It’s been one month since Argentine rock icon Carlos Indio Solari passed away on June 5. His death sparked nationwide mourning, with thousands turning to social media to express their deep sorrow, and a funeral that became one of the biggest public memorials in local history.
Although Solari had been at the helm of the group Los Fundamentalistas del Aire Acondicionado since 2004, it was his previous place as frontman for the band Patricio Rey y sus Redonditos de Ricota (1976-2001) that cemented his standing in Argentine culture.
Practically unknown beyond the Argentine borders, the “Redonditos,” as they’re colloquially called, remain one of the country’s most influential and beloved rock bands. Their cult status extends far beyond music and into the realm of collective identity, with fans quoting their lyrics as personal mantras and tattooing their logos and imagery.
It all started, though, with the music.
Led by singer and lyricist Indio Solari, along with guitarist Skay Beilinson, the band combined rock, blues, post-punk, and psychedelic influences with great melodies and enigmatic verses full of political, social, and existential references.
From their early love of the heroes of the Sixties — The Beatles, The Rolling Stones, and Led Zeppelin — to the industrial rock and trip-hop of the Nineties — Nine Inch Nails and Massive Attack — they embraced a wide range of musical styles, and it was reflected on their albums.
Although the band began performing in 1976, it would take eight years of underground activity before they would get their first chance at an official recording. During their heyday, the group released nine studio albums and a pseudo-unauthorized live album. Each record can be enjoyed as a stand-alone listen, but the chronological experience offers the possibility of tracking how exactly their sound evolved across two decades.
Gulp! (1985) The band’s long-awaited debut introduced its distinctive identity and showcased fan favorites of their early shows in theaters and pubs, where they had a theatrical cabaret feel and elements of an art happening from the Sixties.
Musically, Gulp! blends blues-based rock with punk energy and sharp guitar riffs, with songs such as La bestia pop, Superlógico, Unos pocos peligros sensatos, and El infierno está encantador esta noche. Solari’s lyrics are intentionally cryptic, mixing urban imagery and irony, inviting multiple interpretations rather than straightforward storytelling.
Oktubre (1986) The Redondos’ masterpiece, Oktubre, has a darker, more post-punk atmosphere, inspired by the political uncertainty of the era and the artwork of the 1917 Russian Revolution. Band members still included guitarist Tito Fargo, sax player Willy Crook, and drummer Piojo Abalos, who left shortly after.
Highlights include Preso en mi ciudad and Motorpsico, as well as the iconic Ji Ji Ji. The latter became Argentina’s ultimate live rock anthem, famous for triggering enormous crowds to jump in unison for a wild pogo dance that reached more than 400,000 people at Solari’s last solo concert in 2017.
Un balón para el ojo idiota (1988) This record expanded the band’s sound with more polished arrangements while maintaining its trademark lyrics and catchy guitar riffs. This album saw the debut of new members Walter Sidotti (drums) and Sergio Dawi (sax).
Standout tracks include Todo un palo, Noticias de ayer, Masacre en el Puticlub, and Vencedores vencidos. The songs reflect themes of alienation and social unrest without ever becoming explicit political manifestos.
¡Bang! ¡Bang!… Estás liquidado (1989) The group’s growing popularity was matched by an impressive amount of new hits, like Héroe del whisky, Esa estrella era mi lujo, Nuestro amo juega al esclavo, and Rock para los dientes, an overdose of features and memorable melodies while preserving Solari’s poetic ambiguity.
The album further cemented Los Redondos as Argentina’s leading rock act, with a series of shows at the landmark 5,000-seat Obras stadium.
La mosca y la sopa (1991) Another memorable album, with inspired songwriting and catchy arrangements. Mi perro dinamita, Tarea fina, El pibe de los astilleros, Un poco de amor francés, and Salando las heridas became new, enduring classics thanks to heavy rotation in TV shows and mainstream FM radio.
Once again, the lyrics explore love, pop culture, and the contradictions of modern society through vivid metaphors.
Lobo suelto, cordero atado (1993) Released as two companion albums on the same day, this ambitious project showcased the band’s creative peak. The first single was Susanita, but the double CD or vinyl set also included hits Un ángel para tu soledad, La hija del fletero, Yo caníbal, and Caña seca y un membrillo.
The recording illustrates the group’s ability to alternate between hard rock, blues, and experimental textures while maintaining their traditional philosophical, often surreal narratives.
Luzbelito (1996) A loose concept album centered around the fictional son of the devil, Luzbelito presents one of the band’s darkest musical landscapes, where the heavy guitar sound is complemented by recurring biblical imagery.
Throughout the recording process, Solari and Beilinson debated over different concepts for the album, ranging from a collection of unreleased songs from their beginnings to a new batch of original compositions.
They included unreleased old hits Mariposa Pontiac and Rock del país along with tracks like the epic closing Juguetes perdidos. The latter became one of the band’s most emotional and celebrated songs, dedicated to fans that filled football stadiums with huge banners identifying their neighborhoods, cities, or groups of friends.
Último bondi a Finisterre (1998) Always willing to evolve, the band embraced electronic textures and industrial influences without abandoning rock. Las increíbles andanzas del Capitán Buscapina en Cyberespacio, Estás frito Angelito, Gualicho, and Pogo demonstrate a bold sonic shift that seemed controversial at first but was later recognized as one of their most adventurous works.
Momo sampler (2000) Their final studio album drew inspiration from new rhythms like candombe and Latin percussion, all within a rock format. Songs such as Sheriff, Dr. Saturno, Una piba con la remera de Greenpeace, and La murga de la Virgencita offer a creative farewell while preserving the band’s trademark lyrical mystery.
It closed a career that had continuously reinvented itself without compromising artistic independence.