After 28 years since the creation of the rock band tolosarra Systka Torture, a brave Asturian, responsible for the Truco Asparrago seal, has published the “models” of the band. Today and here, in this world that make up Youtube, Google and social networks.

I don't know how many of us at that time would have been systematically tortured listening to them. I estimate that maybe we were about fifty, most of the Tolosa's, and, more generous, maybe we would reach five or a thousand, in a global, global, universal, superstratospheric way.

Let's remember the music technology of the time. The mock-up, the magnetic tape casette, the vinyl single, Ep and Lp were seasons; the tunics worked with needle and speaker and the radiocassettes had to press thick keys to reproduce the sound or to cast the tape back and forth. If you recorded a mockup, you had to mail it to anyone you liked, or sell it and distribute it at concerts. To get the concerts, you had to first open the model, or make the group known in some way. In the specific case T.S.ren, Javi, editor of fanzine Destroye, actively dedicated himself to this. Thanks to him, they got many concerts both at

village festivities and in the gaztetxes, “proto” of the time. There was still a long way to go before, as soon as home recordings were made, the opportunity to listen to them in the private devices and in the nimes of Western society, as it is today. The disordered and unmeditated “bands” like the Torture Systematics, the extreme practitioners of philosophy do yourself, the salvation, glory and misery that they had against each other. I mean, concerts. Paradoxically, as happens to any band today.

The concerts achieved five hundred, perhaps a thousand, or two thousand followers, and thanks to them came the “legend” of the hardcore tolosarra band. In fact, the sound quality of home recordings, that is, technology, would hardly deceive the oyentes.Los concerts of the Torture Systematics were the mirror of their companions and the sonority
they achieved: hard, narrow, chaotic, sound vomiting. Theaters like Shanti, chaotic like Lanber, straight like Joxi, hard like Txanpi. Drake and Eneko also played the battery. The two, like Txanpi, BAP! They belonged to the group. Together, they offered great concerts. They also had the “hymn”. That is, the song they used to offer at the end of the concerts, the one we all hoped for, the one we all knew in memory (about fifty, mostly men) and that we used to sing in the choir, in a drunk of the most common: Created from the words of Lanber’s grandmother, made up of the endless Lanber riffs, with punches that did not fit the style of the other songs of Torture. These puntets were so long, so heavy-symphonic, that Shanti added to the word "End Song." It was the most tolosarra piece in every way, as it was gamberro and full carnaval.Las recordings can be reedited, but it will not be possible

to re-give those great concerts, although the four members join an initiative like “Hardcore dinosaurs will never die.” Here and now, Lanber spends the day painting and transplanting a kidney; Shanti has a catémé and is the frontman of the Electric Wolf group; Joxi is an ex officio journalist and father of the two children; and Txanpi, a sound technician, has two children and one huerta.De all forms, taking into account the

dimension that the Systematic of Torture had, it is a merit to recover its sound of sound Although, well thought out, it is not a matter of merit. Those of the Torture System did no more than they were then. And that lasts.