lado 1...............................................................................lado 2

glenda siempre me aplaudió los labios.......................................sonia selecta.

(glenda always clapped my lips)

bombo matíz.........................................................................puntarenas-city.

ultragüí..............................glenda siempre me aplaudió los labios(estudio).

(ultra-we)

café.............................................................................bombo matíz(estudio).

(coffee)

The brunican history began when severe gastric disorders and problems of abstraction at the moment of thinking, appeared and rapidly developed in three 16 year old kids who had received as presents several kinds of guitars and drums. They named this problems, Bruno Porter, and then explained them with their presents. They called the music by screaming at it and with humiliating pleas they finally showed it to a filled theater in San José in june of 1995. This sell-out was a result of hundreds of flyers distributed troughout the whole city during two entire weeks, by the band and a small group of close friends. As the crowd who followed them grew bigger, it started requesting recorded music from the band because the radio wouldn´t play it (it´s not pop enough, they said) and concerts were not enough to supply this hungry experimental-music-seeking crowd. So, in 1996 they independently released a cassette and named it "los huesos de un pequeñísimo sapo o ya es otoño para el osito negro", which means "the bones of a very very little toad or it is now autumn for the small black bear". By november of that year it sold out. On that same moment they began recording their new material to be released on CD. It is now being finished in Link Studios.

The recordings.

"The first 5 songs were recorded live in a concert in the Alajuela Museum on September of 1995. This was BP´s first attempt of playing outside of San José. Everything was so ready, we were coming from a period of amazing shows since the debut and we felt we could already start conquering the whole country. We rented gigantic lights, a very potent sound system, great technicians and we had a 4-track recorder. Anxious, we awaited the arrival of the big audience we expected. When we stepped into the stage, there were only 30 individuals (all from San José except two that happened to pass by). We had been beaten by a dance in some nearby highschool."

"Courageous, we played. Our gigantic lights blew the fuse box three times, decapitating the show, our audience, us and the 4-track recording. Three times. Only six songs were recorded in its entirety. In them, neither the fever or the knee-pain Ospino suffered, nor the antibiotics in Mauricio´s throat could be noticed.”

“Ricardo Nieto (Nietardo Rico) has a recording Link Studio. There we finished and recorded in 2 and a half hours the original version of Glenda. Ricardo is now the engineer and co-producer for the new album we´re recording. Carlos Domínguez (Domingo Carlínguez) has a recording Audio Arte Studio. He´s the one responsible for transforming the beheaded Alajuela recordings into five amazingly saved and mixed songs, considering the way we recorded them. In his studio we recorded another version of Bombo Matíz for "los huesos...”. "