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3CD
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MR 517CD
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$20.50
PREORDER
RELEASE DATE: 10/30/2026
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. The story of Décima Víctima started in 1981, with Carlos Entrena rehearsing with Lars and Per Mertanen, and a drum machine, in the cellar of the Mertanens' house in Madrid. A few months later they made their first studio recording, a demo recorded on a 4-track. And shortly after, with their friends from the band Esclarecidos, they started the independent label Grabaciones Accidentales (GASA) and were able to start releasing their own records. Their first single was released in 1982, featuring Lars on drums. Shortly after, Esclarecidos introduced Jose Brena to them and he joined Décima Víctima as drummer. This set comprises the complete recordings of the band throughout their career, from 1982 to 1984, now reissued for the first time. Their LPs (Décima Víctima, Un hombre solo and En el garaje), early EPs, Un lugar en el pasado 12" and demos. The artwork has been designed by the band members themselves, and the set also includes a 12-page booklet with notes and photos.
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LP
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MR 514LP
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$28.50
PREORDER
RELEASE DATE: 10/30/2026
Los Incas Modernos hold a pioneering place in the history of Peruvian rock as the first band in the country to record a full-length album. Formed in the early 1960s, they developed a distinctive sound by blending the energy of surf rock with the musical traditions of the Andes. This album stands as a landmark in Latin American music. Tracks like "Carnavalito" and "Terremoto" showcase an innovative approach for their time, bringing together electric guitars and Andean influences to create a sound that was both original and ahead of its era. The album's success led the band to share the stage with some of Peru's leading rock groups (Los Shains, Los Belkings, Los Silvertones, Los Doltons) while appearing on radio, television, and major venues across Lima -- all before any of its members had turned twenty. Today, this reissue offers the opportunity to rediscover a defining chapter in Peruvian rock: an album that still captures the creativity, freshness, and spirit of a generation that forged its own musical identity and left a lasting legacy. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history. First time reissue.
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7"
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MR 7406EP
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$15.50
PREORDER
RELEASE DATE: 10/30/2026
From the early 1960s onward, Claudia (or Claudya, as she would later be credited on her records) became a moderately successful ye-yé singer in Spain. In 1970, probably in a belated attempt to embrace the soul music craze that had also reached Spain by then, she released this single featuring two dancefloor-friendly, fresh-sounding versions of Anglo-American hits: "Un millón de lágrimas," originally a hit for the American rock band The Grass Roots, and "No te creas tú que tan loca estoy," a Spanish adaptation of Bill Deal & The Rhondels' "What Kind of Fool Do You Think I Am." More than 50 years after its original release, Munster present the first-ever reissue of this highly sought-after single, featuring these two outstanding slices of soul made in Spain.
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LP
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MR 516LP
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$28.50
PREORDER
RELEASE DATE: 10/30/2026
Here is a very special reissue, a landmark in the history of Spanish pop music: "La chica de plexiglás" and "La visión," the first two singles by El Aviador Dro y sus Obreros Especializados (released in 1980 and 1981), together with two tracks rescued from a lost 1980 recording session that were never released as a single. The collection is presented exactly as it was originally compiled on a 1983 mini-LP. To this day, this remains the most advanced techno-punk ever made in Spain. Think a Spanish version of Kraftwerk meets Devo meets The Residents. Futuristic electronic music created back when computers were the size of an entire room. Out of print since 1985, Munster are delighted to bring this groundbreaking gem of early-'80s Spanish pop back into circulation in collaboration with Discos Banana.
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2xCassette
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MR 517CS
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$22.50
PREORDER
RELEASE DATE: 10/30/2026
Double cassette version. Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. The story of Décima Víctima started in 1981, with Carlos Entrena rehearsing with Lars and Per Mertanen, and a drum machine, in the cellar of the Mertanens' house in Madrid. A few months later they made their first studio recording, a demo recorded on a 4-track. And shortly after, with their friends from the band Esclarecidos, they started the independent label Grabaciones Accidentales (GASA) and were able to start releasing their own records. Their first single was released in 1982, featuring Lars on drums. Shortly after, Esclarecidos introduced Jose Brena to them and he joined Décima Víctima as drummer. This set comprises the complete recordings of the band throughout their career, from 1982 to 1984, now reissued for the first time. Their LPs (Décima Víctima, Un hombre solo and En el garaje), early EPs, Un lugar en el pasado 12" and demos. The artwork has been designed by the band members themselves, and the set also includes a 12-page booklet with notes and photos.
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LP
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MR 510LP
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$28.50
PREORDER
RELEASE DATE: 10/30/2026
As a follow-up to Munster's previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, the label now presents Jo, la donya I el gripau (1971). Released just a couple of years after his revered Dioptria, this remarkable work is regarded as one of the earliest D.I.Y. albums in the history of Spanish pop music. At the time, Riba was only 23 years old. Escaping an increasingly hostile Barcelona, Riba and his partner, Mercè Pastor, moved to Formentera, where they would spend the next four years. The album was conceived during this period of "hippie" living. As they became part of a growing community of young people drawn to the island by a new, nature-centered way of life -- completely different from that of the tourists who also visited Formentera -- they also discovered LSD. Playing and singing under the influence of acid opened the door to an entirely new creative universe. When Riba returned to Barcelona, the ideas he had originally developed for the follow-up to Dioptria before moving to Formentera were completely abandoned, and the project evolved into something altogether different. The album was recorded in Formentera using two battery-powered film sound recorders -- a Revox and a Nagra -- in order to capture every nuance of the island's idyllic surroundings. The result was Jo, la donya i el gripau, an extraordinary psychedelic folk album that not only celebrated Riba's life with his partner Mercè -- the Donya -- and the birth of their son Pauet -- the gripau -- but can also be understood as the concluding chapter of a trilogy whose first two installments were the two volumes of Dioptria. An essential album. Includes an insert with liner notes and photos.
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LP
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MR 511LP
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$31.50
PREORDER
RELEASE DATE: 9/18/2026
Originally released in 1971, Satori is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, Satori is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, Satori drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. More than fifty years after its release, Satori remains as one of the most influential and forward-thinking records in Japanese rock history. Includes an insert.
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7"
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MR 7404EP
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$15.50
PREORDER
RELEASE DATE: 9/18/2026
Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem "Pushing Too Hard" with the ferocious, immortal "You're Gonna Miss Me" by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document -- virtually impossible to find in its original pressing -- that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.
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7"
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MR 7403EP
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$15.50
PREORDER
RELEASE DATE: 9/18/2026
Canarios, the band led by Teddy Bautista, was one of the first Spanish groups to incorporate the sounds of emerging musical trends -- primarily from the English-speaking world -- into its repertoire. In 1968, "Get On Your Knees" was released, a stunning soul track recorded by Swiss producer Alain Milhaud that quickly climbed the charts in numerous countries. "To Be A Man" is something of a rarity in the discography of Spanish singer Camilo Sesto, whose songs typically lean toward straightforward melodic pop and ballads. Surrounded by an international team of collaborators under the direction of former Brincos member Juan Pardo as producer, he recorded this psychedelic-tinged pop song.
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2LP
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MR 513LP
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$44.50
PREORDER
RELEASE DATE: 9/18/2026
After a brief period during which they recorded only a couple of 7" singles for the Orfeón label that had a very limited distribution, Mexican rockers Antorcha fully embraced a DIY approach to managing their own career. They had evolved into a heavy psychedelic rock group, with no metaphors and no compromises. Anarchists in a country that could barely utter the word without trembling. It was the final years of the 1960s. Their influences came from Iron Butterfly, Black Sabbath, Blue Cheer, Vanilla Fudge, and others. At times they also sounded like MC5, the Detroit band they already knew through their records and with whom they shared an anarchist and anti-establishment spirit. Through their original music, they challenged a scene crowded with cover bands. They recorded five self-produced EPs, sold exclusively at their live performances, passed from hand to hand as if each record were a clandestine act. While MC5 stirred the streets of Detroit alongside the White Panthers, Antorcha was doing much the same in a Mexico that preferred to look the other way. The band operated as a cooperative: agreements were reached collectively, and income was shared equally. Antorcha became a forgotten band in their own country, overlooked even by Mexican rock experts. Yet their legacy proved influential on an organizational level for later groups in the independent scene, which followed Antorcha's model of self-releasing and self-managing their work. This compilation brings together the best of their discography, collecting self-released 7" records originally issued between 1971 and 1976, along with material that never appeared on their EPs. Includes an insert featuring liner notes by Carlos Icaza "Tropicaza" and photographs of the band.
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LP
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MR 512LP
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$28.50
PREORDER
RELEASE DATE: 9/18/2026
By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Initially, the band was a duo consisting of Poch and Alejo Alberdi, two seemingly opposite personalities who complemented each other perfectly, forming an almost inseparable partnership. Poch handled the guitar with a highly distinctive style -- his technique was not especially polished, but his imagination was boundless. Alejo got to work with a Korg MS-10 synthesizer and a Korg KR55 drum machine, modest tools that ensured their self-sufficiency while connecting them to the more adventurous side of post-punk. Both absorbed music from past and present in a natural and original way. Derribos Arias' first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. "Branquias bajo el agua," the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of "Íntima decoración" and "Crematorio" -- angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain -- are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as "Lo que hay" could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as "Disco pocho," demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had. Unfortunately, this album would never have a follow-up. Released in 1983, En la guía, en el listín ("In the Directory, In the Phone Book") remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal a promise of greatness left unfulfilled when their career was cut short before reaching its full potential. This edition includes liner notes and the artwork of the original insert.
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LP
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MR 506LP
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The Mexican band The Survival focused on crafting a blend of blues and acid rock, drawing influence from the U.S. West Coast movement as well as British blues artists like John Mayall and Cream. They have often been described as a mix of Country Joe and the Fish, Quicksilver Messenger Service, Moby Grape, and Ten Years After. The group formed in August 1970 and recorded a single album, La onda de The Survival (1971), which combined laid-back blues with distortion. One distinctive feature was that lead vocals were handled by drummer Andrés Lusher -- an unusual choice that gave the band a unique sonic identity. The album captured the spirit of the time, portraying generational shifts, repression of youth, fraternity, pacifism, and the influence of drugs. The song titles hint at these themes: Side A opens with "Old People" (also known as "gente vieja"), a critique of their parents' generation for failing to understand young people; "The World is a Bomb," built on a repetitive, almost unchanging riff; "What the World Needs is Union"; "Inspiration Blues"; and "Electric Chair." Despite its title, "Ending Blues" kicks off Side B, followed by "Disturbance," where explosions and sirens underscore a call for coexistence among people from different backgrounds. "Cannabis Lady" presents marijuana as a means of expanding the mind and reaching altered states of consciousness, while also acknowledging the fear of addiction. The album closes with "Nothing's Monument" and "Useless Warfare," critiques of materialism and war. When the record was released, the censorship that followed the Avándaro festival had not yet fully taken hold, allowing the band to perform in various cities across Mexico, including the capital. Despite their brief existence, The Survival and their sole album remain a significant testament to the "onda chicana," a historical moment when Mexican youth picked up instruments to voice their reality, survive censorship, and leave a lasting mark on the history of Mexican rock. Includes an insert with liner notes.
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2LP
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MR 508LP
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This album is a collaborative project born from the creativity, cooperation, and boldness of three completely different artists who decided to combine their talents to shape this remarkable work. Ignacio Scola is a Spanish record producer who, in the early 1990s, released albums with a number of artists, including well-known names such as Juan Luis Guerra, Willy DeVille, and Manu Dibango. Rita Marley was a Jamaican singer who had been a member of the Soulettes -- something like a Jamaican version of The Supremes -- in the mid-1960s. While still very young, she married Bob Marley and lived through a turbulent relationship, overshadowed by her famous husband. After Bob's death, she decided to resume her artistic career and released several noteworthy reggae albums, which were later rediscovered by Scola and issued in Spain through his record label. He subsequently became her producer and organized several concerts for her, bringing her a certain level of recognition and helping her songs reach major radio playlists. When Scola presented Marley with a song he had composed, "Miracle Baby," dedicated to his newborn son, she agreed to record it immediately. The original recording was completed with arrangements by Spanish cult artist Gregorio Paniagua, and the result was so striking that they decided to record more songs following a similar approach. Scola would show Paniagua the song sketches, and they would later meet in Paniagua's studio to embellish them with instrumental arrangements, as well as contribute their own ideas -- creating a kind of artistic ping-pong completed by Rita Marley's voice, who traveled from Jamaica to Madrid to take part in the recording sessions. The result is an album of sophisticated and experimental pop, in line with other works by Gregorio Paniagua, in which Marley showcases her extraordinary vocal talent, rooted in soul and Jamaican music, built around Scola's concept. Companies such as Luaka Bop and Disney showed strong interest in the album, which was ultimately released in 1995 on Scola's own label, Tabata. Munster presents here, for the first time on vinyl, Spectacles for Tribuffalos -- never before reissued -- along with the remixes by Spanish ambient producer Suso Sáiz, influenced by trip-hop, dub, and more, previously unavailable on vinyl. Includes an insert with liner notes.
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7"
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MR 7401EP
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Rediscover a defining moment of Scandinavian underground rock with the vinyl reissue of Lea Riders Group's 1968 single "The Forgotten Generation" b/w "Dom Kallar Oss Mods" -- a raw and uncompromising snapshot of youth culture at the edge. Released in connection with the groundbreaking Swedish documentary They Call Us Misfits, the B-side "Dom Kallar Oss Mods" became an enduring cult statement -- a gritty, hypnotic track that channels the disillusionment and attitude of a generation outside the mainstream. This reissue brings both sides of this rare 1968 single back to life -- from the defiant punch of "The Forgotten Generation" to the shadowy, cinematic pull of "Dom Kallar Oss Mods." Reissued for the first time.
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LP
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MR 507LP
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The story of The MD's ("Los Médicos") from San Juan, Puerto Rico, is truly unique. They were the first -- and in fact the only -- group in the entire Caribbean influenced by new wave and punk, not only in Puerto Rican music but in the entire region. At a time when Spanish-language rock was overshadowed by salsa and disco, and before MTV existed, they still managed to listen to Devo, Oingo Boingo, Adam Ant, The Police, The Specials, and Madness. It was a rough time in Puerto Rico with many fights between cocolos (fans of salsa music) and rockers. The MD's were formed in 1979 when the band members were still teenagers. They rehearsed three or four days a week in the school cafeteria, as an extracurricular activity project, under the influence of a new English teacher, Richard D'Lima, who had recently spent a considerable amount of time in New York. There, he had the good fortune to experience and immerse himself in the new wave music scene of the late '70s. One of the band members' father -- the band's fixer -- donated some surgeon's scrubs that provided the look and name of the group. Recorded and mixed in just three days in early 1980, Brain Damage was released on their own label, Surgeon Records. Its 10 original songs offer an interesting and fresh mix of punk, proto-hardcore, and new wave influences, raw rhythms, with the prominent and effervescent presence of the minimoog synthesizer and catchy lyrics perfect for singing along. No fillers. It received radio support for over a year and achieved great general acclaim, especially within the burgeoning underground rock scene on the island. The group's members dropped out in '83 to focus on their studies at the University leaving behind this rare gem that is now part of Puerto Rico's rock music history. First time reissue, including an insert with previously unseen photos and notes.
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7"
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MR 7400EP
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Caleb Quaye only released one single in the sixties under his own name, but what a record it is. Released on Philips in June 1967, "Baby Your Phrasing is Bad" boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal. On the other side, "A Woman of Distinction" is only fractionally less freaky with treated vocals and a short but gracefully-executed guitar solo. Contrary to hearsay, rumors and guesswork, it can be confirmed that Elton John did not play on the session. However, shortly afterwards, this same core lineup, with Caleb producing, recorded an album with Elton, Regimental Sgt Zippo, a superb psychedelic pop work that remained unreleased until 2021. A master class of shimmering, surrealistic '67 British psychedelia that is widely considered a holy grail of the genre. Reissued for the first time.
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MR 503LP
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Reissue, originally released in 1960. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ), and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP Glue on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beat melodies, Jimi Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. Glue is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Recommended if you like similar classic bands such as Traffic Sound, We All Together, Black Sugar, and Telegraph Avenue. 180 gram vinyl LP in tip-on jacket and insert with liner notes.
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2xCassette
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MR 350CS
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Los Demenciales Chicos Acelerados is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double-album rock opera in the vein of Quadrophenia by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial Nazi pictures on the front and back covers. Eskorbuto were equaling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. Although Los demenciales... came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with a different cover. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". The album contains new versions of a few previous tracks such as "Ratas rabiosas" and "Enterrado vivo" plus the studio version of "Más allá del Cementerio". For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.
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LP + 7"
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MR 504LP
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Reissue, originally released in 1971. In 1970, after four fantastic singles under the name New Juggler Sound, the Peruvian band formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ), and Manuel Cornejo (drums) changed their name to Laghonia and recorded their debut LP Glue for the MAG label. It was an album influenced by the British rock of the era to which they added fiery guitars full of fuzz and wah-wah, the omnipresent and hypnotic Hammond organ sound and Latin American percussion and rhythms. A perfect mix of the British beat melodies of the mid-60s, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. Laghonia returned to the studio in 1971 to record a new LP for MAG. Packaged in a clearly psychedelic gatefold sleeve designed by the band's drummer, Manuel Cornejo, Etcétera shares all the elements of the first LP although on this occasion the compositions, while keeping their immediacy and featuring strong melodies and choruses, have a more complex structure, ranging from psychedelia to progressive rock through superb dark King Crimson-esque passages and shining moments of pastoral folk. 180 gram vinyl LP in tip-on jacket, includes bonus 7" single and insert with liner notes.
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7"
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MR 7398EP
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Second EP from 1970 by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album Gusano Mecánico. Includes a new funky version of "Born to Be Wild" by Steppenwolf, as well as three original compositions by the band. First-ever vinyl reissue.
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MR 7396EP
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At the genesis of one of the most essential bands in Spanish pop-rock of the 1980s, this rarity emerges: early versions of what would later become some of the most chanted songs in Siniestro Total's repertoire. With limited resources but plenty of energy and humor, a three-song demo was recorded in August 1981, now available here on vinyl for the first time. The songs came first, and only later did the band take a name -- initially Mari Cruz Soriano y los que afinan su piano, and shortly after, Siniestro Total. "El Vaticano va a arder" was contributed by Germán Coppini, the mysterious fourth member of this singular lineup. This single is an essential document for both Siniestro Total fans and Spanish-language punk enthusiasts. First-ever vinyl edition.
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2LP
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MR 499LP
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As a follow-up to Munster's previous work reissuing the recordings of Pau Riba, a key figure in Catalonia's counter-culture and music scene, the label now presents Juguetes De Época Y Cajas De Cerillas -- Singles y Rarezas: Primera Epoca (1967-1969). This collection brings together songs taken from rare releases in his discography -- such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, Folk 2 (1968) -- as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!" -- versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details. The album also includes an extensive booklet featuring detailed liner notes and photographs of the artist.
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7"
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MR 7397EP
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Debut EP from 1969 by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album Gusano mecánico. Includes versions of "Born to Be Wild" by Steppenwolf, "Fire" by The Jimi Hendrix Experience, and "Sunshine of Your Love" and "Tales of Brave Ulysses" by Cream. First-ever vinyl reissue.
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LP
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MRK 297LP
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It was a time when the walls were teeming with socio-political proclamations, where the hammer and sickle -- alongside the illegal Ikurriña (the flag of the Basque Country) -- were the most widely used symbols. A time of general strikes and protests on the streets that often ended in an ugly manner. A time also of smoky joints, where huge speakers played loud rock and there were dreams of strawberry fields. In Santurtzi, on the left bank of the Nervión estuary, a unique band was born: Eskorbuto. Iosu Expósito and Jualma Suarez lived in working class neighborhoods that had grown fast. Both Kabiezes and Mamariga were, in the '50s, mainly rural areas of Santurtzi. In the '60s, industrialization and rampant development transformed them into urban areas without any investment in urbanism. Some elements for the alchemy led to the explosion: intelligent young guys who were nevertheless incapable of adhering to school discipline, a country in full swing towards freedom after 40 years of dictatorship. It was a context very familiar with the turbulence of the "Basque conflict," with neighbors seduced by the "armed fight" and the "liberation of Euskal Herria," with the question of "identity" constantly present, traumatic episodes of killings, tortures and imprisonments. One day at the end of the '70s they decided to start a band. The first period of Eskorbuto's life, before the damage done by the needle became noticeable, was incredibly fruitful. They soon found a rehearsal space, thanks to their first drummer, and there the first songs were born. It was a period of line-up changes. Iñaki Laiseka played bass for them, and that role was also taken by "Seni" and "Garlopa", two precursors of "left bank" punk. Later on they found Paco Galán, who also came from a similar neighborhood to theirs. Paco always was the necessary engine, the piece around which the rest revolved, which guaranteed continuity. His drumming also added an apparently chaotic element to the already unbridled guitar melodies and visionary texts, halfway between dirty realism and Edgar Allan Poe's nightmares. These recordings are taken from those early times of excitement and vertigo, of journeys to Madrid under a train's seat and endless trips up and down the left bank looking for "someone that I've heard is selling an amp."
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Cassette
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MR 493CS
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With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US Northwest at the same time. Theirs is the same DNA shared by The Sonics, Rocket From The Tombs, The Cramps, and Black Lips. This release compiles all their recordings, including some later rarities available here on cassette for the first time.
"I'd never heard Los Saicos until a few days ago but had experienced the Wau y Los Arrrghs!!! version of 'Demolición.' Whilst appreciating the inherent wildness, I never for a minute considered that the original could have been even more deranged. More importantly, this snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles. I hear direct links to both The Stooges, The Crampshere, and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. The unhinged nature of the song title is one thing but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and kicks in the call of the wild. The individuals have no other option than to just go with it. I asked Erwin how aware he and his friends were of what was happening in Britain and the US at the time and here's what he had to say: 'We knew the Beatles, they were our idols. We heard the Rolling Stones after recording 'Demolición' and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. The titles and themes are more humorous than violent and actually, the only song that talks about violence is 'El entierro de los gatos.' However, we thought of ourselves as bad boys and that must have been a driving force. After Los Saicos I wrote some really violent stuff, but I would not play it now and I don't think I was comfortable playing it then either.'" --Lindsay Hutton
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