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A mostly instrumental music group and among the first Mexican progressive groupings, Iconoclasta continues to be revered for a long time for epic-length music that are influenced simply by classical, folk, and jazz music. However the band’s music provides often been set alongside the instrumental passages of such intensifying rock and roll giants as Yes and Genesis, Iconoclasta in addition has pursued a far-more experimental advantage, discovering avant-garde rhythms and songwriting. Iconoclasta was created in Mexico Town in 1980 by Richard Moreno (acoustic guitar, keyboards) and Ricardo Ortegón (acoustic guitar), and later on grew to add Victor Baldovinos (drums), Noemí D’Rubín (bass), and Rosa Flora Moreno (keyboards). Even though band’s original audio was even more attune to sloppy garage area rock, they quickly grew right into a even more intensifying group, displaying both jazz and folk affects. They started to make a name for themselves like a cult take action in 1981 and by enough time of their 1st release independently Rosenbach Records, that they had founded a name for themselves in Mexico. While their eponymous debut was a little bit sloppy, their second recording, Reminiscencias (1985), which experienced a stronger key pad audio, was greeted with very much applause. A politics concept recording, the record tells the storyplot of mankind and the present day dangers it encounters. Their following record was the EP Suite Mexicana (1987), which merged rock and roll with Mexican folk music from all eras. Ever-changing, Soliloquio (1987) discovered the group shifting toward a far more jazz-influenced audio. Following a record, both Rosa Moreno and D’Rubín remaining the band. Because of this, previous Praxis guitarist Héctor Hérnandez became a member of the group with Richard Moreno overtaking keyboard responsibilities and Alfredo Raigosa getting the band’s fresh bassist. Iconoclasta’s following record was Adolescencia Crónica (1989), that was the band’s most experimental function, with an focus on trance-like rhythms and gradually building items. En busca de sentido (1990) constructed on the prior album’s audio. After an effective tour of Spain, Raigosa still left the group to become changed by Juan Carlos Gutiérrez. After a live record, the music group endured the departures of Hérnandez and Gutiérrez. This is accompanied by the come back of Noemí D’Rubín. Their last record, La Reencarnación de Maquievelo (1991), discovered the band coming back a bit with their older audio with cleaner creation and slight digital influences.

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