Argentine rock
Argentine rock (known locally as rock nacional [ˈrok nasjoˈnal], "national rock" in the sense of "local", "not international") is rock music composed or performed by Argentine bands or artists mostly in Spanish.[1][2]
Argentine rock was the earliest incarnation of Spanish-language rock. It began by recycling hits of English-language rock & roll. However a rising trend of composing new songs mostly in Spanish
A distinguishing trait of Argentine rock is its insistence on Spanish language lyrics. Argentine rock today is a blanket term describing a number of rock styles and sub-cultures within Argentina.
Related genre
Several terms are used to describe the artistic expressions of rock and roll in Iberian America, which are often confused or given different meanings in different countries. Generally, these terms are:
- Rock en Español: includes all rock sung in Spanish.
- Latin Rock: includes all expressions of rock and roll in Latin American countries, the Caribbean, and the Latin American community of the United States. In addition to rock sung in Spanish, this includes rock sung in English, Portuguese, French, and other Latin-based languages. This generally refers to a cultural movement that began in the 80's throughout Latin America.
- Rock Nacional in Argentina: refers to a movement of progressive music that rapidly gained popularity in 1967 with the song "La Balsa".
- Argentine rock: refers to all expressions of rock performed in Argentina, regardless of language and subgenre.
1958−1964: Early rock and roll
1964−1975: The classic period
The first few years of rock music in Argentina were confined to cover bands. In 1964, Argentina, like much of the rest of the world, was shaken by The Beatles phenomenon.[4]
Historians describe a parallel pattern of development with the United States in certain aspects of culture. Both countries were the destination for millions of Europeans, and their musical heritage were heavily influenced by Pan-European folk and traditional marches. These similar musical infusions yielded related results in both: a grass-roots rural guitar-based musical tradition, becoming Bluegrass and Country in the US, in Argentina Folklore and Pampas music. Country music is an important pillar of Rock & Roll. In Argentina folklore (at that time Nueva canción was sweeping Argentina), was increasingly crossing over to popular musical trends by the late 1950s.
Late 60s beat music
By 1965, rock music was developing rapidly in Argentina. On television, several shows such as Ritmo y Juventud and El Club del Clan, with singers like
Nevertheless, it was in the underground where the most influential figures of early Argentine rock would emerge. In former
The definitive breakthrough of Spanish-language, original material rock would be up to the band
In the wake of Los Gatos, several bands emerged, including Luis Alberto Spinetta's Almendra, and Manal. The three are considered the founders of the Argentine rock movement. None of these groups would have an extended history: in fact most disbanded by the early 1970s. The early Argentine rock scene was characterised by a lot of line-up changes in bands, and even member swapping between bands, or members of different bands meeting and forming new groups. However, the shuffles provided for a lot of experimentation and creativity.
Almendra split in 1970 and Spinetta formed Pescado Rabioso, and the remaining members started Color Humano and Aquelarre. Spinetta's album Artaud was considered the greatest Argentine rock album of all time by the Rolling Stone Magazine.[1][7] In 1970, Vox Dei refreshed the movement. Their album "La Biblia" (The Bible) is one of their most famous works of the early 1970s. In that same year, the first B.A (Buenos Aires) Rock festival became the first showcase of a rising subgenre that would predominate the first half of 1970s Argentine rock.[8] A new group of musicians was to bring new ideas to the mixing bowl of early Argentine rock.
Acoustic and heavy rock
By the turn of the decade the first real diversification in Argentine rock start taking place, although the split had been brewing even before, as some bands began playing much heavier music, with the world of rock entering the
Conversely, the first B.A Rock festival (now promoted by Pinap magazine successor Revista Pelo), had many of the artists and bands that would lead the
The proliferation of these bands and their increasing popularity, the early 1970s being the height of the hippie movement in Argentina, led to the Acusticazo of 1972. Several acoustic rock bands would gain popularity from their performances there, including Vivencia, Pastoral, and Alma y Vida. The behemothic success of the Acusticazo was a turning point in which Argentine began to be listened massively.[10]
That same year, Tanguito was killed hit by a train. Conspiracies about his death abound, including that he committed suicide and even that he was thrown onto the tracks by police. As he was a heavy drug user, others contend he simply might have tripped.[11] The 1993 motion picture Tango Feroz ("Wild Tango") tells the life of Tanguito.
As the 1970s progressed, acoustic rock continued as the most popular style in the country.
Sui Generis farewell concerts
Sui Generis began shifting from their classic acoustic rock to a more electric and visceral sound. Also, stirring in the Argentine underground were new bands with a radically different sound from either acoustic or heavy rock: influenced by some of acoustic rock's more experimental works (such as Arco Iris and their Agitor Lucens V with its world music influences), by Tango music and also by British progressive rock. This would be the blueprint of Argentine progressive rock that would bloom into the apex of the movement in 1975. As that year began few could foresee what a watershed it would become not just in Argentine rock history, but the country's too.
The Classic era of Argentine rock music was completely over by 1976. As this year began, Argentine rock became far more sophisticated and conceptual. A few acoustic bands would continue having moderate success, including Pastoral, and Nito Mestre y Los Desconocidos de Siempre. But it was the beginning of the period of symphonic and progressive rock dominance.
1975−1983: The intermediate period
Progressive rock
As early as 1973, the band
Another symphonic/progressive band was Crucis. Their music began attracting attention in the underground, and so they started getting bigger performing venues. As change swept Argentine rock in 1975, their music was rapidly rising to popular musical tastes. Their compositions were strong and dynamic with unexpected breaks, and the interplay between the electric guitar and keyboards captivating. The rhythm-section sounded powerful and adventurous.[13]
Espíritu, who formed in 1973 but had roots since 1969, would go on to be an internationally followed group in the latter part of symphonic rock's heyday. The first album Crisalida is cited as their best effort, with beautiful and alternating compositions and changing atmospheres (from mellow with acoustic guitar to up-tempo with heavy electric guitar), lush keyboards and some vocal harmonies.[14]
Former heavy rockers
A symphonic band that would have a great year in 1976 was
Charly García formed his first post-Sui Generis band, La Máquina de Hacer Pájaros, which began Garcia's explorations of symphonic and progressive rock. Other symphonic and progressive bands of renown would be Torax, Ave Rock, Anacrusa, and Materia Gris.
On March 24, 1976, the democratic government was toppled by a
In spite of this however, the music would continue its development against the odds. Along with the plethora of symphonic/progressive bands, heavies
Symphonic rock at late 1970s
Argentine rock continued its symphonic, so-called 'concert hall' sound through the end of the decade. The '78-'79 period was not the most prolific period for rock, as the progressive bands continued with their blueprint, and symphonic rock bands actually turned slightly commercial.
At the height of symphonic rock, Crucis was joined at the top by the popularity of Espíritu; the two are generally seen as the most well-known outfits of the symphonic rock period. The first album of La Máquina de Hacer Pájaros was a mixture of effort, individual performances, melodies, dynamic contrasts, ensemble work and arrangements.[18]
1977 was a year of separation and endings: Crucis would disband at the end of the year. In heavy metal, Pappo's blues would see their nearly seven-year run end. Aquelarre would return from their Spanish stint, but following a tour run went their separate ways.
But the year would show a glimpse at the future: a band from
And even more bands ceased to be. After two successful albums that featured several would-be classics of the era,
craze, rock music suffered the worst drought since its inception. The media was openly calling out 'the death' of Argentine rock.Throughout the years, different figures and events helped Argentine rock to expand worldwide: Sandro y los del fuego in 1963; the Uruguayan Invasion of 1965 that proved the commercial viability of non-US or UK bands; the massive hit of "La balsa" by Los Gatos in '67 showing that Spanish language rock could be appealing to the masses; the Acusticazo of '72. In the drought days of 1978, Serú Girán emerged as a 'supergroup'.
Serú Girán
In 1977 Charly García got together with his friend David Lebón, an ex member of Luis Alberto Spinetta's band Pescado Rabioso, to write songs in Brazil. There, Charly re-encountered Oscar Moro, the drummer of his former band "La Máquina De Hacer Pájaros" and they decided to invite him to help compose new material. The trio soon decided that instead of selling their songs like they had originally planned, they would play them themselves in a new band. Now all they needed was a bass player. Pedro Aznar was a lesser known bassist who had once been a member of progressive rock group "ALAS". He also happened to be a friend of Moro's, who knew of Aznar's ability with the funk and jazz bass. Moro brought Aznar into the group and they began to prepare themselves.
Charly, Moro, Lebón, and Aznar created a sound that was distinctive from anything in English-language rock. Their rock style caught the attention of both the lower and upper classes. Serú Girán could be 'brainy' yet unpretentious rockers simultaneously.
Partly because the group lived for three months in northeast Brazil, the band's first album shows clear influences of Brazilian music, mixed with symphonic rock and jazz. But the band's first live concert to support the album created one of the strangest anecdotes in Argentine rock: the fans did not understand the strange costumes the band used (entirely in white except for Garcia with a black jacket and shoes); and then when they played the song "Disco Shock", a satire poking fun at disco music (which was at its height in 1978), people thought they were really serious. Whistles and boos would follow and what should have been a great concert turned into a fiasco, with fans clamoring for Sui Generis songs. Serú Girán did not get their point across their ideas as expected. It would all fuel wild speculations about the members' sexual orientations, a PR nightmare at the time.[20]
But the group bounced back with a vengeance with their 2nd album La Grasa de las Capitales. It was well received by the specialist press, and would cement their status as the most popular band of their time.[21] Serú Girán's third album Bicicleta (1980) was tepidly received at first, but in time would be considered the band's best work. Both albums departed from the symphonic rock of the first LP, the music turning more visceral and 'simple' with less arrangement and pomp. Serú Girán would not be isolated in this trend, as slowly Argentine rock was writing the final chapters in its symphonic and progressive period.
Argentine rock and the Islas Malvinas War
The nation was still in the grip of a dictatorship as the 1980s dawned, even as repression had eased somewhat by then. The start of the decade continued to feature Serú Girán, now with their less pretentious sound, at the top of the charts. Vox Dei entered their 3rd decade in rock, a virtual first for any local band, and León Gieco's popularity as a solo artist was on the rise.
One of the last progressive bands would be Tantor. They were less symphonic and far more prog-experimental, with jazz as a major support. Their first eponymous album was a hit in the scene, and the band would continue till the mid-1980s as one of the last bands of the progressive era.[22]
Serú Girán went touring in Brazil in 1980, where their reception by fans at the Monterrey Jazz Festival in Rio de Janeiro was so enjoyed that the organizers requested that they perform again, the next day, but on the main stage with jazz-rockers Weather Report. There, Pedro Aznar met Pat Metheny, to whom he gave some cassettes with his own works. Serú Girán returned home, released "Bicicleta" and gathered 60,000 fans in La Rural back in Buenos Aires chanting no se banca más (it isn't bearable anymore, alluding to the dictatorship). That year they had also performed in concert with Spinetta Jade, Luis Alberto Spinetta's latest project and the other popular rock group of the early 1980s. It was an event in which both bands eventually played some songs of each other's repertoire.[20]
Spinetta Jade was a blend of jazz and rock that escaped the trappings of symphonic rock, something that was unheard in Argentina at that time. Towards the last two albums, the sound became a little bit more "pop", and embedded with electronic elements (samplers and synthesizers with "artificial" textures).
Serú Girán released their fourth album
Argentina's economy was in full recession in 1982, and discontent with the military government was rampant. On April 2, the world would awake yet again in the 20th century to the horror of war. After a season of death and destruction in the South Atlantic in which both sides suffered sunken ships, aircraft blown from the sky, and hundreds of young lives were cut short, the United Kingdom regained control over the Falkland Islands (Islas Malvinas). The popularity of the Argentine military government hit then bottom, and democratic elections were called shortly after.
1983−1990: Argentine rock goes global
New Democracy Sound
The war would be a dark chapter in Argentine history, but would have the paradoxical effect of creating one of the most fortuitous circumstances in the history of any rock genre.
In May of '82 the Festival for Latin American Solidarity brought together all the great bands of Argentine rock. It was a festival in support of the troops overseas, and also a veiled protest to war, and a call for peace (at first the musicians feared appearing for risk of being portrayed pro-war). This event was the final stepping stone of Argentine rock in becoming the dominant form of music in the country. At the same time, English-language rock was wiped out from radio play. The programmers had to fill the voids with something, and that was with Argentine rock.[24] This created the opportunity of exposure to countless underground bands. It would set the foundations for the explosion of rock in the mid-1980s.
In the latter days of symphonic rock, a great number of new groups started popping seemingly out of nowhere. In reality, these were bands influenced by
In 1980 friends who were enthralled by the wave of US and UK punk formed the band
From the Festival of Latin American Solidarity emerged solo artists that would go on to delve into a more adult oriented form of rock and pop music, with the Argentine youngsters of the 1960s now mature adults. Some of these names were
And for the first time in Argentine rock history there was a "revival" of an earlier style, with Acoustic rock making a comeback on the back of reunions by Almendra and Manal. On the other hand, Charly García and Luis Alberto Spinetta embarked on their solo careers. Moris returned from his period in Spain.
Meanwhile, Argentina entered a new era with the inauguration of Raúl Alfonsín as president of a fully democratic nation. Rock bands would no longer be harassed and even censored by the powers-that-be, and freedom of expression flowered. Songs critical of the military that were in prior years censored, some with exquisite lyrical poetry and allegory, were released during this time: "Tiempos Dificiles" by Fito Páez (sung by Juan Carlos Baglietto), "Maribel se Durmió" by Luis Alberto Spinetta, "Sólo le pido a Dios" by León Gieco and "Los dinosaurios" by Charly García. A more direct criticism of the military government that ended in 1983 came from the Argentine punk groups like Los Violadores (singing songs like "Represión") or seminal heavy metal bands like V8.
Finally, segments of Argentine rock moved away from the concert hall and 'solemn' era, full of very heavy lyrics and concerns with domestic issues. It started to lighten up and turn more irreverent, and to focus on mundane concerns such as money, love, and sports. This would make the music and lyrics far more accessible (and commercial) to international audiences.
The stage was set for the boom of Argentine rock in Latin America and beyond.
Argentine Invasion [dubious ]
The Cafe Einstein was opened in 1982 by
"One could feel the winds of change" in 1983 Argentina. A cliché perhaps, but at no time more appropriately used. Everything was optimism about the future, the country, and music. Even technology cooperated with the palpable change: it was the year the
As the early 1980s progressed it became clear that the new generation of rockers were not like anything before:
found quick success outside Argentina, a preview of things to come.By 1985, year in which Los Fabulosos Cadillacs were formed, several bands began receiving consistent airplay across Latin America. Argentine rock began "climbing" the continent up the Andes: first Chile, then Peru, Ecuador, Colombia, Venezuela. Zeta Bosio member of Soda Stereo said regarding this: "We would leave Argentina and tour in Chile, Peru, etc, and in some places they had never heard a live rock concert before... they said that such music was for another world and wouldn’t work... now it's all joy seeing how it did work and that it now has its own legs..." Argentine rock bands were the first to be signed to multinational record labels for distribution across many nations.[28]
The trickle became a flood as 1986 approached, and by the start of that year it had become a continental phenomenon, reaching
It would help to revitalize rock movements in other Latin American countries for two reasons: 1) It would create a buzz and excitement in the local rock scenes;[
As 1988 began, with the most important Argentine bands (
Soda Stereo
Soda Stereo was one of the most successful and influential rock band in Spanish ever. The influence of Soda Stereo and its music, style, and even 'business acumen' is undeniable. They were also the first Spanish-language band to use all aspects of their popularity to the fullest: their music videos, aesthetic, philosophy, and more. In the beginning they were deeply influenced by new wave and bands such as The Police, Television, and Talking Heads, and by symphonic rockers Luis Alberto Spinetta and Aquelarre.
With their first album, the self-titled
With the tour supporting Signos,
Late '80s: Loss and Experimentation
The year 1987 ended in tragedy for Argentine rock. Luca Prodan had finally lost his personal battle with alcohol and was found dead on December 22, due to complications from his addiction.[34] His death was a shock to the entire music industry and to millions of heartbroken fans. Following Prodan's death, the members of Sumo split, founding two new rock outfits: Divididos and Las Pelotas; both bands became major players of 1990s rock.
Three major trends defined the Argentine rock of the end of the 1980s. The first trend was the consolidation of the Argentine Invasion bands into somewhat more mature rock groups. Some began to experiment with world music in the last two years of the 1980s. For example, Charly García got together with his old Serú Girán partner Pedro Aznar and recorded "Tango", whose name accurately suggests the style of the album.[36] Before Federico Moura's death, Virus had also begun turning to Brazilian music for their album Superficies de Placer. In general the mood of the music got darker echoing a deteriorated economic climate.
A second was the rise of "Tropical" rock, and the explosion of local Reggae bands in Argentina seemingly out of nowhere in 1987. While Argentine rock was triumphant internationally, Argentina was caught in a reggae-mania: in the summer of that year arose Los Pericos, Los Cafres, La Zimbabwe, and Jafran, among many other smaller outfits. But it was a fad, and only Los Pericos would sustain and grow their careers once the fancy faded[37] (Los Cafres would be mildly successful starting in 1994). A band that was not a fad was
The third trend came about partly as a result of the first: many rock fans did not approve of the commercialism and experimentation of the A-bands, and increasingly looked underground for a more confrontational guitar-led rock. Among them:
In heavy metal, the already mentioned
The end of the 1980s were also a period of continued growth for
1990−1998: Modern Argentine Rock
"Canción Animal" and New Rock
Soda Stereo's frontman Gustavo Cerati could foresee the musical trends, putting his own band in front of it. After releasing the increasingly hard rocking Doble Vida, the band headed to studio with new producer Daniel Melero to record their fifth album, Canción Animal. It was released in October 1990, about a year before Nirvana released Nevermind.
Canción Animal confirmed that it was OK to return Argentine rock to an 'in your face', edgy attitude that shaped the Argentine Invasion aesthetic in the early years of the 1980s, but this time with electric guitars as the stars. From that album, the single "De Música Ligera", might well be the most recognizable Spanish-language rock single of all time, and also one of the most covered by bands all over Latin America and elsewhere. Canción Animal helped underground acts like
These and other bands in their wake would be dubbed the "Nuevo Rock Argentino", or New Argentine Rock. A term that not long after would also be used as an umbrella to group bands with a hard-to-pin-down style, like the neo-surf pop of
In 1992, Soda Stereo presented Dynamo, their sixth album, arguably the most conceptual (the other being "Signos"), and the most experimental to that point. It apparently took fans by surprise, and was the lowest seller of the group's works (it didn't help that in the middle of all this the band changed labels; Sony wouldn’t promote a band that was leaving, and BMG wouldn't promote another label's album).[33]
On the other hand,
The odd-group out that appeared in the early 1990s was the outrageously named
Rock rolinga
As New Rock was dominant, some acts in the distant suburbs of Buenos Aires where playing straightforward and guitar centered rock music, with a foundation in the blues, and an unsophisticated image (somewhat a counter-movement to the image conscious, musically more pretentious New Rock).
Some of these suburban acts owed so much to the sound of the
The incessant touring of the rolinga bands around the suburbs of Buenos Aires and other cities would reap benefits not only for themselves but for other suburban groups that would follow soon after. Thus, Rolinga rock arguably became the most popular music genre in Argentina in the 1990s.
1990s Metal
The last decade of the twentieth century was a very productive one for this style of rock in Argentina. There had always been "heavy" bands: Billy Bond y la Pesada del Rock in the 1960s, Pescado Rabioso and Pappo's Blues in the 1970s, V8, Riff (Argentine band), and several underground metal acts in the 1980s. But they had never been at the forefront of Argentine rock, seemingly always obscured by other genres whether it was acoustic, symphonic, progressive, or the 1980s invasion bands. This changed in the 1990s.
As the decade started Rata Blanca, Horcas, Hermética and J.A.F had very respectable careers. Rata Blanca was internationally approved: in fact, it is plausible to state that their classic metal sound was more popular outside Argentina than within. Internationally popular to a lesser extent was Hermética, the arch-rivals of Rata Blanca (both formed in 1987 when V8 disbanded), but there were no doubts of their massive following at home. Horcas and J.A.F stayed mostly successful in the local medium, though nonetheless had some overseas exposure.
The major development in Argentine metal of the 1990s was the rise of A.N.I.M.A.L. The acronym translated literally stands for "Abused (accosted), Our Indians Died While Fighting". And their themes lived up to that title: the band would be one of the most outspoken advocates for indigenous people and even nationalism, while also (as such bands tend to do), blasting against the current world order.[42] Their sound is equal parts hardcore, heavy metal, and thrash. Another important band formed in 1990 was Tren Loco, whom long after went to Japan and won second place in a major battle-of-the-band event at famous Budokan Stadium in Tokyo. The metal underground also flourished in the 1990s, with bands like Alakrán, Jezabel, Jason, Logos, and Jeriko, among others.
Other developments
Solo artists from the earlier generations were by the 1990s established figures in the medium. Some stars were Charly García and Luis Alberto Spinetta. Garcia enjoyed a prolific 1980s with many of his albums turning into classics. Spinetta had a more uneven body of work but nonetheless was successful. Pappo continued putting out blues and heavy rock records, Miguel Mateos remained a popular rock figure in Latin America even as he dropped almost off the radar in Argentina.[citation needed] León Gieco's unique "folk-rock meets world music" approaches made him an internationally acclaimed musician.
Tropical, Fusion, and Latin influenced rock continued its ascent. 1992 was the year of "La Pachanga":
Argentine punk-revival took off in the 1990s.
See: Argentine punk
In the Argentine northwest, important punk and indie scenes developed in the mid-to-late nineties. Bands like 448, Volstead, Estacion Experimental and Los Chicles led the scenes.
The Mid '90s Schism
In the middle years of the 1990s a rift developed in Argentine rock that would, with only slight wrinkles, endure to present times.
By 1995 "nuevo rock argentino" or Argentine new rock had lost steam. For starters, bands like Los Siete Delfines and Peligrosos Gorriones, with their more artistic antics, fell out of favor. At the same time, groups like Massacre and La Portuaria went on recording hiatuses and would not return until more favorable winds in the early to mid-2000s. Los Brujos disbanded in 1998 after eight years of solid productions, but it left a large void in the movement. One of the last hurrahs of new rock were rap-rockers Actitud Maria Marta, which had a year of fame in 1995. Babasónicos, Todos Tus Muertos, and Illya Kuryaki and the Valderramas were some of the new rock bands that were able to maintain their level as the year 2000 approached.
Also, 1995 would see the last album by
Conversely, "rolinga" rock was on the up. On the one hand were the 1980s bands that by the mid 1990s approached the suburban rock sound:
Argentine youth began to musically and socially gravitate to either the suburban rock groups or towards the underground. And even within these two major groupings there were subdivisions (rolinga and post-chabón in suburban rock; sonico, punk, dark in the underground). Then there were the heavy metal followers, the large and expanding indie scene, and the tropical rock followers, genre increasingly intermixed with the fledgling Cumbia which would explode in the new millennium. The pieces were in place for the current period of rock in Argentina. On a completely different, and original level, Andrea Prodan (Luca Prodan's brother) emerged with a bizarre and unique all-vocal, solo album called Viva Voce, recorded on independent label Silly Records. The record won an A.C.E. award and was among Peter Gabriel's favourite records in his Real World list of 1996.
1998− : The Contemporary Period
Late 1990s & 21st century
The late 1990s charts were dominated by the success of bands like
On the other hand, the likes of Divididos, Los Piojos, and Redonditos have transcended its constraints and become influential in Argentine rock and popular on an international level. The better bands in the genre also feature an unusual versatility with non-rock styles like
The underground was more under than usual in the late 1990s, it was nonetheless extremely creative. A style that gained some mainstream exposure was "rock sónico" ("sonic" rock), influenced by the 1980s "techno-pop" of
In heavy metal, Hermética disbanded by 1995 giving rise to Almafuerte. With a more up-to-date sound, they were one of the late 1990s favorites along with A.N.I.M.A.L. Rata Blanca continued to perform and record intermittently touring countries around Latin America. Classic metalists O'Connor in the underground would emerge by the early 2000s, along with exponents of nu metal Cabezones and Carajo. One of the most critically acclaimed bands of present is Los Natas. Originally a stoner rock group, in subsequent albums the band has turned more experimental. Some have called this demiurgic style (infused with Argentine folk, psychedelia, and space rock) "Patagonian doom", and this brand of metal has been ranked with the best heard in the new millennium.[48] The band itself prefers to call it "free" rock.
In punk, Attaque 77 were still going strong, as did Fun People (including a European tour), until their disbanding in 2000. The punk underground of the late 1990s was buzzing with new bands (Cadena Perpetua, Expulsados), many of them to guide the early 2000s melodic punk scene (Smitten (band), Shaila).
In tropical or fusion rock, Bersuit Vergarabat rose to the zenith of the genre. Libertinaje (1998) catapulted the band to the top, and to tours of the Americas and Europe. The follow-up Hijos del Culo (2000) also went double-platinum. Both albums display a dizzying range in style versatility. From the side of reggae-rock Los Pericos and Los Cafres dominated. Ska had Los Calzones and Kapanga, but by 2000 Los Fabulosos Cadillacs had called it quits to their internationally renowned career of rock with ska, rap, reggae, and Latin.[49] La Mosca and Dancing Mood reached achieved greater popularity. Illya Kuryaki and the Valderramas produced some catchy, original, and danceable music (a mix of rock, hip-hop, and Latin) which cemented their fan base all over the Americas, until the duo's separation in 2001.[50]
A highly talented and promising band was
To a lesser extent dance and electronica music, which in Argentina have the largest scenes in Latin America, also influenced Argentine rock of the 2000s. A good example of this is the internationally prominent techno-pop act Miranda!, a band that owes as much to current dance and electronica as the 1980s techno-pop of Virus and Los Encargados, electronic pioneers in Argentina.
Nowadays
Argentine rock, in the middle of the 2000s, can be said to showcase the following trends:
- A continued commercial success of rolinga and suburban rock. In the early part of the current decade the so-called '2nd wave of suburban' crashed to the scene: Casi Justicia Social. Their fan base is somewhat younger than those of the 1st wave, and their music is derivative of the 1st but with a slightly pop, more teen oriented approach.
- Influenced by bands like .
- The current punk scene in Argentina features no real mainstream bands (besides eternal punks Attaque 77), and an underground scene with different groups. Some of them include Smitten (band); Cadena Perpetua with their well-crafted and tight songs; Romapagana certainly unusual and inspiring with their cosmopolitan mix of language and dynamic sound;Shaila who also features many English lyric songs, unusual for Argentine rock; and veterans 2 Minutos who soldier on.
- Heavy Metal at mid decade features a predominance of nu-metal and doom metal groups; Carajo, Cabezones and a recharged A.N.I.M.A.L. in the former (and all having toured extensively overseas), internationally acclaimed doomsters Los Natas, and Lörihen for the latter. O'Connor is one of the classic metal revivalists. Under AC/DC's influence, La Naranja Metalica consolidated its career.
- In fusion or tropical rock Bersuit Vergarabat still command legions. Dancing Mood is the ska representative on the mainstream, and Nonpalidece is the current reggae-rock band in vogue. Other current bands include Karamelo Santo, Los Calzones, La Mosca Tsé - Tsé, and Kapanga. Ex-Los Fabulosos Cadillacs Vicentico and ex-Todos Tus Muertos Fidel Nadal are both well embarked in their solo careers with fusion rock.
- In alternative, El Otro Yo continue their impressive streak of great albums and fresh sounding music. Catupecu Machu's slightly threatening rock has made them a mainstream alternative band, and Babasónicos are arguably the most internationally popular Argentine band today. La Portuaria, after a late 1990s hiatus in a hostile musical climate, returned in the early 2000s as alternative once again resurfaced in Argentina.
- A renovated indie scene with great bands like Jaime Sin Tierra, which created lush beautiful rock before disbanding in 2001 leaving behind the seed for the sound of bands like Las Curvas de Mondrián, 1000 NICKS with their retro rock style, Dalmanerea with their original and creative "meZKla argentina" and Interama and their left-of-the-dial melodies. Entre Rios's elegant electro lounge with female vocals is one of the best kept secrets in Argentina's indie scene. The indie scene also has a neo-symphonic revival scene with the likes of Pez and A Tirador Laser, bands which are reviving the sound of later 1970s Argentine rock with an updated resonance.
- In addition there is a large indie scene influenced by Jesus and Mary Chain and My Bloody Valentine. Some of the most popular bands from this scene include Iguana Lovers[52] (that's started in 1990 with collaborations of Ride (band) members, Mark Gardener[53] and Loz Colbert and the Scottish band The Jesus and Mary Chain[54]), El Mato a un Policia Motorizado and Banda de Turistas. Some Argentine lesser-known bands influenced by late 1980s/early 1990s British and American indie-rock artists are Fun People (Buenos Aires), Sir Hope (Córdoba) and Esto No Es Londres(Córdoba).
- The start of the 2nd generation of Argentine rock solo artists formerly members of great bands of their era: Gustavo Cerati, Indio Solari, Vicentico, Fidel Nadal, etc. Ex-Soda Stereo member Cerati spent most of the early part of the decade in the electronic side of music. In 2006 he returned with his first album of all new music since 2002 (Ahi Vamos) where rock was front and center, albeit a more mature rock of a man in the middle age of his life. Ex-Patricio Rey y sus Redonditos de Ricota Solari's debut album El tesoro de los Inocentes was seen as the best of 2004. Vicentico and his homonymous debut sold well, but his second effort suffered the sophomore slump. He has just released his third solo album, Los Pájaros. Skay Beillinson, also ex-Redonditos, also did well with his fourth solo efforts.
- Many new bands influenced by Redonditos de Ricota are reaching recognition. Those include Mavirock, and Cajale Cazazo.
- The politics of grassroots feminism has had an important influence on Argentine rock artists and on the rock music scene. In 2019, the Congress passed a gender equity law requiring at least 30% of musical festival lineups be women artists.[55] Notable feminist rockers include Marilina Bertoldi, Flopa, Marina Fages, Cam Beszkin,[56] Mujeres Bacanas,[57] Loli Molina, Los Besos, Rosario Bléfari, Lara Pedrosa, ibiza pareo, Sol Bassa, Potra, Florencia Ruiz, Eruca Sativa (band), and Miss Bolivia.[58]
- The first decade of this century saw the apparition of rock bands singing in English, like Watchmen (not to be confused with The Watchmen, the Canadian band), or the Anglo-Argentine The Draytones. Skiltron, playing Celtic metal, released his first album in 2006. Skiltron split in 2011, giving origin to Triddana. Another Celtic metal is Tersivel (2004), whose first EP was recorded in 2006 and their first full-length album was released in 2010. Other notable English singing bands are Electronomicón[59] (hard rock), Kapel Maister (symphonic metal), 42 decibel[60] (hard rock), Poncho , Maxi Trusso, Full Nothing, Siamés and Octafonic.
References
- ^ "Why Argentina's Rock Nacional Is a Source of National Pride". The Culture Trip. 12 August 2017. Retrieved 26 March 2024.
- ^ "Top 15 Greatest famous Argentine singers of All Time". Discover Walks. 2 February 2023. Retrieved 26 March 2024.
- ^ "How Do You Define Rock and Roll?". Rock Hall of Fame. 18 October 2013. Retrieved 3 March 2017.
- ^ A Very Brief Story of Argentine Rock Archived 2006-11-03 at the Wayback Machine www.elortiba.org (Spanish)
- ^ Brief History of Argentine rock Rockerosargentinos.com.ar/paghistorock.htm (Spanish)
- ^ Chapter 2 History of Argentine Rock (Spanish)
- ^ "100 Mejores Discos del Rock Nacional". Argentina: Rolling Stone Magazine. 2007.
- ^ The Beginnings ABC of Argentine Rock (Spanish)
- ^ "B.B. King, el rey del blues que amaba la Argentina y a Pappo". Perfil (in Spanish). 2020-05-14. Retrieved 2021-09-21.
- ^ National Rock during the Dictatorship (Spanish)
- ^ The Acusticazos (Spanish)
- ^ Sui Generis (Spanish)
- ^ Crucis www.progarchives.com -Your Ultimate Prog Rock Resource
- ^ Espiritu www.progarchives.com -Your Ultimate Prog Rock Resource
- ^ El Reloj www.progarchives.com -Your Ultimate Prog Rock Resource
- ^ Chapter 9 History of Argentine Rock (Spanish)
- ISBN 9780199366439– via Oxford Research Encyclopedias.
- ^ La Maquina de Hacer Pajaros
- ^ Chapter 11 History of Argentine Rock (Spanish)
- ^ a b Serú Girán Archived 2006-09-04 at the Wayback Machine www.rock.com.ar (Spanish)
- ^ Pelo Magazine #122 Archived 2007-02-16 at the Wayback Machine (Spanish)
- ^ The Progressive and Symphonic in the Argentinean Archived 2006-10-11 at the Wayback Machine
- ^ Luis Alberto Spinetta Wikipedia- The Free Encyclopedia
- ^ Ayer Nomás (Only Yesterday) Archived 2006-11-03 at the Wayback Machine (Spanish)
- ^ ABC Rock Argentino (Spanish)
- ^ Chapter 21 History of Argentine Rock(Spanish)
- ^ Miguel Mateos www.rock.com.mx (Spanish)
- ^ The History of Rock en Español by Gregorio Montiel Cupello (Spanish)
- ^ Remembering La Onda through the literature of José Agustín and La Onda roquera (rock’n’roll in México) by Roberto Avant-Mier
- ^ They Are Peruvian and they are good Peruvian Rock (Spanish). Archived 2009-10-25.
- ^ Celestes, azules, blancos, rojos y amarillos Influence of Argentine Rock in Chile (Spanish)- by Mauricio Fredes
- ^ Rock y Pop www.Colombia.com (Spanish)
- ^ a b Artist A-Z Biography: Soda Stereo www.VH1.com
- ^ Luca Prodan/Sumo (Spanish)
- ^ Estrenos en ONCE TV: Virus www.rock.com.mx (Spanish)
- ^ Polimeni, Carlos (2000). Demasiado Artista. Excerpt at "Grandes autores". Archived from the original on 2007-01-05. Retrieved 2007-01-08.
- ^ Zimbabwe Archived 2006-07-18 at the Wayback Machine www.rock.com.ar (Spanish)
- ^ Babasónicos ABC Rock Argentino-Artistas (Spanish). Archived 2009-10-25.
- ^ Iguana Lovers, The Sound of Confusion, excellent shoegaze from Buenos Aires started in 1990
- ^ Shoegaze-A journey through gaze
- ^ "'Somos los inventores de la patria stone'". 9 May 2006.
- AllMusic
- ^ 'El amor después del Amor' Wikipedia- La Enciclopedia Libre (Spanish)
- ^ Biography Archived 2006-10-27 at the Wayback Machine LFC - Official Website
- ^ El último sorbo de Soda Stereo (Chile) Archived 2006-09-01 at the Wayback Machine www.copesa.cl (Spanish)
- AllMusic
- ^ BBC News, Iguana Lovers, Interesting and fresh independent music from South America
- AllMusic
- AllMusic. Retrieved 2012-04-20.
- ^ Se Separo Illya Kuryaki ElAcople.com
- ^ Karamelo Santo Archived 2006-09-02 at the Wayback Machine www.rock.com.ar
- ^ The Guardian UK, Best Music Across the Map
- ^ Ciudad espectáculos, Mark Gardener & Iguana Lovers, Ride, contacto en Buenos Aires
- ^ Telam, Iguana Lovers presenta Surfing Caos junto a The Jesus and Mary Chain
- ^ "La escena y la actualidad con la Ley de cupo femenino en los festivales | Espectáculos". 23 January 2022.
- ^ "Cam Beszkin, una especie de alien en la escena muy estereotipada del rock". 7 October 2018.
- ^ "Mujeres Bacanas: "Este es un espacio lúdico" | Se presentan en Vuela el Pez". 18 March 2022.
- ^ "Las mujeres toman el rock nacional por las astas: Quiénes son las artistas que quieren cambiar los festivales de música". 15 September 2018.
- ^ "Electronomicon". Archived from the original on 2016-08-19. Retrieved 2018-11-30.
- ^ 42 Decibel - Hard Rock N' Roll
External links
- Database on Argentine rock artists, songs and albums
- Rock News, Concerts and More
- Going Underground: New music from Argentina Article looking at some of Argentina's underground rock and indie bands