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Rock jondo
Mártires del
Compás (Foto: Daniel Muñoz)
Seville also had its modern slums. Many families in Triana,
many of which were flamencos, were scattered about by the
high-rise apartment buildings of the city's new neighborhoods.
Coming to Las Tres Mil Viviendas were the Amadors, creators
of a new mixture. How would Jimi Hendrix sound with a flamenco
guitar? Well, that is more or less what happened in Veneno,
the sum of Kiko
Veneno, Raimundo Amador and Rafael Amador. ‘Veneno’,
their only record, has been named the best Spanish pop album
of all time by two specialized Spanish magazines. Essential.
Afterwards, the roads parted. The Amador brothers founded
Pata
Negra, playing rock, blues and flamenco. Somewhat later,
Raimundo Amador continued with a solo career, even sharing
a project with B.B. King. And Kiko Veneno made a personal
banner out of pop rock with a flamenco accent and ingenious
lyrics, with a prolific career and many songs reaching the
top of the charts. Then in the nineties, influenced equally
by flamenco, rock and street music, Mártires
del Compás appeared. Led by Chico Ocaña,
they share with Kiko Veneno the liking for lyrics with contents,
which they add a touch of multiculturalism to. Also taking
a glance at rock in its hardest version is one of flamenco's
most restless artists, cantaor Enrique Morente. ‘Omega’,
played between the group Lagartija Nick and first-rate flamenco
guitarists, knocked traditional cante and Lorca's usual poems
up a notch, even daring to do songs by his admired Leonard
Cohen. Another essential album. The experiment becomes radicalized
in 2005 with a collaboration with the ‘post punk’
group Sonic Youth at the Heineken Greenspace in Valencia.
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