Brujeria is one of those bands that is always a pleasure to listen to, and although they do not have an extensive discography due to its rotation of musicians and that for several of its members, it's only an alternative project, this time the new album of the band led by Juan Brujo arrives only 3 years away from Pocho Aztlan of 2020. We are grateful that they have not left us with a wait as long as the one between Brujerizmo and Pocho Aztlan of 16 years!
Esto Es Brujeria was released this past September 15th, a significant date for Mexico due to the fact that the grito de Independencia is celebrated on the morning of the 15th. Esto es Brujeria starts in a brutal way as it is already customary in the classic grindcore band, Esto Es Brujeria is the opening track that enjoys the characteristic sound of the band, devastating riffs, a brutal but precise drumming.
El Patrón del Reventón also shows that Juan Brujo's capacity is still on war demand, despite his age and despite the fact that in his last live performances he was seen with a little effort (more than usual) to be able to sing in the brutal way he has accustomed us to. If there is something that has always characterized Brujería, it is their lyrics that cover complex and polemic topics such as religion, war, drug trafficking, the problem of migration and now, the issue of gender violence; something that we can appreciate in the song Bruja Encabronada, sung by La Encabronada, who went from being an occasional member, or who only appeared in some live performances, became the main voice in this album, a feminist battle cry that fits perfectly with Brujería's style.
And speaking of social issues, we also find Politicamente Correctos, a song that speaks openly of the social problems that brings with it the constant censorship in social networks, and the so-called inquisition of the internet, where if you do not think like some groups, you can suffer censorship and even end your career and your life. Excellent that Brujeria's success, that nowadays, few bands dare to face the politically correct collectives. From Perdido en el Espacio onwards, Brujería slows down the pace, we find slower riffs, but that does not detract from its merit, perhaps the band shows that they can still sound heavy without the need for a brutal speed, as heard in Odio Que Amo, and Testamento 3.0.
A Brujería album of 16 songs may sound a bit risky, since as for song 12 it can start to sound tedious, but especially with filler themes such as Covid-666 and Cocaina, which had already been released previously in an EP, which I do not find sense when putting back into an album, unless the ideas have been exhausted and they had to resort to the filler already mentioned.
Anyway, the first half of Esto Es Brujeria is completely enjoyable, trying to avoid maybe the last 4 tracks of the album, and again I applaud the inclusion of themes of gender violence and the inquisition of social networks, which are already everyday problems.