The problem with Héroes was that they came through the big channels, when the epics of artists who broadcast their demos on Radio 3-type stations and recorded for independent labels were still very much alive. In theory, both cities were proud to turn to, sorry, peripheral proposals. A metropolitan phobia (of Madrid and Barcelona) is even denounced against an impetuous gang that arrives from the provinces. The depth of the rancor against music criticism is also surprising, to which they attribute a characterization of Héroes as a “group for young girls”. More than his accounting shenanigans, he is held responsible for organizing an impossible schedule of performances, without scheduling breaks for decompression. JAVIER BELVER / EFEĪ clear villain appears, Ignacio Cubillas, Whistle, its charismatic representative. Antonio Cardiel (left), the writer of ‘Heroes de Leyenda’, signs copies of his book with his brother Joaquín Cardiel, a former member of the group, in Zaragoza. Then, we see that the cliché of “musical differences”, as an explanation for so many ruptures, is not a joke: the aesthetic distance between Enrique Bunbury, consumer of new trends, and Juan Valdivia’s drift towards the role of guitar hero, with love for both Slash and Dave Gilmour. We learn that the seeds of disaster germinated from the beginning, with a talkative singer-lyricist and a self-contained guitarist-songwriter, although that a priori not necessarily fatal: remember the U2 case, with which Heroes have obvious parallels.
In fact, one would recommend Heroes of legend as a textbook to investigate the internal mechanics of the rock group, a social organization that is – modern say now – on the way to extinction. On the contrary, both Morante and Cardiel have had access to the main protagonists and to the group’s formidable documentary and audiovisual archive. NetflixĪll of us who then approached the story of Heroes sensed that it was an impossible mission: open wounds, issues that could not be mentioned, serious reluctance before the press. Poster for the documentary ‘Héroes: silencio y rock & roll’, by Alexis Morante. With four studio albums they cover a wide stylistic range, which is interrupted with a dog-face separation.
Their fierce work rhythm makes it easier for them to conquer markets in continental Europe, always singing in Spanish, and a good part of America. In 12 years, they went from tiny rehearsal venues in Zaragoza to headlining posters at international festivals. It should not be forgotten: the exploits of Heroes are astonishing. Apart from the intrinsic values of both works, approaches to the great enigmas of Spanish rock are welcome.
For the premiere of the documentary Heroes: Silence and rock & roll(Netflix), by Alexis Morante, and the publication of Heroes of legend (Penguin Random House), an unofficial biography signed by Antonio Cardiel. We are experiencing, you may have already noticed, a peak of media interest for Héroes del Silencio.