Punk City

Punk City wasn’t really a “proper” long-term band, but more of a one-off punk experiment that popped up in Spain around 1984. It came together during the early Spanish punk years and was made up of musicians who were already active in other bands. The whole thing was more about having fun and messing around with classic songs than starting a serious new project.

 
The people involved were mainly from the Valencia scene. José Manuel Casañ, who would later be well known for Seguridad Social, handled vocals along with Maggie Seidler from Manía. Santi Serrano (also from Seguridad Social) played guitar, Nando Domínguez from Manía was on bass, and Víctor Royo from La Resistencia played drums. On at least one track, Emilio Doceda from Seguridad Social stepped in on bass. Basically, it was a bunch of friends from different bands getting together for a quick punk crossover.

 
Punk City only ever released one record, actually just a 7-inch single. It came out in 1984 on the Citra label. One side featured a fast, raw punk take on “Johnny B. Goode” mixed with “Road Runner,” and the other side was a punked-up cover of “Surf City,” the old Beach Boys song. That “Surf City” track is the one most people remember and is why the release is often referred to by that name. 

 
The project didn’t last long at all. After the single and at least one known live show, everyone went back to their main bands and Punk City was basically over. Because the original pressing was small, the record became a bit of a cult item among Spanish punk collectors. Years later, in 2018, it even got a limited reissue through Leningrado Records and Pachilo Records, which helped keep its reputation alive.

 
So in short, Punk City was a brief but fun punk side project from the Spanish 80s scene, with one rare single to its name and a cult following thanks to its rough, energetic take on classic rock and surf songs.

 

Esqueletos

Esqueletos were a short-lived but memorable pop and power-pop trio from Madrid, active in the early 1980s. They came out of the same buzzing underground scene that surrounded La Movida Madrileña, even if they never quite crossed over into the mainstream.

 
The band was made up of José Battaglio on guitar and vocals, Enrique Martín on bass and backing vocals, and Miguel de las Casas on drums. At the beginning they actually called themselves RPM, but since another group was already using that name, they switched to Esqueletos. 

Their sound was direct and energetic, built around jangly guitars and punchy rhythms with a clear punk edge. You can hear influences from bands like The Jam, Buzzcocks, and The Clash, mixed with that raw, enthusiastic feel that defined a lot of early-80s Spanish pop. The songs were short, catchy, and meant to be played loud rather than over-polished.

 
Esqueletos only released one official record, a 7-inch EP called 'Radio 222' in 1983 on Flush!, a sub-label of Hispavox. The title track became their best-known song and got some underground radio play at the time. The EP also included “Sólo Necesito Un Poco De Diversión” and “Intrusos En Mi Jardín,” and it has since turned up on various compilations celebrating Spanish pop from that era. 

The group didn’t last long. Like many Spanish bands of the time, they broke up when Enrique Martín and Miguel de las Casas had to leave to do their compulsory military service, which effectively brought things to a halt just as they were gaining momentum. 

After Esqueletos, José Battaglio stayed active in music, playing in bands like Los Seres Vacíos and later La Frontera, and also working as a producer and collaborator with artists such as Ana Curra. Enrique Martín later joined the band Las Ruedas.

 
Today, Esqueletos are mostly remembered by fans of early-80s Spanish pop and power-pop as one of those “cult” bands: not hugely famous, but fondly recalled for their strong songs, youthful energy, and their place in Madrid’s lively underground scene.

 

Toreros After Olé

Toreros After Olé were a short-lived but memorable punk band from Madrid, Spain, active in the early 1980s, roughly between 1982 and 1984. Even though they didn’t last long, they’ve earned a solid reputation over time as one of the early groups pushing hardcore punk in Spain, at a moment when the scene was still finding its identity.

 
Musically, they stood out for being faster, rougher, and more aggressive than many of their contemporaries. While a lot of Spanish punk back then leaned heavily on UK influences, Toreros After Olé clearly drew inspiration from American hardcore, with sharp rhythms and raw energy that felt ahead of its time for the local scene.

 
The band’s main (and basically only) official release was a 12-inch maxi single/EP from 1983, also titled 'Toreros After Olé'. Interestingly, it was recorded in Amsterdam, which was pretty unusual for a Spanish punk band at the time. The record includes a handful of intense tracks and is especially known for their punked-up version of “Porom Pom Pero,” a cheeky and aggressive twist on a very Spanish pop classic. 

 
Lineup-wise, the group consisted of Manuel “Manolo” Malou on vocals and guitar, Kike on bass, and YoYo on drums. All three were already involved in the underground scene, and after the band split, Malou in particular continued making music in other projects. 

 
There’s also some confusion about the band’s name. Early on, they may have just been called Toreros, with After Olé meant as the title of the record. But because of how the release was presented, the full name Toreros After Olé stuck and is how they’re remembered today. 

 
At the time, they didn’t get much love from the press and were even dismissed by some punk fanzines. But years later, their EP became a cult favorite, especially among collectors and fans of early hardcore. Today, they’re often mentioned in retrospectives about Spanish punk as a band that helped push things faster, louder, and a bit more extreme.

 

Garage

Garage was a Spanish rock band from Alicante that was active in the early 1980s, right at the start of the Spanish new wave and after-punk scene. They formed around 1980 and mixed classic rock with punk and new wave influences, which gave them a raw, energetic sound that worked especially well live. They never became a big commercial band, but they’re remembered as part of that underground movement that helped shape Spanish rock at the time.

 
Their recorded output was short but memorable. In 1982 they released an EP called '¡En Movimiento!', recorded in Valencia, with songs like “Matanza De Una Noche De Verano,” “Tiempo Perdido,” and “Pelea Entre Dos Frentes.” A year later they put out their best-known single, 'Quiero Ser Un Bogart / La Ciudad', which is usually considered their standout release. Not long after that, internal problems and changes in direction led to the band breaking up around 1983, just when things seemed like they might take off.

 
The band included Carlos Goñi, who handled guitar and vocals and later went on to much bigger success with Comité Cisne and especially Revólver, one of Spain’s most popular rock bands. Basilio Montes played bass and sang; Garage was his first group, and after it ended he became a well-known collaborator of Ramoncín and was involved in several other projects over the years. Ángel Verdú was a guitarist who joined in the later lineup and played on the “Quiero Ser Un Bogart” single. The drummer during that period was José Antonio “Bojías,” who took part in the band’s final recordings. 

 
Even though Garage didn’t last long, they left behind a small but solid legacy, and their songs still capture the sound and attitude of Spain’s early ’80s rock scene. For fans of that era, Garage is often seen as an interesting early chapter in the careers of musicians who later became much more famous.

 

Basura

Basura were one of the very first punk bands to pop up in Barcelona, starting around 1977, when punk was still brand new in Spain. They came out of the Sants area and were all about loud, fast, rough-around-the-edges punk, with zero polish and a lot of attitude. 

The band didn’t stick around for long -only about six months- but that didn’t stop them from becoming part of the early punk story. They were active right at the beginning, playing shows and hanging out with other early bands like La Banda Trapera del Río, Peligro, and Mortimer, back when there wasn’t really a “scene” yet. 

 
The lineup included Panotxa (Joan Garcia) and Ferran Bauló on guitar and vocals, Groc on bass, Jordi Golmayo on drums, and Ferdi as an additional member. They rehearsed and played wherever they could, including spots around Sant Feliu de Llobregat, just trying to make noise and get gigs.

 
One of their biggest moments was playing at the first-ever punk festival in Barcelona in 1977, held at l’Aliança del Poblenou. That show is now seen as a key moment in Spanish punk history, even if at the time it probably felt more chaotic than historic. 

 
Basura only put out one official release, a single called “No Seas Lesbiana Mi Amor / Esperando En La Puerta Del WC.” released in 1977 on the Belter label. It’s pretty hard to find these days and has become a collector’s item for fans of early Spanish punk.

 

 Even though they were around for a short time and didn’t release much music, Basura are still remembered as real pioneers. They were there at the very start, helping kick off punk in Barcelona before anyone really knew what punk in Spain was going to look like.

 

Codigo Neurotico

Código Neurótico were a Spanish punk band that came out of Terrassa, near Barcelona, in 1981. They’re part of that first strong wave of Spanish punk, doing things fast, loud, and without much polish. Their sound leaned a lot toward classic punk influences like the Ramones and early UK punk, with simple songs, sharp lyrics, and a mix of humor and anger that fit the scene perfectly. 

 
The band was made up of Jorge Sánchez on bass and vocals, Sergio Perdices on guitar, and Lolo Sánchez on drums. From the beginning, they had a reputation for being energetic and irreverent, more about attitude than technical perfection. They started playing around the Barcelona punk circuit pretty quickly after forming.

 
Their first release was an EP in the early 80s called 'Totus Tuus', which also became known for the track “Las Malvinas Son Pingüinas.” Even though they were a raw punk band, the EP was produced by people who later became well known in Spanish rock, which helped give it some visibility. Like many bands of the time, they had to slow down for a bit because of mandatory military service, but they didn’t disappear.

 
By the late 80s they were back with new material, including a self-made demo known as 'La Maqueta Roja'. In 1988 they released 'En La Barra Del Bar', a mini-LP that became one of their most recognized records. Around this time they were playing more shows, even outside Spain, and building a solid underground following.

 
In the early 90s they finally put out full-length albums, starting with 'Humillación, Tortura y Muerte' and later 'Colores De Guerra'. These records kept the same punk spirit but showed a band that had grown tighter and more confident. Lineup changes came near the end of the decade, and by 1998 the band had split up.

 
Even after breaking up, Código Neurótico never completely faded away. Their old recordings were reissued years later, and they briefly reunited around 2011 to celebrate their anniversary and play shows again. Today they’re remembered as a classic underground Spanish punk band: not massively famous, but respected, influential, and still appreciated by punk fans and collectors.

 

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]

 

The M-80's

The M-80's are a Norfolk, Virginia band that sounds quite similar to The Cynics, with their hard-rocking garage sound. Their debut album 'In a Fury!' serves up 12 originals and four covers that transfer the energy of the band's live performance to wax. The M-80's were Eddie Pierce (Vocals, harp), Witt Drawls (Guitars), Rob Katherman (Bass) and Rusty Floyd (Drums). [SOURCE: GETHIPRECORDINGS.BANDCAMP.COM]

 

The Offhooks

Back in the 1980's, many alternative bands were playing stuff making rendition to 60's garage style. The Thanes were one of the best. The scottish Offhooks (and the early Thanes' incarnation, The Green Telescope) were part of it, as Lenny Helsing, the singer, was in these three bands. The Offhooks were appreciated for a unique 1988 six tracks 12“. Besides Lenny Helsing -guitarist, vocalist, drummer, and songwriter that started in the late 70's as singer of the punk band Belsen Horrors (1978-79), later November Crimes, he also played drums for Television Personalities during 1993-95-, the other members of the band were Calvin Burt (drummer and singer, member of The Hook 'N' Pull Gang, The No-Things, The Thanes and The Sinister Urge), Clive Fenton (guitarist, member also of The Thanes), John Robb (gutarist, member also of Jesse Garon & The Desperadoes) and Mal Kergan (bassist, drummer and singer member of Rote Kapelle, The Phantom Keys, The Thanes and The Green Telescope). [SOURCE: ACTIONTIME...AND VISION!]

 

The Brood

Portland garage rock revivalists The Brood formed in 1983 around the talents of Chris Horne (guitar and vocals), Crystal Light (drums), Betsy Mitchell (bass), and Asch Gregory (organ). The band's debut single "And I Know" appeared in the October 1985 issue of underground garage rock publication 99th Floor Fanzine #7 on a Flexidisc EP, and was followed in 1986 by "Writing on the Wall" and "You Lied to Me Before," both of which appeared on the various-artist compilations 'Deadly Spawn' and 'The Sounds of Now', respectively. The band continued to release singles and appear on compilations in anticipation of their 1988 debut LP 'In Spite of It All', a 16-track onslaught of punk-infused, '60s-inspired fuzz-rock that predated the mainstream garage rock revival of the late '90s/early 2000s by nearly a decade. The Brood went on to release three more albums, including 'Vendetta' (1991), 'Hitsville' (1995), and 'Beyond the Valley of the Brood' (2000), the latter of which featured a mock soundtrack cover that depicted the quartet as a girl group called the "Swizzle Chicks." [SOURCE: ALLMUSIC]

 

The Ultra 5

When talking about psychedelic garage rock with hypnotic Farfisa organ, one of the bands that comes to mind is The Ultra 5, a Garage Psych band from New York City, formed in the 80's. 'Reincarnation', their first LP, was released in 1991, but it sounds as if it were recorded in 1969. They have a very retro sound, full of fuzz and drum beats that are sometimes slow and sometimes fast, but always with the perfect rhythm. Then there's Bob Urh with his voice, which sometimes reminds you of Lux Interior from The Cramps, but with his guitar he sounds a lot like early Pink Floyd. The Ultra 5 were a great band; they only lasted a few years, but they left behind a great legacy. [SOURCE: MUSICA INCLASIFICABLE]

 

Color Me Psycho

Since starting out in the primordial-ooze of the Calgary-based garbagy/garagy Color Me Psycho, entertainer Jackson Phibes has been dishing out macabre-tinged rockin' slop to disbelieving audiences for over 13 years. Color Me Psycho managed to stay together for 3 years of tyranny and stagnation, releasing a few tapes and one full-length piece o' vinyl (the now collector's item 'Pretend I'm your Father' album). Immediately following the demise of his first ill-fated stab at the small-time, Phibes (who was still toiling under the dubious nom de axe, Aleister Hexxx) set about initiating a head-long dive into the horror-rock ghettos with The Forbidden Dimension. [SOURCE: ROCK MY WORLD CANADA!]

 

The Outta Place

Of NYC’s short-lived but plentiful litter of garage revivalists, this quintet was the last to form, the first to reach vinyl and probably the only one young enough not to have been around for the real thing. On their debut, “New York’s own cave teens” display plenty of raunch, ripping through seven songs in the most distorted mono imaginable, with cheesy two-finger organ bleats and Mike Chandler’s epileptic-fit shrieks. They also display plenty of chutzpah; changing two words of the Chöb’s garage classic “We’re Pretty Quick” gets Chandler a writing credit and the band a titular theme song. 

Begun in ’84, 'Outta Too!' was completed and issued three years after the volatile band’s demise. Chandler, who had left to front the even more over-the-top Raunch Hands, agreed to a sodden evening of vocal sessions and presto! it’s 1984 (or was that 1966?) all over again. Outta Place bassist Jordan Tarlow went on to The Fuzztones and drummer Andrea Matthews played with ’70s monsters Freaks. [SOURCE: TROUSER PRESS]

 

The Wylde Mammoths

Wylde Mammoths were founded in Stockholm, Sweden in the mid-1980s and were part of the thriving garage rock scene of the day which included The Stomachmouths, The Highspeed V, Crimson Shadows and The Creeps. In 1986 they were signed to the American label Crypt Records, being one of the first new bands Crypt released, before that they mostly made 1960s garage compilations like the 'Back From The Grave'-series. Being very influenced by the music of the 1960s themselves, The Wylde Mammoths recorded their first album -'Go Baby Go!!'- in singer Peter Maniette's basement only using an old 2-track Beocord tape recorder. Tours of the US and Europe and more records followed before the band split up in the early 1990s. [SOURCE: WIKIPEDIA] 

The Undertakers

The Undertakers were a Garage-Punk-band from Halmstad, Sweden. Members: Belo Olsson (bass), Håkan Biltmark (drums), Jari Välitalo (guitar), Lennart Modig (guitar) and Sylve Borgemo (vocals). This combo played pretty competent ’60s punk (an eerie aspect of said genre) and a bit of rockabilly. There are traces of Cramps and Nomads in here, but little in the way of originality or special verve [SOURCE: MAXIMUMROCKNROLL]

 

Yard Trauma

The Meat Puppets weren't the only rock band to emerge from Arizona during the '80s, as proven by the emergence of another act, Tucson's Yard Trauma. Founding members Joe Dodge (guitar, vocals) and Lee Joseph (bass) had previously done time together in a precursor band, Jonny Sevin, before forming Yard Trauma at the end of 1982. Although hardcore punk was taking hold locally at the time, Yard Trauma decided to experiment with such odd sounds as drum machines played through fuzzboxes, shortwave radios, and tape loops merged with poetry read on top of the wall of noise. After doing a few shows as a duo, a real drummer and a keyboard player were added to the lineup in time for a debut single, "Some People" b/w "No Conclusions," as well as a full-length, 'The Red Album', before splitting up in January of 1984 when Joseph relocated to Los Angeles. 

 

 

But after the album received favorable reviews in the underground press, Dodge and Joseph began having second thoughts. This led to the pair to writing songs by sending demos back and forth in the mail, before they reunited in Phoenix to record a sophomore effort, 'Must Have Been Something I Took'. Dodge then followed Joseph back to Los Angeles, as the duo tried in vain to find a permanent drummer. Although they were unsuccessful (going through numerous skin beaters, including one who was briefly a member of one of G.G. Allin's many bands), Yard Trauma began building a following in Europe solely on the strength of the press attention given to their albums. 1988 saw the release of the band's third album overall, 'Face to Face', which included guest appearances on lead guitar by several other artists, including Brett Gurewitz from Bad Religion. Further albums followed, including 1990's 'Lose Your Head' and 1994's 'Oh My God' (during which time Joseph created and ran the independent label, Dionysus Records), before the duo decided to call it a day. [SOURCE: ALLMUSIC]

 

Tina Peel

Bubblegum-Punk band formed by Rudi Protrudi in 1976. Rudi says that this band was heavily influenced by The Monkees, Cryan' Shames, 1910 Fruitgum Company and The Dave Clark Five. It is also Rudi's first band, where he performed as frontman. Rudi wrote or co-wrote the majority of the original material recorded by Tina Peel with then members Deb O'Nair, Jim Nastix and Jackson Plugs. Dave U. Hall (ex-bassist from Birdland with Lester Bangs) replaced Jim Nastix after his tenure with the band. Dave went under the name Rick O'Shea. Soon, they became a popular NYC attraction, often headlining the major clubs of the time (Hurrah, Irving Plaza, Ritz, CBGB), as well as appearing on several television shows, including the cult favorite, "The Uncle Floyd Show". Even though the band was courted by major labels, and enjoyed frequent press, Tina Peel broke up when members Rudi Protrudi and Deb O'Nair went on to form The Fuzztones in 1980. [SOURCE: WIKIPEDIA] 

The Shoutless

Hailing from Solna (Sweden), The Shoutless is made up of the following four: Janne Liljekvist (Guitar and vocals); Lasse Gustafsson (Bass and vocals); Doctor Krause (Guitar and vocals) and Matte Rosén (Drums). Their very first 45, called "Insane", had just about everybody in ecstasy, both in Sweden and abroad, from the local "Solna-Sundbybergstidningen" to internationally known mags like "Bucketfull of Brains". A mini-LP followed, where the titletrack "Out Of Reach" is as highly regarded as "Insane". Tracks on various compilations also exists, like the B-side of their first single that ended up on a ROIR garage-cassette sampler. Another track, "Change My Ways" is on a Swedish Nuggets/Pebbles-compilation called 'Real Cool Time'. [SOURCE: LAST.FM] 

The Stomach Mouths

The Stomachmouths were a Swedish garage punk band from Stockholm active in the 1980s. Formed in 1984, they were one of the earliest 'pure' garage bands in the European garage revival of the 1980s. Along with local colleagues The Crimson Shadows they pioneered the notion of a garage punk band that strove for authenticity in replicating the sound and the look of the original '60s inspirators, primarily from the US. The Stomachmouths received immediate international attention with their self-released debut 45, which raised interest on the independent music scenes in England and the US. The band toured extensively in Europe, appearing on German television and receiving major newspaper coverage in Italy. Originally a quartet, Anna Nystrom joined the band in 1985. In 1987, Lars Kjellen and Pär Stavborg left to form The Livingstones. Jens Lindberg, formerly of The Crimson Shadows and High-Speed V joined as a replacement bass player for the last recordings and European tours. Band leader Stefan Kéry later went on to form the successful independent Xotic Mind/Subliminal Sounds record label. [SOURCE: WIKIPEDIA]

 

Los Macana

Los Macana was a garage rock band from Madrid formed in 1985 by Miguel Martín (vocals), Roberto García (guitar), Pedro Arroyo (bass), Emilio Martín (drums), and José M. Jiménez (keyboards). Their songs, mostly composed by Miguel, are full of the power of classic garage rock, magically touched by psychedelia, well finished and evocative.

 

They made their recording debut in 1988 on the Romilar-D label with the release of a split EP with Sex Museum entitled ‘Sex Museum Vs. Los Macana’, with one side for each band. The production was handled by Luís Miguel Sánchez and the band itself. It was originally released on vinyl and cassette, but  reissued on CD in 1993 by Emi-Odeon. In 1989, once again sponsored by Romilar-D, they included two tracks on the compilation album released by the label entitled 'Agapo Live. Vol. 1', a live recording that also featured bands such as Los Enemigos, Las Ruedas, Cardiacos, and Sex Museum.  

 

In early May 2011, the Ágapo Flashback Experience was held in Madrid, a party commemorating the 26th anniversary of the opening of that venue. The following bands performed: Los Enemigos, Sex Museum, Las Ruedas, La UVI, Los Coronas, Espasmódicos, Glutamato Ye-Yé, Sex Tattoo, Los Macana, Cañones y Mantequilla, J. Teixi Band, Ana Curra, and Ágapo All Stars. In addition, 'Agapo Live' was reissued in a limited edition on vinyl and CD. [SOURCE: GRUPOS NACIONALES NUEVAOLA80] 

Brighton 64

Brighton 64 formed in Barcelona in the fall of 1981, when Albert and Ricky Gil, brothers of actress Ariadna Gil, heavily influenced by the British mod scene, decided to join forces with several classmates and began rehearsing covers of The Who, The Jam, The Kinks, and Chuck Berry. Quickly embraced by Barcelona mods, they began playing at venues around the city such as Pub Boira and Salón Cibeles, culminating this first stage with an appearance on the TVE program “Musical Express” and a performance at Rock-Ola in Madrid. 

Barely a year after forming, the group recorded their first album, the maxi single 'Barcelona Blues', released in April 1983 by the independent label Flor y Nata Records. They presented the album at the Zeleste venue, proving that they had already become a benchmark in the powerful Barcelona independent scene of the 1980s. The following year, they released the single “Deja de tocar a mi chica” (Stop Touching My Girl), and immediately traveled to Rome to perform at a festival and make their debut abroad. 

The arrival of drummer Tino Peralbó led to the recording of the mini-LP 'Haz El Amor', released by Producciones Twins. Shortly afterwards, the addition of an old friend of the group, Jordi Fontich, as keyboardist stabilized the lineup, and the multinational EMI signed the group and released the EP 'La Casa De La Bomba' in 1986, which was a huge sales success and received heavy radio and television promotion. The album launch at Studio 54 in Barcelona was a success, and “La Casa De La Bomba” won Radio 3 listeners' award for best song of the year. 

The band combined an endless tour with the rushed and problematic recording of the LP 'El Problema Es La Edad' for EMI, which, despite containing great songs was undermined by the record label's lack of confidence, which damaged the musicians' morale. In September 1987, they performed before the largest audience of their career during the Mercè festivities in Barcelona, but internal tensions began to surface and the group ended up giving way to the Gil brothers' next project, Los Brigatones. 

In 1994, Brighton 64 held their first reunion in Barcelona (Sala Apolo) and Madrid (Sala Revolver), sharing stage with Los Flechazos, Los Negativos, Scooters, Los Canguros, and Kamenbert to celebrate the compilation album 'Mi Generación'. At the end of 2001, Albert, Ricky, Tino, and Jordi reunited to participate in the Purple Weekend festival in León, and Bip Bip Records released the live album 'Explosión Juvenil'. 

In 2003, Ricky Gil published the book "Bola y Cadena" (Milenio), in which he recounts the history of the band, and in 2006 Brighton 64 filled the La Paloma venue in Barcelona to capacity. At all these reunions, there has been a curious communion between the old fans and the new batch of fans who did not have the opportunity to see them live at the time. [SOURCE: WIKIPEDIA]