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| Los Prisioneros | |
|---|---|
| Name | Los Prisioneros |
| Origin | Santiago, Chile |
| Genres | Rock en español, New Wave, Punk rock, Synthpop |
| Years active | 1983–1992, 2001–2003, 2009–2013 |
| Labels | Fonomusic, EMI Odeon, EMI Chile, Alerce |
| Associated acts | La Voz de los '80, Sergio Ortega, Jorge González (musician), Los Tres, Inti-Illimani |
Los Prisioneros were a Chilean rock band formed in Santiago in 1983, known for politically charged lyrics, melodic hooks, and a fusion of rock, new wave, and synthpop that resonated across Latin America. They rose to prominence during the later years of the Pinochet dictatorship and became symbols of social critique, influencing artists, movements, and institutions across Spanish-speaking music scenes. Their albums and singles achieved wide circulation through independent labels, underground radio, and solidarity networks linking audiences in Argentina, Peru, Venezuela, and beyond.
Formed amid the cultural milieu of 1980s Santiago de Chile, the band emerged from intersections with local scenes around Universidad de Chile, La Batuta (club), and DIY networks tied to labels such as EMI Chile and alternative presses. Early demos circulated alongside works by Los Prisioneros' contemporaries on cassette compilations connected to festivals like the Festival Internacional de la Canción de Viña del Mar and political gatherings linked to figures such as Patricio Aylwin and activists aligned with unions from Comisión Nacional Campesina. Their breakthrough came with albums that blended influences from The Cure, The Police, and Depeche Mode while responding to events including the 1988 Chilean national plebiscite and regional tensions mirrored in the cultural output of Soda Stereo and Héroes del Silencio. Line-up changes, disputes over publishing rights with companies like EMI Odeon, and international tours shaped a trajectory that included hiatuses, reunions, and collaborations with producers associated with Alejandro Sanz and engineers who worked with Los Fabulosos Cadillacs.
Their sound combined the melodic sensibilities of John Lennon-era pop, the angular guitar of Joe Strummer, and the synthesizer textures popularized by Martin Gore and Gary Numan. Elements of punk rock energy from bands like Sex Pistols and the post-punk atmospheres of Joy Division mixed with Latin songwriting traditions found in Violeta Parra, Víctor Jara, and Inti-Illimani. Production choices referenced studios and producers linked to acts such as Phil Manzanera and Daniel Ash, while lyrical phrasing echoed essayists and poets associated with Pablo Neruda and contemporary critics writing in El Mercurio and alternative magazines like Apsi. Their integration of danceable rhythms touched on the catalogues of Kraftwerk and Giorgio Moroder as mediated through regional synthpop acts like Mecano.
Core founders included key figures who moved through projects in the Chilean and Latin American scenes, often collaborating with artists such as Jorge González (musician), Gonzalo Yáñez, and session players from Los Tres. Line-ups shifted to include musicians with ties to institutions like Universidad Católica music programs and touring bands linked to Soda Stereo and Enanitos Verdes. Management and label interactions involved executives from EMI and promoters who organized shows at venues like Estadio Nacional (Chile) and festivals coordinated with media outlets such as Canal 13 and Televisión Nacional de Chile.
Their catalog comprises studio albums, live recordings, compilations, and singles released through labels including Alerce (label), EMI Odeon, and independent presses. Key albums circulated regionally alongside LPs by Soda Stereo, Los Fabulosos Cadillacs, and Caifanes, receiving airplay on stations connected to networks like Radio Cooperativa and nightclubs such as La Casa en el Aire. Special editions and reissues involved collaborations with producers and engineers who had worked with Miguel Bosé and Charly García.
Songs entered public discourse during campaigns and protests associated with movements led by trade unions like the Central Única de Trabajadores and human rights organizations such as the Vicariate of Solidarity. Their critiques were heard in contexts involving the National Stadium (Chile) and references to legislation debated in the Chilean Congress. Cultural solidarity networks tied their music to international causes alongside campaigns supported by artists including Mercedes Sosa, Rubén Blades, and activists connected to the Amnesty International regional offices. Academic analyses appeared in journals linked to Universidad de Chile and conferences at institutions such as Pontificia Universidad Católica de Chile.
Their touring history included concerts in major venues like Estadio Nacional (Chile), festivals such as Festival de la Canción de Viña del Mar, and club dates in cities across Buenos Aires, Lima, Quito, and Caracas. Live collaborations and opening slots involved acts like Los Tres, Soda Stereo, Enanitos Verdes, and international names who played in Latin America such as The Cure and Depeche Mode. Tours were promoted by agencies and media partners including Canal 13, Televisión Nacional de Chile, and record companies like EMI.
Their legacy is visible in scholarship at universities including Universidad de Chile and Pontificia Universidad Católica de Chile, in tributes by bands such as Los Bunkers and La Ley, and in curated exhibitions at cultural centers like Museo de la Memoria y los Derechos Humanos. Influence extended to film soundtracks, television series produced by TVN and Canal 13, and cover versions recorded by artists like Ana Tijoux, Jorge González (musician), and Fito Páez. Their place in lists and retrospectives compiled by publications such as Rolling Stone (magazine), Billboard (magazine), and regional critics cements a role connecting popular music, social movements, and transnational cultural dialogues.
Category:Chilean rock music groups