

Borracho’s Ouroboros is a riff machine that refuses to quit.
Ouroboros doesn’t pull its punches—it demands your attention and if you don’t offer it, it takes it anyway. The album is thick, layered and unapologetically heavy, with riffs that hit hard and loop back on themselves like the album’s namesake. This record isn’t here to be polite or easy; it’s built to blast speakers and invoke air guitars. Borracho knows exactly what they’re doing and on Ouroboros, there’s no denying that they’re leaning into it harder and heavier.
The album offers songs like “Succubus,” a monster of a track that starts slow and mysterious before guitar solos start flying. Clocking in at over seven minutes, it’s a patient buildup that lets every instrument explore its space in a heavy, hypnotic powerhouse. The vocals aren’t front and center at first, but when they come in, they hit with bold, raw power—perfect for cutting through the intense, but necessary, instrumentals.
“Machine Is the Master” shifts gears, turning up the grit with fast, distorted riffs and vocals that refuse to be dampened by the music. It’s catchy, powerful and driven by a beat that won’t quit. The same goes for “Vegas, Baby,” another uptempo heavy hitter packed with punch and grit. Borracho isn’t reinventing the wheel, nor are they pretending to—they’re leaning into what they already know works.
By the time “Lord of Suffering” enters the chat, the band is doing what they do best—shredding first, asking questions never. It’s a relentless track that demands attention with fierce guitars and unabating drums. The instrumental “Vale of Tears” is a reminder that the band can build atmosphere without words.
Closing tracks “Freakshow” and “Broken Man” bring more riff-driven energy, rounding out the album with tight chords and guitar work that won’t let up.
Ouroboros is not polished or pretty. It’s raw, heavy and built to be felt as much as heard. For anyone craving a riff-heavy, groove-laden trip through sound and exploration, Borracho delivers exactly that—and more.
