Viajero Inmóvil - Difusión de grupos progresivos independientes

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  • Silencio marginal - Memorias del Rock Argentino - (2014)
  • Almas de diamante - Memorias del Rock Argentino II - (2017)



Eduardo Casali / Lautaro Castro / Maximiliano Ceci                                                           

Eduardo Casali, Lautaro Castro and Maximiliano Ceci are journalists from the city of La Plata who a few years ago embarked on the adventure of studying the history of Argentine Rock through the encounter with the protagonists. In 2014 they published “Silencio Marginal - Memorias del Rock Argentino” in which they developed the foundation stage.

Two years later, they decided to face a new challenge: to explore a decade marked by fire by strong dictatorships and in which the opening of new musical horizons deployed a wide variety of bands within the local scene. This path traveled for two long years gave birth to “Almas de Diamante Memorias del Rock Argentino II”.




  • Silencio marginal - Memorias del Rock Argentino - (2014)


In the middle of the '60s, Argentine Rock emerged as a movement that upset the principles of a conservative state, positioning itself from a countercultural space.

Although many historians agree that it was one of the artistic movements that suffered less from state repression, Eduardo Casali, Lautaro Castro and Maximiliano Ceci, through the interviewees, realize that the persecutions existed: in the censorship of discs, daily arrests and irruptions in recitals.

“Silencio Marginal” reconstructs the cartography of the places that served as meeting point of the bands (Instituto Di Tella, Plaza Francia, La Perla and La Cueva).

The story breaks down the English and American influences - Jimi Hendrix, Bob Dylan, Elvis and mainly The Beatles and The Rolling Stones - and Latin American - The Shakers and Los Teen Tops - that nurtured the musicians, together with the roots of Folklore and Tango , to start composing Rock in Spanish.

It is not a purely artistic work, but it necessarily intertwines with the political, social and cultural context of the time, not only in the country but also at the global level.

The musicians Rodolfo García, Emilio Del Guercio, Claudio Gabis, Willy Quiroga, Kubero Diaz, Black Amaya, Ciro Fogliatta, Héctor Starc and Jorge Durietz provide a sincere, deep and experiential testimony about the emergence of Rock culture in Argentina. They began with love letters and translations of English themes into Spanish. The lyrical and the poetic were present with the appearance of Almendra, Manal and Los Gatos.

From Quilmes, Vox Dei brought his heavy rock airs. In the neighborhood of Belgrano was born the first acoustic duo, Pedro and Pablo, and in La Plata a group of Entre Ríos began the life in community, printing to the Rock a Psychedelic style: La Cofradía de la Flor Solar.

In the 70's, Norberto Napolitano, after a trip through Europe, reflected in Pappo's Blues the style that would accompany him for the rest of his career.

Luis Alberto Spinetta, influenced by Led Zeppelin's English Rock, unveiled his most vertiginous side of Pescado Rabioso's hand, while another part of Almendra turned to Progressive Rock: Aquelarre.

This work, endowed with the memory and the nostalgia of the interviewees, provides an anecdote of anecdotes shared between the artists in their different stages: from how Javier Martinez set out to sing in Spanish in the small room of Héctor Starc, to the arrest of Black Amaya and Pappo in a square of Chacarita while they eat a Hot dog, until the night in which Willy Quiroga accompanied BB King to the airport after sharing a dinner.

In the Prologue, historian and journalist Sergio Pujol explains that "the interview then emerges as the favorite tool of the historiography of popular music, perhaps because all history begins as journalism, just as good journalism eventually appropriates forms of history.

The challenge presented by Casali / Castro / Ceci bears some resemblance to the one that questioned the pioneers mentioned above, although a very important difference is imposed: in the pages of “Silencio Marginal - Memorias del Rock Argentino”,  the past that one wants to rescue is not immediate. It is, in a way, a past-past, and therefore was already the object of the mythologies with which all canonical story is modeled.

Of course, the Argentinian Rock, as in their time the Tango, needed to set milestones for their respective generic narratives: "here is the history of Rock in Argentina ...". Although the book of Casali / Castro / Ceci does not arrive with a revisionist spirit (in fact there are not great disagreements between testimonies of one and others), it serves to enrich, corally, what we call Argentine Rock history.




* Silencio Marginal - Memorias del Rock Argentino oficial Facebook

# Apologies, translated by