Décima Víctima
En el garaje
19,00€
Munster
Décima Víctima
En el garaje
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the Un hombre solo album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound.
After many years, we’ve recovered a rehearsal session that we had recorded on an old cassette tape. It had originally been laid down on a four-track recorder but unfortunately the tape got lost. The story of these tracks goes back to the last weekend of October 1983, when we went to record at Paco Trinidad’s family home in the mountains north of Madrid. It was unexpectedly cold that weekend and we weren’t prepared for the drop in temperatures. We drove there surrounded by mist and before returning had to scrape the ice off the windscreen as best we could. Paco recorded our latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of Lars playing the clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where José Brena played the drums. I used to write most of the lyrics. It always took me a long time and with the chaos working outside Madrid for several months caused, I had only finished the lyrics to ‘Un hombre solo’ and ‘Bajo un cielo abierto’. I used to hum the rest of the tracks during rehearsals, which was partially concealed by the echo effect over the vocals. Fortunately, Lars brought along the lyrics that were missing for that recording. On this tape the track ‘Una vez más’ is instrumental and it’s been so long now that we don’t remember if it was like that at the time or if we hadn’t defined the vocal melody yet. I rewrote most of the lyrics for the studio edition of the tracks on Un hombre solo, with the exception of Lars’s version of ‘La frontera perdida’. It’s not that his lyrics weren’t good but I was more comfortable singing the words I wrote, as they felt more intimate. This was never an issue for the band, as we believed that vocals and lyrics were united and each of us had the freedom to develop their own part of the track. This applied at an economic level too, because we always registered the songs as group compositions, drawing no distinctions between lyrics and music. The sleeve design is by Lars, who designed all the covers to our records. It’s a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. Áurea Cuní carried out the research and coordination among friends of friends in order to find photos of the group. The project for this record began months ago, when Per and his wife, Áurea, commented that they had listened again to the cassette tape of Décima Víctima that they kept in their storage room and had realized the power we had as a band. They said it was an interesting item for collectors and we should release it. The fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the LP Un hombre solo. Late that same night, alone in my living room and with headphones on, some 40 years later, I was moved by the intensely personal sound that we made when we were all together. Carlos Entrena, 2019
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19,00€
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the Un hombre solo album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound.
After many years, we’ve recovered a rehearsal session that we had recorded on an old cassette tape. It had originally been laid down on a four-track recorder but unfortunately the tape got lost. The story of these tracks goes back to the last weekend of October 1983, when we went to record at Paco Trinidad’s family home in the mountains north of Madrid. It was unexpectedly cold that weekend and we weren’t prepared for the drop in temperatures. We drove there surrounded by mist and before returning had to scrape the ice off the windscreen as best we could. Paco recorded our latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of Lars playing the clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where José Brena played the drums. I used to write most of the lyrics. It always took me a long time and with the chaos working outside Madrid for several months caused, I had only finished the lyrics to ‘Un hombre solo’ and ‘Bajo un cielo abierto’. I used to hum the rest of the tracks during rehearsals, which was partially concealed by the echo effect over the vocals. Fortunately, Lars brought along the lyrics that were missing for that recording. On this tape the track ‘Una vez más’ is instrumental and it’s been so long now that we don’t remember if it was like that at the time or if we hadn’t defined the vocal melody yet. I rewrote most of the lyrics for the studio edition of the tracks on Un hombre solo, with the exception of Lars’s version of ‘La frontera perdida’. It’s not that his lyrics weren’t good but I was more comfortable singing the words I wrote, as they felt more intimate. This was never an issue for the band, as we believed that vocals and lyrics were united and each of us had the freedom to develop their own part of the track. This applied at an economic level too, because we always registered the songs as group compositions, drawing no distinctions between lyrics and music. The sleeve design is by Lars, who designed all the covers to our records. It’s a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. Áurea Cuní carried out the research and coordination among friends of friends in order to find photos of the group. The project for this record began months ago, when Per and his wife, Áurea, commented that they had listened again to the cassette tape of Décima Víctima that they kept in their storage room and had realized the power we had as a band. They said it was an interesting item for collectors and we should release it. The fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the LP Un hombre solo. Late that same night, alone in my living room and with headphones on, some 40 years later, I was moved by the intensely personal sound that we made when we were all together. Carlos Entrena, 2019
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En el garaje
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the Un hombre solo album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound.
After many years, we’ve recovered a rehearsal session that we had recorded on an old cassette tape. It had originally been laid down on a four-track recorder but unfortunately the tape got lost. The story of these tracks goes back to the last weekend of October 1983, when we went to record at Paco Trinidad’s family home in the mountains north of Madrid. It was unexpectedly cold that weekend and we weren’t prepared for the drop in temperatures. We drove there surrounded by mist and before returning had to scrape the ice off the windscreen as best we could. Paco recorded our latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of Lars playing the clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where José Brena played the drums. I used to write most of the lyrics. It always took me a long time and with the chaos working outside Madrid for several months caused, I had only finished the lyrics to ‘Un hombre solo’ and ‘Bajo un cielo abierto’. I used to hum the rest of the tracks during rehearsals, which was partially concealed by the echo effect over the vocals. Fortunately, Lars brought along the lyrics that were missing for that recording. On this tape the track ‘Una vez más’ is instrumental and it’s been so long now that we don’t remember if it was like that at the time or if we hadn’t defined the vocal melody yet. I rewrote most of the lyrics for the studio edition of the tracks on Un hombre solo, with the exception of Lars’s version of ‘La frontera perdida’. It’s not that his lyrics weren’t good but I was more comfortable singing the words I wrote, as they felt more intimate. This was never an issue for the band, as we believed that vocals and lyrics were united and each of us had the freedom to develop their own part of the track. This applied at an economic level too, because we always registered the songs as group compositions, drawing no distinctions between lyrics and music. The sleeve design is by Lars, who designed all the covers to our records. It’s a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. Áurea Cuní carried out the research and coordination among friends of friends in order to find photos of the group. The project for this record began months ago, when Per and his wife, Áurea, commented that they had listened again to the cassette tape of Décima Víctima that they kept in their storage room and had realized the power we had as a band. They said it was an interesting item for collectors and we should release it. The fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the LP Un hombre solo. Late that same night, alone in my living room and with headphones on, some 40 years later, I was moved by the intensely personal sound that we made when we were all together. Carlos Entrena, 2019
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the Un hombre solo album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound.
After many years, we’ve recovered a rehearsal session that we had recorded on an old cassette tape. It had originally been laid down on a four-track recorder but unfortunately the tape got lost. The story of these tracks goes back to the last weekend of October 1983, when we went to record at Paco Trinidad’s family home in the mountains north of Madrid. It was unexpectedly cold that weekend and we weren’t prepared for the drop in temperatures. We drove there surrounded by mist and before returning had to scrape the ice off the windscreen as best we could. Paco recorded our latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of Lars playing the clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where José Brena played the drums. I used to write most of the lyrics. It always took me a long time and with the chaos working outside Madrid for several months caused, I had only finished the lyrics to ‘Un hombre solo’ and ‘Bajo un cielo abierto’. I used to hum the rest of the tracks during rehearsals, which was partially concealed by the echo effect over the vocals. Fortunately, Lars brought along the lyrics that were missing for that recording. On this tape the track ‘Una vez más’ is instrumental and it’s been so long now that we don’t remember if it was like that at the time or if we hadn’t defined the vocal melody yet. I rewrote most of the lyrics for the studio edition of the tracks on Un hombre solo, with the exception of Lars’s version of ‘La frontera perdida’. It’s not that his lyrics weren’t good but I was more comfortable singing the words I wrote, as they felt more intimate. This was never an issue for the band, as we believed that vocals and lyrics were united and each of us had the freedom to develop their own part of the track. This applied at an economic level too, because we always registered the songs as group compositions, drawing no distinctions between lyrics and music. The sleeve design is by Lars, who designed all the covers to our records. It’s a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. Áurea Cuní carried out the research and coordination among friends of friends in order to find photos of the group. The project for this record began months ago, when Per and his wife, Áurea, commented that they had listened again to the cassette tape of Décima Víctima that they kept in their storage room and had realized the power we had as a band. They said it was an interesting item for collectors and we should release it. The fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the LP Un hombre solo. Late that same night, alone in my living room and with headphones on, some 40 years later, I was moved by the intensely personal sound that we made when we were all together. Carlos Entrena, 2019
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