“Some of us are like abandoned buildings — there’s nothing left inside.” That line loops through the opener of Adiós Caballos’ new EP, and it’s where the record gets its name. “Edificios Abandonados” — five songs about urban decay, dehumanization, and loss — came out March 27, 2026.
The Almería band recorded it at Bomtrack Studio in Úbeda with David F. Castro, who also produced their early demos back when they were still called At Least… Same room, same producer, different band name.
The EP moves sharper and more direct than their earlier work — more screams, moments that brush screamo — but also carries some of their most melodic writing yet. Epic, but earworm choruses, pop-leaning hooks sit alongside the more aggressive stuff without sanding anything down.
The artwork came together with illustrator Malakai, a longtime friend of the band.
“We were already familiar with his work and his style of illustration. We think the kind of expressiveness in his drawings is incredible.” They came in with a specific brief: every song represented in the cover, a few essential details they wanted included, and the full master sent ahead so he could listen before drawing. Malakai sent back several sketches, and the final piece was decided together.
“He told us he really enjoyed working on it, since he doesn’t usually approach projects this way.”
“La Quietud” (The Stillness)
An intro by design. The band knew from the start they wanted a short opener that would contrast with the song following it. By the time they’d finished the three central tracks, they noticed how many references to buildings and cities were running through the lyrics. “The lyrics work like a mantra, repeating in a loop: ‘Some of us are like abandoned buildings — there’s nothing left inside.'”
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“Sangre Calígula” (Calígula Blood)
The first song written for the EP. The title came from Tolo, “always great at coming up with nicknames and making unexpected word associations.” Sadness, loneliness, the search for oneself. The chorus: “The city empties out, listening to the beauty of your wounds, listening to the sadness of your wounds.”
“Llueve en Ninsei” (It’s Raining in Ninsei)
Written and finished in basically a single day. The title comes from William Gibson’s Neuromancer — the novel the Wachowskis drew from when they were writing The Matrix. Even the lyrics already sitting in the notebook fit almost perfectly with the sound. “Lyrically, I think this song best defines my songwriting style, blending the worlds of 1984, Fight Club, and The Matrix into my own personal imagery.”
“Viejas Fotos” (Old Photos)
They wanted a melodic chorus here, and the vibe clicked almost instantly. Nostalgia, memories, guilt, old photographs — the discomfort of trying to grow up before you’re ready, and romanticizing a past that wasn’t actually better. “I’m like a bird in a cage, wanting to learn how to fly, but unable to take flight.”
“Volátil Ceniza” (Volatile Ashes)
The last song they wrote, built as a counterpoint to “La Quietud.” The idea was to close the record by mirroring the start in reverse — if “La Quietud” sits at their most melodic, this is them at their most aggressive. The lyrics return to the decay of cities and the end of architecture, and the track closes with: “The voices behind the voices never tell the truth.”
“Edificios Abandonados” is out now on Bandcamp. Adiós Caballos are touring Spain through 2026 in support of the EP — Cuenca (April 25, Alto Bar), Madrid (October 2, Perro Club), and Almería (November 20–21, Dance Tonight #2).
More dates to be confirmed.
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