Buscabulla returns to Puerto Rico for new album “Regresa”

In the fall of 2017, Hurricane Maria flooded entire neighborhoods along the northern coast of Puerto Rico, making it the bloodiest natural disaster to hit the United States in nearly 100 years. After a decade of living in New York, Raquel Piraeus and Luis Alfredo Del Valle of Buscabulla double-pop have decided it was time to go home and set a record. Accompanied by a short documentary of the same name, Regresa – Spanish for “Return” – chronicles the journey back to the island.

“It feels like you are seeing your mom getting sick and feeling like you really want to be close to her to help her recover,” recalls Piraeus, via Skype from Aguadilla, where she lives with Del Valle and their daughter, Charlie. While working on their own music, the duo collaborated with fellow Borikan musician Ani Cordero to create a non-profit organization for independent Puerto Rican musicians and artists (PRIMA), which provide financial assistance to the local indie scene.

As people gathered on the island together to rebuild amid the wreckage, a common phrase was taken: “Puerto Rico C. Levanta” (Puerto Rico rises). Over the next two years, the island will have to rise again and again. The year 2019 witnessed what could be the largest political demonstration in Puerto Rico in recent history, prompting the resignation of the LGBT ruler Ricardo Rosello, and the cooperation between the Boricqua kings Bad Boni and Ricky Martin. I mean, the power that it has.

Then, almost as a preview of the coming horrors, he started in 2020 with the worst earthquake in Puerto Rico in over a century, of which thousands are still homeless. Now, Berríos laments, “We are in the fourth season of Puerto Rico C. Levanta.” The devastated and neglected healthcare system in Puerto Rico is particularly vulnerable to the coronavirus. As we speak, a Puerto Rican government car passes through the couple’s house, and pleads through the loudspeaker, “Por favor, quédate en casa”: Please stay home.

Amid multiple disasters, Regressa arrives today. It is Buscabulla’s first full studio album, although they have been on stage since winning the Guitar Center in 2013. As their first award, Dev Hynes produced their debut EP, EP 1.

In the following years, the two set themselves apart in the independent scenes of Latino in New York and elsewhere. Even now, while Latin music continues to be an indomitable force in the industry, Buscabulla’s voice remains acoustically isolated on its own fertile little island. How would you keep six years of noise with the EP just under your belt?

They were bound to become friends and collaborators with Roberto Carlos Lang, who makes music under the name Helado Negro. He doesn’t remember how they first met, but perhaps he was on Twitter, Del Valle jokes.

“If you made independent Spanish music, you will probably know everyone who makes independent Spanish music,” says Del Valle and Pereus, with some other phrases ending. “It’s like, we both made strange Spanish music. Let’s tie up.”

Buscabulla went on a tour with Helado Negro in 2016, and has since dreamed of a small handful of ethereal melodies together. On Regresa, Lange introduced Star Series and Century Arrangements for the future love song “Club Tu y Yo.” Born to Ecuadorean immigrants in South Florida, Lang told me he saw an immediate kinship with Buscabulla that reached beyond the complex Spanish and Surreal words.

He says about the tropical effects on their music: “It is this feeling that the mere presence of the sun on your skin all the time, moisture and ocean.” “There is a surreal and magical side to it.”

There is also a shared disconnection from the rest of the United States and the prevailing music: “We have taken these various Latin American sensibilities, through language and the search for music that has always been outside of our immediate surroundings unlike anything else you hear on the radio.”

Piraeus and Del Valle say they make music in Spanish in part because they rarely hear alternative music in their native language. While there are many independent and empirical artists who make Latin music, much of the focus is on reggae, bolero and traditional rock. Del Valle deals with the idea that music is in the realm of white artists. “It can be made and enjoyed by all kinds of people, and it comes from all kinds of places and backgrounds,” he says.

This is the sound of Buscabulla. At the same time, it is Caribbean salsa clubs and a dance music scene in Brooklyn. It’s pop music equally inspired by urbano, salsa, and chill-wave. The album was produced by Buscabulla themselves and mixed by Patrick Wimberley, known for his work with Blood Orange and Solange. The album includes collaboration with sage newcomer Nick Hakim and legendary singer Puerto Rico Nidia Caro.

Caro appeared in a song called “Nidya” where Spanish listeners reminded that “The light comes after the greatest darkness / You can’t see the stars if you don’t have a dark night.”

Berríos admits that Caro gave her similar advice when they first met. “I think at some point in the record-breaking, I kind of hit a wall,” she says. “It wasn’t easy to move from New York to Puerto Rico; many changes. I moved from living close to people constantly to a kind of being in our house. I was isolated, doubting everything and feeling insecure, and I don’t know that these visits to talk to this woman were amazing “.

At the end of “Nydia,” Berríos sings, “Como velero se vá / Como paloma se vuela”, quoting one of the 70’s Caro strokes posted in the gay disco scene in New York: “Leave like a sailboat / fly like a dove.”

Berríos and Del Valle love to mention Puerto Rican musical characters because of what they describe as the loss of cultural memory on the island. It was something that was particularly evident to Piraeus, who says that New York was a paradox as it was able to relate to its musical roots. She explains, “In New York, you can find a lot of cool records versus Puerto Rico, which is very wet here, recording some kind of garbage.”

In more ways than they could have imagined when Buscabulla chose to return in 2017, Regresa is a testament to Puerto Rico’s resilience. The island is not foreign to natural disasters. His presence can attribute itself to a volcanic eruption, and he has not had enough time to relax since. The record was similarly formed under earthquake rubble and flooded with hurricanes. It was tempting to postpone the release indefinitely – Regresa was expected to drop in April, but the January earthquake pushed that date to May – when the epidemic reached, it became clearer to the band, perhaps as it happened to the world, that disasters are inevitable . They are ignored by the powerful but are more tolerated by those of us who are not.

Most pop music can now feel departed from reality so that it is fun. But Regressa accidentally delays time, which is at the same time a tropical vacation and a poetic math with the very conscious act of going, being and staying at home.

Closing the record is “Ta Que Tiembla”, for the club’s song in disastrous conditions.

“Que lo viene viene y viene fuerte / Y cuando viene viene de repente / Que to ‘se mueve viene bien potente / Hay que metle hasta que reviente,” sings Berríos. The sound of the siren blends seamlessly into the synthesizers, and invites, almost demonically, to celebrate with chaos. “What is coming / and when it comes comes suddenly.” As the heavy drum overwhelms the dividing line between the doctrine of pleasure and empowerment, “Everything is shaking, it is strong / you must do it, you must do it until it explodes.”

Ironically, “Ta Que Tiembla” was one of the first songs the band recorded a decade ago with friends in New York. “We felt it was some kind of strange prophecy,” Piraeus said, adding that the song represented the underlying feelings in Puerto Rico. The island knows the disaster. She knows both struggle and perseverance. She knows what so much of the world knows just now.

“We probably felt it was the end of the world for a while.”

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