De la oficina del Edgar, esa tarde entraba y salía puro muchacho. Al otro lado de la mampara de madera, se escuchaba música a alto volumen y dos jóvenes trabajaban en una Apple Performer II. Era uno de esos días de 1999 en los que al dólar le había vuelto a subir la temperatura, y en las casas de Ambato, los nervios con la televisión prendida a ver qué mismo pasa, se confundían con el malgenio de la mama Tungurahua. Todos medio paniqueados, los bancos cerraban, qué será que se hace, qué irá a pasar.
Como unos dos meses antes, el Edgar le llama al Álvaro. Habían planeado mucho para Mamá Vudú, la banda de ambos. Pero es que la crisis. Ya iba tocar dejar para después. “Ve, no podemos dejar que la crisis nos joda”, le dice el Edgar. Tenían la ilusión de lanzar algo serio y empezar a grabar. En esa conversación telefónica, deciden: “Hagamos un compilado”. En ese entonces muchas bandas ambateñas no tenían registro de su música, pero ya estaban listas para grabar. Tocaban con frecuencia, tenían recorrido y sólo les faltaba tener su demo o algo que pruebe con ondas sonoras, que existieron y que tenían una historia qué contar.
Álvaro Ruiz tenía 25 años y Edgar Castellanos 28. Edgar también tenía su oficina de diseño y en ella, un quemador de discos. Esa tarde, en esa oficina, detrás de la mampara de madera, terminaron de quemar los 200 discos de la compilación a la que llamaron 6 Métodos de la Larva. En ella reunieron a seis proyectos sólidos que sonaban con potencia, desde lo subterráneo de Ambato, tierra de flores: Cromosónica, Estación Polar, Mamá Vudú, Mortero, Obscura y Cafetera Sub.
Desde finales de los 80, y por ahí con más fuerza entre 1991 y 1992, empezó a haber más conciertos y se hacían en canchas, como la del Colegio Mera. Donde caían personajes de Ambato y de todo el país tipo Pancho Jaime, con sus fanzines. Donde tocaban bandas como CRY, la legendaria local que hasta ahora despotrica un licuado extraño de gótico, new wave con gutural y hardcore. En un inicio, en los carteles de los conciertos había harta banda de Quito, pero empezaba a aparecer más emergentes de Ambato sumándose a la bulla. Bandas radicales de punk rock, de hardcore, de metal. Por ahí figuran Satanachrist, Devourerdark, Evilscream y Damaged Skull, una banda de chamos que trascendió en la historia del rock guaytambo con su thrash metal/death metal y dicen que hasta se dio la vuelta al Ecuador.
Portada del disco Spirits in Conflict de Damaged Skull
Hazlo Tú Mismo
Si se han preguntado si hay alguna ciudad de los Andes ecuatorianos que pueda presumir de no llegar a un punto del año en que se transforme y se sienta españolísima celebrando su conquista, bueno, piensen en Ambato, pues no tuvo fundación española. Esto ha hecho que la ciudad tenga por su naturaleza histórica, unos aires de independencia únicos, los mismos que le han permitido levantarse solita. Ni el terremoto, ni la crisis, ni el volcán han detenido su ritmo. Uno de esos motores independientes que ha estado moviéndose y contando el pulso desde el lado de la escena under es el José Luis Jácome. Músico y gestor, este señor de barba poblada y genio maravilloso, se ha encargado de dar vida junto a sus compinches –otros músicos y otros gestores de acá mismo-, a un buen brazo de la movida ambateña, con el H.T.M. (hazlo tú mismo) como bandera.
“Aquí uno tiene que auto-educarse. En Quito y Guayaquil muchas bandas salen de procesos de educación formal. De la academia. Eso no pasa en las ciudades de provincia”. Aquí, el que menos ha aprendido a ser su “propio maestro”. Un buen ejemplo entre los que menciona es Juan Pablo Cobo. Empezó su carrera de Guanaco, el MC, abriéndole a Cafetera Sub y a Mamá Vudú en 1992, y luego subió a Mortero. En esa época vivió en carne propia al Ambato imprescindible en el mapa de la movida alternativa ecuatoriana. “Las bandas de aquí no tenían que tener referentes de alguien que lo haya hecho antes. Pasó con Cafetera Sub dentro del metal y con Mamá Vudú. No puedes compararlos con otra banda de Ecuador, porque no hay”, dice José Luis. A mediados de la década, la mayoría de bandas underground no estaban buscando ser los nuevos Pearl Jams andinos, ni tocaban con pretensiones de llegar a Estados Unidos o salir en MTV. “Tocábamos y ya, y éramos críticos con el sistema”, recuerda Edgar Castellanos.
Archivo de José Luis Jácome
Además, con el tiempo empezó a pasar algo poco común en la década anterior. Las etiquetas empezaron a caerse de los bolsillos y ya no importaba tanto los bandos, qué música escuchabas, qué ropa usabas para participar o no de la movida. “Todos nos llevábamos bien en esas épocas”, cuenta Juan Manuel Sevilla, el ‘Zambo’ de Sudakaya. Se acuerda clarito de esos días de mucho alcohol y porro en los que armaban conciertos con bandas de todos los géneros alternativos juntos, en el patio de la casa del Hugo Caicedo, en el Parque de la Casa de la Cultura o en donde sea. “En lugar de jalar los pies de los que están un poco más arriba, todas las bandas empezamos a empujar a las nuevas para que surjan”, se acuerda también el José Luis. Y esa fue razón suficiente para que brillaran y empezaran su propia metamorfosis tantas cresas inquietas, tantos grupos en los fabulosos pero precipitados años 90.
La larva, carnosa y movediza, se deslizó por la piel de una ciudad en medio del Ecuador, y con facilidad dejó su marca de baba iridiscente en los alrededores. Salcedo, Latacunga, Pelileo, Puyo, Baños fueron contaminándose del veneno del rock y de las toxinas de autogestión e irreverencia. Más adelante, la escena se convertiría en la plaga incómoda del sistema, de ese espacio bonito y cándido donde todos los que no eran ellos, bailaban al ritmo de “Ven Michu Michu” o… “El Rock de la Cárcel”. Ellos querían otra cosa. Así el sistema no estuviera dispuesto a aceptarlos.
23.03.96
Cenotaph, una banda de metal mexicana, iba a tocar por primera vez en Ambato junto a Death Grind, Incarnatus y Demolición, de Ecuador. Conciertazo. Desde la mañana empezaron a llegar de todas las provincias para presenciar una noche de rock. No pasaría mucho tiempo para que esa expectativa de cientos de personas, se vaya al traste. Al lugar, en medio de la espera, llegan de pronto policías y personal del Ejército. Se bajan de sus camiones. Comienza una cacería que se convertiría en uno de los episodios de mayor violencia en la historia del rock ecuatoriano.
Abdalá Bucarám Ortiz, elegido presidente constitucional de Ecuador en 1996 / Foto: AP
Eran tiempos de Abdalá Bucaram en la presidencia. Afincado a una moralina facha con la que ya había ejercido su puesto de intendente de Guayaquil casi 20 años atrás (cuando hasta mandó a coser las minifaldas de las chicas impúdicas que caminaban sinvergüenzas por la calle), durante sus seis meses de mandato se dio tiempo para continuar el hostigamiento a prostitutas, homosexuales y rockeros. Con pasamontañas, los militares se acercaron a la masa radical –peligrosísima, de ley, todos de negro, diabólicos con pelos largos, de miedo- y les apuntaron con armas. Y les pusieron contra la pared, les golpearon, les lanzaron insultos como agua sucia hirviendo, les sacaron el dinero de los bolsillos. Y les cortaron el pelo.
Esa tarde, cerca de las 16h00, cientos de jóvenes fueron amarrados y llevados en camiones del Ejército sin decirles a dónde. “Nos llevaron a la cárcel de varones de Ambato. Ahí me volaron las mechas y nos mezclaron con delincuentes avezados. Cerdos hp, nos pisaron la cabeza”, se lee en uno de los comentarios del único video en YouTube que evidencia esa tarde oscura. En la nota “La tarde de las melenas caídas”, Pablo Rodríguez relata: “Algunos lograron escapar. El vocalista Juan Pablo Cobo, conocido como Guanaco, se escondió en un tanque de agua. Franz Córdova, bajista y experto audiovisual, al momento de la redada se alejó varias cuadras del lugar, y logró avisar a su padre, Carlos, lo que ocurría”.
[youtube https://www.youtube.com/watch?v=4LTBddLmfQA]
“Ese día fue un punto de quiebre, porque ya no era una cosa que se oía, una cosa de gringos, de alienados. El rock ya estaba en la ciudad”, cuenta el Edgar. Pero fue también una muestra de que al poder, el rock le estorbaba, y Ambato era un bastión rockero importante. “Hasta hoy ven a la gente del rock como personas peligrosas para un sistema, porque piensan por sí mismas”, comenta José Luis.
Luego de la represión medio que todos pensaban que si jodían tanto, mejor hacerlo todo clandestino. No esperaron y se volvieron a juntar y en el 97 la larva encontró otra forma de escape bajo tierra. Con el nombre de “Huella Subterránea”, convocaron a bandas de Ambato, Quito y Latacunga, entre ellas, Misil, Mortero, Cafetera Sub. Entrada libre. Con unas 1000 personas entre el público, ese concierto fue tal vez el primer intento de ocupar el espacio público en la ciudad y de hacer algo que saliera a la superficie con el mérito de la auto-organización.
Todos coinciden en que si hay algo que nació de la hermandad provinciana, fueron las bandas que tuvieron todo en fila como para salir de Ambato y comerse el mundo. Sudakaya es una de esas plantitas que crecieron en una tierra bien abonada, bien removida. Era inicios de los 2000 y en Ecuador fue ahí cuando empezó la fiebre del reggae. Empezó en Ambato.
Hugo Caicedo era todavía chamo y tocaba en Cochambre, una banda que se alejaba de la línea demasiado radical para surcar por las olas del ska y el punk (los más extremos les decían «los Salta Salta» a ese tipo de bandas). Un día se conoce con el Guanaco, de Mortero, y empiezan a hablar de calypso, de Marley, de Sizzla y de hacer una banda. “Éramos todos los miembros de diferentes bandas y de diferentes barrios. Nunca nos hubiéramos topado si no hubiera sido por la escena musical”, cuenta el Guanaco. La usaban para descansar de las otras bandas, pero se convirtió en un motorcito que se lanzaría al vacío para crear una movida por cuenta propia. La legión de sudakayeros se extiendió por todo el país y del Todo Va Bien (2003) salieron himnos de la cultura reggae ecuatoriana, que se cantaban en gajo y con altas dosis de ganja en el cuerpo y en el ambiente. “Fue la primera generación en decir abiertamente que fumaba weed. Lo que decíamos en las canciones no nos estábamos inventando, pasaba”.
Portada del disco de Sudakaya – Todo Va Bien (2003)
El Zambo no cree cómo pasó y se lo atribuye a la química que había entre todos para tocar. “Hasta ahora es loquísimo cómo Sudakaya ha influenciado a bandas de la Costa, la Sierra y el Oriente. Fuimos como los representantes de Ecuador del movimiento reggae, juntándonos a una movida con Alerta Camarada (Col), Fidel Nadal y Mensajero (Arg), y bandas de Chile y Perú”.
El legado ha seguido, pese a que Sudakaya luego hizo su base en Quito, y ahora son varias las agrupaciones que tocan reggae desde la región centro, como Los Valverde, Alianza Reggae, Kayala, Zion Vibracion, Recycled Brain, Pan de Agua, por soltar algunos nombres importantes. Sin cerrar el capítulo, los miembros Sudakaya ahora andan cada uno en su patín, pero a ratos, con la subida del Terminal (2014) a Spotify y otras señales, da la impresión de que una reunificación podría estar a la vuelta de la cuadra.
Flores y Frutas
Festival FFF, en el Parque El Sueño
Tenían una suerte de bola mágica en sus manos. La habían pulido durante años y como dice el José Luis, Ambato se había convertido en un imán para la escena nacional. “Desde Ambato, veíamos cómo todas las bandas querían venir acá. Tocar en Ambato era consolidarse como banda, a diferencia de seguir tocando en sus escenarios naturales en Quito o Guayaquil”. Fue esa bola de cristal a partir de la cual se empezó a tejer un circuito en Ecuador. Junto a la Movida Hardcore (ahora con el nombre de Alarma), hicieron un lazo fuerte en el que las bandas de Quito venían a Ambato y viceversa.
A principios de los 2000 la tenían. Mortero, Cafetera Sub, Mamá Vudú con Guanaco y Sudakaya, incluso se convirtieron en los ejes de la escena nacional y la inspiración para que otras nazcan. “Es una de las bandas pioneras de la autogestión en el Ecuador, son como una escuela para mí. Cuando empecé en la música, trataba de imitar todos sus pasos como banda, inclusive buscaba lo que ellos estaban escuchando en ese momento para saber por qué sonaban así”, cuenta Daniel Merchán, músico y gestor cultural guayaquileño, cuando le pregunto de Mamá Vudú.
Los Mamá Vudú: Álvaro Ruiz, Edgar Castellanos y Roger Ycaza / Archivo de Edgar Castellanos
Cuando Mamá Vudú lanzó el Luna Lombriz (2000) abrieron un hoyo en el compost donde se calentaba su escena. Era común que viajaran hacia Ambato desde Guayaquil y otras ciudades de provincia para verlos tocar, más aún luego de que empezara a haber conciertos similares al Huella Subterránea. Era lo más similar a un festival, pero a inicios del siglo XXI, en el país no existía algo que se le parezca.
Es 2003 y el Zambo acababa de regresar a vivir a Ambato, luego de estudiar psicología en la capital. Hace poquito nomás había fundado Sudakaya. Un día, conversando con el José Luis Jácome y la Tania Navarrete sale la idea: “Hagamos un festival”. A esa conversación se junta DC, una marca de skate que está dispuesta a acolitar con una gira de conciertos para principios de 2004, en pleno carnaval, que pasara por Montañita, Salinas y terminara en Ambato con algo grandote. Eso grandote era el FFF –el Festival de la Fiesta de las Flores y las Frutas-.
5ta. Edición del Festival FFF, realizado en el Carnaval de 2008
Digamos que el Festival FFF es el mito rock del Ecuador. Fue el primer festival grande del país, el primero en tener dos escenarios simultáneos, el primero en unirse a un circuito internacional de festivales, hasta primero que el Quitofest. Para ese entonces existía la Fiesta de la Música en Quito, pero su cuna era una institución, la Alianza Francesa. “En esa época no había un festival que una el hip hop con el metal, con el rock, con la electrónica, que sea público, que toquen bandas locales que hacían su música propia” cuenta José Luis. Para esta primera edición, el Jalal y el Rodrigo empezaron a promocionar el festival en Quito. “El ganador se iba a ir con ellos, en su carro, al festival en Ambato. Cuando llegaron los chicos, nos dijeron: ‘si ustedes pudieron hacer algo así en Ambato, por qué no se puede hacer algo así en Quito’”. Luego de 11 meses, nació el Quitofest.
Igor Icaza, Tania Navarrete, Paúl Segovia y Franco Aguirre / Archivo de José Luis Jácome
El FFF, junto con el nacimiento de la Revista Dogma, expandió sus tentáculos y aprendió rápido de otros festivales como el Rock al Parque y el Altavoz, de Bogotá. Tania y José Luis viajaron a Colombia, se empaparon de todo, se unieron a una red de intercambios y le dieron vida, junto con toda la movida ambateña. Hasta hoy han levantado 12 ediciones con miles de miles de asistentes e invitados internacionales, y hasta acaban de ganar los fondos concursables del Ministerio de Cultura para hacer el número 13.
Me atreví a decir que no. Escogí el pasado interceptor
El 5 de agosto de 2016 se cumplieron 67 años del terremoto en Tungurahua. Más de medio siglo después, en una especie de homenaje, querían emular el sacudón, pero con música. “Se me ocurrió hacer esa convocatoria porque sabía que era imposible que no esté pasando nada. La premisa era que cada músico salga a los espacios públicos y toque como pueda. Punto. Que lo filme y lo publique en internet”.
Salieron a las calles -como si hubiera carnaval de flores y frutas, pero sin flores ni frutas y con instrumentos-, algunas de las bandas que ahora componen la escena local (los policías y la Intendencia molestaron un poco, pero a la final se solucionó el tema de tocar sin permisos). Ambato Música y Acción fue esa excusa que esta ciudad encontró para aflojar un rato y mostrar los colores de su lado B.
Por estos días hay hip hop, como el de Geo Pro, Mc Siniestro y Guanaco (que aunque lo hace desde Quito, siempre ha tenido una parada obligatoria en Ambato), pop alternativo como el de Costa Fría, música electrónica como la de Auma, Vítreo, mucho, mucho reggae también, pero asimismo están bandas como RICHARDBARKER –de hardcore punk-, Superkabras –de stone rock- o Lamento –música de películas de terror-, que se alejan aún más de lo común y llano. Los que experimentan con noise, los que hacen música instrumental.
RICHARDBARKER. AMBATO MÚSICA Y ACCIÓN – HUACHI
RICHARDBARKER. AMBATO MÚSICA Y ACCIÓN – HUACHI. #richardbarker #ambatomusicayaccion #ambato #ecuador
Posted by RICHARDBARKER on Saturday, August 6, 2016
Viajar bajo tierra. Recorrer el subsuelo de una ciudad por pura necesidad de hidratación. Recorrerlo y encontrar a la larva cavando su hogar por pura supervivencia, ver sus convulsiones y su deseo de salir a superficie de vez en cuando. En Ambato, aun cuando nadie lo advierta, hay una movida guarecida en el subterráneo. Es una larva que encontró en esa etapa de su metamorfosis el estado más seguro, y permanecer como larva fue su elección. Pero no, la larva no muere, sólo se esconde.
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