There existed a blind spot, a vanishing point, now illuminated between the work of Mikel Laboa and Einstürzende Neubauten, and the tonal explorations nearly a century ago by the German musicologist Theodor Adorno—of whom Serpiente, a Bilbao-based trio composed of Ana Arsuaga, Beatriz Perales, and Elena Núñez, act as a medium, channeling his legacy. Serpiente merge the most dark, insidious, and necrotic post-punk of the 1980s with meditations on gothic surf-pop, while maintaining a clear connection to the Basque cultural movement Ez Dok Amairu, which between 1966 and 1972 focused on reviving and renewing Basque culture. The trio’s first LP is unmistakably experimental, probing new boundaries beyond pre-established genres, positioning Serpiente as one of the most unclassifiable and essential voices for reconstructing both post-punk and the celebration of Euskaldun folklore. In the little over twenty minutes spanned by the nine tracks of their debut, Krisanteilu, sung in Basque and Spanish, a new paradigm emerges: punk with access to the museum, and avant-garde art with access to the pogo, the mosh, and the slam.

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SERPIENTE
KRISANTEILU