1 in 2004, and Superpop Venezuela in 2006. Arepa 3000: A Venezuelan Journey Into Space followed in 2000, The Venezuelan Zinga Son, Vol. They signed with David Byrne's Luaka Bop imprint and released their American debut, The New Sound of the Venezuelan Gozadera, in 1998. However, financial difficulties led the group to move to New York in 1997.

Bandmembers Julio Briceño (vocals), José Luis Pardo (guitar, songwriting), Armando Figueredo (keyboards), Mauricio Arcas (raps), José Rafael Torres (bass), and Juan Manuel Roura (drums) supported their growing reputation with a series of underground dance parties at the mostly deserted clubs of Caracas. After a period of seemignly endless touring and global festival appeareances, Los Amigos Invisibles headed back into the studio in 2012 they emerged with Repeat After Me in the spring of 2013Ī performance-oriented Latin dance band from Venezuela heavily indebted to funk and disco (with a dash of acid jazz), los Amigos Invisibles made a big splash in their homeland in 1995 with their debut album, A Typical and Autoctonal Venezuelan Dance Band, which featured odd Japanese animé-style artwork. This was followed by the wildly experimental Not So Commercial (though it proved to be a hit) in 2011. They began their tenure there with 2009's funky Commercial, followed by Live in Soho. In 2008, the digital-only En Una Noche Tan Linda Como Esta appeared on Mercury before the band signed to the emerging Latin music label Nacional.

The folkified psychedelic ska of “Las flores,” the avant-mambo of “El puñal y el corazón,” and the smoky jazz miniature “El balcón” showcase a band intoxicated with their own power to inspire and subvert.A performance-oriented Latin dance band from Venezuela heavily indebted to funk and disco (with a dash of acid jazz), los Amigos Invisibles made a big splash in their homeland in 1995 with their debut album, A Typical and Autoctonal Venezuelan Dance Band, which featured odd Japanese animé-style artwork. Since its release nearly 30 years ago, it has been compared repeatedly to The Beatles’ White Album, and for good reason. Produced with fastidious care by Gustavo Santaolalla, the session illuminated the once-in-a-lifetime chemistry that unites singer Rubén Albarrán (appropriately nicknamed ‘Cosme’ on this LP), keyboardist Emmanuel del Real, and siblings Quique and Joselo Rangel on bass and guitar. Re proved, beyond any reasonable doubt, that the music being dreamed up by young Latin musicians within the imperialist context of rock’n’roll could be as original and revelatory as anything by Radiohead or The Clash. An astonishing second album, Tacvba’s stylistic tour de force has the spirit of Mexico ingrained in every single one of its 20 tracks, from the chaotic norteño sendup of “La ingrata” to the retro bolero candor of “Esa noche.” At the same time, it sums up the broader colors and contradictions of Latin American culture with the same lack of inhibition of a magical realism novel: the darkly hued humor, innate fatalism and permanent sense of wonder.

Los amigos invisibles amor