{"product_id":"derribos-arias-en-la-guia-en-el-listin","title":"Derribos Arias - En La Guia, En El Listin","description":"\u003cp\u003eBy late 1981, the San Sebastián-based group \u003cstrong\u003eLa Banda sin Futuro\u003c\/strong\u003e had already transformed into \u003cstrong\u003eDerribos Arias\u003c\/strong\u003e. Initially, the band was a duo consisting of \u003cstrong\u003ePoch and Alejo Alberdi\u003c\/strong\u003e, 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.\u003c\/p\u003e\n\u003cp\u003eDerribos 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. ‘\u003cem\u003eBranquias bajo el agua\u003c\/em\u003e’, 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).\u003c\/p\u003e\n\u003cp\u003eWith 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 \u003cstrong\u003ePaco Trinidad\u003c\/strong\u003e serving as producer. The electric intensity of ‘\u003cem\u003eÍntima decoración\u003c\/em\u003e’ and ‘\u003cem\u003eCrematorio\u003c\/em\u003e’ —angular, off-kilter reinterpretations of a strain of rock descended from \u003cstrong\u003eThe Velvet Underground\u003c\/strong\u003e and \u003cstrong\u003eThe Stooges\u003c\/strong\u003e, 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 ‘\u003cem\u003eLo que hay\u003c\/em\u003e’ could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as ‘\u003cem\u003eDisco pocho\u003c\/em\u003e,’ 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.\u003c\/p\u003e\n\u003cp\u003eReleased in 1983, “\u003cem\u003eEn la guía, en el listín\u003c\/em\u003e” (“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.\u003c\/p\u003e\n\u003cp\u003eThis edition includes liner notes and the artwork of the original insert.\u003c\/p\u003e","brand":"MUNSTER","offers":[{"title":"Vinyl LP","offer_id":59348135706969,"sku":"SDZ-52058","price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/0046965249_10.jpg?v=1788951402","url":"https:\/\/spindizzyrecords.com\/products\/derribos-arias-en-la-guia-en-el-listin","provider":"Spindizzy Dublin","version":"1.0","type":"link"}