Artist picture of Los Tres

Los Tres

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Claus Los Tres 01:43
La Torre de Babel Los Tres 03:30
Un Amor Violento Los Tres 04:43
Sudapara Los Tres 03:17
La Espada y la Pared Los Tres 05:43
Déjate Caer Los Tres 03:22
Quien es la Que Viene Alli Los Tres 04:09
Dejate Caer Los Tres 03:29
He Barrido el Sol Los Tres 04:38
El Arrepentido Los Tres 02:33

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Formed in Concepción in 1987, Los Tres are the quintessential Chilean rock band. Their trademark sound incorporates elements from Chilean folklore, rockabilly, and jazz into a unique amalgamation of styles that earned them recognition both in their home country and throughout Latin America. Composed of Álvaro Henríquez (vocals/guitar), Roberto “Titae” Lindl (bass), Boris Ramírez (drums), Sebastián Cabib (lead guitar), and Cuti Aste (keyboard), the band has gone through several lineup changes during its decades-spanning career, with Henríquez and Lindl being the only constant members. Following the success of “Un Amor Violento,” off of their 1991 eponymous debut, the group broke into the mainstream with La Espada & La Pared (1995), which featured the hit single “Déjate Caer,” the song that propelled them international stardom. They followed up the platinum winner Los Tres MTV Unplugged (1996) and Fome (1997), an eclectic piece of work that is considered by many as the group’s finest and most misunderstood effort. After the release of La Sangre en el Cuerpo (1999) and the live album Freno de Mano (2000), the band went on indefinite hiatus due to internal friction between its members. Hágalo Usted Mismo (2006) marked Los Tres’ triumphant return to the stage, with sold-out shows at Parque O’Higgins’ Arena Santiago and a stellar presentation at the Viña del Mar Festival in 2007. In subsequent years, Los Tres collaborated with Santiago’s Municipal Theater Ballet on 30 y Tr3s Horas Bar (2009) and released Coliumo (2010), which earned them an Altazor Award for Best Rock Album. Recorded after longtime guitarist Ángel Parra’s departure in 2013, the stomping Por Acanga (2015) was hailed by critics as a return to form, embracing the rockabilly sound of their earlier days (“Hey Soledad”), blues rock (“Hey Hey Hey”), and tearjerking ballads (“Quizás con quién”).