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] 

The Rescuers

The Rescuers were a band from Madrid band formed in 1986 by Ramón Diez (vocals and guitar), Vicente Murillo (lead guitar), Francisco de la Calle “Patiñu” (bass), Julio de la Cruz (organ and backing vocals), Jesse Romeo (drums), and Gonzalo Grondona “Lagarto” (drums). The Rescuers emerged in the wake of the Spanish “garage sixties revival”, with bands such Sex Museum from Madrid and Los Negativos from Barcelona. 

 

They won the prestigious Villa de Madrid Demo Contest in 1986, which led to them recording a four-song EP, allowing them to showcase in venues across Madrid and in Guadalajara or Bilbao. Entitled ‘If You Wanna Love Me’, it was released by Penetración Records. After participating in the first edition of the Villa de Bilbao Rock Contest in 1989, The Rescuers' musical adventure came to an end. 

 

Paco de la Calle joined Los Potros and later The Holdens. In 2004, illness forced him to leave the stage for good, until his death. That same year, on December 12th, a tribute concert was held in his memory at the Rock Palace in Madrid, where The Rescuers reunited, sharing the stage with The Holdens and The Pleasure Fuckers, who also reunited to pay tribute to the bassist. [SOURCE: GRUPOS NACIONALES NUEVAOLA80]

 

Sex Museum

Sex Museum is a Spanish rock band from Madrid, formed in 1985. Originally the band began among the mod scene of Madrid playing garage rock music. Their first published material is highly influenced by a plethora of genres, for instance soul and R&B as well as several rock genres such as garage and psychedelic. Later on, their music increasingly adopted a more hard rock sound characteristic of the 70s. Through a number of concerts in their homeland and tours through many European countries, they gained a solid underground following not only in Spain but also Germany and Switzerland. They played at several Spanish music festivals like Esparrago Rock, Festimad and Viña Rock as well as international events such as the Beat-O-Mania in Munich, where the band co-lined with acts like Metallica, Sepultura, Backyard Babies, Sonic Youth and Extremoduro among others. In 1994 they were chosen as the opening act for the Spanish tour of Deep Purple. The band has been active for 33 years, having performed thousands of live shows, in addition to releasing 12 studio albums, and many singles. Their latest album 'Musseexum' was released in 2018. [SOURCE: WIKIPEDIA]

 

Departamento B

Departamento B formed in Pamplona as a psychobilly instrumental trio in 1987 with Pablo Oroz (guitar), Kike Crespo (bass), and Alfonso Carlos López (drums). Later, they became a sextet, with Alfonso Carlos remaining as original member. The other musicians were Iñaki Fuente (vocals), Alvaro “Teddy” Cuartero (bass), Francisco “Paco” Aguilera (guitar), Jorge Pascual (organ and guitar), and Kike Arizaleta (vocals and backing vocals). Josecho Balda was their road manager. In this way, they made recordings and demos and participated in several compilations, starting with the song “The Crusher” included in 'The Munster Dance Hall Favorites. Vol. II' (Munster Records, 1988) and their appearance in the fanzine Mamorro compilation 'Mamorro. The Soundtrack 1st. Auth. European Comp' with “Rockaway Beach,” which also featured Cancer Moon, Los Clavos, Los Dins, and El Desván del Macho as national bands. 

 

 In 1991, they recorded a four-song EP that they self-released under the management of Munster Records and produced by Dany Ulacia (OK Korral). They included also a track, "El Pequeño Tamborilero", for the compilation released by the German psychobilly label Jungle Noise, ‘Wreckin’. By this point, they had already made a name for themselves on the Spanish alternative scene: all the fanzines related to the genre wrote about them, they had appeared on Tele-Navarra, and even a record label (Max Mix Music) had offered them a deal, which they turned down because it involved a change in style (eliminating distortion, slowing down the rhythm, etc., in short, opening up to the commercial market). 

 

After all this “success", work, military service, and other aspects of daily life led to the dissolution of the band. In 1995, they reunited and released the compilation cassette 'Memories of a Psychotic Band...', which included various songs recorded at Arion Studios between 1987 and 1991, some of them previously unreleased. It was distributed in Spain by Slap Club and Disco Billy, and internationally by Mental Disorder Records and Raucous Records. With this, they achieved great success once again on the alternative scene, and encouraged by the positive reception of the tape, they decided to get back together in 1996, performing just one show before scheduling conflicts and personal obligations forced them to call it quits once again. 

 

 They participated in the soundtracks of the films “Más Carnaza” (1996) and “Mundo Basura” (1998), by Valencian director Sergio Blasco, which premiered at horror film festivals, making them the only Spanish Psychobilly group to participate in gore and horror cinema. After collaborating with Los Refugiados, in 1998 Alfonso Carlos formed the band Iberia Trash, also psychobilly, together with N. Psycho-Trash from Los Motosierras. In addition to the aforementioned, they also participated in other compilations: ‘Spanish Bombs Vol 1’ (Ruta 66, 1991) and ‘Spanish Cats’ (Burning Crew Producciones, 1996). [SOURCE: GRUPOS NACIONALES NUEVAOLA80]

 

Los Nada

Los Nada formed around 1987 in the Cantabrian municipality of Muriedas, with the lineup of Juanjo “Mr. Snoid” (vocals and guitar), Hendrik Roever ‘Dedu’ (vocals, guitar, and harmonica), Raúl Castañera “Anacleto” (vocals and bass), and Iñaki García “Pajares” (drums and tambourine). 

 

That same year, they recorded their only album, an EP of the same name, at Ibioson Studios in Santander for the Ojo Discos/Rocco Records label. It included the songs “Cariño,” “No Es Mi Estilo,” “Soy Un Camaleón,” and “Hacérmelo Decir.” All the songs were composed by Raúl, except "Cariño", written by Juanjo. Mon Castellanos is only credited on this album because he had a motorcycle accident shortly before the recording and was replaced by Iñaki, who was then the drummer for Melopea. 

 

The group continued playing until 1988, when Juanjo had to move to the province of Córdoba. The rest of the band then decided to disband Los Nada. After they broke up, Hendrik continued with his other band, Los Del Tonos. In 1989, Mon Castellanos joined Los Del Tonos, and years later, in the mid-1990s, Iñaki García took over as the band's drummer. [SOURCE: GRUPOS NACIONALES NUEVAOLA80]

 

Los Negativos

Los Negativos is a Spanish rock-pop band formed in Barcelona in 1984 by Alfredo Calonge (vocals and guitar), Carles Estrada (vocals and bass), Roberto Grima (guitar), and Valentín Morato (drums). Their music was rooted in the psychedelic pop of the 1960s, with influences such as The Byrds, The Beatles -'Rubber Soul' era-, and other classic American and British psychedelic bands. Although they had fairly modest success, their first LP, 'Piknik Caleidoscópico', became a legendary reference point for fans of this type of music and for mods, until it was reissued by the Mushroom Pillow label on CD (2005) and vinyl (2008). It included 14 tracks ranging from precious pop, with harpsichord, vibraphone, and twelve-string guitar arrangements, to more energetic songs such as “Viaje Al Norte” and “Moscas y Arañas”; the lyrics are full of references to pop culture and psychedelia. Later, in 1987, they released a second album, '18º Sábado Amarillo', more commercially oriented, and a compilation of demos and unreleased live recordings, entitled 'Las Cintas de Thule'. 

 

In 1996, two of the original members, Carles Estrada and Valentín Morato, together with Albert Ramírez, reunited to record a new album as Los Negativos, entitled 'Puzzle'. In 2009, a new album, 'Dandies Entre Basura', was released with the band's classic lineup. After its release, Raúl Costafreda, who had already collaborated as a musician and producer on 'Dandies Entre Basura', joined the group as a new member. In February 2014, the single from what would be their sixth LP, 'A Tumba Abierta / Turmix', was released. 

 

Sadly, on May 14, 2014, Alfredo Calonge died of a heart attack, just one week after finishing 'Duplexin', a posthumous album that would be released months later, in January 2015. On December 4, 2014, a tribute concert to Alfredo Calonge was held at the Apolo venue in Barcelona, featuring musicians with whom he had collaborated on musical projects and friends from the sixties-mod scene, such as Sex Museum, Brighton 64, Los Bisontes, Bondage, The Canary Sect, Dr. Explosion, The Excitements, Miqui Puig, The Pinkertones, Los Selenitas, and, of course, Los Negativos, who performed songs from the LP 'Piknik Caleidoscópico'. 

 

Currently, the band continues to shape all kinds of projects related to their music under the direction of Geyser, the production company they created in 2014, and they seem ready to continue performing their songs live. Valentín Morato, their drummer, passed away in the early hours of July 6, 2024. [SOURCE: WIKIPEDIA]

 

The Nativos

The Nativos emerged in the mid-1980s as a supergroup committed to rock and guitar revivalism. Members included Esteban Hirschfeld (Nacha Pop, Gabinete Caligari, Los Rápidos), L.M. García Villalpando "Jimmy" (vocals), Antonio Fidel (Los Rápidos), Santi Agudo (Ciudad Jardín), and Alfonso Lantero (Pistones). Even Josele Santiago (Los Enemigos) ended up playing with them. 

They only recorded one EP, 'She Belongs To Me' (Producciones Twins, 1986), with four tracks -three of which are covers- that smacks of sixties guitars from the start, produced by Paul Collins and recorded at the legendary Track studios in Madrid under the supervision of Paco Martín. 

They included some tracks on various compilations -“She Belongs to Me” on '¿Dónde Estabas tú en el... 86?' (DRO, 1993) and 'Maxi Pop 7' (Contraseña, 2004)- and the Rockdelux magazine released in June 1986 a flexi disc shared with Johnny Thunders. 

With hardly any promotion, the band ended up splitting up shortly afterwards. They left us with a recommended short album, but the important thing was their commitment to rock. At a time when the new wave and pop of the Movida were beginning to show signs of exhaustion, The Nativos were a breath of fresh air and one of the first attempts at a rock revival on the Spanish scene. [SOURCE: LA FONOTECA]

 

Los Furtivos

Garage revival from Alagón (Zaragoza) formed by José Antonio Bernal (vocals), Miguel Ángel Bernal (guitar), Óscar Carriedo (guitar), Esteban Manresa (bass), and Miguel Ángel Barceló (drums), Los Furtivos recorded two singles. The first was in 1988, on the Grabaciones Interferencias imprint -"Dr. Extraño / No Me Puedo Aguantar Mas"-, in a limited edition of 400 copies, which was later expanded to a reissue of 500 more copies. The single was recorded at Kiko's studio in Zaragoza, produced by Jesús López. The second single appeared in 1989 for Kiko's Records: "Solo Quiero Rock'n'Roll / Bajo Control". In 2008, Grabaciones en el Mar released a compilation of the group's work entitled "Discos De Oro, Jets Privados & Chicas En Bikini" featuring recordings between 1986 and 1990, including the two singles mentioned above, demo recordings and other tracks from various compilations. The album was presented in Zaragoza at the La Lata de Bombillas venue in December of that same year. [SOURCE: GRUPOS NACIONALES NUEVAOLA80]