![]() 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 2013. This was followed by the wildly experimental Not So Commercial (though it proved to be a hit) in 2011. About Los Amigos Invisibles The grandmasters of Venezuelan party music, Los Amigos Invisibles are a beloved ensemble known for melding disco, acid jazz, and funk with a plethora of Latin rhythms including salsa and merengue. 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. For nearly 20 years, the Venezuelan sextet has been combining elements of funk, disco. 1 in 2004, and Superpop Venezuela in 2006. Los Amigos Invisibles: Pure Party XPN Aug Los Amigos Invisibles' members are true originals. 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. 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. Los Amigos Invisibles at La Riviera, Madrid, Spain Cool Love 1 Antes de dormir Mal pensada Amor Vyanse todos a mama Dame el mambo Sexy Mujer polica.
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