20 Key Labels of Contemporary Spanish Indie Scene. Part I

A month ago I incidentally came across an article named "13 Labels That Define Spain's Indie Music History". It briefly covered some truly emblematic labels but also the list included the labels that, on my opinion, had pretty limited impact on the scene. So I decided to make my own list of the key labels of Spanish indie rock. Here below is the 1st part of this list (in alphabetical order). 

Acuarela (Madrid) Sr. Chinarro, Migala, Refree

One of the seminal indie labels of 90s and 00s is led by 'the man of many talents' Jesus Llorente. Formerly being responsible for producing such the 'high profile' artists as Sr. Chinarro and Migala, now the label releases the string of less-known musicians like Manu Ferron or A Veces Ciclon while Jesus tries to diversify the activities by releasing the books and creating the comic strips.
One album to listen to: Migala "La Increible Aventura"

Aloud Music (Barcelona) Fira Fem, The Last 3 Lines, Nothink

The relatively young Barcelona-based label with the roster that could make the Pitchfork reviewers tremble - the genre specialization of Aloud lies somewhere in the wide range between [adored by hipsters] electro, nugaze and so-called 'post-everything'. Pitchfork would definitely like many of the albums released by the label.
One album to listen to: Fira Fem "Fira Fem"

BCore Disc (Barcelona) The New Raemon, Betunizer, Eric Fuentes

Arguably the most important Spanish indie label of today. Launched 25 years ago as some kind of Spain's own Dischord and initially being concentrated on punk and hardcore/post-hardcore now BCore includes many stylistically different bands (let's just take four most recent albums by the label: Dulce Pajara de Juventud's "Triumph" is alternative rock with 'wall of sound' and soul music elements, Margarita's self-titled effort is pop-punk, The New Raemon's "Oh, Rompehielos" is singer/songwriter and Jupiter Lion's "Brighter" is electro).
Also the label maintains the enormous list of officially licensed albums from many of the key North American independent labels where you can easily be drown into for hours.
One album to listen to: Betunizer "Gran Veta"

Discos Humeantes (Oviedo) Fabuloso Combo Espectro, SraSrSra, Farniente

The quirky punky uncompromised Asturian label's releases include, for instance, lo-fi/no-fi garage duo SraSrSra, tight punk band Futuro Terror, mentally unstable post-punks Fabuloso Combo Especto, perfect IDM project Farniente. Getting into your hands any given album released by Discos Humeantes you'll never know beforehands what you're up to deal with. And this is not a bug, it's a feature.
One album to listen to: Futuro Terror "Futuro Terror"

El Genio Equivocado (Barcelona) Las Ruinas, Grushenka, Algora

The burgeoning Barcelonian imprint tends to be one of the most interesting labels of the current moment. Celebrating its fifth anniversary in 2015 the label spearheaded by Joan Casulleras and Rafa Piera has the perfect and potentially groundbreaking (at least in terms of indie world) roster that includes such names as Algora, Burrito Panza, Grushenka, Cosmen Adelaida, Como Vivir En El Campo, Hans Laguna, Las Ruinas... Should I tell you more? Probably no.
One album to listen to: Las Ruinas "Toni Bravo"

El Hombre Bala (Santa Cruz de Tenerife) Resonance, El Viejo Astra, Brutalizzed Kids

You may know nothing about Canarian indie scene but it's not because of the scene's poor conditions. Mostly it's because of the geographic remoteness and logistical issues caused by it. It's energetically and financially devastating to move your gear to and from the mainland, so only few bands from Canary Islands are able to do so. But if there is anything to prove the quality (and quantity as well) of the local bands that have limited live access to remote listener it's El Hombre Bala - the label, the bar, the eventplace.
One album to listen to: El Pilar Azul "La Constante Sin Nombre"

Elefant (Madrid) La Bien Querida, Cooper, La Casa Azul

To say "Spanish indie pop" is to mean "Elefant Records" and vice versa. Initially building its notoriety upon the 'donostia pop' phenomenon (Aventuras de Kirlian, Le Mans, etc) in the 1st half of 90s now Elefant remains one of the most notable and the most significant indie labels of Spain... not only Spain, in fact, but of all non-English speaking part of world being responsible for tons and tons of classics released all through these years.
One album to listen to: Family "Un Soplo En El Corazon"

Ernie Producciones (Vigo) Ninos Mutantes, Julio De La Rosa, Igloo

As I have already said it once, the balancing man stamp is the best confirmation of the quality. You can't deny the fact that Ernie Producciones/Records is one of the key indie labels as for Galicia as for Spain as a whole. Just look at these names: Ninos Mutantes, Julio de la Rosa, Igloo, Maryland, Nino Y Pistola, Napoleon Solo, Pasajero, Novedades Carminha, Holywater...It couldn't be any better.
One album to listen to: Igloo "La Transicion De Fase"

Flor Y Nata (Catalunya) Colorado, Lo Nunca Dicho, Carlos Siles

Having such the stylistically diversified bands as Colorado, Karenin, TanStuPids or Copo in the roster, another Catalan imprint Flor Y Nata has no inclination to any particular genre. But while the genre-based philosophy definitely is not one of the label's strenghts, the variety of supply truly is.
One album to listen to: Carlos Siles "Doce Maneras De Esperar El Final"

Foehn (Barcelona) I Am Dive, Oso Leone, Poomse

Led by red-haired Barcelonian Marc Campillo, Foehn Records is the label with distinct and well-shaped philosophy. If you're looking for the pure entertainment, please, walk away. There's nothing to entertain you but there's a lot to make you think over, make you feel deep emotions, make you drop with the raindrops upon the leaves in the hazy forests, make you see the world by the multifacet eye of the dragonfly.
One album to listen to: GAF & The Love Supreme Arkestra

The next part is HERE.

Murciano Total "Quereres Y Dejenes"

Murciano Total "Quereres Y Dejenes" (p)2015 El Genio Equivocado

Murciano Total have released a string of digital singles over the last 4 years, and frequently appeared in the social networks here and there so it sounds almost unbelievable that "Quereres Y Dejenes" is the first full lenght of this duo. Jose Lozano who established the considerable career as the frontman for renowned post-'Cool Britannia' veterans Automatics - as well as for the equally cool band Universal Circus - this time teamed up with his female pal Elena Molina now paves his way through the mellow synth pop meadows. Their travel through the relatively unusual (for me Jose's name was always associated mostly with the rock sound) territories sounds as naive as, I dunno, the early Depeche Mode and as old-school as Human League's "Don't You Want Me" (or even the most pop-oriented excerpts from the legacy of techno demiurges Kraftwerk). But I dare to consider Orchestral Manoeuvres in the Dark the main influence for the pair of Murcians. Like these new wave pioneers Murciano Total aren't afraid of the live instruments (mostly guitars - and honestly speaking, the tracks that do include guitars are my favourite ones here), and like OMD they have the bent for writing the tunes which are tight and sublime in the same time and everchanging like a ball of quicksilver - but unmistakably catchy.
Another fine entrance to the El Genio Equivocado's back catalogue.

The best tracks: El Espejo, Ventas De Ocasion, La Casa Parisina, Eficacias Y Mentiras, El Castillo de Roman

"Quereres Y Dejenes" on El Genio Equivocado BC

Nocturnos "Pequeñas Esperanzas"

Nocturnos "Pequeñas Esperanzas" (p)2014 self-released

The band Nocturnos obviously represents the pop wing of the Spanish indie/alternative rock. Their first full lenght was released last March (at that moment the band's career counted almost 8 years of activity and two EP's in the background), and as it was done independently the album did not come to my hands and ears until the band contacted me via twitter a coupla weeks ago. I started from the song "Astronautas" they proposed to me, and this minor acquaintance quickly ended up in purchasing the whole album via iTunes.
So what have I to say after listening to this album pertty frequently for the week or so. While the band doesn't discover any new territories and doesn't cross many borders all the songs are distinct and catchy, and the album contains no weak tracks at all. Really, almost every track could be a hit single. The guitars are ringing and the drums are banging all in the right way, and I easily can rate "Pequeñas Esperanzas" on par with the first album of my long time favourites Mi Pequeña Radio. For me it's some kind of the best recommendation for the one who's into the loud catchy song, you know.

The best tracks: "Astronautas", "Que Esta Pasando?", "Baile De Disfraces"


Nocturnos in Bandcamp
Nocturnos in Facebook

Havalina "Islas De Cemento"

Havalina "Islas De Cemento" (p)2015 Origami

When Ignacio Celma who played bass for Havalina since 2009 decided to quit the band an year ago it made me curious about the band's future because it seemed like Ignacio was the ideal kind of supporter for the Havalina frontman Manuel Cabezali's complicated ideas trapped within the power trio format (the drummer Javier Couceiro remains the second constant of the band's lineup since 2004) with its natural limitations - in the numerous videos like the ones which Havalina made along with Bandalismo or Acordes Urbanos you may see how the guitar player and the bass player interact within the songs to support one another through the songs' unusual structures. But despite my fears the band quickly found the replacement in Jaime Olmedo - and the substitution was so trouble-free that it hardly impacted the band's ability to construct the sound of their own. So, flowing along in the vein of melodic stoner rock - the template the band is mantaining for the last five years - "Islas de Cemento" sounds like the continuation of two previous successful releases ("Las Hojas Secas" and "h"). But it goes that way only until the track #9 starts. 7 minute long "Cementerio de Coches" is by far the heaviest song ever performed by Manu Cabezali and his allies. It steps over the border and walks away from the Kyuss-penned cult classics like "Gardenia" or "Asteroid" into the sad and depressive territory of doom metal. Moreover, this earcrushing machine is followed by the rain - really, the next track is called "Lluvia en el Cementerio de Coches" - almost 9 minute long "La Pared" or "Musica Para Peces"-type of song that rises from relative quietness to the short circuit thunderstorm making these paired compositions the album's logical centerpiece.

Under the bottom line, the good news about "Islas del Cemento" is that the band still moves ahead and finds the place to evolve, as well as to apply new elements to their core sound. Another nice feature of this album is that the tracks "Islas de Cemento" and "Luces" could successfully compete with "Desierto" from "Las Hojas Secas" and "La Antartida Empieza Aqui" from "h" as the catchiest Havalina's songs since Manuel decided to abandon the Smashing Pumpkins-inspired alt-rock in favor of the thick layers of stoner/southern gloomy fog.


"Islas de Cemento" in Origami Records

Grushenka "La Insoportable Levedad Del Ser"

Grushenka "La Insoportable Levedad Del Ser" (p)2015 El Genio Equivocado

If Grushenka sounded like the noisy version of New Order on their first longplay "Tecnicas Subversivas", then on the newest effort "La Insoportable Levedad del Ser" (which means "The Unbearable Lightness of Being") the quintet sounds more like any of that famous C86 cassette inhabitants. Throughout the songs like the title track or "Viaje Lisergico" you can almost see the frontman Xavi being haunted by the spirit of Bob Wratten (The Field Mice/Trembling Blue Stars).

As a massive Trembling Blue Stars fan I can only recommend this album to anyone who's into the quiet and intelligent indie pop/jangle pop with a bit 'who cares'-attention to the drums sound.

The best tracks: Nueva Era Existencial, Nos Encanta Hacerlo Todo Mal, La Procesion Va Por Dentro

To buy/listen: Bandcamp

Les Sueques "Educació Física"

It's only the middle of February but there already are not less than six releases from the burgeoning Barcelonian label El Genio Equivocado. So let's start with Les Sueques.

Les Sueques "Educacio Fisica" (p)2015 El Genio Equivocado

The band consists of three chicks and a guy. They're together for at least 4 years (dunno how much time they spent before releasing their first eponymous EP in 2011), and "Educacio Fisica" is their sophomore LP.
The songs here rarely exceed 3 minutes, and the rhythmical patterns on the most tracks are simplified enough, what - in addition to repetetive lyrics (my hands upon the notebook's keyboard want to use the term "cryptic" - I really feel so but I hardly understand a single word here cos the singer/bass player Blanca sings in Catalan, so I'm not sure) and angular guitar riffs - makes you feel like this band got vibe. It's nothing about some druggy conditions, it's about you got your chin nodding and your feet stomping without your intention to most of the songs.

In fact, for the person who seeks for a singalong the longest two tracks are the best ones here, especially the potential indie hit "I Apologize" - amongst these dadaist minimalist and surrealistic post-punk pieces this song with the catchy chorus is by all means the true gem. But the rest o' the tracks are anyway pleasant and satisfying.

The best tracks: I Apologize, Tot S'havia Acabat, Bromes, Ara Es Aqui

To listen/buy: Bandcamp

Dover "Complications"

Dover "Complications" (p)2015 Sony Music

It seems like it's nice time to return to where you came from. The last year marked the reunions of some remarkable loud rock bands from the nineties: Failure, Molly McGuire, Moist, to name a few. Among the ones who came back under the spotlight from post-death nowhere was the Chicago-based grunge quartet Veruca Salt led by the female singers/guitarists Louise Post and Nina Gordon who once let the personal tensions and complicated love/hate stories kill the band. Almost fifteen years later being fully recuperated, Veruca Salt has put out the new single "The Museum Of Broken Relationships/It's Holy" - two songs that sounded so fat and reach and vital that it was almost unbelievable for the band whose heyday was long forgotten not only by the fanbase but seemingly by the bandmembers themselves. I tell you about the current VS's activities not only because Dover formerly were - and now again are - something like the Spanish blueprint of Veruca Salt (four persons, two girls as a creative core, post-grunge roots). Mostly I tell you that because this entire album sounds like a successor to "Museum Of Broken Relationships" single. "Complications" also sounds fat and reach and natural - so natural it's almost unbelievable for the band whose two last albums (recorded 4.5 and 8.5 years ago) were electro-rock'y ones. Maybe it's reissue of Dover's breakthrough album "Devil Came To Me" (now under "Dover Came To Me" name) in 2013 and it's promotional tour what made Christina and Amparo feel like it's time to unleash their rock beast again.
Now here they are - the reinvented version of Dover. Honestly speaking, even the best releases of the band contained the tracks that could be considered mediocre. Arguably, "Complications" is the first album of the band that follows the 'all killer no filler' template. I suppose it's the right turn in the right time. 

The best tracks: Mystified, Like A Man, Too Late, Building A Fire