R&b
For those that aren’t familiar with Hermanos Gutiérrez, there’s a high chance you’ve heard them already without perhaps realising it. The Ecuadorian-Swiss duo of brothers Alejandro and Estevan Gutiérrez have infiltrated countless mood-appropriate playlists thanks to their sumptuously cinematic, unequivocally evocative Latin guitar music which breezes along a sun-cooked highway from Ennio Morricone toward Ry Cooder. It’d be a major disservice to lump them in with the commodified masses of mood music made solely for that purpose, however: their music urges participation in the journey.
Because of their internationally-enriched sound, Hermanos Gutiérrez share a similar musical space with genre-blending psychedelic trio Khruangbin, their recent tourmates throughout North America and a band they dubbed “a huge inspiration” during our interview in the belly of Troxy’s backstage. The Gutiérrez brothers have also achieved a comparable level of adoration, bestowing instrumental music to the masses that needs no translation. “It was a dream,” gushes eldest brother Estevan in regards to their recent tour, dabbing his freshly washed hair with a towel. “I remember when we started to play, Khruangbin were inspirational to us. We were a good team. We opened for them, but there were also a lot of people in the crowds showing up for us so it didn’t feel just like we were the opening act. We opened that universe before they came on stage.”
Key to Hermanos Gutiérrez’ initial word-of-mouth renown was their transportive output; spiritually guided songs led by the brothers’ conversational playing style that paints vistas of dusty deserts with only the stars above to lead the way. The Black Keys’ Dan Auerbach caught wind of their releases, and signed the duo to his Easy Eye Sound label for their 2022 album ‘El Bueno y el Malo‘. On their most recent album, ‘Sonido Cosmico‘, Hermanos Gutiérrez have ventured further toward the stratosphere, opening up their cosmic sanctum with lush orchestral instrumentation, Mellotron, and even drums, whilst lassoed ever tighter to their Latin musical heritage.
Whilst the globalisation of mainstream music may have played a part in their ascent, it’s an impressive feat to absorb audiences in their thousands with no vocals, no flashy gimmicks – just the two brothers and their two guitars commanding unrequited attention as they evidenced at London’s Troxy that night. Only a few years ago Hermanos Gutiérrez were playing to one hundred and fifty people. Fast forward to now, and they’re performing to a crowd three-thousand strong, alongside selling out their complete UK run of dates. Not that they seem phased: talking to siblings Alejandro and Estevan within an hour of their gig as punters flooded into the venue, their self-assured calmness was affirming, as though they were two shamans preparing to coach you through an ayahuasca trip.
Before their recent sold-out show at London’s Troxy, CLASH Writer Tom Curtis-Horsfall caught up with Hermanos Gutiérrez, talking sibling simpatico. Here’s how their conversation unfolded.
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The word ‘journey’ is used frequently when people listen to or describe your music. On ‘Sonido Cosmico’ you’ve moved from the desert to outer (or inner) space, in your most psychedelic album yet. Were there particular experiences that led you toward taking this cosmic trip?
Alejandro: When we talked to Dan [Auerbach] about producing a record again, after ‘El Bueno Y El Malo’, we didn’t want to write ‘El Bueno Y El Malo Vol.2’. So, the two of us were thinking about which direction to take and it just happened. One day we were trying out a song for the new album, then it felt like we found that spirit and we were lifting it up.
Estevan: That was the moment when we felt like we’d found that new sound. That’s it. It was amazing to feel. We had that idea, then we had that feeling. Everything felt natural.
There’s a real sense of momentum and longing in your music. Does this reflect something you’re searching for in your own lives?
Alejandro: Yeah, there’s a longing that comes from somehow being lost in two cultures. Our mother’s from Ecuador and our father is Swiss. I’ve never really felt like being part of either culture. So finding that place, you know, missing that culture whilst living in another. There’s some longing, for sure. Especially for the Latin American culture and the moments we lived in our childhood, being with grandparents and having the best time: to have that Latin American ‘carińo’, that love. Sometimes we didn’t have that in Switzerland. So there’s longing. But lately it’s the music itself that has been the transporter, the journey. Trusting the process. It’s beautiful.
Was it always the natural path connecting with your Ecuadorian heritage when it came to music?
Alejandro: It was natural. He’s [Estevan] a big salsa listener, of old records. Somehow we knew. We knew we wanted to do something Latin -inspired. But it was organic. It wasn’t a concept, or anything. It’s just the music that came out of us. Though now it’s becoming more Western, incorporating the lap steel which is a core instrument of that sound. So, let’s see what’s next.
You’ve worked with Dan Auerbach on two albums now, and even affectionately dubbed him your ‘third brother’. What was it about Dan that impacted you as musicians and wanted you to invite him into your creative unit? I’ve read somewhere it only took a twenty-minute conversation…
Estevan: What we love about Dan, and respect, is that he just has this feeling. He doesn’t think too much, he’s just yeah *clicks fingers* that’s it. He felt something and it felt right. After seeing our first music video he felt like ‘I need to meet these guys’. So we talked on the phone for about ten, fifteen minutes and it was clear that we wanted to work with each other. That was the first thing, then being together in the studio and seeing him work as a musician was amazing. Yeah, he just feels a lot. He was the perfect producer for our sound, because he didn’t want to change anything, add vocals, or change our essence. He always wanted to make it richer, beef it up, but keep it Hermanos Gutiérrez. We have the biggest respect for Dan. He’s the right person, he still is. We became friends. Sometimes he flies out and plays with us, from Los Angeles. It’s just cool. He’s cool.
There’s much more complex instrumentation on ‘Sonido Cosmico’ – it’s certainly more pronounced than previous albums. Was there ever a sense of trepidation expanding your sound and working with a bigger crew of musicians, that you might disrupt your method of making music together?
Alejandro: I think we approached this record like we did the last one. We always write the songs back home. So, ninety percent of the songs are finished before we go to the studio, as we want a clear vision of what we’re going to do. To get them to perfect, that ten percent really makes a difference. That’s where we find other people, and invite them in. But that’s really Dan’s role. He’s so connected in Nashville to the music community there, it’s immense. He knows when he hears a song, he’s like ‘hmm that guy could be cool’. We knew we wanted to work with some people again. Mike Rojas on organs and key’s, he’s amazing. Sam Bacco. All these musicians from Nashville played a part. It was such an easy process this time. We knew how Dan works in the studio, there was no trepidation.
So, even though your sound has shape-shifted with Dan slightly, it’ll always start with the two of you beforehand?
Estevan: It’s always going to be the two of us. That’s the blood that we share. It’s the connection we have as brothers, you know, the beginning of a song or an idea. But then we’re open to work with new musicians.
Based on the success of your two recent records, do you think this means you’ll take more risks musically moving forwards?
Alejandro: Good question. After each record, we’re like ‘what’s next?’ It’s a challenge. But I think we trust in what we’re doing, and stay true to that. There’s not too much ‘invention’ in what we’re doing. We’re rooted in it.
You’ve cited Santo & Johnny, Julio Jaramillo, Ry Cooder and JJ Cale as a few musicians that have influenced your playing style. Are there any other artists that have influenced your sound in more recent years, particularly on Sonido Cosmico?
Alejandro: It’s funny. We’ve been doing these DJ sets recently, playing salsa and cumbia. I’ve been influenced by cumbia – you can hear it on Sonido Cosmico with the wah-wah pedal.
Estevan: Me too, I used the wah-wah with melodies. It feels more spacey.
So it was more about delving into genres of music rather than specific artists?
Estevan: Yeah, our Latin roots. I come from salsa, he [Alejandro] comes from cumbia. It was a big inspiration, those seventies and eighties sounds.
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On ‘It’s All In Your Mind’ particularly, the guitar tone and elongated notes are reminiscent of Pink Floyd’s David Gilmour. Was that an intentional reference, or a nod to psychedelic guitar music heritage?
Alejandro: That just happened in the studio. The track was ready, and we wanted to hear Dan on it, so the three of us, we jammed it out. Dan just came up with that solo, it was one take, like wow. It wasn’t intentional, it just happens in the studio sometimes. The magic of capturing that moment, the connection between the three of us. That was another ‘tres hermanos’ moment, for sure.
It seems like you have a telepathic simpatico when it comes to songwriting, despite your eight-year age gap and learning to play guitar at different times. Was there a particular moment, or experience, when you realised you had this creative understanding?
Estevan: It was the first time we ever played music together. In that moment we kind of realised it was something magical we shared. We were playing in Alejandro’s old apartment and his roommate stepped in and was like ‘wow, this is beautiful, which band is this?’ We were like ‘it’s just us jamming’, and he was like ‘it’s amazing, you should be a band’. After that we felt like it could be something, so we played together more. We never thought we’d tour, or play London. We only wanted to make an LP, which is why we recorded our first album. We made two hundred records and thought nobody would buy it. But it kept selling, we’d sell some at shows. In the beginning it was all natural. We never wanted to be where we are now. It was a dream. But it just happened. It’s this energy we have when we connect.
Your music seems to really be resonating right now; you’ve sold out this UK tour, you’ve played Coachella etc. Were there any moments earlier in your career when you felt the music you make would translate on this scale?
Alejandro: It’s the biggest surprise. I never imagined we’d play in front of three thousand people. I’m self-taught. I’m always on stage thinking there must be a better player in the audience. Maybe that keeps me humble. I’m so grateful for what we’re doing, connecting with people. It’s definitely a surprise. I don’t think I could’ve dreamed of this. Every person has a different story for how they discovered our music, or experience our music. That’s the greatest gift. I’m immensely grateful. I’m really trying to be present, rather than being ‘shall we make another record?’ I just want to be present and enjoy this.
You both seem like pretty chill, relaxed characters. But does your sibling relationship ever boil over on the road or in the studio? Is there any sibling rivalry between you two?
Estevan: Of course, yeah. We have good moments and also tough moments. At the end it’s the connection as brothers that keeps us going. We love each other, and we both feel this is the right path.
I could never go on tour with my brother, so I admire you. We’re far too petulant.
Alejandro: But how do you know? I couldn’t go on tour without Estevan. I need him to be with me. It’s my safe space. It’s family. But of course, there are moments where it’s tough.
Would you be open to ever collaborating with vocalists?
Alejandro: Yeah, why not. I never thought we’d have drums on a record, or keys. It’s part of the evolution. We’re open to whatever’s next, so why say no. It just needs to feel organic. We won’t try to force anything. We love to let that space happen with the audience, listen to the inner voice. If there’s something happening in the future, then why not.
Have you ever thought of any artists that’d suit your sound?
Alejandro: Just old artists really.
You’re touring with Leon Bridges soon. I know Khruangbin have done that already…
Alejandro: He’s a cool guy. He’s awesome. Why not? If it happens on tour, then that’d be awesome.
Your music feels inherently cinematic, and you’ve cited Ennio Morricone as an influence. I know you’ve been asked about scoring films – and I have no doubt that you will get to that – but instead, I was wondering if there are any films you’d wished you’d scored?
Alejandro: Oh wow. Well, my favourite film is Paris, Texas, you know, Wim Wenders. I’m not sure I wish I’d have ever scored that movie as it’s already perfect. I have no idea how I’d make it better. But that’s the kind of movie I’d write a score for in the future. It’s about a road trip, it’s about family, being lost, finding yourself, being together. I love that Southern story, and the eighties aesthetics.
Estevan: I see myself writing the soundtrack to Breaking Bad. I always felt like our music belongs there.
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Words: Thomas Curtis-Horsfall (@TomCurtisH)
Photo Credit: Larry Niehues
