CINTAS, FOTOCOPIAS Y SELLOS TRUCADOS (2024) [DOCUMENTAL NOISECORE]

"EL HUERTO" STUDIOS 199X The golden age of noisecore in Spain took place during the first half of the 90s and the number of bands and projects that were formed during those years was really surprising. Next, and by their creators, we will talk about some of the most delirious and unknown that we have been able to find. Tapes, photocopies and fake stamps. BRUTALES NAUSEAS, MACETA, PIKANDO CEBOLLAS, REPARTIENDO CHUPETES… These are just a few of the countless parallel projects that were created ar

ound the legendary EXCRETED ALIVE. José and Manolo, founding members of EXCRETED ALIVE, tell us about them. Well, it all started at the beginning of 1991, with EXCRETED ALIVE. Well, rehearsing very occasionally at the house of our first drummer, named Eduardo Abril. The first project, which means The first project is BRUTALES NAUSEAS, because The germ of EXCRETED ALIVE is a project at our first drummer's house based on buckets and based on… - Yes, with drumsticks, with a little Marshall, a gui

tar, José's voice and me in the bass. And we had quite a few spectators because, of course, we had the neighbors there watching us. Yes, we made so much noise that obviously, with The passage of time, well we had to leave because it was quite annoying and, of course, That couldn't happen anymore because the neighbors... The neighbors asked us for more songs, but it was complicated. It was difficult, it was difficult to be able to continue there, but oh well. Because many songs in a row, you know

, people, you know, started jumping on top of the bed, crashing into the furniture, you know. - It was complicated. - It was tremendous, it was tremendous. Well, and the first formation of BRUTALES NAUSEAS, which was the The germ of EXCRETED ALIVE was Paco, who was an elite guitarist...- 'gicochi preziosi' guitarrist. But man, the kid knew 'The Godfather'. Yes, man, at least he played something. To play 'The Godfather' with the guitar. And he played it quite well. It was the only thing he played

, but hey, it was something at least. And he learned to play bass with EXCRETED ALIVE. More than learning to play it, what I did was beating it. I learned to play the flute too. We did the best we could. I haven't learned yet, but oh well. I did what I could, I shouted what I could. When they came to hit me, I screamed as much as I could. I ran as much as I could and screamed as much as I could. They never caught me, honestly. Well, since we have already talked about BRUTALES NAUSEAS, which was

the germ of EXCRETED ALIVE, Well now we are going to talk about MACETA, right? MACETA was a conceptual group. of some kind of music, A little complicated for the neighbors too. We played live once in the street, next to our house. There, in a train station. And it was very nice. They called the police because they believed that They were killing someone there. It was horrible. We had to crawl out. That was a historic day. Yes, there between the wagons and such, right? Yes, between the wagons, pl

aying. MACETA's live performance was a bit complicated. Well, REPARTIENDO CHUPETES, it was in the rehearsal room that we had for EXCRETED ALIVE. It was a day that I missed rehearsals. and they took advantage of it to do the project because it was, let's say, Luismi's project, from our second drummer. The problem we had is that when we didn't want to do EXCRETED ALIVE, because, you know, it was more commercial, EXCRETED ALIVE, We wanted to make more noise. And, of course, we were almost all the t

ime making as much noise as we could. We liked it. They liked to make songs, improvise. And, of course, that day, well, It turns out that it was recorded in two days. The first 18 songs on the first demo that was released, which is 'La Brigada del Chupete', The first 18 songs were recorded in April and then The Other two were recorded in May, at the beginning of May. In which, well, they recorded the first part, José, Jaime and Luismi, They made the first phase of the demo and then I recorded th

e last two songs in other dates. And, well, that was released by Puding de Pota Records. It was like a jam session. The songs, then, were very light-hearted. The songs, then, were all nonsense. And giving attention to 'Bacalao', which at that time was not fried, it was only roasted round and round. People were on acid and what we did was criticize all that stale fashion from that group that was out of date. - The children of before, We are very old for that already. And, well, then later, in the

year 96. A split demo with PUS was released. Another project, MUSICA MOENNA. Well, MUSICA MOENNA, the truth is that it was a meeting of colleagues that we met in many of the concerts we gave here in Seville. Friends, related to the band because they already knew us. We were meeting a lot of people because there were people who, when they heard us at concerts, what they did was shit on us, throw everything away. And to all this group that participated with us, Well, he liked it and laughed his a

ss off with us. There were people who enjoyed it. And, in fact, well, they asked us, well, that, to do a jam session at some colleagues' house. And we did it. In MUSICA MOENNA there were people who played the saxophone, who played the organ, that is, we made a mix a bit complicated... - It was a sound, like NAKED CITY. But done our own way. Because with the means we had as musicians... And we were such bad musicians, well, it turned out as it was, obviously. Man, we weren't musicians. To start w

ith. We were noise makers, let's leave it like that. N.O.N., well, it is I DON'T HEAR ANYTHING. I give the name of the project. because we really tried to make noise at a certain moment. So that no one could hear anything. It was really quite noisy. Another was PIKANDO CEBOLLAS, Well, the name of the project is because one day I was... They looked for me to record the projects, I don't know why. I was available, right? We are going to call José to record the project. I was always the one they ca

lled to record the project. One, another, another, come on. I was chopping onions. How are we going to name the project? Look, I was just chopping onions at my house. Let's call it PIKANDO CEBOLLAS. And we set up a jam session anywhere. - It could be... - At any time. Any time. They might put you in a certain room. And at a certain time. Come on, there was no preference for places. and things like that, right? BILLA REBUSNO DEL MONTE, more of the same. One day I was reading a Mortadelo and Filem

ón comic. and they asked me for the name of a project. Why are you asking me...? It's like asking... It's the same as giving a gun to a monkey. Are you going to ask me for the name of a project? so the first thing that comes to mind. Well, BILLA REBUSNO DEL MONTE. Well, come on. BILLA REBUSNO DEL MONTE. You know? BILLA REBUSNO DEL MONTE, well more of the same. Another jam session, making conceptual music. ACCION POTANTE more of the same, but, you know, done better, with covers. AREA X-69 was a p

roject of the drummer. Yeah. And we had a special performance with Loli. Do you remember Loli, right? Yes, yes, I remember Loli too. Well, she sang. It was a project because the drummer liked this '69 thing and stuff like that. I don't understand much of that. It's just that at that time... He really liked those things. ...Luismi really liked the theme of music, like punching, also from time to time. Punching, punching, punching. PRODIGY style, and that kind of music. PRODIGY, MINISTRY. We were

like more GODFLESH, more noisy, more 7 MINUTES OF NAUSEA. We were pulling more towards the, let's say, noisier side. And he mixed it with Industrial. And that's how things came out. An explosive mixture came out. Rare, rather rare. It seemed like NAPALM DEATH's 'Multinational Corporations'. Well, speaking of ESKRUPULO. SKRUPULO was not our project. ESKRÚPULO is a band that played with us. That they were friends of ours. That at a certain point they were playing several concerts with us. And so w

e recorded a lot of things with them. We were very good colleagues. And we played live with them. And they have recorded things. And in fact they continue recording things. And in the '90s we had a lot of fun. Because at least two concerts we were with them. Yes, we played at the labor university with them too. That was nonsense, but oh well. It was tremendous. It was that tremendous. There are projects that we have recorded outdoors. Because we wanted to have contact with the audience. Because

everything was not going to be in closed places. In rooms. And one day we wanted to record a live performance of one of our projects, which was MACETA. and MACETA, we went to the Train Station. To an abandoned wagon. And three or four of us got there. Playing what was around there. Because of course, with the technical means... I don't know if there was a guitar or something. I think yes, there was something. If there was any guitar, it would be a country one. It would be an acoustic. Because ou

tdoors and how you didn't plug into brick walls, I don't know where you were going to plug in. Because I don't even remember anymore. But I know Isabel was there. Isabel is now Jaime's wife. Jaime of EXCRETED ALIVE. And we were recording. And of course, She was one of ones who sang. And sing, well, sing... She was the one who screamed. And of course, that caused a lot of controversy. Because the neighbors, of course, heard a girl screaming and a guy acting like an animal over there. You know, a

lot of grunting. And they thought they were really raping someone. They called the police. And the police came. But before we had already left. We weren't going to wait for them. To greet them. - Another project like this that we have... - KOSAS DE BAKA, don't you remember? - Ah, the one Jaime was talking about in the other... - KOSAS DE BAKA was tremendous. I remember that one day we were in the little park. KOSAS DE BAKA. Who would come up with The name? I think that on a weekend, I don't know

if it was a Saturday or Sunday we got into the house of an uncle of mine who was there at that time... It was under construction. His house was under construction. And well, I imagine that poor Manolo would get some quarrels from his father because I don't think that would go unnoticed by the neighbors. This is Manolo, this is poor Manolo. His house was under construction. His home was under construction. It was undergoing renovations and it occurred to us all to go in there. Of course, since w

e had space. And record KOSAS DE BAKA there. There was an electric spinning top, screwdrivers, a vice... The truth is that there was everything. There was a little bit of everything to make noise. Spanners. There were many instruments, actually. And it occurred to us to make a tremendous noise there and record it with one of these, hand type recorders. On a sandy floor that sounded like echo and everything. On a sandy floor. Yes, yes, tremendous. Because of course, everything was messed up at po

or Manuel's place. And we named it KOSAS DE BAKA, as Jaime says in the video, a little bit in allusion to the television series they were showing at the time that was 'Family Matters'. And our friend Steve Urkel was one of the characters, right? I got the idea there, let's make KOSAS DE BAKA. Since we were going to do it in a house and it was 'Family matters', Well, instead of 'Family Matters', COWS MATTERS. To change something, you know, so that it wouldn't be so shabby. Which labels from that

time did you usually have most contact with? Well, Cadaverizer Records. Cadaverizer Records, was one of the first labels we contacted. Yes, one of the first labels were Cadaverizer. And Upground too, with Iñaki. Upground Productions, I corresponded a lot with Iñaki and he offered us the opportunity to release a demo. A great memory of doing many things with Iñaki and Gerardo. Specifically, the demo was 'Injusta Situación'. That was recorded by our friend Toste of EXTREME MASTURBATION. And so. Ca

daverizer, we have good memories of it. Because perhaps is the one who made us more known.. Made us known beyond our boundaries. It was our... as we say, helped us a lot. With that split with JANGLE, it was amazing. And JANGLE is pure noise. For me it is one of the bands... well, one of the most powerful noise projects in the world. Regards to Javier of JANGLE. And then another label that supported us a lot was Abnormal Beer Tapes, and then Abnormal Beer Terrorism os our friend Matjaz Galicic. T

he Slovenian who also came to visit us here in Seville and met us in person. He even made t-shirts for us. He released two split eps for us and gave us some t-shirts. The truth is that it was a great support for us. He came with another colleague. The two Slovenians came. The truth is that they are both very good people. We conversed very well in Spanish because we had no idea of English. In English it was difficult for us, but oh well. In Spanish not... But of course, in the end, like everyone

else, with the theme of musical stuff, The noise thing, well you understand yourself perfectly. The truth is that it didn't take much. The language was not necessary, at all. To understand with people who know... who have been on the same thing for years and know what they are doing, what they like. And the truth is that we quite enjoyed the time they spent with them. And besides, all over the world that we have had contact with labels, we have had a lot. Because EXCRETED ALIVE had released mate

rial with a lot of labels. And the projects have also been released... In Pudding de Pota Records. In Pudding de Pota. Which was our label, let's say, self label. There were several people on the label and we released, All things that, for example, did not appear on other labels, we self-released them. And projects like that that we have released, we have released on Roberto's label. That... Shit... Oh yeah. In which he released all the projects like that in a humorous vein and such. Yes, fun pr

ojects, Shit Attack, right? Shit Attack. A lot. It was a shit attack, a total shit attack. Jaime, who also played in EXCRETED ALIVE, and his wife Isa, also were part of that maelstrom dedicated to the purest noise, contributing to various projects and distributors. Well, the truth is that there were quite a few projects, in fact, I have a very bad memory, very bad, and I'm not going to remember, there's no way I'm going to remember everything, but we have made a list here of what we have more o

r less agreed upon, or we have been able to collect, right? And there were quite a few, I believe many more than these, and some that were not even edited or such, but well, the ones that were released and so on, well, Isa. Well, BRUTAL MASSAKRE OF TOREROS, for example. 'My Summer Love Affairs', which was, well, I was Not very good at English... 'My Summer Loves', something like that. INTENSO COLOR DE OIDOS. KOSAS DE BAKA, already quite well known. KOSTRA. MASTIKAPEÑASKOS, too. BILLA REBUSNO DE

L MONTE (NIDO DE MALHECHORES). PIKANDO CEBOLLAS. MACETA, too. IRRITACIÓN EXTREMA. ARMONIZIDIO. ACCION POTANTE. LSD. And, also we remember, CENTRIFUGADO DE NEURONAS. Of all these projects, well, there are some in which both of us participated, or both of us with more people, or some of it was, maybe it was just me with my brother, but, as I say, I'm sure we have plenty left in the pipeline, but well, so a little of what we were able to remember would be... here was a good list. Besides, it was a

bit, let's see who would do the biggest stupid thing. Who made the most noise. Exactly. Who made the most noise. Let's see who came up with the craziest idea. The funniest name. The most crazy song titles. That is, taking into account that they were also things that tended to arise on the go, because something you though of and you did it and that's it. So, a lot, but really a lot. The most insane of all, that I can remember right now, was perhaps the first KOSTRA demo, I think it was 91 or 92,

and I think that was the craziest, because apart from being the first, it was the first time we made noise. It came up, not on the go, because we did plan to go to the house of a relative of mine, a cousin of mine, take the guitar, and so... I don't remember anymore, maybe I spoke about it in the first part of your documentary, that several people gathered there, with a guitar, a 2-watt Marshall, a mop bucket, two spoons, my cousin had a bugle, anoother guy was shouting, and that was in a room t

hat opened onto a huge patio eye, do you remember? I don't know how many neighbors there could be down there, but there we locked ourselves in the room, with the window open, because it was also... - And it was summer. And it was summer, and it was also about, hey, since we're going to waste art, Let everyone know, which is your our, right? And that was perhaps one of the craziest. Then another one of the craziest ones, which I think I may have also mentioned last time, It was when we went to re

cord, when they were doing the Santa Justa station, the train station, and there in the middle of an embankment, well, maybe, a little, let's say, rudimentary, Very rudimentary. there with José from EXCRETED ALIVE, Manolo from EXCRETED ALIVE, I think Isra too, I think Isra was there, Roberto I think he was there too, from Shit Attack and such, Israel of PURULENT DEFECATION, by the way, which I remembered now, And there we started shouting, taking trips, hitting people, and that was the day the p

olice came, because they thought we were raping her. As it was an open field, from the buildings you could see what we were doing, and people would be there freaking out. Of course, because I imagine that anyone who looked out the window, in fact, in fact, the blocks that we had right in front of us, if you remember, They were the same blocks where Manolo lived. Manolo and also Roberto. Exactly, what happens is that, for example, Roberto, The windows of Roberto's house faced the opposite side, b

ut Manolo's, I would swear, Manolo from EXCRETED, bassist from EXCRETED ALIVE, I would swear that they were the same wasteland. So, that is, the level of, I don't know if it is unconsciousness, or that you don't care about everything, or whatever, but possibly, of course, the people who listened to us there, maybe, The police came, a lot of people would be watching out at the windows, and now for now, those neighbors over there, seeing your neighbor Manolo coming, that he lived in those blocks,

well see him coming, That he said, well that's where the police have been. And of course, I imagine that the speculations would begin, Well, of course, that's because who knows, he'll be a drug addict, who knows, who knows... And because also, as I think I also said the previous time, when we recorded the first demo of KOSAS DE BAKA, which I think was also the second project we did, which was released by Puding de Pota and such, We did it in an apartment that Manolo's father was renovating as a

bricklayer, In other words, we already had precedents at that time. Isa: How did you experience that time in a world with so little female presence? Well, the truth is that since I have always been so surrounded by my people, with everyone who went, as well as José, Manolo, with Antonio, with everyone. I have never felt displaced or marginalized for being a woman or anything, I lived it quite well. Wherever you went you were always welcomed perfectly, They didn't leave you on the sidelines, logi

cally, So I have a pretty nice memory of that whole time and I had a hell of a time and we met a lot of people, We contacted a lot of people and it was a very nice experience. The truth is that I don't remember it being something negative, on the contrary, I have no memory of people displacing me for being a woman, On the contrary, people support you and I was one more, well, one more of all of us who were going because they were all friends, They were all men and I was the only girl there was,

but in any case I have never felt marginalized, neither displaced, nor anything, totally the opposite. Based in the province of Malaga, Juan Kalvellido delighted us with hundreds of drawings and logos that adorned hundreds of demo and fanzine covers. dedicated to the underground. We also owe him the creation of one of the least known projects of the time. and that he formed with his nephew Javi, who was only three years old, Which could fit into experimental noise. L@S MAIBEIBY. Let's see, proje

ct, project... L@S MAIBEIBY is not a project, L@S MAIBEIBY is simply that, well, my family came from the town And well, they came here into my house, literally, and I went to my room. and my nephew, well I had these headphones that hold your ears, which at that time was like Wow, wow, headphones that hold your ears and you hear what's inside, wow! So he loved it, he loved it... He loved to put on his headphones and sing and talk things, nonsense, he talked nonsense. and one day well... well one

day, I don't know, I don't even know when he was. I was there drawing, because he was drawing for 'MALA impresion' that I had to draw the comics, I to deliver them. and he said, Uncle, Uncle, play the music for me! So I played it for him and I didn't even listen to him. That is, I didn't listen to the music that was in his head because that was what I played, but he started singing. and on top of that I played, what do I know, MANIATICA, or FREAK SHOW, or 3 DE BASTOS... and he started singing La

ura Pausini. So, well, I don't know, I don't even know how it was but I started to record it, I started to record it. apart from what I heard, what he said and the truth is, well, what do I know, eventually, There was something nice and like I always look for humor... I think that was nice, that's it. Well, we were my nephew when we were 3 years old. and I, I was drawing while he was singing. I set it to record and he said all the nonsense he wanted. We also put a record on it because I had my m

usical equipment, Formerly, from a record player double deck, a CD and that's it, he started singing, I turned the record backwards, forwards, here, there, I added a little guitar. and what do I know, I don't know, I don't know how it came out I really don't know how it came out but... We recorded it so we could listen to it ourselves. and he laughs. The recording was a tape, They were L@S MAIBEIBY 'So what?' which was because of MEGADETH. and a child saying 'poop, fart, ass' and it was 'shit,

rock and roll, oh yeah' We divided it into 2 sleepless nights. side A was a sleepless night and side B was another sleepless night. And side A is the one that I shared, the one that I... I don't know. the one that I knew about, so that you can see the one I knew about. But the B side... which is an audio that you sent me. and I have discovered now. Let's see, yes, I did it but 30 years ago. and I love, love, love that B-side. second night without sleep. which apparently was edited somewhere. and

from here I tell you that if you want it. we can send it to you. Have you considered the possibility of re-editing the material recorded at the time? by L@S MAIBEIBY? No, no, reedit, reedit the L@S MAIBEIBY. Cheers! and not a step back, Victory. See you forever. Reissue L@S MAIBEIBY? But if Javi.... The vocalist, He is the participant in everything, he is the genius. He is now, what do I know, 33 years old. I don't know how many he has, 33. And he doesn't even remember that. I'll send him this

video to see what he says. but no reissue, no. We lived that time. We continue living it... ...careful. some are not here. and well, it's there. and it is nice that we have gone through it and lived it. otherwise. No, that time died, it died. No, don't re-release that crap, no... everything was nonsensical, no, no, no! Barcelona was a province in which a multitude of projects emerged. Cesc and Carles were responsible for the creation of a good number of them, such as MIKROONDAS INDIGENT. Well, I

'm Carles and... I created the MIKROONDAS INDIGENTE project. I currently play with Francesc in REDIMONI. We have had numerous projects, both noise, metal and even hardcore. then the idea of ​​MIKROONDAS INDIGENTE arose, I wanted, I was looking for a project and I was hesitating to make a noise project, or an industrial project. So, for the industrial project it had the name Microwave. and for the noise project I had the name for the Indigente project and I hadn't quite decided about which of the

projects he wanted to do. especially because in the industrial I was thinking of me making riffs, something more structured. However, in the noise part I don't think... I felt like I couldn't give it that brutality of noise. So I finally decided to do like a mix. and do a project industrial noise and I just put the names together and it came from there. MIKROONDAS INDIGENTE. I recorded a single demo. - 'Con Fundamento'. - 'Con Fundamento', then... I recorded the first demo which was called 'Con

Fundamento'. and well basically, I used some drum bases that we already had for a project... a Death Metal band we had at that time called NUN SPITE. and... Taking advantage of the bases, I composed the rhythm guitar and then the vocals. I also got different intros from radio shows. and, as to... As for editing, it simply came out through ZDP Records. in the compilation that was called... 'Escroto Total' 1 or 2? - 1. - 'Escroto Total 1'. that you made logo for me, remember? And I told you I don

't have a logo. And you said: 'don't worry, we've already set up something, what do you think of this one?' and when I saw it, I said: Perfect! So, that's where the idea of ​​the project, recording and editing came from. and that was the only release the project had. You had the second one in mind, right? Yes, I had the second one in mind. and I had the title for the demo, it was called... I had in mind the second demo that I never recorded, but I already had the title, it was called... Well yes

, I had planned to release the second demo, I never got around to recording whose title was 'Llegó el Capataz'. But it didn't go from there. Surely other projects came out and well... It coincided with the noise debacle. Do you remember that there was a boom? that all groups from the scene they had their project. I mean, all the bands at that time hardcore bands, death metal bands. each band had, parallely their Noise project. More or less. And there was a boom, well, that was already mentioned

in the first documentary. and that boom at the end became saturated. and fell... and ' Llegó El Capataz' did not arrive because It would already be saturated apart from we had LA SUEGRA which wuth we recorded more demos with I think, we made more releases, even with LÁPIZ I think you already mentioned it, so it was our focus. more as a group. I don't know, for example, how LA SUEGRA arrived in Brazil, - because what happened to us was... - By plane! Because what happened was... It was that, as a

n exchange, I suppose, we received a letter from Brazil with an interview for LA SUEGRA. Something like that, If I remember correctly, we were amazed, Well, they contacted us from Brazil. for LA SUEGRA. It was something like, like... - For us it was... - Well, it would surely be Some acquaintance of ours, some contact who had sent the Escroto Total tape, there would have been some, in some package towards Brazil, well he would have put that tape, it came to him to that person and... and well thi

s was really, this was much more magical than than the current Internet that everything is immediate. You know that you post something on Bandcamp. and immediately the whole world listens to you Before, music had to travel in a physical format. What can you tell us about other projects you had at that time, such as example MAGIN, ALPARGATOR, ALMORRANA, YO-GUR, GRENYATOR or REPUS? MAGIN was formed by my brother, Francesc and I. The history of MAGIN comes because in our youth in those years, next

to the High School Where we were going, there was a bar whose owner was called Magín and he had a very bad temper. Apart The place was completely dirty, but the good thing about the place was that it had a part that It was like an old theater, it had a stage. and where it had table football, billiards and it was... we thought it was totally wasted, since we saw it as a perfect place for concerts, but that man had it there dirty, and I remember that the curtain, there was the stage and then you

could see the curtain and it had painted, prohibited to pass, but prohibited without 'h'. And that man also had, there was a part of that bar that was like a patio that had it closed and had animals there, had dogs, Mostly at that time he had a dog named Nana, but there were also chickens, And well, there was the bar area, the billiards area where there was the famous prohibited without 'h'. and the closed area where the dog Nana was, who had also very bad tempered and always things happened the

re, always when you entered if you forgot to say hello he would yell at you and said We were rude, then the dog always barked when she saw us and she was always very angry. bad temper, anything that happened, if he got the balls stuck in the football table or something It was quite an odyssey, he was always screaming and due to his bad temper and all the anecdotes that happened to us there we decided to pay tribute and start a noise group called MAGIN, so We recorded a demo whose title, I rememb

er we were thinking what title we could give it that really reflects the bad nature of him and The shithole that he had and we chose a very very appropriate title which was 'Malvenidos a mi Tugurio-Antro' and the songs were basically about all the anecdotes that had happened to us there, about all the times that... And to record it, we recorded it at my house with my brother and I remember that you had a acoustic guitar, a Spanish guitar with all the strings and I had another one that had only t

wo strings which was the one that sounded worse and my brother did the percussions. and well we decided, well, one day when our parents were not at home we decided to record The Tribute to Magín. with all his bad temper and all his anecdotes about the times he kicked us out of there. ALPARGATOR was a personal project of mine, the idea was to make Grind, it was not Noise, It was a Grindcore project that I did with the same system as PESCADO, with a 286 computer from that time, I recorded the drum

s and bass and then with a small mixer I added the guitar and the vocals and there is nothing else, I made a demo, I recorded a second one that I didn't get to release anywhere, the truth is it sounded very good but it stayed there, unreleased, and that's it, there is nothing more about ALPARGATOR. Musically, what was more Noise or more Grind? No, it was more Grind, the idea was to make Grindcore, not Noise. ALMORRANA was an improvised group in one of the first shows we did with our serious band

which was NUN SPITE, We played at a kind of festival for the city's festivities and there weren't enough bands, I don't know how the organization of that festival ended, collaborating in the organization and there were bands missing and we said well let's make a project to open the festival. A small project that was also Grind, Noise, nonsense, There was a little bit of everything, it was nothing serious and that was ALMORRANA. And it just so happened that this festival was quite well organized

. There was a sound technician with his table and he recorded everything and the ALMORRANA part, well, for being Grind, Noise, nonsense from that era, it was pretty well recorded. And we were able to take advantage of it to release it as a Demo and that's it, that is the story of ALMORRANA. YO-GUR... YO-GUR was me on the guitar, and David, who at that time played in a group called MÁS VICIO, he left that band and then formed another group with me that was more serious, which was INCONTINÉNCIA, w

hich was a Hardcore group from the late 90s. and in parallel to INCONTINÉNCIA, we developed YO-GUR. YO-GUR was also grind-noise and we made a couple of demos. The first demo was the one that came out in the split with PESCADO and the second It had to go to Escroto Total 2, which was never released. The theme of YO-GUR? The YO-GUR theme... well dairy, supermarkets, expired yogurts, custards... It was a thematic group of fermented products. GRENYATOR was a project of a friend of ours who played ba

ss with us in NUNSPITE, that he wanted to do his own Noise project, he recorded his programmed drums and asked me to help him with the guitars. Then one day he came home and with my mixer, with the same mixer, with the same program that I made PESCAD, that I made ALPARGATOR, well we made GRENYATOR. He already brought all the programmed drums, he already brought all of his ideas. I composed some guitars based on what he gave to me and we recorded it in one day and the truth is that I think it is

one of the best recordings, in terms of sound and forcefulness, which has been the best from ZDP Studios. The GRENYATOR demo is very good. And that was the story of GRENYATOR. A single demo and another project from the group of colleagues that we were combining. It was like an orgy of projects. Today with you, you with me, because then there is REPUS, which REPUS was Roger from GRENYATOR, me and him, one day at the rehearsal room. We are going to do a project on the premises. REPUS and REPUS c

onsisted of improvising songs by making four riffs and then starting to make noise. and the funny thing was that I think we did two songs and changed instruments. One got on the drums, we changed and that demo came out. Then I put those radio intros about I've stuffed carrots up my ass. One day while I was like that, I stuck a carrot up my anus and came twice in a row. I don't know, Francesc, how you managed to get all those intros. On late night shows, the kind where people... Besides, you cut

it in such a way that the first intro was: "I was like this, I got in..." I stuck a carrot up my anus and came twice in a row! Then it came to the song and in the next intro it was the... I mean, I've put carrots up my ass again. and I have come again several times too. And haven't you tried more vegetables? And then more bullshit... Aren't you going to try some other vegetable? It's always carrots? Listen to the REPUS demo. It is in Youtube. The famous hairdresser and also versatile artist Llu

ís Llongueras He passed away last May 2023. How did those of you who were members of GRENYATOR feel? When you found out about his sad death? Well... I remember that the first thing I did was... go to YouTube and put the demo. As a tribute. Then I think I told you. I made a tweet on Twitter. I explained on Twitter to people who follow me on Twitter. I was in GRENYATOR. We made a demo, which was called 'Kill Llongueras' And today... It was last year, it was in 2023, right? And today, in 2023, he h

as finally died. But hey, worse things have happened, right? I think Carmen de Mairena died in 2020. Carmen de Mairena was the muse of REPUS. Yeah. Hey, dude, I'm the electrician! What the hell electrician, or electrician? I have a pussy that makes me spark! It's true, you had put... Yes, there was a song called Carmen de Mairena on REPUS. And her audio in the background, is it possible? No, no, in REPUS there were no audios of Carmen de Mairena. But well, let's see, the 'cuñaos' have died, they

have... - It's true. Pozi has died. In other words, they are much more relevant people than Llongueras. - But well... - Rest in peace all of them. Yeah. Keep your hairstyle longer. Llongueras System, your hair in good hands. Without leaving the province of Barcelona, We look at one of the countless projects. of the Becerra brothers of the legendary VIOLENT HEADACHE, called ELECTRO-PILS. We spoke with Avellano, vocalist of the band. Well, ELECTRO-PILS was formed by the Becerra brothers, Toño and

Chico. I think Chico played the bass and Toño played the guitar, I don't remember it very well. Then there was also Oscar from PSYCHOTIC NOISE. Peña from E.A.F. was also on vocals. and myself. It was one of the side projects, well, of these thousands of projects that were being developed there at the VIOLENT HEADACHE rehearsal room. And they were recorded at Indaga Sessions. And well, most of you already know that they were projects of one afternoon or two afternoons. And everyone comes there t

o make noise like crazy. Well the name comes... Well, those were times when we used drugs, well, we consumed a lot. Not exactly pills, but oh well. I don't know exactly why it came out. Exactly the pils were ecstasy, pills. And it was a mix of mixing it with... with ELECTRO HIPPIES, ELECTRO-HIPPIES, ELECTRO-PILS. That's the nonsense of the group's name, nothing more. In reference to recordings, well, a couple of tapes. Well, I have here. This one is shared with BARRILLO. Then we did another one.

.. Oh, well, they were released by the label TDT, Tacos de Tortilla. Then we did another one with PESCADO, which I have no idea about... where it has gone from. And on the other hand, in 2008, we... The friend of R.O.N.F. Records compiled them both for us and released this CDR. Which, as you can see, the cover is... nonsense. It is a parody of SOD, but with Marianico El Corto instead. This is horrible. And this was edited by R.O.N.F.'s friend. Records. Regarding fanzines of the time, I don't th

ink we appeared in any, but I'm not sure at all. I mean, I don't remember. Yes, it is true that I consumed quite a few fanzines from the time and such. And well, it seemed great to me that these Noisecore bands and those like that were coming out. But I don't remember having appeared in any fanzine at the time. Already in the field of industrial noise. We cannot fail to mention the MACHAKAKRÁNEOS and HYDROPEDO projects. from the province of Palencia. Well, The MACHAKAKRÁNEOS project Javi and I p

ut it together. But, well, no... We do not invent anything that has not already been done. We simply got into a thing that was already happening since a few time. We already knew a lot of people who had also been doing things like that. And since the dream we had was to start a little band and there was no 'Money', but there were odds and ends because Javi was a plumber along with his father, so then noise was not going to be missing. So that's where everything came about. Simply record and then

mix everything we had recorded. I don't know what I would say to you, a demolition hammer on an anvil, I also had a chainsaw, screwing machines, radial... Well, then... get an idea of ​​everything that was possible. We could gather there. And then we mixed with a couple of tape recorders, with an unfolded cable towards a third tape recorder. which made a bit of a mixer. And that's how easy it all was. Then the relationship with the other groups with which we had shared was very easy. There was

nothing more to propose to someone share something and it was done ver quickly. It is nothing more than that, record it and then everyone makes their copies. We had already made the first demo of MACHAKAKRÁNEOS in 1992, alone, without anyone else, with the suggestive title of 'Industrial Kagalera'. And then immediately Manuel from Cadaverizer Records proposed us there in in the Canary Islands and share one with POTABILIZADORA and the Germans EXTREME HAIR STENCH. And well, it was already that eas

y. It was recorded and there was no more story. And that was the second. Then the third one, we shared it. with another experiment that Popeye did, SPLATTER GRIND. We had also started, that we came up with another very big crazy thing, HYDROPEDO. And then we share it with the three. That was MACHAKA's third. and first and only of HIDROPEDO. What can you tell us about HYDROPEDO and AUDIOKANGRENA? Well, I can tell you a little about HYDROPEDO, which was already the end of all that madness. becaus

e we were almost putting together the group with instruments that would be AUDIOKANGRENA. And it occurred to us, well, like that, in a silly way, that Javi was a plumber because he was not going to lack pipes or cauldrons. He had a market there that belonged to his father and then we got together there one Saturday with a tape recorder and well that was hilarious. I remember well what it was like when Javi was so wide with his 100 kilos stuffed into a blue sweatshirt. With a tube this thin but 4

meters long and placed on a stand there to be able to blow through the tube into a cauldron. And here he was skinnier than a little guy's intestines, with a really fat tube like that. Well then the mix, I'm still cracking up laughing, that was too much. Then AUDIOKANGRENA, well, with its hard beginnings like all groups, well, there were only two of us. And at some point we had someone else but we didn't have a formation, let's say, neither stable nor consolidated. There were only two of us and

we functioned that way for quite a long time, also with a few concerts. What other interesting bands were there at the time? Bands like that... well there were good groups, you didn't just have to look at the foreign bands as always happens in our closest surroundings, Burgos, León, Valladolid, Santander also, quite a few good groups emerged. Well before we started, there was NECROTIC in León, ÚLZERA in Burgos, ANTICLERICAL in Santander, RETORTIJÓN, ESPERPENTO from Valladolid that has not been t

alked about but was a very good group, very brutal, they had a spectacular demo, super brutal too. And then I think that, well, it had the feeling that the Grindcore genre degenerated a bit for me personally. because it's like a kind of competition was established to see who was the more brutal, who was the more harsh, the fastest. and the bands lost their way a little I think, except for a few that did maintain originality, they knew how to have their own style. among which I would probably men

tion more, for example, EL KASO URKIJO, had their outbreaks of bestiality with the kaniche series. that you laughed your ass off because it was a joke, and then they also made their great songs but there were also groups to take into account, SEQZIÓN DEMENZIADOS of Madrid that lasted very little, I don't know what happened, we had contact with them too. They made a very good demo and a CD, very good. What is your opinion of all that wave of noise/grind bands? that emerged in Spain in the 90s? We

ll, in general lines about this Machiavellian wave of noise that arose so spontaneously, You can say that it was a mix of healthy madness with a certain creativity, because there were people who did good experiments. and well, it's like these were bad times for music, because it was a whole explosion of demo tapes coming and going, of fake stamps. That came from a long time ago, we already came from a long time ago with the issue of letters, of sending tapes, fanzines, which have not been talked

about. but it was very important, if the bands or projects were the bricks, we can say that the fanzines were the concrete. and everything together made it so big and so explosive, and in such a short time it spread as, I don't know, like foam. You were finding The mailbox full of letters that came from various countries, even from South America, from Europe. and now that the whole world has 5 billion friends on Facebook and I don't know what, and it turns out that we had already done it before

with letters and without being so silly or posturing so much, right? and I almost stay more with that, that communication, that good vibes that we had among the crowd. It was all very easy. Slow, because correspondence is slow, but it had something that doesn't exist today, you take WhatsApp and that's it. You came home from those years and a lot of time has passed, you opened the mailbox and it overflowed with letters with fanzines, with demos, with flyers. It was like Santa Claus coming but

at 20 years old, and every two weeks or one. And besides, between everything together, I think that some kids like us, at least I think I can speak for the majority of us, but in our case, In a place and time where there was nothing for us, I believe that we knew how to invent our little happiness with the little we had on hand. when others in our immediate environment, even in the gang, were already getting into bad trouble, well, I think our little crazy thing was healthy. Well, we made someth

ing that wasn't so boring. Another project that caught our attention in our tireless search for bands The most bizarre, dark and delirious were the Valencian YORGUR DE DIARREA. Hello, I am Juanillo from Meliana and I am one of the members of YOGUR DE DIARREA with another partner. Well, we were recording in the afternoons and we already had a rehearsal place in Meliana and that, in the Casa Choba where we met, which was El local chove there, of the people of Meliana. and that, and there were more

people since they had an instrument and all that, and we sometimes met there, it wasn't a rehearsal space yet, but well, they already rehearsed there sometimes and everything. and we would get together some afternoon out of boredom, so we would get together and start playing. and the first demo, which is 'Ecclesiastical Terror', I recorded it alone, with the guitar and screams and all that. And then I started working on the cover and the lyrics and all that. and then Flyers and how everything w

orked then, you started to exchange them Flyers the people, you were in charge and so on, people found out and then there was the exchange. and the second, which was with VENTOSIDAD MACABRA, this one, yes, this one was also a colleague who is the one who played the guitar And I screamed and hit wherever I could to liven up the thing a little more and so on. And that was it, two different recordings on two different afternoons, this is the one I did with my colleague de shared, because we ended u

p in a park in out town. or to be ecstatic, because on top of that it was hot and the whole thing and that, we were already there smoking some joints, drinking some beers and laughing for a while about what we had done. And well, a quite funny anecdote, one afternoon when we were making the recordings, a man appeared, well we started to hear some punches at the door, the place was closed. and nothing, we already opened the door, wow, what happens? and an older man comes out, who lived in the hou

se next door, an old house and telling us that we were appearing on TV, how are we going to appear on TV?, and then of course, The man was already talking about that, and we were almost laughing and such, but of course. and you can see that it was some interference from whatever the guitar was, that just when we were playing him on the antenna, well that was it, and of course the television turned off and well, until we solved the issue and tried, but come on, it was a funny anecdote. Then there

were others and such, because we already started, we already found a rehearsal place, because a little group was beginning to form in the town, with different stories. And for example, I was with some colleagues from, two colleagues a little younger than me and the whole thing, and we already set up APOYO MUTUO, which happened to be already more hardcore and such. Like SIN DIOS and HHH, we wanted to be faster than them, but it couldn't be, and so on, but this was already more hardcore and the w

hole thing. but meanwhile we also continued with our Noise projects in our afternoons, which instead of doing what was rehearsing in the group, Well, we took it and then we made noise recordings and such, and we also had another project called PEPITO CANÍBAL, and there are also some small recordings out there as well. and then there was also another one about RUIDO DE CASTIGO, too, there is also a recording out there that needs to be rescued, because we are digitizing some things to save them fr

om the tapes, because they will be too old and then also with the people who were later in ZANUSSI, too, because then we also had a relationship with them through the fanzines, with the people from 'Sembrando Cebollas' and 'Güerta'. and we also got together sometimes, and that we also did one of those first and we did AVARICIA HUMANA, The singer of ZANUSSI, Albert also on the guitar too. and we shared a split with TURMIX, who were from Barcelona, ​​in which Toño of VIOLENT HEADACHE was playing,

and that's how we released this tape. Tell us about your participation in the fanzine 'Viviendo entre Mentiras'. Well, The fanzine Viviendo entre Mentiras was done by five of Meliana's colleagues, we got together and we started in '93, we released the first two issues in '93 The last issue was released in 94, and the first was in May of 93, number one, the second in October of 93 and the third was October, November of 94. and as a fanzine and distributor we also participate in the distribution c

onvention, that was in '94, the third convention, which was in Bilbao, in April 94 and then in November 94 in El Guinardó, we were also at the distribution convention also, and as a fanzine and as a distributor. and then normally the contact we had was with people from Valencia, with people who were colleagues, Well, we knew them through the Casal Popular, We made a lot of friends, and they made their fanzine, which was Sembrando Cebollas, the Güerta'zine, too, The Pentagram 'zine, also with Fel

ix, too. Then there was also El Masacre, which the people from Soroll made, there were the people from Paterna, who made El Tercán Files, Juli and El Sergio, and then there was also Regurgitated zine, which Javi made, That was because of proximity we used to see each other many times at concerts, in squat houses, We used to see each other and then we would also approach that one, and after that, we were in touch with the Excludur zine, which was from Murcia in exchange, this was already with peo

ple in exchange El Chapuzine from Toledo, El Magurí Gávea from Bilbao, There were also the people from Noizemass, from Madrid, the people from Pontevedra, from Selfis, and El Temblor Zine, from Sergio Lebron, in Madrid, and that was also a bit of the people we had the most contact with, Then we also have a lot of correspondence out there too, that I still keep, and some more numbers were exchanged out there with people. Another important name on the scene is Marc Cabildo, from Tarragona, that ap

art from his multiple bands, Grindcore and Noisecore, He also made forays into such unprecedented styles as Lolailo-core and Shitnoise, Let's let him tell us himself. Most of the bands I was playing in and projects were all noisecore, and some were a little more out of the ordinary, well DESTROZATIMPANOS, it was Noisecore too, but the drums were played on a table, hitting on a table and as fast as you could or however you could, and screaming and so on, and this was recorded in my house, in my r

oom, And there, four of my friends were there, eh? I said: 'Let's make some noise' I fooled them all, That has to be said, I fooled them all, and we went to my house, right? And playing on my desk there, playing with some sticks, me with the guitar, and yelling and so on, right? Well, DESTROZATIMPANOS. This was released by Puding de Pota, with PDF, a split... And then, out of the ordinary too, what we came to do was something more paranoid, although the first demo was pure Noisecore, the sec

ond split we released was also, and then It was CRIMEN FAMILIAR, right? One of my bands CRIMEN FAMILIAR, then we started doing more things, We called it Lolailo-Core, right? Well, it was all a joke, right? And acoustic stuff, with Noise in between, and so on, right? We went to the rehearsal room, El Lozano and I, who were the members, who were continuous, right? And one or the other always collaborated, depending Whoever was there at that time in rehearsal room, right? And we were doing more o

f the Lolailo-Core thing, right? Well, it was more of a joke, right? and things that had happened to us, we made fun of them, And well, laugh at everything a little, right? Shit noise was a substyle of Noisecore that basically consisted of in making noise with the first thing at hand, without even needing of having instruments nor, obviously, any type of musical knowledge, Some industrial noise projects may also be included here. Therefore, the projects that emerged under this label were, for t

he most part, projects done out of boredom and pure hobby, and that do not usually gave more than two or three recordings, although they also had a place within the scene, especially in the mid-90s and onwards. And in Spain, in fact, there were some labels specialized in this style, such as, for example, DMK Records from Pontevedra, with groups like DIARREA VOKAL, JESUCRISTO, CIRRHOSIS or COMIENDO SANDIAS, or Shit Attack Records, from Seville, with bands like ESTROPAJO HEAVY, EXTREME NOISE TURRÓ

N, CAFETERA EXPRESS, PUNGENT CHORISO or NECROBOTIJO. We must also take into account, in this sense, many of the Pudding Pota Records releases, also from Seville, which involved projects such as KOSTRA, MACETA, MASTIKAPEÑASKOS, KOSAS DE BAKA, BRUTAL MASSAKRE OF TOREROS and EXTREME IRRITATION. And in the same way, we cannot forget to highlight the work of A.B.O.E.L.B. Records, from the Basque Country, with bands with such suggestive names like THE SWEATY SLEDGE, ANABEL FINA Y SEGURA, PHOTOCOPY OF

TRIPI, RAMIRO, RULANDO PERAS or FRANCISCO TOMÁS Y VALIENTE. EL HUERTO, year 2023, only survivor... But who the hell cares about ABOELB Records almost 30 years later? Anyway... A real waste of time! Everything was told at the time in those interviews, for different fanzines. Little more to say. Thank PERILORO (our recording studio) thanks to him and our MAGIC BATTERIES and EL HUERTO everything went wonderfully for us. We were 16-year-old kids having a great time with the absurdity, noise and hum

or. The only goal of all these projects was to have a good time. Laughing at all the musical/political scenes of the moment, including Noise. May this documentary serve to remember those who are no longer with us (RIP). For DESORE (Iker/Ibarra) FDT, SERGEANT PLETINA. He left us too young. For MANTXI (Raúl/Tolosa) CONFUSION IN THE CANOE and a fan of this shit. For NÉSTOR (Estanco/Tolosa), who illustrated many things to us in the demos. Pair EL TRIPIS (Juan Mari/Donostia) who, back in the 2000s,

always joked so that we would make a modern version of PHOTOCOPIA DE TRIPI. For all of them and those I forget, this garbage is dedicated. Greetings to all the people of Tolosa and to all the people from CSA LA CUESTA de ARNEDO for so many good memories and friends. CATABUM! Keep watching this shit. Long live Peryloro and magic batteries! And long live the missionary of Sesma! A lot of noise and a lot of shit, bye! Shit Attack, Roberto founded it after Pudding de Pota was founded, right? When

we registered in the S.G.A.E., and all that, right? What I... The memory I have, or how I saw it, was that if Pudding de Pota already, or the noise in general, right? It was already too crazy, The Shit Attack thing, the Roberto thing, it was already a thing... Because I also think that Roberto was like, that is, the attack of shit, right? That is, what can I invent, or what group can I edit or can I release that surpasses the above? and when people hear it they say, damn, what a fucking shit! Me

, well, I think that's what it was, it was so that people would say, damn, this is fucking shit, man, there's no way to take it. It is the maximum. Of course, because there were noise projects that maybe you said, well, damn, Noticing what they were, it's done, dammit, how cool, it's done, dammit, you can see that it's made with four tracks recorder or something, whatever, right? Or the effects or such, but what with Roberto, sometimes it was something... Unchewable! Of course, well, what do I k

now, so to speak, right? I don't... What do I know, to give you an example, that it doesn't have to be one of the projects that he released, But what do I know, man, maybe a guy with a pen tapping a can and singing at the same time, so to speak, wow, they were like that. He hit the microphone, I think he hit the microphone, right? Yes, but I mean on that level that it was fucking shit. But he came out with a lot of projects. Likewise, when Roberto came out with something, it was like saying, the

same thing, what is this guy going to come up with now? Well yes, here in the State many labels began to come out and they began to release many tape materials, right? One of them, Shit Attack, was one of the ones I had the most contact with, right? and I had many exchanges with Roberto, we released things in parallel, right? And he was one of the most active ones here and distributed a lot of noisecore and derivative material, right? But apart from them there were also other labels, people who

released stuff themselves, right? And then he released his own self-produced demos and distributed them as well, right? Some examples too, for example SUCIEDAD DE PIES, too, right? Self-published, a self-published tape too, since they made them themselves. and they took it and distributed it, passed it around and so on, right? Let's see, here with The Nipple Juice (ZDP) label too, well, YO-GUR, PESCADO, My friend Cesc, right? I also did a lot of exchanges with him and we released a lot of split

s with his bands, with my bands, right? Well, and here, well, what are we going to say? CARNE/LIKIDILLO DE CONTAINER, right? It was released by Pajarraca and with the B-Gore Records label, right? Another split, right?, by GESTÖRTE NACHBARN, by B-Gore Records too. Well, here too, well I DON'T HEAR ANYTHING, SERIOUS MENTAL PROBLEMS, right? Despojo de Ira, from here in Vendrell, for example, STOMACH NOISES, right?, from the Canary Islands too, well, these are things I know, this one was released by

Cadaverizer Records, but there were also demos that they edited themselves, too. Well, here in Salamanca, Salamanca or Palencia, I don't remember this one, but over there, MACHAKAKRÁNEOS, right? This was Industrial Noise too, well, they edited everything themselves, right?, they distributed it and, well, well, That's how we did exchanges and everything, right? And, well, with Roberto with Shit Attack, well, for example, you see? Shit Attack Records released a demo of MINISTRIL, this was Noiseco

re too. And lastly, I'm going to tell an anecdote. Lots of fake stamps, right? Quite alot. I don't know how much we could have defrauded the Post Office and the State, but oh well. And then it turns out that both Roberto and I had a post office box, Mine was El 6317 41080 Sevilla, Roberto's, I don't remember. And then we arrived with all enthusiasm, every morning, to collect the packages, both with Puding de Pota and with the projects, and later with Collective Idiotización and such, which we al

so ran. And one day we went to the post office box and that day there was a note, askin me to go the to head's office. And I had to go there in the office of the director of the Post Office, or whoever was responsible, and I sat there, They took an envelope from a person I corresponded with in Belgium, who I think had a label and was called Geco, or something like that, I don't remember. And well, that man had shoveled the glue into it. And in fact, I remember that the man, so you can imagine, h

ad the envelope on the table, and the guy, he says, look, this has arrived in your name, it has no sender, and look: and the guy did like this, and the package rose. It got stuck to his hand from the glue that the fucking envelope was carrying. And then, look, since it doesn't have a return address, you have to tell me who he is and so on, open the envelope and tell me who he is. I don't even know what they're talking about. And I had done the biggest trick. But look, since I don't know who you

are, you will understand that this is a private thing, and I'm not going to open it, right? But then they warned me and I think I stopped cheating on the stamps, I think. So much! Hello, how are you? Well, how are we? What importance did you give to humor when making your noise, lyrics, covers, etc.? Humor, there will be reports, there will be things from history, past times. I think it was basically the pillar of everything we did, because apart from having fun, and experimenting with recordin

g, and what happened if I mix this sound with another, let's see what comes out, The theme of the theme, REPUS that we have discussed, and that we put what you had found, those intros, MAGIN... we were always looking for things that had happened to us, funny, to be able to apply it to a theme. So, despite investing the time, and try to record it and be able to get it out as a demo, and be able to change it, we were always looking to have a good time, and above all, being able to connect, put our

jokes, basically, and the experiences we had had. Humor was a totally essential part of ELECTRO-PILS, Well, great songs like 'Pilmosh', which was clearly dedicated to the idiot of BEER MOSH. Or 'Piladicts'. Or 'The Witch's Hairy Nails', which was totally an irony of BRUJERIA. Or 'Violent Heavyache'. Stupid things like that, because it was basically the essence of the group, They were all humorous themes, and many of them were seeking messing with people from the scene, and acquaintances, and ou

r cases, the issue of, 'If I know, Pil Floyd goes to your father,' and things like that. Absolute nonsense, and it was something that amused us. It was a bit like the SORE THROAT thing, of messing with everyone, right? That was a bit of the essence of the group, yes. Yes, humor was the most fundamental thing, which happens to also have its criticism, too. At that moment we began to move into the anti-Nazi theme, on the issue of occupations, on the issue of equality, on the subject of many things

, anti-militarism and such. In other words, they did begin to talk about other critical things, they began to criticize many things, That was very important, but humor above all. And on the topic of noise, bands like ANDAMIO, like CANDELABRO, like DEPRESSIVE SNAIL, They can't be very serious things, so they always tried to search... YOGUR DE DIARREA, SUCIEDAD DE PIES, I don't know, there was that, let's see who had the imagination a little beyond everything. HUMUS DE LOMBRIZ also, naming bands l

ike that was not something everyone did. This was the noise thing and the whole thing. And then the lyrics of the songs, and there were lyrics, and if not the titles. Because I still laugh a lot when I pick up the tapes now, I really like looking at them, the lyrics or the titles of the songs, so that was just the titles. - Obviously, because almost... - We were serious people, really. For example, in EXCRETED ALIVE there were themes that were also a little bit humorous, but there were also very

serious themes, that there was a social criticism of everything that pissed us off a little bit we vomited all the rage, right? - We really liked folklore. - Yes, too. 'Pepito', right? You know. Also. 'Doce Cascabeles'... The Spanish folklore, right? 'El patio de mi casa es particular', all these things. Songs that have always moved us in our childhood. Los del Río, right? They have always moved us, right? And in the projects the same, well we always put some of... From our experiences, right?

From our time, right? From our ancestors, right? - There was also a lot criticism, because... - There was also criticism because... Obviously, there were things around us that got under our skin and we had to report them in some way... It was a mix of everything. Projects bring together a lot of fun and also a lot of anger, right? And just as you shouted at anything, you laughed at anything, right? It was like... Making a pantomime of what society was like in the projects and making noise, too,

which is more of a hassle, right? Yeah. I remember LA SEUGRA. Besides, LA SUEGRA appeared in a NUN SPITE rehearsal Your amp broke. I remember that your amp broke down and we were very angry and very frustrated and we said, we have to do something about it. We made the first demo of LA SUEGRA. We recorded it there. And, of course, when calling it LA SUEGRA, well, we already set the tone of humor for everything that is related to this topic. And the funniest thing was... I remember the titles of

the songs... 'Peeping through the lock'. It was really fun to think about the titles, to think about things we can do. There was another topic called. 'My grandson is the most handsome in the world.' My grandmother appeared in the intro. Yeah. I remember taking the recorder to my grandmother and telling her: say "my grandson is the most handsome in the world." And there it is, in the demo. My grandson is the most handsome in the world. Right, right. And, well, humor has always been a fundamental

basis in the entire process. The excitement of doing it and then thinking about the theme, the covers. Because, for example, I remember that MIKROONDAS INDIGENTE, I drew the cover too. And, of course, I was thinking microwave, homeless, noise, industrial, and in the end what I ended up drawing was a microwave with the door open and inside came out a hand like that with some Kleenex, a pack of Kleenex, as homeless people usually do. Well, I was going through the underground trying to sell Kleene

x. And in the end I made that cover. And, for example, we also drew MAGIN. And, well, it was all part of the process and we motivated each other and it was a lot of fun. It was very fun for us. Humor was a fundamental part of being able to have a good time and being able to reflect on the things that had happened to us. What is the Spanish band of the style that you remember as the most delirious? Well, the band had the most impact on me, because I saw them live, It was in Marbella, and specific

ally it was EL KASO URKIJO. For me it was tremendous, tremendous. At that time they played with the BICHERA BRIGADE, right? Yes, yes, yes, yes, they played in Marbella. They played Grind/Noise too. And they made a mess of it, because well, in the middle of the concert, almost at the end of the concert more or less, It occurred to the audience to throw some watermelons that were there, onto the stage, and Juan Obeja came up with the happy and brilliant idea of ​​kicking him, He was playing the gu

itar there, The bass, bass, precisely, The bass, and kicking the watermelon, and pieces of watermelon fell everywhere, the people there enjoying themselves like crazy, there the people pissing laughing at that, laughing their asses out, and, pieces of watermelon falling everywhere. I mean, they were tremendous. It was quite fun. Aside from his lyrics, which were also hilarious, come on. Amazing, and well, and then the BICHERA BRIGADE was the shit. There were 250 guys standing there on stage. I b

elieve that BEIGADA BICHERA will be the group with the most people in the history of world noise. There were lots of people on stage! Phew! Tremendous. But the most, the most, normally, was EL KASO URKIJO, with all his projects, apart from what he had, EL KASO URKIJO was the best known, and I think the most insane thing that has ever been here, too. One of the KASO URKIJO groups, apart from others. But EL KASO URKIJO and the well-known Juan Obeja, a very special character, too. And anyway, ther

e has always been, I have kept everything, especially in the... With a cover of a demo, which today has been reissued on vinyl, and was from the GENITAL MASTICATOR band. Title of the album? 'Me voy a cagar en tu puta madre.' With that cover. A soldier, without legs, walking with his arms. Come on, I just can't, every time I see this, it's like my day revives. This is because he doesn't dare to do it... That's unheard of. And speaking of delirious bands, perhaps the darkest and most unknown of al

l, May be Malaga's HUMUS DE LOMBRIZ, about whom little is known and whom we have been unable to locate. This below is all the information existing about this bizarre project. The story of HUMUS DE LOMBRIZ begins at that time. There was a lot of exchange of recordings by mail. Then I saw an advertisement in METALIK.O., where people offered, well I have recordings, this is my list of records that I have, If anyone wants, we exchange recorded cassettes, you record this album for me, I have the othe

r one and it is sent by mail. And I wrote to a guy from Malaga, we sent each other the list of what we had and we started exchanging cassettes with the albums we were recording. And normally what we did was, at the end of one side of a cassette that we recorded, At the end, if there was space, we would put filler things. And in one of the tapes that we exchanged, he recorded his project for us. and then he recorded HUMUS DE LOMBRIZ for us. And in the letter he said that it was from some of his c

olleagues, I think also from Malaga itself or from the area, and that it was a noise project. And the truth is that it was shocking. It was the revelation. It was a revelation, we had never heard anything like it. And it was like we were hooked from the first listen. You received that tape and you told me, look, I'll record the demo for you from my colleague from Malaga, the demo of his group, and he put me, at the end, It is assumed that they were friends of that boy or acquaintances, We don't

know, it's a total mystery. HUMUS DE LOMBRIZ, And when I heard that I said, damn, what is this? That is, HUMUS DE LOMBRIZ was... I don't think there has been anything like it. I remember we called each other almost immediately when... Maybe I warned you, like, HUMUS DE LOMBRIZ is brutal. And I remember that we listened to it regularly, we stayed, when we listened to it at home, records, We always put worm castings and we put worm castings. Above all we liked the songs... 'Carmen' 'Soy gitano'. S

oy gitano, correct. And 'The Orgasm'. The orgasm, yes, yes. The orgasm was also one of our favorites. And I don't think... I don't think we ever knew anything else afterwards. And then we lost... Well, the contact was over. And the truth is that it was never known again. We may have searched the Internet for more information, but there is nothing. And we only have that recording. In fact, when I made El Escroto Total, which was already El 94, and I decided to include the demo of HUMUS DE LOMBRIZ

in El Escroto Total, I had no idea. Just like now, I didn't know who had done it. And I put it in the credits of the film. I am aware that I am doing this without permission, but it's a... It is a gesture of admiration, it is a tribute. This has to be edited somewhere, because it's the best noise thing ever done here. And I think it was 94 The Total Scrotum. And we are in 2024, which is 30 years later, and it is still not known who HUMUS DE LOMBRIZ is. And we have had them here for 30 years. It

's amazing. Listening to HUMUS DE LUMBRIZ is the best. It's... it's... Amazing. There is a fundamental member of this scene that we have not been able to interview, and, in fact, we will never be able to do it, Well, he disappeared as if swallowed by the earth many years ago. Juan Obeja. How do you remember this peculiar and controversial character? Well, yes, El Obeja was... Well, one... A guy who was very into The Noise, The Noise and The Grind and so on. And well, he released a lot of materia

l through B-Gore Records, as I have already presented some of the demos. And he also edited us. with his bands, POZILGA/GESTÖRTE NACHBARN, right? Well, he was a very special guy, wasn't he? Because I met him in Monsters of Rot, in person, 3, which he organized it, when he did a noise and grind festival. We played GERMEN there, GERMEN played, AUDIORREA, KONTAINER'S LIKIDILLO, CARNE, EL KASO URKIJO, and I played with BRUTAL NOISE, right? With my band BRUTAL NOISE we went to play and so on there, r

ight? Well, what can we say about something that is already known? Well, there was the concert too, well, there were some deals that were not fulfilled and so on, We had to play with a series of equipments that later some played and others didn't, and well, and nothing more. There I spoke to him to make some trades and so on, some trades and so on, I sent him some tapes to make some trades and all that, and well, he never responded, or anything, and soon after, well he already disappeared, right

? Because that was in '94, and after a short time it has disappeared until today, right? Well, at the time he organized many gigs, He made a lot of splits, he made a lot of projects, right? He participated in METALIK.O., which also, because thanks to him, we have also kown many bands, or some of our bands have appeared there, Well, some review that you have posted and so on, right? And it was within the little that we had, within the noise in general, where we could see new things or contacts of

other people that we did not know, Well, I think that was a very good job, right? But considering the noise and all this, I think it was a very good job and something that, apart from the fanzines that were made, That could get to you quickly, right? And that you could see and contact someone and get addresses or telephone numbers so you could write to people or call them. and be able to do what you like, right? Obeja? Phew! Well, a rather unpresentable character. I remember that he wrote to me

with him and then he sent me aberrations like these What he did, like YO-GUR and things like that, that I didn't really understand. Then we met him in person and he was there... Well, we met him in a Heavy bar and he was drooling after all the girls and he was also a very guy... The guy showed up, or That is, he directly said "I am Juan Herrero from the kaso." And of course, there was a group that said "The case what?", that is, they had no fucking idea who El Kaso was, right? I remember a frie

nd of mine who was also very horny and he introduced him to him there in Barcelona and said "I'm El Obeja del Kaso." And my colleague, who was called Liso, tells him "I am Liso, from Liso Minutes." And, well, everyone is devastated by The Guy. And then apart, well when we found out that he had a Rip-Off roll and already there, Well, character to delete from my contacts quickly. Come on, people like that, well... Get out! Focusing on the Noise projects, of all the Noise projects we had, I think I

was the only one who had contact with Obeja. And it was... I offered myself to Obeja because he had his project called "CARNE." and I had “PESCADO”. Which in fact, “PESCADO”, one of the reasons I gave it the name “PESCADO” It was thinking that one day there would be a split with "CARNE". That is, split "CARNE" and "PESCADO". And once he had already done some, the first demos of «PESCADO», I contacted Obeja and said «Look, what do you think? a..." Because "CARNE" was much better known. "What do

you think of a "CARNE" and "PESCADO" split?" And then he told me okay, that seemed good to him. And I sent him the recording, the “PESCADO” part, which I think is the best recording I made for «PESCADO», so that he could release it with his label, which was B-Gore, a “MEAT” and “FISH” split. But time passed, time passed, it took a long time to come out and in the end... In the end he contacted me and responded and said: «Look, at the end, that recording that you sent me, we have not recorded any

thing with “CARNE”, But I get it from you with a three-split with two other bands. And in the end, that recording that I had made for a split “CARNE” and “PESCADO”, he came out with a split with two other bands. Regarding the character. Apart from this, which disappointed me a little, because I thought... I mean, it would have been brutal. Imagine, a tape from the time, "CARNE", split «PESCADO». Just with the title it would have been brutal. The noise was the least of it. But apart from this, wh

en he didn't do this, but did The "3 Way" split with two other bands, Well, I met him one day at a Metro stop, at a Metro stop in Urquinaona, I remember, and he gave me the master of the tape, the master of the cover, so I could make my copies. Before it worked like this. And nothing, The time I spent chatting with him he was very friendly, very cordial. He looked like a nice guy. Yes, it is true that there is a lot of legend and there are many people who... Much love and hate. But well, the onl

y deal I had with him. That's what I just told you. A little disappointed for not having gotten The "CARNE" "PESCADO", but the day I met him he seemed like a nice and normal guy. I was very happy to meet Obeja, because you know, a guy who had done so much in the METALIK.O. and that he messed up so much, that he messed up the thing. We met Obeja there. He also had a confrontation with The One from Drowned, with Dave Rotten. They poked each other. Yes, they poke, right? They poked each other. The

y will have already given up drugs. Well, we met him there at KASO URKIJO and he gave us a good impression. He had a lot of order papers and that and he thought we owed him something. He didn't owe me anything. I got tired of laughing with him. Very good people. The truth is that we had a great time with them. AND... That's all.