Blanco Teta

Bass, drums, cello and vocals: somewhere between punk urgency, noise,

soundscapes and avant-garde experimentation, Blanco Teta shits on genre

conventions—in every sense of the word.

Based in Buenos Aires, Argentina, the group was formed in 2017 out of a need to create a unique sound with an

unconventional lineup: a rock setup without a guitar, featuring processed cello instead. BLANCO TETA is a

quartet of degenerate riot sudacas made up of Carola Zelaschi on drums, Carlos Quebrada aka Genosidra on

electric bass, Violeta García on cello and vocals, and Josefina Barreix on vocals. Their first album, BLANCO

TETA, was released in 2017 by the label TVLREC; the second, Incendiada, was recorded in 2019 and released in

March 2020 through the label GOZARECORDS.

In early 2025, they embarked on an international tour bidding farewell to ROMPEPAGA, their third album released

by Bongo Joe in 2023. They are currently presenting LA DEBACLE DE LAS DIVAS (Bongo Joe), their second

LP, set for release on July 4, 2024.

Recorded almost entirely live in the studio between Buenos Aires and Barcelona, LDDLD moves between pop

songwriting and corrosive noise, no-wave and DIY electronics, grunge and metal. The lyrics are raw and urgent.

A collection of corrosive, urgent songs—cynical yet tender—dedicated “to the Flixbus divas and the

working-class divas.”

Going to a Blanco Teta show is an immersive experience of catharsis and madness. A visceral, avant-garde

performance that sets itself apart from the rest of today’s rock acts. Impossible to categorize by sound or

aesthetics—but clearly defined by their political ferocity and rebellious ethos—their place is within the dissident

queer Latin scene, which continues to grow and strengthen every day.

They’ve played in numerous key venues of Buenos Aires’ experimental scene and have toured across Latin

America and Europe with their music. In 2022, they embarked on their first European tour, performing in several

countries and festivals, including Roskilde (DK), Le Guess Who (NL), Tremor (PT), Fusion Festival (DE), Valkhof

Festival (NL), Welcome to The Village (NL), Nordanpaunk (IS), Festival de La Cité (CH), among many other shows

across the continent.

In November 2022, they released a live session for KEXP recorded in Argentina.

In September and October, they will present La Debacle de las Divas throughout Europe, concluding the tour

with a show at Niceto Club in Buenos Aires, along with performances in other major cities across Argentina.

An international tour has already been confirmed for 2026, expanding into new continents.

More than just a band, Blanco Teta is a raw, confrontational

performance act that enters into direct dialogue with the audience.

La Debacle de las Divas (Bongo Joe Records, CH, 2025) is the follow-up to the now-iconic Rompe Paga, the album that took Blanco Teta

on an endless tour across Europe and Latin America over the past three years. La Debacle de las Divasis an album about capitalism’s

gaze on youth—and, by extension, about growing up (or growing old?), going out of style, and flipping the finger to all of it.

They say it plainly, with more catharsis than sorrow, in Joven promesa—no redundancy spared—“I’m no longer a rising star,” a line that

might as well be the album’s thesis.

The band throws out a statement: “We’re somewhere between the meme of no longer being a rising star and the dysphoria of the

fake diva—the working class divas, the Flixbus divas (...). Fuck meritocracy and techno-feudalism, which turned us into

crypto-serfs paying subscriptions to platforms that censor us.”

“It’s almost a meta-commentary on the great rock diva,” says Jose (vocalist), who shares that Courtney Love was a major inspiration, both

lyrically and performatively. Her influence can be felt in tracks of desperate punk like Deja de Llorar, and grunge also appears in the lead

single Metalera—though it’s that metallic kind of grunge, as the title suggests, closer to Alice in Chains than to Hole.

The warped synergy between processed strings and classic rock instrumentation takes shape in heavily no-wave and noise-driven

sounds—explosive rock moments and dripping walls of sound—balanced by more song-like passages, like Perdida, which echoes 90s

Argentine alternative bands such as Los Brujos or Peligrosos Gorriones, or the downtempo, almost ballad-like feel of Sin nafta.

The album was made between Buenos Aires and Barcelona, and it was the first to be recorded live in the studio by all members of

the band—who have long lived in different countries—together in the same space. The result is a raw, visceral, and urgent sound with a

strong live energy.

Recording engineer Ale Ortes, who has worked with Duki, Turro Baby, and others, was behind the controls. The album is exactly that: a

cocktail of influences where even indie and trap sneak in. La Debacle de las Divas is available on vinyl, cassette, and digital on all

platforms starting July 4, 2025.