New Music

Experimental rockers LOMA BAJA take us on a surreal journey with ‘Piscinas Verticales’: Track-by-Track Commentary

4 mins read

Fresh off the release of Loma Baja’s debut album ‘Piscinas Verticales’, LOMA BAJA provides an exclusive insight into the creation of each track, offering an interesting track-by-track commentary. Comprised of Pacomoto (G.A.S. Drummers), Jorge García (Adrift, El Páramo, Gentemayor), Víctor Teixeira (Giganto, Another Kind Of Death), and Raúl Lorenzo (Sou Edipo), Loma Baja embarked on a two-year experimental journey that resulted in an album that defies musical genres.

The concept behind ‘Piscinas Verticales‘ revolves around the spontaneous and surreal, as if it were the soundtrack to one’s darkest nightmares. The band’s sound transcends traditional categorizations, encompassing elements of post-everything, with hints of bands like Beak, Portishead, Oranssi Pazuzu, Fugazi, True Widow, and Liars.

The distinctive and boundary-pushing nature of Loma Baja’s music has garnered attention from both critics and fellow musicians. José “Pot” Moreno (Atavismo, Híbrido, Medicina, Creciente, Viaje a 800) describes their work as “experimentation, different dimensions, and sensitivity,” while David López “Makon” (Toundra, Exquirla, El Páramo) emphasizes the band’s ability to blend irreconcilable musical styles into a unique combination of kraut-rock, psychedelia, post-rock, and experimental rock.

According to Loma Baja, the album explores “nightmares, places that generate strange feelings, and the hidden side of things.” Each song aims to evoke the lingering sensation one experiences after encountering something truly peculiar. The album’s creation was a collaborative effort between four musicians hailing from different backgrounds who found solace and inspiration in the darkness. Their writing process embraced trial and error, fusing elements of krautrock, post-punk, alt-rock, post-rock, and other exotic genres.

‘Piscinas Verticales’ was recorded live in the summer of 2022 at Metropol Studios by Rafa Camisón, mixed at Estudio 79 by Rafa Camisón, and mastered at Ultramarinos Costa Brava by Víctor García.

This album is a diverse and atmospheric collection of songs that pays homage to various influences. From a tribute to John Carpenter’s soundtracks to funeral march vibes and melodic moments, each track offers a unique sonic experience. The album showcases a range of styles, including post-whatever explosions, industrial elements, and film noir-inspired compositions.

The songs feature primitive and intense instrumentation, combined with evocative vocals that create a sense of catharsis. The journey takes listeners from poppy moments to chaotic nightmares, while also exploring stripped-down and atmospheric soundscapes. The closing track is a dark and experimental piece, influenced by bands like Swans and Sunn 0))).

LOMA BAJA by @gritalacantaora
LOMA BAJA by @gritalacantaora

Piscinas Verticales,’ featuring artwork by Ból! Studio, was released on May 26th, 2023, through indie label Spinda Records (SP), in collaboration with Lay Bare Recordings (NL), Clostridium Records (GE), and Echodelick Records (US). The album is available digitally and as a limited-edition vinyl release, with 200 units on black vinyl and 200 units on clear blue vinyl.

With ‘Piscinas Verticales,’ Loma Baja invites listeners to embark on a sonic odyssey unlike anything they have experienced before. Prepare to be immersed in their surreal and captivating world, where musical boundaries are shattered, and imagination knows no limits.

V 70

This song is our tribute to John Carpenter, as if True Widow were playing the soundtrack for The Thing. It starts with the bass heartbeat and a synth line that repeats throughout most of the song. It’s a pretty cold song. The tempo remains constant and doesn’t break until near the end when we increase the intensity with a couple of tension-filled notes on the edge of dissonance. It has a rather classic structure compared to the rest of the album. The song’s title is a tribute to Jorge’s car, a 20-year-old Volvo V70. It’s possibly one of the songs on the album that all four of us like the most.

La Emboscada

“La Emboscada” is a sort of funeral march. The bass is replaced by a MicroKorg to give it a more solemn and dark feel. The guitar has a swampy and repetitive vibe. A sampler of a woman’s voice, possibly Asian, circularly repeats a message: “Naomi dancing in Hawaii. Why don’t I dance in my life…? Surfing on a terminal beach.” The final part bursts into a melody buried in fuzzy sound. We took great care to ensure it didn’t turn into the typical post-whatever explosion.

Canción de Manuel

“The theme of this song is the most melodic you’ll find on the album. Guitars drenched in reverb, a couple of synth notes that add a pretty insane touch to the song. The bass takes on an unorthodox dub vibe (don’t worry, no Lee Scratch Perry fan will be alarmed). In the end, darkness prevails once again. The track is divided into two parts. The melody disappears, making way for a primitive drumbeat supported by two constantly repeating notes. The song transforms into an industrial piece. Now it’s the synthesizers that try to bring some light into the song. The title is related to ‘The Book of Manuel’.”

Crónica negra

One of the longest and “complex” tracks on the album. It starts with a little improvisation before diving into the score of a hypothetical film noir. It’s an almost instrumental piece, combining the styles of Black Heart Procession and Black Sabbath. It’s heavy but not quite metal. The title, “Crónica Negra,” is inspired by a Spanish film from the 70s called “Un Flic.”



This is the first song we ever composed. Two guitars, bass, drums, and a primitive vibe. Jorge came up with the main riff and suggested that the drums be as Neanderthal as possible. We’re not really sure what it sounds like, maybe like a prehistoric version of Sonic Youth. The vocals break through the aggression that dominates the song and, enveloped in echo, invoke a state of catharsis with eyes rolling back. The ending of the song intensifies before settling into the monolithic rhythm with which we began.

Boda final/Velorio

The “poppiest” song on the album. It’s like bubblegum pop for drunken guests at a wedding. A wedding that spirals out of control and ends up turning into a funeral. Verse-Chorus-Verse-Chorus-Solo-Nightmare. The final part repeats endlessly, trying to break the song’s balance.

Hierros viejos

This song has gone through many versions. Initially, it was much more complex. We never really paid much attention to it, in fact, it was almost discarded from the album. But just before going into the recording studio, we decided to strip the song down to its bare bones. The guiding melody is very fragile, barely distinguishable. The drums are played in a free-form manner, sounding different each time. The idea of how we wanted this track to sound was as if our amplifiers had been covered by a thick blanket. It’s as if rust had enveloped everything.


This is the last song we composed. The inspiration comes from bands like Swans and Sunn 0))). The 6th string of the guitar is tuned down to A, and instead of using a bass, we decided to use a synthesizer with very deep tones. It doesn’t have a very defined structure and was recorded in a single take. Raúl hates playing this song.

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