires. He believes looking ahead and projecting oneself into the future can alter the outcome. The perspective echoes a Charles Chaplin warning that wishes may not become reality. In practice, the artist notes that making plans is challenging. The touring concept was set aside, freeing him from long-term commitments and leaving open the possibility of future performances only as needed. The May 26 album release will be a priority as he returns to his studio to paint, write songs, and perhaps start a new book. There is no rush, but there is no pause either. The creative life remains active, and a vacation to an exotic destination is on the horizon.
S. The lyric expresses a shift in mood: The line about saying goodbye and returning home is a recurring motif that signals a personal decision rather than a mere farewell.
That observation rings true. Bunbury notes a long career behind him, with his first album arriving in 1987. He has moved through varied artistic phases with different collaborators and managers. It is natural for artists to close chapters and begin new ones, and Greta Garbo marks a change of focus. He describes a move away from large-scale tours and toward a concentration on creative work, which forms the bedrock of his artistry and what he finds most fulfilling.
The term resign feels imperfect to describe the project. The album, he explains, invites listeners to join him in a new cycle that may carry some sadness over unrealized career milestones, yet presents something fresh and hopeful.
Q. Is Greta Garbo a surrender album?
Not at all. The term resignation seems ill-suited for Greta Garbo. Instead, the album offers a pathway for audiences to follow him into a new phase that may reveal him anew, including a sense of melancholy over parts of his career that cannot be fully realized.
Q. There is hope, as seen in Bumper Cars. Is that track the light breaking through a crack, as Leonard Cohen suggested?
That track enjoys a disco-tinged groove and serves as one of the few overtly social statements on an album otherwise focused on personal reflection. Yet it also carries an external view and social critique that invites broader interpretation.
P. Greta Garbo recalls moments from Calamaro and the Beatles, with a soulful touch heard in tracks like Being Unforgettable and Alaska. Which artists influenced Bunbury most during the creation of this album process?
He highlights Andrés Calamaro as a major influence, among others who fascinate him. He regards The Beatles as the foundation of his musical world, having grown up listening to their records. The seventies spirit also shaped the record, with Al Green leaving a distinct imprint. The late 70s New York post-punk and Bowie’s Ziggy Stardust era are cited as essential references guiding the album’s sound and mood. The project blends these influences into a contemporary frame.
Q. Beyond the ten tracks on the album, there is an bonus track titled You’re Not the Same Anymore. How does this piece fit Greta Garbo and why does it stand apart?
A. Eleven songs were recorded, but one had to be left off because it did not fit the record. The bonus track is not radically different from the rest, yet it deserves a special place within the collection, a singular moment that resonates with the overall arc.
The ensemble led by S. Adanowsky does not reproduce the same backing as the Los Santos Inocentes era. Was the new material meant to invite different voices and a fresh sound?
From the outset, the decision pointed toward change. Bunbury did not want to repeat the old formula. He explored collaboration with Adam Jodorowsky on bass, with Raoul Chichín and Victor Mechanick offering support from a young, talented Parisian rhythm section. Bernie contributed a delicate touch on drums. The aim was to refresh the sonic palette and approach a new musical context. The plan remains to continue evolving with new players and producers for future projects.
Q. The management team changed as well. Was the shift complete?
Yes. The timing felt right for a broader redesign of his professional vision, setting a trajectory toward new possibilities and outcomes that align with his creative goals.
The touring life remains demanding. Extensive journeys require leaving home for long stretches, far beyond weekend shows in smaller cities. Bunbury acknowledges the physical and emotional toll of constant touring and describes it as a heavy undertaking that deserves respect and understanding.
Q. What would it take for Bunbury to return to live performances in a fuller way?
Right now the plan is to perform selectively in specific cities rather than embark on a broad touring schedule. The priority is to stay close to home, to compose, write, and paint, and to devote time to family. Those commitments define the path forward as he continues making music and pursuing creative projects.