With her first three albums, charting Spanish musician Soleá Morente traversed the sounds of indie rock, traditional and new flamenco, experimental indie electronica, and pop before ultimately changing direction again on her fourth LP, Aurora y Enrique. Her most personal and pensive set of songs to date, it's partly a tribute to her parents, dancer/actress Aurora Carbonell and late flamenco singer/songwriter Enrique Morente. (The cover design features an on-stage snapshot of the couple.) A singer/songwriter album at heart, its instrumentation and hints of dream pop and post-punk are credited to producer Manuel Cabezalí and brought to life with help from keyboardist/backing vocalist Nieves Lázaro, drummer/percussionist Juan Manuel Padilla, and guests including Soleá's older sister, flamenco singer Estrella Morente. The track list opens in intimate fashion with the brief, fingerpicked acoustic guitar lament "Aurora" ("Yo me rindo a ti/Enrique del alma mía" -- in English, "I surrender to you/Enrique of my soul"). Estrella surfaces later on the more expansive "El Pañuelo de Estrella," a flamenco-synth pop hybrid about a couple's first meeting involving a memorable handkerchief. The still lusher "Domingos" features Spanish noise rock group Triángulo de Amor Bizarro for the album's most unsettled and explicitly post-punk entry, though its 16th-note pulse, buzzy synths, and angular vocals by Morente never abandon the record's ruminative qualities. That song is followed by the softer "Iba A Decírtelo" ("I Was Going to Tell You"), about unspoken affection. The brighter concert remembrance "Marcelo Criminal" -- featuring indie pop artist Marcelo Criminal -- is another minor diversion from a wistful collection that continually returns focus to flamenco guitar. After opening with "Aurora," the album closes with "Enrique," a lingering piano-and-drone outro that effectively leaves listeners lost in thought.