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ALBUMS
EN EL MISMO SITIO
Porco Bravo stakes its claim once again with their new album, En el mismo sitio—a declaration of intent wrapped in wild rock & roll. Far from trends and poses, the Barakaldo band reaffirms its essence with a raw, no-frills release loaded with attitude.
This album is much more than just a collection of songs: it’s a table-flipping statement, a reminder that rock doesn’t need embellishments when it comes straight from the gut. Each track is packed with searing riffs, shout-along choruses with fists in the air, and that raw energy that turns their shows into true rituals of sweat and gasoline.
En el mismo sitio doesn’t speak of stagnation, but of consistency. Because staying "in the same place" when what you do works, moves, and burns everything in its path is an act of loyalty—to yourself and to the people who’ve been there since the first pogo.
It’s a return to the roots with eyes set ahead. It’s still writing songs from the trenches, with the conviction that the GROOO is just as alive as it was on day one.
SOMOS
After PULPOFEST, the band decided to pause indefinitely—it was something they needed. But a few months later, and after Txelu Losa’s departure, the Porcos began gathering in the rehearsal space with Jorge Murillo’s help to shape a series of songs composed by Asier Domínguez. That’s how “Somos” was born, with no set timeline but with the intention of completing a strong collection of tracks. Once Mr. Hell Vázquez officially joined on bass—and with the right determination—the Porcos decided to record those songs. The rhythm tracks were laid down (not without setbacks due to the pandemic—the original studio date of March 16, 2020 was pushed back to September) at the legendary Lorentzo Records run by Aitor Ariño, with Txortx Etxebarrieta at the helm. Oskar, Asier, Hell, and Kapi (making his studio debut) recorded their parts together in the same room—an experience the band thoroughly enjoyed. The rest was recorded at Altxatune in Aulestia, also with Txortx. José Alberto Batiz collaborated, assisting and advising the group throughout the process, which culminated in a mastering by Steve Fallone at Sterling Sound Studios in New York. On “Somos” you can hear guest turns like Podri Ratzinger on “Al despertar” and Mikel Gorosabel (EH SUKARRA) on “De cristal,” alongside seven more blistering tracks brimming with all the power and energy that define Porco.
GROOO!!!
Porco Bravo’s first album was recorded and mastered at The RockStudios in Bilbao, under the direction of Carlos Creator, in mid-2011. The cover illustration is by Pedro Vera, with the design concept by Pulpo. The record features guest appearances from, among others, Robertez (of Motociclón and Los William Folkners), Alberto Romero, and the “Porcas” (Virginia, Esther, Ruth, and Lydia). It wasn’t all smooth sailing—due to various issues, they were forced to pause recording at one point. In the end, however, they completed nine tracks. Some of those songs—thanks in part to the extensive promotional tour that followed—would go on to become cornerstones of their most recognizable and powerful live set: “Lasciva,” “Donante,” and “El Cazador.” The album was laid down by what would become the band’s most solid lineup: Manu on vocals, Txelu on bass and backing vocals, Pulpo and Asier on guitars and backing vocals, and Óscar Puro D’Oliva on drums and percussion. In a way, more than capturing the present, this record sealed the band’s future.
PORCO BRAVO (CUERO)
Two years later (2013), they visit the Muxikon studios in Mungia to record their second album, self-titled but known as the “Leather” record because of the hide with which it was wrapped and presented. Production is overseen by Txortx Etxebarrieta, who works on the album mano a mano with Asier Domínguez, with support from Carlos Creator throughout the process. The final sound is crafted by Steve Fallone at Sterling Sound studios in New York. The artwork is by Niko Vázquez. The lineup, of course, is the same as on the previous release, and once again they’re joined by generous guest contributors such as Berna, Alfredo and Iker Piedrafita, Iñaki Uoho, and Jon Calvo.
The album kicks off with a two-minute instrumental gauntlet and never lets up. You’re carried from one riff to the next without a chance to catch your breath; blink, and they’ve hit you with a new lead. The choruses repeat with no fear of vertigo. The drums could soundtrack the Normandy landings. And there’s a bass in the background that provides the same fulcrum Archimedes dreamed of to move the world. A sound polished to a sheen and a maturity reflected not just in the music but in the lyrics as well. A solid, mature record—because the music feels more convincing and robust.
LA PIARA
In 2015, Porco return to the grind. They go back to Muxikon, but this time also visit Altxatune Studios in Aulesti. The lineup remains the same as on their previous records. La Piara, the band’s third album, is produced by Txortx and Iñi Etxebarrieta alongside Asier Domínguez’s engineering work. Once again, the record is mastered at Sterling Sound—this time by Ryan Smith. Friends like Boni, Batiz, Txetxu Palacios, and Ismael Prada take part in the recording. The album’s title pays tribute to the people who’ve followed the group since the beginning. The band stated that with this release the “Porca trilogy” would be complete. The design and layout were created by Markel Urrutia, who chose a restrained, elegant style featuring an evocative emblem on the cover (Romulus, Remus, and their Bagaza crew) and interior artwork by Kepa Garro. The album is a coordinated blast of electricity, with paeans to proletarian honor rendered as finely honed songs, perfect for boiling your blood and awakening the conscience dulled by routine and human condition. They’ve achieved a distinctive, recognizable sound—something akin to a musical identity—but there are also bold variations, daring moves that demonstrate their maturity and prowess. And at its heart is “La Piara,” a song reclaimed from the band’s founding myth: the birth certificate, in verse, of this group.
PHOTOS
MEDIA
