2024-11-02 16:00:00
Argentina, 1984: Soda Stereo, Fito Páez and GIT release their first album. Charly García gave a heartfelt performance in Piano Bar, Spinetta said goodbye to Jade with another great album, Los Abuelos said goodbye to their classic lineup with another album, their golden boy Andrés Calamaro tried his hand as soloist, Viuda e Hijas de Roque Enroll emerges with talent and sensuality. At the same time, the virus unleashes “relaxation.”
Argentina, in its first calendar year of democracy, is determined to listen to other music. For Argentinian rock, always full of contradictions, pop music began to become a valid alternative, and what Charly García called the “rock aristocracy” was willing to offer it to them. There are also viruses.
When Virus made their debut at a club in their hometown of La Plata on January 11, 1980, they were a band of brothers: Mouras, and of course Federico, Julio and Marcelo; and Ricardo. Next to them is Enrique Muggetti.
But most importantly, they are already big men: Federico Moura, for example, has an average age of 29. At that age, Charlie Garcia had already produced “Sui Generis”, “Bird Machine”, and soon after he canceled “Serou Guillen”. In other words, Charlie and Federico are actually the same age: they were born on the same day of the same year, the same month, October 23, 1951.
“Virus” was perhaps the Mora Boys’ last attempt to inspire their older brothers (the two of them, since the eldest of them was Jorge, an ERP militant kidnapped and murdered by the dictatorship) with a musical project. The body is still missing). In the second half of the 1970s, Federico tried to collaborate with the band Dulcemembriyo and served as the bassist for Las Violetas. Finally, there is Malabunta.
At the end of 1979 and the beginning of 1980, Federico, then living in Brazil, agreed to join the group as a singer, but there was more to it than that: he would become one of the indispensable figures of Argentine pop music. One of the voices.
Yesterday’s virus, today’s virus. Marcelo Mora, Mario Serra and Julio Mora.
On December 10, 1983, Virus released their first album, the then disturbing but necessary Wadu-Wadu. Yes, on the same day that Raúl Alfonsín became president. Yes, Argentina’s democracy started with a viral album.
On their first and second albums, Recrudece (1982), Moura & Serra + Mugetti displayed a new wave sound that would characterize all of their albums, although there was a lot on the first two albums Ska and some reggae with a touch of pop, and some rock and roll. The synths are there, but there.
The third album, Agujero Interior (1983), was different from the albums that came before it and those that came after it, in that it was the most rock ‘n’ roll that Virus could rock. This was mainly because production was handled by the Peronel brothers, Danny and Michel (who was Riff’s drummer at the time).
Perhaps because of this, because it is more rock and less trendy, it is accepted by the general public. However, the modern essence of Virus remains: “Agujero Interior” retains challenging lyrics that embody the spirit of both the text’s authors, Federico Moura and Roberto Jacoby features, complex yet catchy arrangements and danceable sounds.
Then we arrive at “Relax,” a true declaration of principle that comes after such a tight guard in front of an audience that rejected them, but didn’t. Not so much. And less and less.
direct synthesis of pop music
The virus has (re)proven that rebellion can also be danced. After breaking away from the clichés surrounding their aesthetic, the band made changes to their sound that influenced their formation. Two events influenced Relax’s lyrics and music: the band’s decisive lyricist, Roberto Jacoby, left along with Federico; and due to the change in the band’s sound, one of the two guitarists The departure of Ricardo Serra. Regardless, Ricardo Serra appears in the album cover photo, which is a great move for an old friend.
During the live performance of Relax, we played three keyboards simultaneously via MIDI.
Marcelo Mora.
Virus decided to be a synth band and there was no room for distorted guitars like Inner Hole. Not even like their previous happy albums. Starting with Relax, there are as many synthesizers as there are musicians on stage: everyone except drummer Mario Serra plays one.
“When we perform Relax live, we play three keyboards simultaneously via MIDI. Now it’s all digital, but it’s different because you’re filming it backstage. We play it with our bare hands,” Marcelo Mora Moura ) recalled in a recent interview with TN.
Virus reformulated their new wave style, becoming a Duran Duran-style synth-pop band with influences from New Order and the emerging Depeche Mode.
The album’s hits include “I can program myself”, “Desperadoequence one” and “Amordisposable”, all three songs written by Julio Federico Moura.
In addition to the classics on the album, we must also highlight the opening song “Relax”: “Feeling Good” clearly shows not only the change in Virus’ sound, but also in the rhythm: they are becoming more and more high-tech .
“Full Inventory” connects directly to New Order, bringing a whole new sound to the Virus scene. And “Incomplete Games” takes the synths to the level of Echo and Bunnymen, as well as some more synthetic Cure.
The turning point of all the influences named and named was Federico Moura, an incredible figure with a unique charisma. All the virus was focused on his stage presence, his voice (one of the best in the history of Argentinian rock) and his sensual intonations.
Federico Moura is already a figure on the scene. At the same time that Virus was recording Relax, its leader was working on Soda Stereo’s first album, whose most famous song was “Trátame” written by Daniel Melero.
“Trétame Tenderly” was about to become part of “Relax”, but Federico noticed that the Soda album was missing, so to speak, a “slow” album. As a producer, he immediately noticed that the album always sounded the same and decided to “cut it” with “Trátame Tender”. Of course, as often happens with hit songs, it was met with resistance at first by Serrati, who didn’t think it made much sense. As so often happens, the rest is history.
“Relax” was performed at three shows at the Teatro Astros in December 1984, with Daniel Sbarra as a guest on synthesizer and rhythm guitar. A few months later, he officially joined Virus.
“Virus”, published in the last days of October 1984, turns forty years old, and to celebrate this day, brothers Julio and Marcelo Moura and Mario Mario Serra will celebrate the occasion with a show at the Gran Rex this Saturday. Of course, it’s going to be a party.
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#Years #Relax #Viral #Steeped #Tech #Synthesizers
**Interview with Marcelo Mora of Virus**
*Date: November 2, 2024*
**Interviewer:** Thank you for joining us today, Marcelo! To kick things off, can you tell us about the significance of your debut in 1980 in La Plata, especially considering the tumultuous political landscape in Argentina at the time?
**Marcelo Mora:** Thank you for having me! Our debut was a defining moment not only for Virus but for the emerging music scene in Argentina. In 1980, the country was still grappling with the aftermath of the military dictatorship, and music became a powerful form of expression and rebellion. We wanted to push boundaries and offer a sound that reflected the complex emotions of our generation.
**Interviewer:** Virus has undergone quite an evolution in sound since its inception. How did the band’s style shift with the release of the album ”Relax”?
**Marcelo Mora:** “Relax” marked a pivotal moment for us. After the departure of some key members, we embraced a more synth-driven sound, reminiscent of bands like Duran Duran and New Order. There was a conscious effort to redefine our music, incorporating more technology while still maintaining the rebellious spirit that characterized our earlier work. We started using multiple keyboards live, which was a stark departure from our earlier rock sound.
**Interviewer:** That transformation seems significant not just musically but also culturally. What do you think it says about the Argentine public’s evolution in taste during the 1980s?
**Marcelo Mora:** Absolutely! As Argentina transitioned into democracy, there was a desire for new expressions and sounds. The public was ready to embrace pop music as a valid form of art. We represented that shift, inviting people to dance while reflecting on their past and present. Our music became a soundtrack for a generation seeking both freedom and enjoyment.
**Interviewer:** Federico Moura was such a charismatic frontman with a unique voice. How did his presence shape the identity of the band?
**Marcelo Mora:** Federico was the heart and soul of Virus. His charisma and stage presence were magnetic. He had this extraordinary ability to connect with the audience and convey deep emotions through his performances. The way he could merge vulnerability with strength in his lyrics resonated with fans, making our music all the more impactful.
**Interviewer:** Looking back at the journey of Virus, what do you consider your proudest achievement as a band?
**Marcelo Mora:** It’s hard to pinpoint just one moment, but I think the fact that we’ve managed to stay relevant and continue to inspire new generations speaks volumes. Songs like “Amordisposable” and “Desperadoequence One” have become timeless classics. Ultimately, our ability to evolve while staying true to our artistic vision is what I’m most proud of.
**Interviewer:** As we look ahead, do you see any new directions for Virus in the future?
**Marcelo Mora:** We’re always exploring new sounds and collaborations. The music landscape continues to change, and we want to remain a part of that dialogue. Whether through new albums or live performances, expect us to keep pushing our boundaries and inspiring our listeners.
**Interviewer:** Thank you, Marcelo, for sharing these insights. It’s been a pleasure diving into the history and future of Virus with you!
**Marcelo Mora:** Thank you! It’s been great to reflect on our journey with you.
