Motoharu Okamura's sound is dominated by guitars, obviously, but it covers a broader spectrum than Automatics. In their debut they run through noise psychedelia from Loop to Black Rebel Motorcycle. They even look back (the catchy “Ya Somos Tres” shares echoes of darker post-punk and pop charm with early The Cure) and dive into the hardest-hitting shoegazer with gorgeous melodies and whispered vocals. The second part of the album, after the instrumental interlude of “Arena”, shines alternating adherent hits that overwhelm (the contagious “Kaku” and “Sangre en su fiesta”) and lull (the dreamy choruses of “No vez acre” and “ Caligula”), leaving abundant gifts for fans of the volcanic electricity of Swervedriver or Ride and the incandescent nebulae of Curve or Cranes. The melodies preside over the album (always that pop skill), but it is dominated by a shower of catchy riffs and overwhelming guitars that represent the creative zenith of Manuel and Poncho. Their combination is always spectacular, from the dynamic ("Metal Baby" and "Skin and Bone" are high-voltage hits) to the atmospheric ("Rain of Angels" plans space highways, "Impossible Here" wraps with narcotic harmonicas and a banjo lisergic and “Filofofia” closes the album with the caresses of dream-pop). In addition to the fantastic sound of the guitars and the solid composition, in the arrangements they also shine like never before, always giving a cool veneer that more than Automatics comes from Husband (Aranzana's vindictive later project). In short, it is a peak after more than thirty years recording albums. WILLIAM Z OF THE EAGLE