Latin Alternative
Latin Alternative, or Alterlatino, is the brand of latin music produced by combining genres like alternative rock, electronica, metal, New Wave, pop rock, punk rock, reggae, heavy metal or ska with traditional Latin American sounds. Because these genres are generally considered to fall under the broad Rock en Español or Latin Rock category, media coverage started to use the word 'Latin Alternative', especially in the United States.
History
Rock music has been produced in Latin America since the late 1950s. Some Rock bands started to use unusual instruments such as maracas and quenas. In the late 1960s, artists like Santana started using a different technique to make Rock music; by incorporating influences of Latin Jazz. Its sound was incorporated by young Latino-players on the US, as an answer to the Rock en Español movement in Latin America, led by bands like Soda Stereo, Caifanes or Los Prisioneros.
In the early 1990s, it was used by Mexican bands such as Maldita Vecindad and Café Tacuba. They were accepted on the Latino circuit in the US, especially by the Mexican community, as any Rock en Español band had made ever. Latin Alternative was born.
With the passage of time and many musical styles in the US-Latino, Latin Alternative has become as diverse as the Rock music genre itself. Today, many music journalists and fans regard Latin Alternative as a subgenre of Rock en Español, and like Rock en Español, it may be further divided into more specific genres of music.
Events and media coverage
The most known event of Latin Alternative is the LAMC (Latin Alternative Music Conference) that every year gathers a large number of bands from all over the Americas and Spain. It was first held in Los Angeles but two years ago the new host city has been changed to New York City. The 2009 event featured artists from across the Americas including Argentina's Juana Molina, Puerto Rican hip-hop/reggaeton outfit Calle 13, Colombian group Bomba Estéreo, Brazilian singer-songwriter Curumin and Mexico's Natalia Lafourcade, and was profiled along with the wider Latin Alternative scene in an article in The New York Times.[1]
Bands/Artists by country
Argentina
- Bersuit Vergarabat
- Cabezones
- Illya Kuryaki and the Valderramas
- Juana Molina
- La Yegros
- Los Fabulosos Cadillacs
- Los Piojos
Brazil
Colombia
Costa Rica
- Cocofunka
- Sonámbulo Psicotrópical
Chile
- Los Tres
- Sexual Democracia
- Chancho en piedra
- Tiro de gracia
- Los Bunkers
- Los Tetas
Cuba
- Addys Mercedes
- Porno Para Ricardo
- Alex Cuba
- Madera Limpia
France
Italy
Mexico
- Caifanes
- Café Tacvba
- Tijuana No
- La Lupita
- La Gusana Ciega
- Molotov
- Control Machete
- El Gran Silencio
- Plastilina Mosh
- COhETICA
- Jumbo
- Zurdok
- Kinky
- Zoé
- Akwid
- Cartel de Santa
- Mexican Institute of Sound
- Nortec Collective
- Bostich
- Fussible
- Natalia Lafourcade
- Ximena Sariñana
- Los Concorde
Spain
- Amparanoia
- Dusminguet
- Chambao
- Jarabe De Palo
- Bebe
- Macaco
- Ska-P
- Ojos de Brujo
- CanteCa de Macao
- Che Sudaka
- La Mala Rodríguez
- Heroes del Silencio
- Duncan Dhu
United States
- FATIMA
- Tango36
- Femi-Tabú
- Curanderos
- Origen
- delexilio
- Yerba Buena
- Ozomatli
- Very Be Careful
- Grupo Fantasma
- Leo Machado
Venezuela
- Los Amigos Invisibles
- Jeremías
- Devendra Banhart
- La Vida Boheme
Record labels for Latin Alternative Music
- Nacional Records
- Doula Music
- Happy-fi
- Surco
- K Industria Cultural
- EMI Latin
See also
References
- ↑ Pareles, Jon (10 July 2009). "Latin Alternative Music’s Movers and Shakers Meet". The New York Times. Retrieved 12 July 2009.