Mexico

Reuploaded 11/28/2025

 

 

 

What's behind the mask? Nothin' here is as it seems. We've got a mystical kábala band that everywhere else is credited with being from Peru. Pre-hispanic music that is really ambient. Santeria Satanist drug cartel killers from Tijuana who aren't what they seem. Mayan masks…Aztec masks…Lucha Libre masks…Mil Mascaras (the man of a thousand masks)…Mexican gang pride banditos wearing bandanas…as the Fugees rip: "M to the A to the S to the K. Put the mask up on the face just to make the next day." Things are not what they appear to be. What's behind the mask?

 

 

La Kábala's self-titled one-off. Recorded & released in Peru in 1970, hard as hell to get your hands on, but these cats are from, that's right, Mexico. Great musicians doing latin funk similar to Santana 1.0 but with female vocals. Smooth rhythms with soul flute, great jazz bass lines, break funk drums, latin percussions, swing guitars, & psych/soul keyboards.

 

 

La Kábala – self-titled, RCA Victor MKL/S 1932, 1970. 

all decryption codes in comments

Lado 1 –

El Cumbanchero

Caliente

Rio de Janiero en Carnival

La Muralla Africana

Azucar Quemada

Chango Colorao

Lado 2 –

Miami Beach

Lindo Panama

Carrera 71

El Caminante Solitario

La Kábala

 

 

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Jorge Reyes was born in Uruapan, Michoacán, Mexico, September 24, 1952. He studied transverse flute at the National Music School, (Escuela Nacional de Música de la Universidad Nacional Autónoma de México, or UNAM) between 1970–1975. 

 

 

During this time, he formed two seminal Mexican rock bands Al Universo & Nuevo México, influenced by Jethro Tull & Pink Floyd but incorporating native Mexican musical instruments. In 1976, his growing interest in jazz led him to spend a year in Hamburg, Germany. He studied improvisation with Herb Geller. As part of this training he traveled through Turkey, Pakistan, Afghanistan, & Sri Lanka, studying their native music. In 1978, he attended a Hindu music course in the Himalayas, studying traditional Indian flute & percussion techniques. On these overseas travels, he began collecting many native instruments.

After returning to Mexico, Reyes founded the band Chac Mool with drummer Armando Suárez & keyboardist Carlos Alvarado. Chac Mool was one of the first Mexican progressive rock bands. The band recorded four well-received albums, on which Reyes sang, played flute & guitar, before disbanding. Later he began a prolific solo career, recording over 20 albums. He was known for his mysterious mixtures of electronics with prehispanic & ethnic instruments (clay flutes, pots, drums), field recordings, & primal human sounds.

Jorge Reyes´ deep sonic ambients take the listener to an ancient era in which contradictory aspects of human behavior such as ritual, spirituality, cruelty, war, conquest, symbiosis of gods, man, & nature were all needed to maintain peace & order. In some of his songs, he actually used samples of shaman chants, such as those by the Mexican mushroom priestess Maria Sabina from Huatla, Oaxaca.

Reyes died Saturday, February 7, 2009, of a heart attack at his recording studio in Mexico City, he was 57. He had three children: Citlalli, Ridwan & Erendira.

 Jorge Reyes - MexicanMusic: Prehispanic Rituals, ParaMusica PMCD 257, 1996.

Tracklist –

Oro De Reptil

Los Señores Del Tiempo

Nahuatl (Cuartro Agua)

Las Viñas de la Serpiente

Danza Del Chapareke

Oración A Los Espiritus Del Viento Nocturno

Tlazolteotl

El Agua Y Los Sueños

Las Florecitas de los Dioses [Oración]

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From a lot of countries in South & Central America we have listened to their takes on 60s rock’n’roll. This is a great slab of Mexican rock from that era.

 Various – Rare Mexican Cuts from the Sixties, Eva Records 12066, 1988.

Side A-

Pedro Pistolas (Peter Gunn theme) – Los Locos del Ritmo

Mary Mary – Los Anis

Satisfaction – Los Apsons

El Monstruo (Hey Monstro [Keep Your Big Mouth Shut]) – Los Monstuos

Suzie Q – Los Apsons

Fiebre (Fever) – Los Johnny Jets

Gloria – Miguel Angel y Los Sharps

Arriba Abajo y Los Lados (Over Under Sideways Down) – Los Belmonts

Side B –

Halo Que Tal (Hello I Love You) – Los Rockin’ Devils

Hey Joe – Los Locos del Ritmos

Juan Saltarin (Jumpin’ Jack Flash) – Los Yakis

Deja de Llorar (Everything is Alright) – Los Johnny Jets

Cul Jerk (Cool Jerk) – Los Johnny Jets

Pequeña Ayuda De Mama (Mother’s Little Helper) Los Ovnis

Bajate de mi Nube (Get Off My Cloud) – Los Johnny Jets

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I promised there would be some metal when we got to Mexico. Here goes…

Muerte.

That word, in Mexican art, embodies religious & historical streams of life so much more than the Anglosphere’s clinical worldly emphasis on death as medical phenomenon. Muerte is a gate to antiquity, a divine storm, a holy mystery. Contemplation of its secrets connects the Catholic superstition, still so powerful & affecting to the common people, to the cruel & decadent rituals of the Toltecs & Olmecs, when no purpose higher could be envisioned than to bleed for the gods. Glimpses into Mexican tradition most often involve the morbid signature of supernatural belief in a strange form of unearthly life, represented by the skull worship of the Day of the Dead & the various devil masks or bizarre colorful monsters decorating the fiestas.

As the youth of the world tripped in the pseudo-spiritual chemical bliss of the 60s, the seeds were sown in Mexico as well with an interest towards rock music merged with esoteric & mystical themes, but the Mexican government chose to oppress its bravest minds. They suppressed the initial surge of heavy metal, as clubs were closed, magazines censored, & subversive content in radios silenced. Everywhere else the initial 70s where the pivotal time for the realization of all kinds of satanic & occult musical manifestations, but in the case of Mexico it took at least a decade longer.

As the wave of Americanization hit Mexican youth culture in the early 80s, it was inevitable that some unique voices would rise against manipulation & begin performing their own kind of ‘Metal Mass’, reflecting the Catholic superstitions & violent streets they saw all around them. One name can not go unmentioned: the classical but frighteningly psychic Luzbel (Lucifer) from Mexico City, one of the greatest metal institutions to rise from the sand of Mexico, a prophet of Doom Metal themes & aspirations.

Luzbel was formed in 1982 by Jorge Cabrera - vocals, Raul Greñas - lead guitar, Fernando Landeros – guitar, Antonio ‘La Rana’ Morante - bass guitar, & Hugo Tames - drums. They were signed to Warner/Elektra/Atlantic Music’s subsidiary Comrock in 1985, just as singer Arturo Huizar, the so-called father of Mexican heavy metal, joined the lineup. By the time the band recorded their self-titled third release, Huizar had left because of health issues & had been replaced by Juan Bolaños.

 Luzbel – Luzbel, WEA LWM-6654, 1987.

Lado A –

Holocausto

Pecador

Priionero del Tiempo

Persecucion

Tiempo Fugaz

Lado B –

Juegos de Pasion

Enemigo Interior

R.I.P.

Paradoxa

Resurreccion

Huizar, the maniac behind Luzbel’s rise, along with his comrades at Escuadron Metalico label produced a series of compilations in the mid-80s that showcased the sounds of the new metal generation inspired by American thrash metal & European speed metal. These ‘Proyecto’ records featured Transmetal, Ramses, Six Beer & practically everyone else who dominated the late 80s when Mexican metal finally became too widespread to be silenced by sporadic police raids & accusations of blasphemy & iniquity.

Before the decade was over, the most evil of the bands inspired by thrash, namely Mortuary, Pactum, Toxodeth, & Transmetal had erased the time-lag between the international underground & Mexico’s. The Judas Priest & Scorpions influence on the mainstream Mexican metal sound was replaced by a street-born brutality & occult gore visions.

One of the main purveyors of this new street-born hard-core death metal was Toxodeth. They managed to push the envelope in an extremely crude but effective way, stitching rotting chunks of metal decay together to create their own morbid atmosphere. Toxodeth was the brain lesion of three young Mexicans: Raul Guzman – guitar; Ricardo Vilchez – bass; & Alberto Vela – drums.

Toxodeth ‎– Lo Más Mórbido De La Realidad (Una Observación), BMG 3491, 1993.

Tracklist –

El Mensaje

Lo Más Mórbido De La Realidad

Colvusión Extrema

Impulso

Remembranzas del Muerto

Llamado Antiguo

¿Cuando Van A Morir?

Profundo Desconocido

¿Que Hay En Esa Mente Sucia?

Locura Del Vudú

La Danza De Los Gnomos (Por La Muerte Del Ser Humano)

Repetición De La Bastardez

El Castillo De Los Duendes

In the waning year of the 80s, perhaps the most brutal of all Mexican death metal bands arose from the charnel heap of rotting flesh. That band is Brujeria (Witchcraft).

A group of drug smugglers, practitioners of palo mayombe, were carrying out human sacrifices (23 by most accounts) as a way of keeping their drug shipments safe & their business successful. The cult led by Miami born Adolfo Constanzo was centered around Rancho Santa Elena in Matamoros, Mexico. Constanzo had worked his way into a local smuggling ring & dazzled them with his knowledge of satanic rituals. He convinced his followers (a motley crew of bi-sexuals, petty thieves, college students & smugglers) that through the ritual killing of rivals they would become bullet proof & invisible to law enforcement.

Constanzo told his gang members that he wanted to sacrifice a “white boy” to Satan & had his cult followers kidnapped Mark Kilroy from a street in Matamoros, when he was on Spring Break. Kilroy was tortured & his head was cut off with a machete. Constanzo made a nganga, a sacred cauldron, which included some parts of Kilroy’s body, including the brain. The idea was that drinking the potion would ward off American drug agents. A magical necklace was to be made from his vertebrae, which would also provide protection against federal agents. However, the kidnapping & killing of Kilroy was their undoing. Authorities got wind of the cult, raided the ranch & found a graveyard with twelve bodies, one of which was Kilroy’s. The police traced Constanzo to Mexico City where he was killed in a shoot-out.

Several of the members of the cult escaped & formed the death metal band Brujeria, to honor Constanzo’s memory, utilizing grisly photos of dead & decapitated bodies for their artwork & brandishing machetes as a symbol of the band. Because they may have been being pursued by the law, they have had to keep their identity secret, using assumed names & wearing masks. They never performed any live shows for more than ten years, simply releasing music that spread their message.

“Matando Güeros” (Killing Whiteys)

“Gabachos nos usan pa limpiar sus culos
Nos tratan como mierda de puerco
Tengan huevos y sean hombres
Un pinche viaje al norte

Siglos pasan y nuestra raza se jode
Cabrones gabachos, nos dan verga y miada
Forzados a la pobreza,
Somos pinches mayates
Tu venganza sera tu destino oscuro

Matando Güeros – !!Viva la raza!!
Matando Güeros – !!Estilo Mayate, O.J. Simpson / Pancho Villa!!
Matando Güeros – !!Satanas de cuida!!
Matando Güeros – !!Matando Güeros!!

Machete en mano y sangre india caliente
Fuerza satanica, buscando venganza
Al norte nos vamos a ponernos a mano

Matando Güeros – !!Viva la raza!!
Matando Güeros – !!Estilo Ricky Ramirez!!
Matando Güeros – !!Satanas de cuida!!
Matando Güeros – !!Matando Güeros!!

Machetes, pistolas, fierros,
Mata un güero, acepta las leyes del diablo
Venganza para nuestra gente
Te meto un pinche garrote en la pansa cabron
Ven pa’ca ven pa’ca cabron te mato güero.”

“Asi, Viva México Cabron.”

English Translation “Killing Blondies”

“Americans use us for wiping their asses
They treat us like pig shit
Have balls and be men
A fucking trip to the north

Centuries pass and our race is fucked
American bastards, they screw us and pee on us
Forced into poverty,
We are always mayates (Mexican meaning is like “nigger”)
Your vengeance will be your dark destiny

Killing whiteys – Long live the Mexican race!!!
Killing whiteys – Like the nigger, O.J. Simpson!!!
Killing whiteys – Satan will protect you
Killing whiteys – Killing whiteys!!!

Machete in hand and hot Indio blood
Satanic force, looking for vengeance
To the North we go to take things in hand

Killing whiteys – Long live the Mexican race!!!
Killing whiteys – Like Ricky Ramirez!!! (The Night Stalker serial killer)
Killing whiteys – Satan will protect you
Killing whiteys – Killing whiteys!!!

Machetes, pistols, metal sticks,
Kill a white man, accept the laws of the devil
Vengeance for our people
I will put a fucking stick in your belly, asshole
Come here, come here, asshole.
I will kill you, white man.”

“That’s it, Long live México, asshole.”

“Sesos Humanos” (Human Brains) (Sacrificio IV)

English Translation

“I want addicts, petty robbers, your Mother
In witches’ feasts, the sacrifices are human
Now you know what to do, foolish soldiers
Bring me dinner or become broth

A soup of brains and blood

You are weak mortals – I am a powerful witch
Lucifer, the king, commands me to eat
a soup of human brains

Ten witches seated with eager bellies
For the satanic hunger, there is a remedy
You are weak mortals – I am the powerful witch
You come bringing drugs – with a machete you will fall

The dark priest commands me to eat human brains

The Mayor, the President, the Cardinal
With cat’s bones and Christian hair
Something of a Jew and some sweat (literally “exuded liquid”)

Human brains and the fruit of the virgin
Supper time is now here

You are weak mortals – I am a powerful witch
I leave, full of the accursed broth

The power I have is going to break you
And the machete is going to fuck you.”

If you’re not familiar with the Mexican death metal band Brujeria, rumor has it that they’re narcotic-trafficking, Satanic, anti-Catholic revolutionaries. Whether or not this is true, Brujeria thrash in solidarity with indigenous Mexican struggles against the repressive Mexican government.  They’ve been suspected of partaking in the narcotics industry, which is historically a trade that operates in impoverished & sanctioned communities as a means of survival.

Nonetheless, it’s a violent & bloody trade, probably due to clashes with CIA drug routes & competing cartels. The members of Brujeria cover their faces with ski-masks & bandanas at shows to avoid potential identification by state agencies looking into their previous business transactions or maybe even unsolved murders. But suspected pastimes aside, Brujeria play with an intense, violent brutality.

Members nowdays include El Brujo - vocals, Fantasma - vocals, Hongo - guitar, El Cynico - bass, & Podrido - drums.

 Brujeria - Raza Odiada, Roadrunner Records RRCAR 8923-1, 1995.

Side A –

Raza Odiada (Pito Wilson)
Colas De Rata
Hechando Chingasos (Greñudo Locos II)
La Migra (Cruza La Frontera II)
Revolución
Consejos Narcos
Almas De Venta
La Ley De Plomo

Side B –
Los Tengo Colgando (Chingo De Mecos II)
Sesos Humanos (Sacrificia IV)
Primer Meco
El Patrón
Hermanos Menendez
Padre Nuestro
Ritmos Satánicos

Brujeria – Mextremist! Greatest Hits, Kool Arrow Records KACA010, 2001.

Tracklist –

Séis Séis Séis

Santa Lucia

Sacrificio

Machetazos

Padre Nuestro

Molestando Niños Muertos

Castigo del Brujo

Matando Güeros ‘97

Narco-Peda

Brujo Cirujano

Asesino

Hechando Chingasos (live ’97)

Poseido

Cristo de la Roca

Papa Capado

Seran Mios Para Siempre (Fantasma remix)

Mecosario (Pinche Peach Torsido remix)

Marijuana (Escobar remix)

Marijuana

Untitled

Enjoy or die,

NØ

Belize

Reuploaded 11/28/2025

 

Belize is the small Central American nation wedged between Guatemala, Mexico, & the Caribbean Sea. It’s one of the more diverse nations in the Americas, boasting a population that includes the Native American descendants of the Mayans, Spanish-speaking mestizos, the Afro-Amerindian Garifuna, plus the descendants of Africans brought to Belize by the British colonizers.

 

Throw in the musical influences of Cuba & Mexico, plus a shot of James Brown with some scratchy low-fi recording equipment as a chaser, & the result is Belize City Boil Up, a vibrant mix of salsa, reggae, other latin dance music, & funk.

These tracks were rescued from obscurity by the fanatics at Numero Group records, who release CDs of previously lost gems from all over. Here is how they describe Belize City Boil Up: 

 

 

“Belizean’s call it Boil Up, & it’s anything but leftovers. Mix equal parts R&B, calypso, disco, funk, reggae, brukdown (ed. – ‘broken down calypso’-a Belizean version of Trinidadian calypso), soul, folk, & whatever else can be found back on the bottom shelf of the musical pantry. Get ready to feast on passport stamped rhythms, second-deck cruise ship melodies, hotel pool calypso, soundtracks to movies not-yet-made, & anything else savory, or unsavory, enough to throw into the pot.”

 

Various - Cult Cargo: Belize City Boil Up, Numero Group No. 6, 2005.

Tracklist –

Lord Rhaburn – Disco Connection 
Harmonettes – Can't Go Halfway 
Jesus Acosta & The Professionals – Guajida
The Web – The Same Old Me  
Professionals – A Part Of Being With You 
Lord Rhaburn – More Love Reggae 
Professionals – The Back Stabbers 
The Web – Rated G 
Harmonettes – Shame Shame Shame 
Soul Creations – Funky Jive Part II 
Lord Rhaburn – Don't Fight It 
Nadia Cattouse – Long Time Boy 
Lord Rhaburn – Boogaloo A La Chuck
Professionals – Theme From The Godfather 
The Web – Things Are Going To Work Out Right
Soul Creations – Funky Jive Part I

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Andy Vivian Palacio (December 2, 1960 – January 19, 2008) was a Belizean punta musician. He was also a leading activist for the Garifuna people & their culture. The Garifuna or Black Caribs are direct descendants of the Caribbean Island Caribs (the Island Caribs themselves were descendants of South American Indians known as Arawaks) & a group of African slaves who escaped two ship-wrecked Spanish slavers near St. Vincent in 1635. In 1797 the Garifuna arrived on the shores of Roatán (an island in the Honduras Bay) after being forcibly removed by the British from the island of St. Vincent. From there, they migrated to mainland Honduras, & continued along the coast to Guatemala, Nicaragua, & finally arriving in Belize by dugout canoe in 1802. Although this relocation of the entire Garifuna culture by the British was meant as a death sentence for the Garifuna , they have survived like members of their ancestry did when they were enslaved & brought from Africa during the Trans-Atlantic slave trade.

 

Belizean punta is distinctive from traditional punta in that the songs are usually in Kriol or Garifuna, rarely in Spanish or English. Calypso & soca have had some effect on it. Like calypso & soca, Belizean punta provides social commentary along with risqué humor. 

 

In addition to the traditional Garifuna music that he played, Palacio absorbed the diverse sounds disseminated by radio from neighboring Mexico, Guatemala, Honduras, Cuba, Jamaica, & the United States. Palacio pursued his musical ambitions in a series of high school bands, covering a diversity of popular music from abroad. Attracted by the ideals of the Nicaraguan revolution, he joined the literacy campaign in that nation's Afro-Amerindian Caribbean coast region. This involvement helped him develop a deeper appreciation for his own threatened cultural & linguistic traditions. Those insights made their way into his own creativity, influencing him to delve more deeply into the roots of Garifuna music.

 

On January 17, 2008, Palacio suddenly fell ill with two stroke-like seizures. He died in Belize on January 19th of  a massive & extensive stroke to the brain, a heart attack, & respiratory failure.

 

 Andy Palacio & The Garifuna Collective – Wátina, Cumbancha CMB CD-3, 2007.

Tracklist –

Wátina (I Called Out)

Weyu Larigi Weyu (Day by Day)

Miami

Baba (Father)

Lidan Aban (Together)

Gaganbadibá (Take Advice)

Beiba (Go Away)

Sin Precio (Worthless)

Yagane (My Canoe)

Águyuha Nidúheñu (My People Have Moved On)

Ayó Da (Goodbye My Dear)

Ámuñegű (In Times to Come)

Enjoy,

NØ

Guatemala

 Eeuploaded 11/28/2025

Well, down to the final five...

Alux Nahual is a Guatemalan Rock en Español band formed in 1979 by brothers Alvaro & Paulo ‘Plubio’ Aguilar along with their cousin Ranferí Aguilar. Alux Nahual (Espíritu del Duende in Spanish or Spirit of the Goblin in English) is a K'iche' Maya phrase naming a goblin similar to a leprechaun or elf. The band's climax came in 1995 while performing in a sold-out show at Los Angeles Palace. After that they stopped touring & basically only did studio work. They officially disbanded in 1999 to work on solo projects.

In the year 2006 they had a reunion tour, to raise funds to help the victims of Hurricane Stan that affected certain regions of Guatemala in 2005. The band has remained active since.

The band could very well be the best rock band Guatemala or all of Central America has produced. Their style is characterized by the incorporation of classic instruments like the cello & the flute to rock tunes, ballads, & traditional folk songs. They also blend into their music elements of progressive rock.

This is prog rock of the highest order, sung in Spanish with classical Central American themes. Their studio albums are very hard to find, but there are compilations like Leyenda I, or Antología 1 & Antologia 2 that are usually still available.

On Americamorfosis, Alux Nahual are: Álvaro Aguilar – vocals & acoustic guitar; Ranferí Aguilar – guitar, acoustic guitar, & backing vocals; Paulo Alvarado – cello & keyboards; Óscar Conde - flute, saxophone, & keyboards; Plubio Aguilar – bass, guitar, & backing vocals; & Lenín Fernández – drums. Band members are well versed musicians & often switch instruments in live performances from piano to guitar, etc.

Alux Nahual – Americamorfosis, Sony International, 1993.

Tracklist –

El Gigante del Jardín (de Altras)

Del Suelo se Suele Aprender

Árboles

El Trovador de la Noche

Vuelve

La Plegaria del Hombre Lobo

Salva

Alma Verde

¿Qué me pasó?

Niños de Maíz

Sola

500 Años

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

The idea of ​​Hot Sugar Mama was born between late 2008 & early 2009 when Carlos ‘Charli’ Springmuhl was practicing the guitar & his friend Francisco ‘Francis’ Rodriguez started singing along. They began improvising songs & decided to start a band. While searching for a bass player & drummer, they continued writing songs & practicing. They enlisted Sebastian ‘The Dude’ del Buey to play bass. Then in early 2009 they met drummer Luis ‘El Pelon’ Alvarez. After the first song the four played, they knew the chemistry was right for creating their style of music, & Hot Sugar Mama became a reality.

Because of the variety of musical influences the four had, they play a singular & original sound that breaks all the rules of what is supposed to be the Guatemalan music. Their songs combine rock, funk, & reggae with salsa & Latin rhythms like bossa nova. They call their style funkydelic rock.

Their first gig was in August 2009 in Papazitos Pizza Bar at 12 Calle, Guatemala City. Since then they have played a series of concerts & shows, sharing the stage at the Surf Music Fest '09. So far they have only released this demo EP.

 Hot Sugar Mama – Quak! EP, 2011.

Tracklist –

Feelin’ the Rhythm

No Babosa

The Young Blackout

As a Kite

Fire

Enjoy,

NØ

El Salvador

Reuploaded 11/28/2025

Here's what I believe to be in my honest opinion Mike ‘ Boogaloo’ Hernandez's most danceable album. Fabulous 70s salsa from Mike whose band went under the names Sonora Casino & Orquesta Casino 77.

This is good jazzy descarga & hard salsa tracks, grooving, fantastic, sizzling hot Latin numbers with vocals by Marcelino Morales. They recorded on the Parnaso & Seeco labels. & this is one hot cover.

Orquestra Casino 77 de Mike Hernandez – Self-titled, Parnaso Records P LPS 1157, 1974.

Side One –

El Doloroso

Lloraras Por Mi

Margie

Conga y Bongo

Para Pinones

Songoro Cosongo

Side – Two –

Maria Lao

Hueso y Pellejo

Medley (No Puedo ser Feliz - En Las Tinieblas)

Broadway de Noche

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

This is the story of one of the first rock bands in El Salvador & the human capacity to overcome adversity.

José Vicente ‘Chente’ Sibrián is the probably the most important person on the Salvadoran metal & rock scene, By many he is considered a living legend. In 2011 the El Salvadoran government named the former guitarist of the rock group Broncco “Noble Artist of El Salvador” in honor of his career in their country’s music.

Vincent Sibrián was born in Santa Tecla, El Salvador on March 23, 1948, the son of Vincent & Adelia Sibrián . At the age of one he was stricken with poliomyelitis, a disease that left him in a wheelchair for his entire life. However, ‘Chente’ did not surrender to his condition. As he grew older, he had a dream of being a musician in a rock & roll band. 

Chente taught himself to play the harmonica, guitar, & bass. In 1967 he started the band Thorns & was in that group until they split up in 1972. In 1974 along with his sister Gemma he formed a new band B’Rock (also known as Broncco).

In 1996 Chente’s paralysis had progressed to the point he couldn't continue playing. At that point the band split up. He opened a music school to teach a whole new generation of young people music. He works tirelessly supporting the Salvadoran rock & metal scene. He also hosts the radio show Hablando de Rock on Astral 94.9.

On October 27, 2012 at the International Center for Fairs & Conventions (CIFCO) at 222 Avenida La Revolucion, San Salvador, El Salvador as part of the Oktober Fest celebration, Broncco took the stage for a sold-out reunion show.

Still rockin’.

Broncco are: Oscar Serrano – vocals; Rene Lopez – lead guitar; Vicente Sibrián – vocals, guitar, & bass; Gemma Sibrián – guitar; & Gerardo Sibrián – drums.

Broncco – B’Rock, Primera Generación, 1996.

Tracklist –

Estamos Aqui

Vendedor de Sueños

Tiempo de Amanecer

Quema Nuclear

Asfalto y Tierra

Escuchame

No es un Sueño

Preparate

Miradas a tu Alrededor

Una Luz en el Cielo

No Estes Solo

El Grito de la Noche

Ya no Estas

Esa Voz

Cielo Sobre Cielo

Destino

Esto es Rock

Rock on

NØ