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LLetra i Música LTC
Arranjament LTC
Enregistrat per César Torrelles León a EMAV

Gordas Y Peludas

Contando cuentos

No Es Caos (Paradoxus Luporum)

Policia De Faisán

Mendizorrotza 2022

Piedra Contra Tijera

En Guerra

What a better way to begin this updated biography that introducing our new cd, recorded in December of 2007 and for sale since April of 2008.
Our cd, called “Amaneció” (the sun has raised) was recorded in Mostar (Bosnia and Herzegovina), Rome and Galicia. As  before we chose Galicia for the pre- production and Javier Abreu as our producer.
The year 2008 have been an international year to Boikot ,we introduced “Amaneció” in Japan, specifically three dates in Tokyo and two more in Nagoya and Nishio ,from the 22nd  to 29th of February. In June we toured with Banda Bassotti around Germany and Denmark: Düsseldorf, Copenhagen, Nuremberg, Jena and Berlin.
Boikot has played in Berlin in the past twice with Banda Bassotti, once in a concert against G8 and another time in the “popkomm Fair” in October of 2008. We also participated at the “mondiali antirazzisti”, an (international congregation against racism) in Bologna (Italy) on July the 10th. We should also point out our second visit to Turkey, this time to Izmir, participating in “Rockafestival” (an alternative Rock Festival.)
The year 2007 brings to mind our tour “Ni un Paso atrás“(Not even one step back) -which was possible thanks to our management –and in which we played with Sonora, Porretas and Reincidentes. This tour took us across Spain, playing In 20 concerts and selling each one of them out. Also in this year we went to Turkey for the first time, specifically to Istanbul to participate in the “Barisarock Festival”.
The year 2006 was also a very intense year. We played in all the important festivals in the country, totaling about 60 concerts. As in previous years we played in Cuba, Mexico, Argentina, Venezuela and Italy, in 2006 we also visited Medellin and Bogotá in Colombia and Berlin for the first time. Later on in the spring of 2006 we played a “mini tour” in Germany and Italy; Berlin, Bologna and Florence.
We would like to thank “Attraction management ” ”la clau management” ”tommy gun” and Banda Bassotti, for all that they´ve done for us.
PLEASE! Sit down and relax, because this is where our biography begins (thank to all the collaborations.
Boikot was formed around 1987 in Madrid, in a period where urban punk rock was emerging. The group consisted of Alberto Pla, on the guitar, Juankar Cabano, on the bass, Xavi Flores, on the drums, and Juan Carlos”Ronko” on vocals. Their first concerts and contests were the 5th Vallekas Rock Festival and the Festival for young musicians in the district of Ciudad Lineal. Their nest step was recording a Demo, produced by Enrique Cajide, the well-known drum player from Asfalto. 
Shortly after, a second guitarist joined the band: Pedro Tirado. Their increasing popularity in Madrid awoke the interest of the radio announcer Mariano Garcia, whom produced their first Cd called “Los ojos de la calle” (the streets eyes´). The two most popular singles were “La noche mas larga” (The longest night) and “esperando en el metro” (waiting for the train).The album had a good response in Madrid, where the band played regularly in places like “sala Hebe” in Vallekas and other underground establishments. But outside of Madrid, it was a different story .At this point, Pedro Tirado left the band.
The   second   album called “con perdon de los payasos” (with the clown´s forgiveness)was produced by Rafa Vegas, the bass player of Rosendo. The record label,”Barrabas”, did not help in the promotion and the album wasn´t very successful .Sales was minimal and this provoked the group´s first crisis.
Despite all these issues, the band began playing outside of Madrid. In 1992 and 1993 they played with Extremoduro in Madrid and Barcelona. But this was a small victory. 
After recording another demo, the drummer, Xavi, left the band. It was also time to start looking for a new record label. The solution came in 1994 when Boikot decided to create their own label: BKT productions. This new sense of freedom and independence allowed the band to be more creative and open up to new styles, live punk and ska.
The new guitarist was Kake Lago who also played in Cäskarrabias. After a long search, Juan Carlos “Grass” became the new drummer. The third album, called “Cría cuervos”, (raising crows) was produce with the new band and their own label in 1995. This cd included the collaboration of Evaristo from “La polla records”. The band was finally finding its place. Juankar the bass player took the role of band manager. The number of concerts began to increase. Unfortunately, so did the bands internals problems.
In the summer of 1996, Kake; the guitarist and “Ronko” the singer, left the band.
Kosta became the new guitar player and Juankar the bass player began to sing.
In 1996 the band produced “Tu condena” (your conviction), the second album produced by their own label. It was done in Galicia by Javier Abreu. As the band became more popular the contacts with other groups increased.
Manolo Kabezabolo and Roberto Iniesta from Extremoduro collaborated in the new cd
For the promotion of this new album, the band gave out wax skulls that smelt like weed and during the “Vas de craneo 96´tour”, they threw wine flavored candies to the public. This tour left many memories of a period governed by alcohol and debauchery, but of near to none economic benefits.
After many struggles, time and dedication the band finally began to see some results. What really push the band and allowed them to survive as a group was the idea of launching a trilogy, recording each a one in a different country.  This is the first and only time that a Spanish rock did such a thing. The first one was done in Galicia produced by Javier Abreu. Their distributor at the time, BOA, didn´t have faith in this project and it was the band it self that designed a plan to see this through and travel abroad.
“La ruta Del Che” (Che´s route) began in Vigo this first part called “No mirar” (Don´t look). It was their most direct and energetic album and the one that most sold.
The second part of the trilogy began in Cuba, honoring Che. This experience was important for the band. Not only did it increase their political consciousness but it also opened the band to Latin music. After this the band went to Mexico were they recorded “No escuchar” (Don´t listen). BKT was working well, and the producer Javier Abreu joined them. In 1997 they went to Mexico D.F. Vantroi (a well known Mexican band) played in their tour. The last objective in Mexico was recording their album in “La cocina studios”. There they recorded ten songs including a cover of “Hasta siempre”, a song by the Cuban Carlos Puebla y Los tradicionales. 
At this point the “Agency Talent” took charge of the –up until now- self promo vided management. Due to this the band began playing in bigger festivals. There were a total of 40 concerts. This tour placed them amongst the top Spanish rock bands of the time. They finished the tour in Madrid in December of 1998, were they opened for Canallas and SKA-P in a concert with more than 8.000 people.
“La ruta del che” finished with “No callar” (Don´t shut up), recorded in Argentina in “Robledo sound machine studios” the recording studios of reggae band “Los pericos”. The last past of this trilogy was the one with most Latin influences, many artists collaborated: the female punk band Penadas por la ley, with background vocals, the combo “Caturga” and Marcelo from Los pericos with percussions, Karamelo Santo with accordion and even some tango guitars. The political part was leaded by the collective “Las madres de la plaza de mayo” (Mother´s of May square). In Argentina, Boikot played with “El otro yo” and Madball. And also in toured in several locations: San Antonio de Padua, Ciudad de Plata y Rosario.
In Spain the album was distributed by zero, a step that showed that the group was becoming more professional. In April 1999, “No callar” was launched with a tour around Italy, playing in Vicenza, Busto-Arzizio, Geneva and Turin. In June they played in the famous festival of “Arezzo wave”, in place of SKA-P.
Boikot was amongst the leaders of the national rock scene. To celebrate this accomplishment, they recorded a live cd in “Sala Caracol” in Madrid called “Historias directas de Boikot y que nos den mucho Tekila” (Live stories of Boikot and give us a lot of Tekila). There was also much collaboration: Fernando Madina from Reincidentes, the percussionist from Canallas and Eskorzo, Josito and Eloy, Xavi was the accordion, the violinist Mohamed from Mago de Oz and Alicia whom was in charge of merchandising and also an occasional chorus.
In the year 2000, Boikot began working the record company called “Locomotive”. They launched a pack consisting of a book-“Historias escritas de Boikot” (Stories of the band), written by Kike Babas and Kike Turron, and 90 minutes video about their travels across Latin America. The pack also included a cd with the oldest songs, and also the video clip of “Pueblos III”.
Thus began a period of silence and reflexions for Boikot. Two years later, “De espaldas al mundo” (Backs to the world) came about, inspired by the social documentary by Javier Corcuera. The album was produced by Jesus Arispont, in the Garate studios in Andoain (Guipúzcoa, Basque country). As always, this cd also has collaborations from various artist: Ruth, and year old girl; Hector the violinist of “Los niños de los ojos rojos”, Kike Babas, Kike Turron and Evaristo from la polla record.
At this point of their musical career, Boikot was a fundamental part in all rock and punk rock festivals. They also collaborated in many tributes album: “Larga vida al volume brutal” (Baron Rojo), “Camino de piedras” (Barricada) and “Tribute to a mad man” (Ozzy Osbourne).
In 2004 Boikot produced their 10th album, called “Tus problemas crecen” (your problems grow). This time it was produced by Kosta and Haritz Arreguy, another Basque master of production. We should highlight their single “Stop censura” (stop censored) a brilliant initiative in witch several musicians from Spain and the Basque country denounce media and judicial harassment that people like Berri Txarrak, Sociedad Alcoholica or Sutagar were suffering due to an issue concerning freedom of expression. Many important bands participated: Vikingo M.D from Narco, Gorka from Berri Txarrak, M.A.R.S from Habeas Corpus, Andreas from O´funkillo, Vicky y Aurora Power from Las niñas, Fernando Madina from Reincidentes, Juan from Sociedad Alcoholica, Alfredo from Barricada and Iker from Dikers… Porretas, Marea, Sober …. A lot of bands..And finally the remix was done by Cultura Probase.
In the last two years, the band has continued playing live. Kosta y “Grass” also has a paraller band called Sonora IN WICH Lou Garx sings, Alvaro (Dover, La pan) play bass and Dj Jabba mixes.
Recently Boikot has re-edited the 10th Anniversary of “La ruta el Che” witch has all the songs from their trilogy.
In November of 2006, they seal a deal with D.R.O recording label to re-edit their entire discography.
Thanks for your interest and support – see you around 
 HYPERLINK "http://www.youtube.com/watch?v=NSSDkC1hrDM&feature=player_embedded" TVE ( SPANISH TV ) COVER ¨HEY JUDE¨ BEATLES
 HYPERLINK "http://www.boikot.com.es" http://www.boikot.com.es
 HYPERLINK "http://www.boikot.com.es/musica%20boikot/Boikot_Amanecio/" MUSIC MP3 NEW DISC ¨AMANECIO¨ 2008
 HYPERLINK "http://www.myspace.com/boikotofficialsite" http://www.myspace.com/boikotofficialsite
 HYPERLINK "http://www.facebook.com/pages/BOIKOT/148700567908" http://www.facebook.com/pages/BOIKOT/148700567908
 HYPERLINK "http://www.youtube.com/user/TITOBKT" BOIKOT  TV YOUTUBE
 HYPERLINK "http://www.boikot.com.es/COVERS%20TRIBUTOS%20Y%20RAREZAS%20MADE%20IN%20BOIKOT/" MUSIC VAR COVERS BOIKOT
 HYPERLINK "http://www.boikot.com.es/

Skalasnikov (Live)

ShiftBreak’s latest single, “Thirteen O’Clock,” doesn’t just kick down the door—it rips it off the hinges, sets it ablaze, and dances on the ashes while a crow caws the end of the world. This is a sonic Molotov cocktail of gothic punk, doom metal, and surrealist poetry, delivered with the subtlety of a sledgehammer wrapped in black feathers. If you’ve ever wondered what it sounds like when the devil picks up a drumstick and the sun gets swallowed whole, this is your answer.

From the opening line—“I woke up to a sky painted blacker than coal”—the band plunges you into a nightmare where time’s broken, rivers run dry, and a raven’s cackle is the only alarm clock you’ll ever need. The instrumentation is a relentless beast: jagged guitar riffs claw through a haze of distortion, while the bassline slithers like a serpent on a bender. But it’s the drums—oh, those drums—that steal the show. Manic, pounding, and unhinged, they channel the “devil plays drums” energy of the chorus with a ferocity that could wake the dead or at least make them tap along.

Lyrically, “Thirteen O’Clock” is a fever dream penned by a mad poet who’s read too much Poe and downed a bottle of absinthe. Lines like “A preacher sold tickets to watch the stars cry” and “The captain’s a scarecrow, his heart’s a dead flame” paint a world teetering on collapse, where shadows have teeth and the jukebox spins even after the music’s gone. The imagery is vivid, grotesque, and oddly beautiful—like a carnival ride through a haunted wasteland. The spoken-sung bridge, with its eerie cornfield man sowing red glass, builds to a shouted crescendo that’s equal parts cathartic and deranged.

The chorus—“The crow ate the sun, and the world spun loose / A tango of bones in a hangman’s noose”—is the kind of earworm that lodges in your skull and refuses to leave. It’s absurdly catchy, delivered with a gang-shout gusto that dares you to scream along. “Oh-oh-oh, sing it loud, let it burn” feels less like an invitation and more like a command from a band that’s already lit the match. By the time the outro fades into a manic drum solo and a lone crow’s caw, you’re left breathless, exhilarated, and maybe a little unmoored.

If there’s a flaw, it’s that “Thirteen O’Clock” might be too much—too loud, too weird, too chaotic—for the faint of heart. The production leans hard into its raw edges, occasionally burying the vocals under a wall of sound. But that’s also its strength: this isn’t a song meant to be tamed. It’s a middle finger to convention, a love letter to the abyss, and a testament to ShiftBreak’s ability to turn surreal dread into a fist-pumping anthem.

“Thirteen O’Clock” is the sound of a band unafraid to stare into the void and laugh—or maybe caw—right back. Play it loud, play it late, and let the carousel spin until the stars fall. ShiftBreak has given us a twisted masterpiece, and I, for one, am ready to buy a ticket to watch them burn it all down.

Thirteen O’Clock

Like A Crown

Judas

No voy dormir contigo esta noche 
Aunque prometas llevarme en tu coche. 
No puedes hacer nada que me conveza 
Voy a bailar Cumbia hasta que amanezca. 

Luces de neón, pa la adrenalina 
Watios en los bafles, ron con taurina. 
Mucho Co2 de sudor, calima 
y p´al mañaneo: pelar mandarinas. 

Y es normal que cuando salga el sol deprima 
Pero esque estos graves con mi tristeza riman 
Y aunque ya nadie pinche la bilirrubina 
Yo le pido a la DJ : ¡Tírate otra bocina ! 

Sístole, diástole al tempo del templo de bafle, 
latiendo al calor del subgrave. 
Cultura de baile ingobernable: 
No hay nadie que quiera que pare. 

Se hace de día y seguimos ardiendo, 
sobran palabras, hablan los cuerpos. 
Cambia el clima cuando baila mi gente 
Madrid es tropical de repente. 

Luces de neón, calor a destajo... 
No lo pienses: mándale al carajo. 
Mucho gintonic, Juan Luis a todo trapo 
Sudo el mal de amores temazo a temazo 

No vuelvo a casa sola, mi bici me guía 
Madrid sobre ruedas mucho menos fría 
Domingos en el barro, resacas de espanto 
Y a base de risas, salimos del fango.

( Mordiendo -2016)  02 Esta Noche

Audio oficial de la versión 2018 de "Vete a Cuba" grabado con Scila del álbum "Azul/Rojo", ya disponible en:
Spotify: http://bit.ly/AzulRojoSpotify
Youtube: http://bit.ly/AzulRojoYoutube
Apple Music: http://bit.ly/AzulRojoAppleMusic

·Sons of Aguirre: 
Facebook: https://www.facebook.com/sonsofaguirre 
Twitter: https://www.twitter.com/sonsofaguirre/ 
Instagram: https://www.instagram.com/sonsofaguirre/ 

·Scila: 
Facebook: https://www.facebook.com/scilaband/ 
Twitter: https://www.twitter.com/scilaband/ 
Instagram: https://www.instagram.com/scilaband/ 

Grabado, editado, mezclado y masterizado en Singularity Studio (Alicante) por Edu Guerrero.

VETE A CUBA

En QuatrbaRap hem volgut crear un ambient de trobada per a la emergent escena del rap en valencià. Hem volgut també fer una recerca d'instrumentals diverses que van des del dubstep, drum and bass, funk, o fins i tot el ska o la cançó d'autor. Tot això sense abandonar el rap, l'estil que ens caracteritza.

06 Llengua (Amb Atzembla)

Por cada escrito olvidado en un cajón, por cada palabra que hemos conseguido compartir pese al miedo a desnudarse. Porque de algo servirá, digo yo. ¿O qué?

Enregistré a Sevilla, 2013. Instrumental de Dj ortiz, "Tu camino comienza".

àrid_PALABRAS COMO BALAS

13. Un Mundo sin igual (ft. Itaca Band)

Remendar el Caos

Esencia (feat. Ultrasofia)

Mafalda es un grupo de música combativa nacido hace aproximadamente tres años. La componen 11 músicos procedentes de varios pueblos del Túria. El nombre de Mafalda salió hace años de una canción de Ismael Serrano llamada Buenos Aires (2001), en la que una de las frases decía “Mafalda juega a la guerra nuclear”, y nos inspiró. En ese momento no conocíamos la implicación política que llegaría a tener Mafalda, y tras pasar estos años, el nombre ha resultado ser parte de nuestra lucha.
¡El único grupo de Valencia que te proporcionará #Reggaecorepatubody! 

En Guerra

Mafalda Grupo

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