Fifteen years is an eternity in the history of rock. And yet, there are bands that maintain an unusual freshness over time. Songs charged with energy that rejuvenate you and make you travel to a continuous present. Something like this happens when you listen to The Cuts, proclaimed by Jesús Ordovás on Radio 3 as the "revelation group of 2005", when they began to fill the concert halls.

They triumphed at the Indirama festival in Mallorca, they opened for Amaral in the Torreón de Pozuelo auditorium, they shared the bill with Josele Santiago, Christina Rosenvinge and Planetas, they had everything ready to launch an EP with La Incubadora de Universal. And yet, the rising career of the indie group ended abruptly after a crowded concert in the Siroco hall in 2007. They were never heard from again ...

Until Nieves Llanos, the singer and songwriter, felt in 2019 "the illusion of recovering something that was half done". He began to give singing lessons with Paloma Berganza, resumed contact with his old band mates (Jaosé Portillo and Javier Garrido) and put a dozen songs in the hands of producer Carlos Hernández, who 'remastered' them while retaining the original rock spirit , debtor of the Strokes and Libertines.

The result is The Cuts by the Cuts, launched on digital platforms in full confinement, the product of "substantive work" that is beginning to bear fruit. With the impulse of Carlos Mariño and Spanish Bombs, the old musical alliances have served to rescue from memory those hits that were about to be, such as 'Kiki', 'Get out there', 'I don't know'.

Like his older sisters Amparo and Cristina de Dover, with whom he sang as a child in the bathroom (all influenced by his mother's musical affections), Nieves Llanos composes and sings in English. Although now he has returned to work with a renewed impetus and in Spanish, "because I am more honest with who I am."

"A good melody resists everything," says the singer of The Cuts, trying to explain the interest that the group has reawakened. "Our sound was very influenced by a specific moment in the music, it was very classic rock and to some extent timeless. It would not change anything, although perhaps now it would introduce elements of electronic music. It is an idea for the future."

The launch on platforms has coincided, not coincidentally, with the famous return of his admired Julian Casablancas and the Strokes with 'The New Abnormal' ... "It was an instant crush when I first heard them with" Is this it? ". And So until today: I love that they have reunited and as friends, as in the best times. "

Nieves Llanos remembers the origin of his band and his songs, breaking the shyness and sharing his ideas with Javier Garrido and with Samuel Titos, former guitarist and vocalist of Sperm: "It was all a matter of" come on "," how? ", "Let's see, sing", "cool!", "Let's record them" ... They came to the ears of Caros Mariño and he said effusively: "This is a" hit "". And suddenly we saw ourselves practicing at Rock Palace, not knowing very well where we were going, but sensing that something big was coming. "

The "punch" of the songs, the very personal voice of Nieves Llanos and the guitars of Javier Garrido and José Portillo were the key to the success of The Cuts in their live shows, with splendid reviews in Rockdelux, Mondosonoro or Rolling Stone. With Carlos Hernández (Los Enemigos, Airbag, Triángulo de Amor Bizarro) they recorded a "demo" of Sonoland that remained in the end as the only vestige of its incipient success.

The celebrated producer, who "flipped in colors" when he first heard them in 2004, decided to turn his body and soul when he received the proverbial call from Nieves Llanos after 15 years: "What a rush! After talking to her, I've decided to remaster everything and you can listen to it. Honestly, it seems that I have recorded it now. "

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