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ABOUT

Kim Warsen (1981-) is a Swedish musician, singer, composer & experimental filmmaker, known for his solo project War San,

for forming part of the critically acclaimed Spanish rock band Ginferno (2006-2014)

and for his soundtracks, performances and experimental films.

He started studying piano at six, later trumpet, singing and composition and soon became interested

in meditative music and creating soundscapes by the help of piano and unconventional percussion.

With the bands Ginferno and Los Cuantos he has released four albums and made over a hundred concerts

at Spanish clubs and festivals such as Primavera Sound, Primavera Club, Monkey Week and Faraday.

He has collaborated with musicians like Damo Suzuki (CAN) and received 2014 MINS Price

for Independent Music for Best World Music of the Year with the record Erta Ale.

In 2009 he graduated as a film director from Pedro Almodóvar´s film school ECA in Madrid

and has received nominations for his short films and soundtracks (Premio MAX, La Casa Encendida).

His lyrics and musical ideas were published in an anthology on literary creativity in the underground

rock music: "The Fist and the Lyric” (El Puño y la Letra) by Luis Boullosa, together with lyricists and musicians

such as Pete Simonelli (Enablers), Aidan Moffat (Arab Strap) and Michael Gira (Swans).

Transnational Records 2024

COMPLETE BIOGRAPHY

Kim Warsen was born in Nybro, Sweden in 1981, after the meeting between a singing conductor and a job-seeking guitarist. He started playing piano at the age of 6, bass and guitar in his teens and also became a dedicated singer of musicals during high school (Rocky Horror Picture Show, Jesus Christ Superstar, The Phantom of the Opera). At the age of 18, he left the country and made a living as a street musician in Paris before ending up in Berlin and performing as Kim Warsen and the Electric Wedding Orchestra together with German musicians for a year. After 2 years abroad, he moved to Stockholm in 2002 and studied philosophy and contemporary aesthetics at Södertörn University, while setting Sarah Kane's texts to music and starting to make soundtracks for theaters and documentaries. In 2004 he ended up in Belgrade as the musician for a touring dance group, performing on self-built percussion created out of junk. Still in Belgrade he joined the serbian theatre group Dah and did street performances dealing with the city's war trauma, before heading for Madrid, Spain.

Captivated by Madrid's experimental music scene, he now made sound and video performances, created the band Blues Tumulto, which played Dead Kennedy Covers on junk metal together with the Swede Ragnar Bey, collaborated with the Japanese flamenco dancer Nobu Ikemoro and released music with the Spanish band La Familia Atávica. He was soon offered a place in the mythical band Ginferno and started touring extensively with the band on spanish scenes like Primavera Sound, Primavera Club, Monkey Week, Círculo de Bellas Artes, Museo de Arte Contemporáneo de Sevilla etc.. He staged the musical Oh My God together with the German artist Lilli Hartmann and began studying film direction at Pedro Almovodar´s film school. During these years he was still composing music for theatre and film and worked for a short period of time as a music anthropologist in the Sahara Desert.

In 2009, he graduated from film school and worked back and forth in the film business as a director assistant or doing documentaries in the south of France. In 2011, Ginferno released the album Mondo Totale where they, among other things, recreated music from Ingmar Bergman's The Seventh Seal, in Swedish. The same year, together with some of Madrid's leading underground musicians, he started the band Los Cuantos, which for two years played persistently and released two albums. Ginferno released the album Erta Ale in 2013, which was awarded World Music of the Year at MIN's Independent Music Awards, and went on a farewell tour. The following summer, Warsen moved home to Sweden and entered 5 years of musical and artistic silence.

In the spring of 2019, Warsen released two records within ten days under the name War San. The album Silent Talk in close collaboration with the Syrian violinist Amir Trabulsi and New Religious Movements recorded back in 2012 together with militant musicians from the Spanish village of Torrijos. New Religious Movements had remained unreleased for seven years but was now edited by the Spanish record label Batir Records. The following year, he joined the Stockholm-based record label Transnational Records and released the instrumental ambient record Lortbron, dedicated to his hometown Nybro. He also boards the project Goldstein Now as a singer, a project created by the Spanish avant-garde musician Julen Palacios who composed and produced the music from Cairo, Egypt. The project released The Doublethink the following year via the legendary German record company Psychofon Records.

In 2021, War San published the instrumental single Fe and the following year the EP Float Pt 1, both of which were met with fine criticism.

Transnational Records 2023, January

PRESS

Mar. 2025

THE IBERIAN ORACLE

Reportage / Spanish Radio

The single THE IBERIAN ORACLE is being played on the Spanish podcast EL CONFISCADOR DE SONAJEROS

together with a summery of Warsen´s history in Spain.

Listen to it here.

(From minute 01:01:00)

Short summery in English:

“A veteran of the Madrid underground scene, although he is of Swedish origin, Kim Warsen, a true globetrotter, who arrived in Madrid around 2004 attracted by the rich experimental scene that was breathing in the city in those years, forming part of avant-garde bands such as La Familia Atávica with Julen Palacios, Ginferno with Javier Diez-Ena and Los Cuantos with Javier Colis, to name a few of the many that already sounded on this program in those years. Always restless, he has moved in the fields of cinema, theater and arts. In 2014 he returned to his country of origin (...) and in 2019 he published a couple of works in solitary as War San. With the same name he now presents his new album "The Miraculous Life of Stella Maris"…(...)”

Mar. 2025

REVIEW

Slavestate Magazine / On the single Hello Siki

"As expected, War San never disappoints me. (...) With a voice that brings to mind both Barry Adamson and Freddie Wadling (in his absolute most restrained moments), a delicate, more than legally dark, declaration of love for the aforementioned Siki – as well as a reassuring lullaby for the rest of us”

Full review in Swedish

Det är väldigt mycket som flyger över mitt huvud när jag läser beskrivningen av War San, alias Kim Warséns nya singel inför kommande album. ”Låten är skriven till hans son, SIKI, uppkallad efter den senegalesiska boxaren Battling-Siki och är löst baserad på George Gurdjieff´s läror om ett barns behov av att befria sig från sina föräldrar”. Inte direkt inom mina kunskapsområden, men som vanligt/väntat gör War San aldrig mig besviken. Med en helt annan ljudbild än på ”Lortbron” (2020) ”Hello Siki” helt stråkbaserat, och här finns till och med sång. Med en röst som för tankarna både till Barry Adamson och Freddie Wadling (i sina absolut mest återhållna stunder) skapas en finstämd, om än mer än lovligt mörk, kärleksförklaring till nämnda Siki – såväl som en trygghetsskapande vaggvisa för oss andra.

/Michael Porali Slavestate Magazine

Mar. 2025

REPORTAGE

KLT Magazine / New single HELLO SIKI

Jan. 2025

REPORTAGE

KLT Magazine / Album FLOAT

2024

INTERVIEW

Swedish Radio P4 / FLOAT Pt 2

Photo by Emma Sandebäck

Reportage at P4 Kalmar

Listen to the full interview here

Aug. 2023

Carabanchel Prison

Interview

Transnational Records.

War San aka Kim Warsen is back with short film, a soundtrack and a new single. Read our interview with him below.

You have just made a short film with footage that you filmed in the Carabanchel Prison, in Madrid in 2006. A film that portrays a person painting a line from the prison´s epicenter across the walls and out. 17 years later you decide to edit the images and make a soundtrack to it. Tell us about this project.

Well, it has been quite a journey to work on this material after such a long time. Back then it just seemed like the right thing to do. The prison came to materialize any kind of traumatic historical event and to draw a line out of it, a way to represent the will to overcome that. For me it can be seen both from an individualistic and a collective perspective. I guess the fact that this gigantic prison doesn’t exist anymore gives the footage an extra value. The Soundtrack is built from the film but should also be able to stand on its own, as a journey from confrontation to relief.

Tell us about how the idea came up.

I was brought to the prison by a good friend, Jesús Martín-Gil, with whom I shared a passion for abandoned places. We used to visit a lot of weird places around Madrid back then but this one was by far the one that made the biggest impact. First of all because it was gigantic and standing in the middle of the Carabanchel neighborhood. Then it had all this history that became so present when you stepped into it. I just felt an urgent need to go back and do something with the place. The idea of breaking into a prison instead of breaking out of it has some kind of therapeutic meaning as well. Like if something was left unresolved and could be fixed. So I asked my good friend Ragnar Bey who lived in Madrid for a while to come with me, we bought a bucket of white paint and got started. We had no idea the prison was going to disappear the year after.

Was the place open to the public?

No, the place was kept locked and you had to climb the walls to get in there, but it had become a pretty well visited place for graffiti painters, junk collectors and youngsters from the neighborhood. Back then I was into metal junk as well, but not for selling it. I was building percussion and doing concerts and performances with it in a couple of bands.

What can you tell us about the history of the prison?

It was constructed by political prisoners after the civil war in the 1940’s and became the most notorious prison of Franco’s dictatorship. It was used until 1998 and then left abandoned for ten years before it was demolished. It was perhaps the strongest symbol of Franco’s regime and I guess that’s why they decided to destroy it. During my years in Spain I met people who lost relatives there, you could notice that it was still difficult to talk about.

What would you like to say to the viewers to encourage them to watch the film?

I mean, for me it is not so much about saying something about Franco’s regime or to give anyone a history lesson. But it is a fact that many cruel things have happened, are happening right now and will continue to do so. Somehow it seems relevant to face those things and find a way to deal with them. I guess that is what I have been trying to do. To find some kind of way through the burden.

How come the film is covered in shapes of streaming water?

I was struggling with the film being too explicit. Somehow it is about revisiting a difficult memory. The prison could very well represent any kind of traumatic experience and the whole act is some sort of ritual to help memories to transcend. Water for me has a healing quality. I have started working on another video and music piece that is about water streams, so I tried those images on the film and it seemed like it got a better tone. Images that are more sublime or abstract can sometimes help the mind in other directions and I hope the film also creates space for reflection. I mean, there is no closed message to consume.

Tell us about the Soundtrack

I started working on the soundtrack half a year ago and I kept wrestling with the question if you should compose music for a prison at all. Maybe it is an absurd question, but I was really obsessed with it for a while, it felt bad somehow. So, at first I just recorded noises with guitar pedals for several weeks and ended up with a light version of tinnitus. Then I recorded all the electronic sounds in my house, like refrigerators, the ventilation system, the dishwasher etc… some of those sound textures are still in there. But then it started to feel ok to work with melodies and harmonies again. It was much more difficult than I could possibly imagine to compose music to this piece. But mostly it was a moral battle, since the music creates the emotional state through which you perceive the images and I wanted to keep a certain amount of mystery to it.

You will also release a new single The Stranger in a few weeks. Are they related?

Sort of. It felt necessary to start working with my voice again. This song is almost more of a poem than a song. I like working with words, because I discover the meaning of them after the song is done. During the process I just try to find words and expressions that resonate with me and feel relevant. The final result is sometimes a bit frightening because the words don’t feel like they are mine anymore. They speak by themselves and create this feeling of being able to look at yourself from outside. I like having that kind of dialogue.

We used a pitch effect on the voice that normally appears when people want to stay anonymous in an interview. It creates a feeling of something being very intimate and still alienated. Like if you hear yourself talking and ask yourself; Who is that person? Sometimes I find myself asking that question and it is quite liberating somehow.

CARABANCHEL PRISON

Extracts from the Short Film

Aug. 2023

CARABANCHEL PRISON

REPORTAGE

2023

CARABABENCHEL PRISON

"Almost spiritual", "Blends contemplation with optimism"

Review in Aural Aggravation

One of the great pleasures I derive from reviewing music, particularly that of experimental and ambient persuasions, is the amount I learn from reading about the inspirations behind the works. Because of the nature of these musical forms, the inspirations are wide and varied, but often reactions or responses to events or places, or even abstract concepts, and unencumbered by the conventions of lyrics, which are so often hampered and constricted by the limitations of meter, rhyme, even vocabulary and simple words themselves, lyrical songs fail to convey things which, on occasion, music alone can do. Because music speaks its own language, and has the capacity to communicate, to convey more than words. As a writer, and writing about ambient compositions, I am often acutely aware both of my limitations and the contradiction of the process, in essence, or reversing the magic of instrumental musical works to ‘explain’ them using rather blunter tools, but at the same time, I relish the challenge. Moreover, I have learned more of history and geography and beyond from my curiosity-led research than I ever did from my formal education.

So much information is simply not given to us, and so much history – recent history – is lost to us, unless it has a specific local interest, and even then, many people who are natives to the very town or city they life often know woefully little of the heritage which surrounds them. I am guilty of this also, knowing comparatively little of my locale, although it was again my own curiosity which compelled me to learn the history behind the existence of a brick and concrete bomb shelter in my own back yard.

Globally, we’re so wrapped up in the moment, and a nostalgia for the recent past that the history of a generation or more ago may as well be Elizabethan rather than Victorian or Georgian.

And so it is that I had absolutely no knowledge of Carabanchel Prison… which of course meant that I simply had to find out about it. How did I not know about the largest prison in Europe, built between 1940 and 1944, and operative until 1998? Disused and abandoned for a decade, plans to convert the immense brick complex to flats came to nothing (can you imagine actually living there) before it was demolished in 2008. So many questions… about its occupants, about it mere existence, about its collapse… so many questions about a place which housed political prisoners after the Spanish Civil War, and many more besides.

This EP is, in fact from the soundtrack to a forthcoming movie, released next month. As the accompanying notes explain: ‘The film portrays a person painting a line from the prison’s epicenter to across the wall. The abstract textures that drown the images are created by streams of water. The film was shot in 2006, inside the prison of Carabanchel, Madrid. The prison had then been closed and abandoned for over 10 years. It was finally demolished in 2008. The tapes were edited in 2023, 17 years after its making. The film features Ragnar Bey as the painter.’

Painting a line through aa disused prison my seem a rather curious film project, but no doubt context bolsters its content. But the soundtrack…

Across three pieces, each around four to six minutes in duration, War San (Swedish composer Kim Warsen) leads us through the building’s structure, and the titles correspond with the location: ‘Wall’, ‘Cell’, ‘Exit’.

Despite taking the form primarily of an elongated, wavering drone, ‘Wall’ has soft elements, trilling long notes as though from some pipe or another: not a pipe organ or bagpipe, but something long, droning but at the same time bright, airy. Meanwhile, ‘Cell’ feels almost spiritual. There is an oppressive darkness which pervades, and lingers at the corners throughout, but the overall sensation blends contemplation with optimism, before ‘Exit’ breezes, cloudlike towards freedom.

Perhaps, then, this EP’s function of a soundtrack to a post-abandonment creative project means any presupposition about it being a place of confinement is mistaken. Instead of chewing over its darker history, Carabanchel Prison invites us to reflect on the fact that those days are over now, and looks to a brighter future. It traces a line – quite literally – from confinement to exit, and to freedom. If only this was possible for more historical dates and places.

Christopher Nosnibor / 11th August 2023

Dec. 2021

REVIEW

FLOAT Pt 1 reviewed in HYMN

Nybrobaserade Kim Warsén aka War San – med ett förflutet i banden Ginferno och Los Cuantos – har rönt en hel del framgångar med sin ambientdoftande solomusik och nya singeln ”Float, Pt. 1” borde ge Warsén än fler lyssnare. Nämnda singel är 20 minuter rent guld.

/ HYMN Music Magazine, Daniel Andersson on the single Float Pt. 1 2022

Interview Dec. 2021

FLOAT Pt. 1

Transnational Records.

We are happy to announce a new release from ambient maestro War San: Float Part 1 will be released December 12th.

Float Part 1 is a 20 minute long piece of stunningly beautiful ambient music, it will be released December 12th digitally, globally on all streaming services. Below is an interview with War San about the new long single or perhaps we should call it a one song EP.

War San, aka Kim Warsén, has just finished FLOAT Part 1, which will be his third release on Transnational Records. We caught him for an interview to present this new piece of music. The interview is free to quote from and to use for publication.

Can you describe Float Pt 1?

Yes, it´s a twenty minute, instrumental piece, starting with a three minute minimalistic sound wave that slowly transforms into something peaceful and meditative.

Is it a single or an EP?

That is a good question, but it leans towards an EP, since a single is normally a bit shorter. Twenty minutes feels more like a piece in itself.

It is called Float Pt 1, can we expect a Pt 2 later on?

Yes, that is the idea, but I am not sure it will come straight away.

You released Lortbron a year ago. What have you done since then?

I released the single Fe in the beginning of the year. Since then I´ve been experimenting a bit and working on other projects, but now I hope to be able to spend more time on War San again. Hopefully there will be a new album next year.

Is this a continuation on your last album?

Both yes and no. On the album Lortbron I put up some rules. I forced myself to use only piano, an old pedal organ that I have, and field recordings. With these limitations it became some kind of neo classical music with pretty clear melodies and a quite a lot of emphasis on the piano. This time I have gone more towards ambient music and introduced some synthesizers in the soundscape.

You work a lot with limitations and rules. Why is that important to you?

The possibilities are endless but I feel like I lose focus on what I want to transmit if I spend too much time choosing instruments. By putting up rules I can concentrate on what I want to express, rather than with which tools. The recording and mixing still takes a long time, you try different things, add and take away, but the essence and focus lies more on trying to capture something sincere.

What is it that makes this kind of peaceful ambient music interesting to you?

In the end I guess it´s about finding some sort of balance and being able to free myself from my own judgement. I am pretty judgmental with the stuff I do and I always found it very hard to release music. But this kind of instrumental music has a pretty calming and hopeful impact on me, so then it feels ok to share it with people.

How would you define ambient music?

I would say that good ambient music makes you forget that you listen to it, and then you miss it when it´s gone. Ambient music has a huge potential to create some sort of narration and to express things, experiences and insight if you give it time. I guess many people associate the genre with elevator music, but I see it more as a tool to step into and out of mental states.

What can you tell us about the album artwork?

It is made by Chema Castello, a Spanish photographer and a close friend. He has meant a lot to me so it feels great to have one of his photos as the cover.

What do you wish for with this release?

That it reaches as many listeners as possible and that some of them find it useful in some way.

Float Part 1 will be released on the 12th of December 2021 on all digital music services.

2021

REVIEW

FE in Swedish Magazine Barometern

Nov. 2020

INTERVIEW & LIVE

Sveriges Radio P4

Live & Interview in the church of Nybro.

2020

REVIEW

LORTBRON in Echoes & Dust

What can you do with another solo piano album? Well, for starters, listen to it. And then if it is good there are at least a dozen possible combinations in which it can come in perfectly suitable. Including just listening to it. Here we are then with one such musical specimen – War San and his album Lortbron, or “The Filthy Bridge” as it is said in Sweden.

Actually, there’s an interesting story behind this one. Kim Warsén, aka War San, who as you presumed is Swedish, made his name in Spain first, where he lead and sang for two bands – Ginferno and Los Cuantos. It seems that when he returned back to Sweden some six years ago he turned to meditative instrumental music.

Now, with such a genre, there’s always a good chance that the music will turn out something like a cup of tea with too many sugars in it. Not so with, War San and his Lortbron. It probably has something to do with the fact that this is War San’s seventh album, so he probably has enough musical experience to have the sense of how much ‘sweetness’ and melancholy he needs to filter through.

But to make such music really work, you need to have that touch and sense of what works and what doesn’t and throw in little touches that don’t let the monotony seep through. War San does that with touches of organ and field recordings like on ‘Aftonland’ here and elsewhere on the album.

Still, it is War San’s sense of keeping things as uncomplicated as possible and hitting the right notes every time that make Lortbron work, and one of those albums that you can resort to whenever you need some peace of mind.

by Ljubinko Zivkovic | December 16, 2020

Echoes and Dust

2020

PRESS

About LORTBRON

Kalmarposten

Reportage

“Aftonland kommer från en dikt av Pär Lagerqvist. Andra singeln Kungshall är direkt döpt efter en stadsdel i Nybro. (...) Sibyllan är också en roman av Pär Lagerqvist som handlar om att man inte ser det som finns framför en förrän man får distans till det…”

Slavestate Magazine

Review

Låttitlar som ”Vid stigen stjärnor låg” och ”Aftonland” både beskriver och förstärker känslan av melankoli kombinerat med något vackert jag inte riktigt kan sätta ord på, något jag gissar är precis det upphovsmannen varit ute efter.

Barometern

Reportage

"När vi lever i en tid där allt blir mer och mer tillrättalagt känns det viktigt att på något litet diskret sätt göra motstånd"

2019

REVIEW

New Religous Movements in Ruta66

"Sparkling literary exorcism", "Ode to restlessness", "One of this years album"

//RUTA66, Emilio R. Cascajosa

2019

INTERVIEW

ERA MAGAZINE

MORE PRESS 2020

LORTBRON

Transnational Records.

New album Lortbron with War San is out now. Below is the first bunch of interviews and media coverage.

Kalmarposten
https://www.kalmarposten.se/nybro/nybroson-slapper-albumet-lortbron-blir-intimt-och-personligt-9fdd09bf

Nybro Extra
https://www.nybroextra.com/2020/10/22/slapper-skiva-om-sin-hemstad-nybro/

Barometern
https://www.barometern.se/kultur/han-slapper-skiva-med-ambientmusik-inspirerad-av-nybro-e9975552

Kulturbloggen
https://kulturbloggen.com/?p=136194
https://kulturbloggen.com/?p=137255

Echoes and Dust – Review
https://echoesanddust.com/2020/12/war-san-lortbron/

Musicazul
https://www.musicazul.com/noticias-war-san-anuncia-la-publicacion-de-su-nuevo-trabajo-discografico/

Revistaindie
https://www.revistaindie.com/noticias/lorbtron-proximo-album-war-san.html

EARLIER PRESS

En español

La Vanguardia Oficina Editorial 2016

El sueco Kim Warsen, cantante, pianista, guitarrista y compositor de bandas sonoras, es una de las grandes leyendas del underground musical español, aunque ahora ha vuelto a su país natal, donde sigue con su carrera musical. Ha formado parte de grupos míticos como Los Cuantos o Ginferno. Además de la música, es filósofo, director de cine, y ha realizado documentales y creado piezas de videoarte.

Pedro Ingelmo en diariodecadiz.es, sobre Monkey Week 2014

Pero para descubrimiento, el hallazgo impagable de la madrugada de ayer en Mucho Teatro. Tendrán que apuntarse el nombre porque lo de Ginferno y los Saxos del Averno es de otro planeta. El grupo está liderado por un chaval elegantemente vestido con traje ajustado de los 60, corbata estrecha y gorra. El chico empieza a saltar a ritmo funk, pero resulta que tiene una voz rota a lo Tom Waits y se atreve con algunas posturas de crooner. El brebaje es explosivo. A los cinco minutos de estar pegando botes por el escenario tenían a toda la sala volcada con una propuesta de ritmo que viene a decir puedes morir ahora mismo, pero morirás feliz. Baila, baila. Danzad, danzad, malditos. Y el viento, que lo traen cuatro personajes que no se cansan de soplar hasta arriba de swing, hace todo lo demás. Ginferno, sus saxos del averno y un contrabajo insistente hicieron crecer de la nada, de la abulia, una de las mayores fiestas que se han visto desde que existe el Monkey Week."

Eduardo Guillot By the Fest 2014

Kim Warsen fue el maestro de ceremonias perfecto durante un set en el que la banda hizo trizas cualquier adscripción genérica posible. Ellos hablan de afro-rockabilly, calypso-punk, swing asiático o garage aborigen, pero en realidad su propuesta está más allá de etiquetajes ingeniosos. Música multiforme, que dispara al mismo tiempo al cerebro y a las piernas, dinámica en su concepción rítmica y sobrada de recursos a la hora de sacar partido a su exuberante sección de metal. La fiesta total en un mundo perfecto, hasta el punto de que parecía una broma macabra que estuvieran diciendo adiós desde la discreción.

Rolling Stone Magazine Espana sobre Ginferno på Monkey Week 2014

”Ahora mismo el mejor frontman del país. Parece broma que fue su último concierto”

David Lorenzo Crítico de Madrid 2013

Muchas veces se cae en el error de tildar a determinados artistas, grupos musicales, películas… con la coletilla siguiente: “de culto”; pero la realidad es que a la postre, la gran mayoría, no lo son ni por asomo. La banda madrileña Ginferno, en cambio, sí que lleva haciendo méritos de sobra desde hace más de trece años, para acabar siendo definidos, probablemente dentro de unos años, como un grupo musical de culto, por muchos motivos: siempre han estado al margen de modas y estilos; durante años han triunfado tanto dentro como fuera de nuestras fronteras con sus despiadados directos (…) y la primacía de la exultante voz de un Kin Tipín (Kim Warsen) que recuerda a los más grandes (desde Louis Amstrong a Jim Morrison, pasando por Tom Waits) y a unas letras con una carga poética enorme que también nos traen a la mente el legado del californiano Morrison, en especial su maravillosa composición “Celebration of the Lizard” y en particular el increíble fragmento: “Not to Touch the Earth”

Chulonazi Blogg sobre Los Cuantos 2013

¿Cómo definir los ingredientes de este cocktail explosivo? Medio litro de Jon Spencer Blues Explosion, un buen chorrazo de The Doors, cien gramos de Faith No More, unas gotitas de The Cramps, unos toques de Grinderman y de Nick Cave, y finalmente se aromatiza con oscura esencia a lo Joy Division y voilá, obtienes un exquisito elixir profundo y con mucho cuerpo, gracias sobre todo a la hipermasculina voz de Kim, que irremediablemente recuerda a la del gran Andrew Eldritch de The Sisters of Mercy

Sam Sheperd Musicomh 2013

Skelleten’s saucy mambo swing that sees vocalist Kim Warsen in Italian croon mode could easily have fitted on Mike Patton’s Mondo Cada project without sounding out of place.


David Bizarro El País 2011

Ginferno son lo más parecido a una institución del Madrid subterráneo. Una banda atípica que lleva casi una década demoliendo las fronteras del rock con una originalidad prácticamente inédita en nuestro país (…) Kim Warsén (artista multidisciplinar y garganta aguardentosa) plenamente asentado en el núcleo duro de la banda.

Contact

kimwarsen@gmail.com / warsanmusic@gmail.com