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LP
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ELK 249LP
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According to the court ruling in the lawsuit brought against the band, allegedly by a former technician, this album should have been released under a different name for the group. Perhaps as a provocative nod, the individual who appears on the cover wearing a nut as an oppressive turban is struck on the back cover by the hammers of Justice and the Law. However, the group ignores this and continues to sign as it has been doing since 1983. The musical arrangements are more powerful, with the guitars taking precedence over the rest much more than before. The drums are also more present. The soundscape takes center stage, even over the lyrics. The opening track, "Monopoly," is representative of this, with its fast-paced rhythm provided by galloping guitars. Originally released in 1994, it is surprising how, almost ten years after their debut, La Polla Records were still capable of making albums of such intensity.
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ELK 165LP
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This album, recorded in 1988 at Elkar Studios in Lasarte, is a happy accident, like much of La Polla Records' early output, by Jean Phocas (who also worked with other bands of the genre such as Cicatriz) and César Ibarretxe. It was lovingly designed, with a medieval atmosphere for the cover (by Txefo, Joseba Olalde and Txarly) featuring a huge scroll containing five tarot cards, a back cover in the same style with heraldic figures, and a meticulous presentation of the lyrics with separate spellings for each song, on a double sheet with photos of piglets suckling from their mother on one side and various images on the other. With animals as the common thread for the songs, it represents the confirmation that the concept album had arrived on the national punk scene. Perhaps a work of maturity, the band's traditional objectives disappear from the lyrics, and although there is still room for specific protests and chronicles of nights of alcohol and violence (such as those of La Rata), the emphasis is on reveling in the description of all kinds of personal, psychotic and hallucinatory hells. Evaristo confessed to being influenced by Umberto Eco's book The Name of the Rose (1980) in the making of this work. Far from indicating any departure from the foundations laid in previous works, it shows that the spectrum of the anti-establishment struggle the group was committed to was broad. A very complete album.
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LP
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ELK 187LP
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The cover, created by Manolo Gil and based on the band's own idea, bears an undeniable resemblance to that of The Rolling Stones' Beggars Banquet (Decca, 1968). Sometime later, the band said they were not aware of the resemblance when the final design of the album was decided. The recording and mixing were once again in the hands of Jean Phocas. The double-sheet inside, which contains only the lyrics in three languages (Spanish, Basque and English), is particularly noteworthy. On this occasion, the album's production seems to have a guitar sound that is perhaps more powerful than on other occasions. At times it even sounds like the arrangements of a heavy rock or metal band. Green color vinyl.
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ELK 241LP
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Jean Phocas appears as the person in charge of the recording, once again carried out at the Elkar studios. Manolo Gil, who already worked with the band from Salvatierra in the same role on Ellos Dicen Mierda, Nosotros Amén, assisted by Jokin Larrea, is in charge of the cover design. Apart from the atypical Los Jubilados, this is the album in which the changes in the band's sound are most noticeable. From the start, the heavy, cutting guitars are striking, more in keeping with a metal rock band. The production is very technical. Despite this, "Radio Crime" is one of the best on the album. Purple color vinyl.
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