VIRUS – Locura (1985)

Review by: Jonathan Birch
Album assigned by: Charly Saenz

My knowledge of Latin rock is limited at best, generally restricted to a few choice names that were popular in the 80s-90s. So it’s no surprise that I had never heard of the Argentine New Wave band Virus. Quick research in their origins showed that they combined new wave sensibilities (synths) with Latin pop, and were most successful in their execution. So much like their contemporaries Soda Stereo, they were an important aspect in the evolution of Argentine rock music.

Because the language is Spanish, my understanding was restricted to the feel and atmosphere of the music, and each track on this album has a very romantic and danceable theme to it. It’s very much a mid 80s sort of production, and from the opening track I felt myself transported to a South American club surrounded by scantily clad women and piles of cocaine…. Okay, a slight exaggeration, but it’s very much music of its time and era. But in a way, the music feels very timeless as well. Each track has a unique hook that catches one’s attention, whether it’s some quirky keyboard chords (like the opening to “Pecados Para Dos”) or a driving drum beat with subdued guitar (“Destino Circular”). Because each track has that distinctive New Wave methodology of being slightly off beat, it reminds one of an Argentine version of Talking Heads or The Cars. Always bouncy, upbeat, and interesting. 

Of course there are slower, more introspective numbers like “Dicha Feliz”, which has layers of soothing electronics and a Pink Floyd-esque synthesizer solo. The bass is hypnotic, the drumming steady and yet punchy, and the lead singer does a fabulous job of keeping his voice silky smooth, and yet still has some character when he sings. He doesn’t just sound like an emotionless disco robot like so much popular Muzak of the era.

“Mi Puedo Programar” has a David Byrne feel to it, another track highlight. However, it is the ending song that I feel has the most poignancy. Because I have the Spanish-speaking level of a three year old, I have no idea what the song itself is about. But damn if the singer doesn’t have a lot of emotional conviction and resonance in his voice. “Imaganes Paganas” is a lyrical, almost haunting number with enigmatic dabbles of electric/acoustic guitar decoration and more synth, that covers the audio like so much sonic wallpaper. It’s a charming end to a classy album.

In short, I couldn’t recommend this enough to fans of New Wave and Latin rock. I may have to listen to this further with my dad, who is also a big fan of Soda Stereo and other Argentine bands. Thanks Charly!
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VIRUS – Agujero interior (1983)

Review by: Nina A

Album assigned by: Justo Barreto

 
With a name that makes me feel unclean and a bang of 80s synths and a rockabilly rhythm, Argentina’s Virus make their entrance on their third album – Agujero interior, which apparently translates as inner hole. Contrary to what the band and album names might lead you to expect, the album sounds as cute and as synth-laden as any early 80s offering – with the appropriate amount of hooks here and there and the correct vocal aesthetic on part of the vocalist Federico Moura. Almost everyone on the credits list, in fact, is called either Moura or Serra, and I have to say there is that vague warm and familiar feeling about this record – whether it stems from this band being the local town heroes or indeed a very nice tight-knit family.
Even so, this record doesn’t really explore the depths of human emotion (or at least it doesn’t musically sound like it does) and doesn’t appear to challenge the listener too much artistically. Among the moderately quirky up-tempo rockers of the first half and the mid-tempo rockers of the second half, the gentler almost-ballad “¿Qué hago en Manila?” stands out, and as far as I was able to ascertain it deals with the usual subject matter of gentler ballads – being in love, falling in love or looking for love, or indeed sighing about love.
In the end, I’ll confess to you that most of the rest of the songs on this album I can do with or without, but I do indeed appreciate the nice qualities of the song “¿Qué hago en Manila?” (the original recipe “¿Qué hago en Manila?” that comes forth on the track list rather than the estrade-suitable karaoke version which serves as an album closer), even if this makes me a generic mushy.