Panaderia Bolleria Nuestra Señora Del Karmen

Panadería Bollería Nuestra Señora del Karmen, usually shortened to PBNSK, was a punk/hardcore band from Madrid that came out of the early 1980s underground scene. They’re one of those groups that didn’t release much at the time but still ended up being important because of when and how they existed. Madrid punk was raw, chaotic, and very DIY back then, and PBNSK fit perfectly into that first hardcore wave alongside bands like TDeK and Espasmódicos.

 
Their sound was fast, aggressive, and stripped down, closer to hardcore punk than the earlier, more rock-leaning punk that came before. Short songs, shouted vocals, and a pretty confrontational vibe overall. Back in the day, their main official release was a split 7-inch with TDeK in 1984. PBNSK contributed just a couple of tracks, but they were intense enough to make the band stick in people’s memories. Those songs later showed up on Spanish punk compilations, which helped cement their cult status. 

Like a lot of bands from that era, they disappeared fairly quickly, but their name never totally vanished. Years later, there was a renewed interest in early Spanish hardcore, and PBNSK resurfaced with new material and archival releases. In the early 2020s, they put out a full-length album with a much larger tracklist, showing that the band name was still very much alive, whether as a continuation, a revival, or a mix of old and new energy. Some singles also popped up around that time, often involving people connected to the classic Madrid punk scene. 

Lineup details from the early days are a bit fuzzy, which is pretty normal for bands from that scene, but members were closely linked to other punk projects and the broader Madrid underground. PBNSK’s legacy isn’t about mainstream success or big discographies; it’s more about being part of that original blast of Spanish hardcore punk and later being rediscovered by people digging into the roots of the scene.

 

Zoquillos

Zoquillos was a short-lived but memorable punk-rock band from Madrid that popped up in the early eighties, right in the middle of the Movida Madrileña. They started out almost by accident: originally the name belonged to a quirky little store in Madrid, and the group itself began as a loose pop-art project before turning into an actual band when the drummer, Antonio, suggested they should start playing rock music. He brought in Pablo as vocalist and guitarist, and soon the rest of the lineup -Jesús on guitar and Ernesto on bass- fell into place.

 
Their style was a straightforward, raw kind of punk, clearly influenced by the Ramones, though the members were also fans of bands like The Doors, Velvet Underground, Johnny Thunders, and Willie DeVille. Their only official release came in 1983, a self-titled 7-inch EP recorded a few months earlier. It includes three tracks: “Atrapado En La Telaraña,” which everyone just calls “Nancy,” “Ella Sabe (Lo Que Tiene Que Hacer),” and a cover of Alan Vega’s “Kung-Fu Cowboy.” “Nancy” ended up being their most played and best-remembered song. Years later, in 2007, the EP was reissued in a small vinyl run, which helped keep their name alive among collectors and fans of early Spanish punk. 

Zoquillos played a number of classic Madrid venues of the time -places like Rock-Ola or El Sol- and even appeared on national TV programs such as "Pista Libre", "Caja de Ritmos", and "La Edad de Oro". They mostly stayed close to home, with their only out-of-town concert happening in Barcelona in 1981. Their shows were said to feel half like rehearsals and half like parties, all energy and spontaneity. 

The band broke up a few years later. Internal issues, personal problems, and the general chaos of the scene caught up with them. Even so, they left behind a small cult legacy. With just a handful of songs and a brief existence, Zoquillos still managed to carve out a place in the story of early Spanish punk -a snapshot of the wild, creative spirit of Madrid in the early eighties.

 

TDeK

TDeK -short for Terrorism, Destruction and Chaos- is one of the most iconic hardcore punk bands to come out of Madrid in the 1980s. Although the group is generally described as Madrilenian, part of its early spirit is tied to Pozuelo de Alarcón, where some of its founding members came from or had previously played. 

The band emerged around 1983, shortly after the breakup of Espasmódicos, another key punk act of the era. José Mota and Magüu Pilarte, both from that earlier group, teamed up with Alfonso “Cronopio,” who had been active in a Pozuelo-based band. Together they began shaping TDeK’s raw, fast and highly political version of hardcore punk. Their early demo, recorded in 1984, circulated informally at first and later resurfaced as a limited-edition release. That same year they shared a split single with the band Panaderia Bolleria Nuestra Señora Del Karmen, which helped cement their presence in the underground.

 
Their official debut came in 1985 with 'Esto Es Una Empresa Capitalista', a release full of abrasive energy and social commentary. It was followed the next year by 'Carnevisión', which solidified their reputation as one of the most intense and uncompromising bands in the scene. While most of what was happening in Madrid at the time was wrapped up in the colorful “Movida Madrileña,” TDeK stood apart by pushing a much harsher, angrier sound inspired by American hardcore.

 
After some lineup changes -including the departure of their original singer- the band continued as a trio and began experimenting. This shift became clear in 'A Toda Prisa' (1987), which moved slightly away from pure hardcore and played with new rhythms. The evolution continued with 'Como Una Pesadilla' (1988) and reached a surprising point in 1989 with 'Las Nuevas Aventuras de los Masters TDK', a record often considered one of the first rap or hip-hop albums released in Spain. The band even modified its name to “Masters TDK” to reflect this direction before splitting up around 1990.

 
TDeK eventually returned in the mid-2000s, driven by the reissue of their early material and renewed interest in the band. They reunited again around their 30th anniversary and performed shows through the mid-2010s, revisiting their classic work with both original and newly joined members.

 
Their legacy is unusually wide for such an underground group. TDeK played hardcore at a level of speed and intensity that was rare in Spain at the time, and they earned recognition not only locally but from the international punk community. They became a bridge between the Spanish underground and the global hardcore scene, and their unexpected leap into hip-hop broadened their impact even further. For many people, they’re remembered as pioneers -artists who pushed boundaries, stayed true to a rebellious spirit, and influenced several generations of musicians who followed.

 

Kangrena

The band got started in Barcelona in 1981 with Johnny Sex on bass, Kike on guitar, and Manolo on drums. Their singer, Quoque, joined a bit later in a pretty unusual way: he basically jumped on stage uninvited during a show that December and sang “My Way” with them. The band liked his attitude enough to offer him the vocalist spot right after. They chose the name “Kangrena” (a misspelling of the Spanish word for “gangrene”) because they wanted something that felt connected to what they were doing -at least that’s what they said in an interview with the Spanish fanzine "Melodías Destructoras".

 
As for influences, they described their sound as the Sex Pistols sped up, with lyrics inspired by Crass and The Exploited. Listening to their 7-inch, those might not be the first comparisons that come to mind, but that’s how they saw it. Their music is definitely rougher and more unhinged than that description suggests. Locally, they mentioned liking bands like Último Resorte, Decibelios, R.I.P., Attak, Frenopaticss, and some early Siniestro Total, while saying they weren’t into anything coming out of Madrid. 

They kept playing roughly once a month until 1983, when their debut EP, 'Terrorismo Sonoro', came out on the Anarki label. With its five tracks of raw, abrasive punk, the EP leans heavily toward early hardcore. Their appearance on the 'P.E.A.C.E.' compilation -which probably came about thanks to a show MDC played with Kangrena and Último Resorte in Barcelona during their European tour- helped place them firmly within the evolving European hardcore scene. In 1984 they put out a 17-track cassette called 'Estoc de Pus', and followed it a year later with another tape, 'El Cubo de la Basura', before eventually breaking up. 

P.V.P.

PVP was a Madrid-based band that formed in 1980, right in the middle of the Movida scene, but they always stayed on the more alternative and combative side of things rather than the party vibe that movement was known for. Even their name, “Precio de Venta al Público” (“Retail Price”), was already a kind of ironic jab at consumer society.

 
The original lineup was made up of four guys whose names all started with the letter “J,” which is why people sometimes called them “the four J’s”: Juanjo on vocals and guitar, Jesús on lead guitar, José on bass, and Jorge on drums. They came from working-class neighborhoods in Madrid, and you could feel that in their attitude and in their lyrics. They weren’t about posing -they sang about unemployment, routine, alienation, the darker corners of the city, and everyday life on the streets. 

 
Musically, they mixed punk with new wave and post-punk influences, creating a sound that could be sharp and straightforward at times and darker or more atmospheric at others. That’s why some people compared them to The Clash back then, although the band themselves said they weren’t trying to copy anyone -they just admired that style and adapted it to their own Madrid reality. 

 
In 1982 they released their first album, 'Miedo', which eventually became a cult classic sought after by collectors. Around that same time they also put out “El Coche De La Plas,” probably their most well-known song. More albums followed, like 'Las Reglas Del Juego', 'Donde Se Pierde La Luz', and 'Bailío', where they continued experimenting and shifting between raw punk energy and a more art-tinged post-punk feel. 

 
Despite their quality and strong personality, they never achieved major commercial success. They were simply too raw, too honest, and not “marketable” enough for the mainstream audience of the era. After their fourth album, the band eventually split up in the late ’80s. 

 
Years later, in the 2000s, they reunited for a few shows driven by nostalgia and the affection of long-time fans. The death of Jorge, their original drummer, in 2012 was a heavy blow, but it also pushed the band to reconnect emotionally. In 2016 they released 'Hermanos de Piel', a comeback and tribute album with new songs and a refreshed lineup that included musicians like Manolo UVI and Rafa PPM Le Doc.

 
Today, PVP is remembered as one of the most authentic bands in Madrid’s punk scene. They were never mainstream, but they made a lasting impact on those who wanted something rawer, more real, and less commercial than what was playing on the radio in the ’80s. Their legacy lives on through their sound, their attitude, and their no-nonsense way of facing the world. 

 

Seguridad Social

Seguridad Social is a Spanish rock band that got its start in 1982 in the town of Benetússer, near Valencia. They emerged during the energetic musical wave of the 1980s and quickly became one of the most recognizable names in Spain’s fun, upbeat rock scene. Over the years, the band has seen many changes, but its frontman José Manuel Casañ has stayed at the helm since the very beginning. 

When they first appeared, their sound mixed punk with ska, creating a lively and rebellious style that fans immediately connected with. As time went on, they began blending in all sorts of influences -Latin rhythms, Mediterranean sounds, rumba, reggae, and more mainstream pop-rock elements. This mix turned them into one of the most iconic examples of “fusion rock” in Spain, and it helped them stay fresh and relevant through different musical eras.

 
Some of their songs have become absolute classics in Spanish music. “Chiquilla” is probably the track most people instantly think of when they hear the band’s name. Early songs like “Comerranas” reflect their punk-ska origins, while “Quiero Tener Tu Presencia,” a huge hit from the 90s, shows their shift toward more rhythmic, Latin-rock vibes. They’ve also released memorable covers, such as their well-known version of “Acuarela.” 

Even after more than forty years in the business -celebrating their 40th anniversary in 2023- the band has kept an active presence, releasing albums, touring, and maintaining their reputation as a powerful live act. Their concerts are known for being energetic, fun, and packed with nostalgia, attracting longtime fans as well as new ones. 

What really sets Seguridad Social apart is their ability to mix genres without losing their identity. They’ve always been willing to experiment, adapting to new times while keeping the spirit that made them popular in the first place. Their music connects different generations, and their influence on Spanish rock, especially on bands that explore fusion and mixed rhythms, is still visible today. 

T.N.T.

T.N.T. was a punk rock band from Granada, Spain, and one of the earliest and most influential groups in the city’s scene. They started out in 1978 in the town of Huétor Tájar, and a few years later, after moving to Granada, they became known as T.N.T., around 1981. People often describe them as pioneers of the local punk movement -raw, loud, rebellious, and full of energy. Their sound mixed straightforward punk rock with some darker, post-punk touches, all driven by distorted guitars and a fierce attitude.

 
The band’s classic lineup included Ángel Doblas, José Antonio García, Jesús Arias, and Joaquín Vílchez. In their early days, they rehearsed in an old house in the Albaicín neighborhood, in underground spaces known as “Las Cuevas,” which they shared with other up-and-coming Granada bands. It was a lively, gritty environment that helped shape the band’s character and the local music scene as a whole. 

T.N.T. first played live in late November 1981, and that show was recorded on cassette. A few months later, in early 1982, they recorded a demo called 'Una Naranja Mecánica', which featured sixteen songs, including both original tracks and covers. That same year they signed with the independent label DRO Records, which released their first single. Their most important release, though, came in October 1983: the album 'Manifiesto Guernika', a record that later became a cult classic in Spanish punk.

 
Unfortunately, despite the strong impact they had, the band didn’t last long. Mandatory military service for some members and the departure of their original singer strained the group, and T.N.T. officially split on January 1, 1984. Still, their story didn’t end there. They reunited several times over the years, including a notable comeback concert in 2008, and their influence on the Granada music scene remains huge. Many musicians from T.N.T. went on to participate in other key Granada bands, helping shape the sound of the city for decades. 

T.N.T. is remembered today as one of the first true punk bands in southern Spain. They came before the style was fully established in many other regions, and their uncompromising, aggressive, guitar-driven sound set them apart from the more playful, pop-leaning side of the “Movida Madrileña.” Their album 'Manifiesto Guernika' is still considered an essential piece of Spanish punk history and a reflection of a time when the scene was just beginning to take shape. 

Commando 9mm

Formed in 1984, Commando 9mm was born from the fusion of talents of Manolo UVI (vocals and bass), from La UVI, and José Luis Rodríguez “El Pollo” (guitar) and Gonzalo Fuentes “El Mosca” (drums), both from Larsen. This combination gave rise to an explosive trio that quickly made a name for itself on the Madrid punk scene. Their music was characterized by direct lyrics, fast rhythms, and a defiant attitude that set them apart from other bands in the Madrid scene. They participated in the eighth edition of the Trofeo Rock Villa de Madrid in 1985, where they won third place, which allowed them to record their first single with the songs “Odio en Sudamérica” and “Johnny coge el subfusil.” 

 

After their debut, Commando 9mm continued their career with the recording of their first LP, 'Amor Frenopático', in 1986, followed by 'Únete al Commando' in 1987. These albums consolidated their position on the national punk scene, allowing them to tour Spain and other European countries. In 1990, they released their third album, 'Commando', under the CBS label. However, distribution problems and changes in the music industry led to the temporary dissolution of the group in 1991. Despite this, their legacy endured, and in 2000 they returned with the compilation 'Camino Hacia La Ruina', followed by new records and live performances that revitalized their presence on the music scene. [SOURCE: EL PENTA]

Ultimo Resorte

Último Resorte was a Spanish punk band, and in its later years, a hardcore punk band, from Barcelona, which played a decisive role in the history of punk in that city. After the first wave of Barcelona punk with bands such as La Banda Trapera del Río, Basura, and Mortimer, Último Resorte was the band that kept the punk flame alive at the turn of the decade. 

Formed in 1979, they did not release anything until 1982, by which time the band had undergone several changes, with the resulting changes in style. They then released their first EP, one of the first punk records of Spanish “independence,” remembered not only for that, but also for its shabby sound and the inclusion of seven tracks on a 7" record, which was unusual in Spain. In 1983, they released their second record, the 12" EP 'Una Causa Sin Fondo', with a better and more mature sound. They broke up in early 1984. [SOURCE: WIKIPEDIA]

 

La Resistencia

After the demise of Interterror in 1984, some of its members got together to form a new punk rock band: La Resistencia. Behind this name were four experienced musicians: Guillermo Fuster “Willy” (guitar and vocals), Javier García “El Enano Infiltrado” (bass, guitars, and vocals), Paco Ruiz ‘Rocco’ (saxophone and backing vocals), and Víctor Royo “Víctor Acnex” (drums). La Resistencia was the first Valencian band to include a saxophonist in its ranks.

 
That same year, they self-produced the demo 'El Primer Ataque De La Resistencia', which was presented at the Sala Tropical in Valencia to great public acclaim. Thanks to this demo, they were signed by the label Producciones Twins to record what would be their only album, 'El Odio Y Las Lágrimas', recorded in March 1985 at the Tabalet Studios in Valencia. In 1986, La Resistencia embarked on a tour of Spain, playing at parties organized by Radio 3's Diario Pop program. Their single reached number 20 on the Top 40 chart, and their name spread to France, where their mini LP reached number 1 on the country's independent charts.

 
That same year, the band broke up by mutual agreement, with each member continuing their musical careers separately, playing in bands such as Noviembre Rojo, N.E.S. (Nuevo Ejército de Salvación), Las Terribles y la Banda Fantasma, Frenéticos, and Carmina Burana. [SOURCE: VALENCIA CANTA]