Argentina underground: a tribute to Argentine culture through underground music

The other day, I watched the “Buenos Aires” episode of Anthony Bourdain: Parts Unknown in which Bourdain traverses the capital of Argentina and explores its culture. To get a sense of the place and the people, Bourdain studies dishes that characterize Argentine cuisine, restaurants in Buenos Aires, and Argentinian chefs. He also observes people eating at restaurants. As opposed to visiting the top tourist attractions, he meets a friend for lunch at a barbecue joint in the outskirts of town, someone else for dinner at Don Carlitos, a local, menu-less restaurant, and another friend for drinks at a hole-in-the wall bar. As he munches on asados and sips on beer, he asks his friends about their experiences with Argentine food. Beneath the surface, however, he searches for answers to his questions about Argentine culture. He learns about Argentine culture — through food?

As I followed Bourdain on his culinary journey, I learned a great deal about Argentine culture, more than I would if I were to read about Argentine culture in a history book and more than I would if I were to take a ride on a sightseeing tour bus. Instead of memorizing facts or taking photos on an iPad, I engaged my senses, getting a taste of Argentine culture. I experienced Buenos Aires closely, and as a result, I got a sense of the less obvious details of Argentine culture. In particular, I saw how people live on a day-to-day basis and what people value in their lives. And, in listening closely, I gained insight into the socio-political atmosphere of Argentina. By the end of the episode, I knew Argentine culture on a more intimate level.

However, I wanted to know more. And then it dawned on me. To gain a better understanding of Argentine culture, I would engage another sense: hearing. And to do that, I would listen to Argentine music. In the style of Bourdain, I would focus on the Argentine underground music scene.

Today, Argentine underground music has a unique, eclectic sound, merging multiple sub-genres into one condensed style. A lot of Argentine underground music layers lo-fi vocals, punk bass-lines, techno beats, synth-pop sounds, and traditional folk elements over indie rock melodies. Broadly speaking, the music falls into the categories of indie rock and electronic. However, needless to say, it has its own flare, as it draws influence from Argentine folk. Traditional, yet innovative, it reflects present-day Argentina, giving us a glimpse into Argentine culture.

After listening to a vast array of Argentine underground music, I have curated a list of Argentinian musical artists who I believe represent the Argentine underground music scene. The artists I have chosen not only sound great, but also capture the eclecticism and creativity of the Argentine underground music scene. But, most important, they reflect the culture of Argentina. Hopefully, my list will help any non-Argentinian understand Argentine culture on a more intimate level.

Fémina

Fémina, a musical group made up of three women, Sofía Trucco, Clara Miglioli, and Clara Trucco, plays an important role in the Argentine underground music scene. The trio took their poetry and turned it into music, mingling indie rock with Argentine folk, synth-pop, electronic, and rap. Through their ethereal, yet powerful music, the women fight against misogyny and advocate for feminism in a country where abortion is illegal, where women who seek abortions are often criminally prosecuted, and where femicide is rampant. What the women do is brilliant; they convey a strong political message while at the same time maintaining a delicate sound and a dreamy aesthetic. Eclectic and political, the music of Fémina captures the essence of Argentine underground music and reflects the culture of Argentina.

“Brillando” from Perlas & Conchas (2019)

With strong, graceful harmonies, the repeating phrase “united we exist,” and ethereal bell-like synth sounds, “Brillando,” the first song on Fémina’s most recent album Perlas & Conchas, captures the essence of Fémina. Dreamy and bold, the song celebrates and empowers women, particularly those who feel weak, those who feel oppressed, and those who feel they do not “shine.” In the fourth verse, Fémina tells women that they will shine: “estarás brillando.”

“Perlas” from Perlas & Conchas (2019)

“Perlas,” which follows “Brillando,” fuses many sub-genres, including alternative rock, electronic music, rap, and traditional Argentine folk. It begins with a steady, high-pitched electronic beat, a tight, fast-paced drum beat, and a bell-like synth pattern. Ten seconds in, the young women begin to rap, and, soon after that, the trio sings the chorus, a mix of a folky harmony and a techno beat. The rest of the song is an oscillation between synth-pop, rap, and folk. “Perlas” also preaches feminist ideals, as it places the pearl, which, along with a conch shell, serves as a symbol for female genitalia, in a position of power.

“Palpita y Goza” from Perlas & Conchas (2019)

“Palpita y Goza” fuses Argentine folklore and rap, reflecting the eclecticism of Argentine underground music. The song begins with a maraca beat and a folky melody, but later incorporates a techno bass-line and rap verses. The combination of rap and folklore matches the titular phrase, “throb and enjoy,” in that the rap beat throbs and the folk harmony pleases the senses. And, through the beat and the harmony, Fémina fearlessly expresses sensuality. In a society plagued by gender inequality, the women are brave to sexualize their music.

Perras on the beach

Perras on the beach, an alternative rock band comprised of five members, Simón Poxyran, Bruno Beguerie, Ignacio Laspada, Fabricio Foresto, and Rodrigo Martinez, has a different ring to it; it is a quintessentially indie band. As opposed to pop, the music consists of lo-fi vocals, classic rock and roll rhythms, erratic structures, and experimental sounds. With their grungy music and their stickered guitars, the members of Perras on the beach boldly rebel against the mainstream. They also stand up against the Establishment, as they sing about economic marginalization and police brutality.

“Ramona” from Chupalapija (2016)

The lo-fi, avant-garde aesthetic of the music video for “Ramona” parallels the alternative style of the music in the song.

“Turco X” from Chupalapija (2016) and “Municipálida” from Flow de Cuyo (2018)

“Turco X” and “Municipálida” also fall under the category of indie, but deviate from its generic form. In “Turco X,” Perras on the beach replaces the bass guitar with a synth beat and adds casual, slow-paced rap to the lo-fi vocals. In tandem with the lo-fi sounds, the lyrics lack seriousness and end with a laugh. “Municipálida” alternates between lo-fi indie rock, synth pop, and rap. As the song progresses, the lyrics grow more and more political, commenting on economic marginalization and police brutality. The song captures the rebelliousness of the Argentine underground music scene and reflects the current socio-political atmosphere of Argentina and the collective spirit of Argentine youth.

Simón Poxyran

Simón Poxyran, the lead singer of Perras on the beach, produced a colorful solo-album, Saieg, in 2017. Perras on the beach’s lo-fi vocals, indie sounds, and experimental instrumentation carry over to this solo outing, but Perras on the beach’s energy does not transfer. As a solo artist, Poxyran reduces the thrust of his voice and slows the pace of his rhythms. Calm and melancholic, the music is personal and emotional. In “Doppelgangër,” for example, Poxyran communicates his diminishing sense of self.

Perro Volador

Perro Volador, on the other hand, clings to alternative and Classic rock. An indie rock band, Perro Volador uses bass-lines and drum beats typical of indie rock and bluesy, psychedelic guitar riffs central to Classic rock. “El Camino es Rey” from Parque Eléctrico (2016), for example, blends archetypal indie rock melodies with traditional Classic rock improvisation. The symbol of the car, “El Camino,” and the electric guitar solo from 2:35 to 2:52 encapsulate the rebellious attitude of the Argentine underground music scene.

Juan Mango

Juan Mango, an electronic musical artist, changes it up, straying from the Argentine underground indie rock music scene and finding a home in the Argentine underground electronic music scene. Whereas Argentine underground indie rock artists focus on the melody, Juan Mango emphasizes the beat. He layers his gentle, lo-fi voice over electronic beats and synth-pop, creating a spacey atmosphere and a psychedelic sound. At the same time, he rebels against the conventions of pop, pacifying the effervescence and shattering the homogeneity of pop.

“No Estés Bajón” from Papet (2017)

In “No Estés Bajón,” Juan Mango deconstructs pop, slowing the beat down, adding layers bit by bit, and incorporating low energy vocals and emotional lyrics. “No Estés Bajón” sounds like Homeshake’s “Give it to Me,” as it includes a bass-line that alternates between a long, drawn out note and a short, sharp note.

Guli

Guli, a band comprised of six members, three men and three women, is one of the most eclectic bands in the Argentine underground. The band merges multiple sub-genres, ranging from indie rock and electronic to disco, R&B, jazz, and classical. “Lava,” from Waiata (2017), even incorporates ASMR. Too far?

Fideos con Tuco

Fideos con Tuco produced an album, Y, in 2017 that features many popular indie rock, electronic, and synth-pop artists, including Simón Poxyran and Juan Mango.

NINIO

“NINIO,” an alternative rock band, is more melancholic and gloomy than the other bands I have listed. The sloppy, lo-fi vocals are similar to the vocals in the songs that make up the soundtrack of the movie Juno, and the changing keys and minor tones are haunting. “Sabueso” from Canciones grabadas sobre teléfonos inteligentes para personas crudas y sencillas (2016) and “A veces me pregunta yo” from Las cosas que tuve que hacer para encontrarte y no volverte a ver (2014) are quintessential NINIO.

El Mato A Un Policia Motorizado

El Mato A Un Policia Motorizado, an alternative rock band, directly references the socio-political atmosphere of Argentina. The name of the band, “he killed a motorized police,” outwardly and boldly remarks on the police brutality that plagues Argentina. Even the music video for “El Magnetismo” rebels against conventions; the entire film follows a young girl as she walks her dog.