# El Cuarteto de Nos

El Cuarteto de Nos is an Uruguayan rock band formed in Montevideo in 1978. The group consists of lead singer and guitarist Roberto Musso, drummer and backing vocalist Álvin Pintos, guitarist and backing vocalist Gustavo Antuña, and bassist, backing vocalist, and keyboardist Santiago Marrero.
The Musso brothers, Roberto and Ricardo, developed an interest in music from a very early age—being influenced by groups such as The Beatles, Led Zeppelin, and The Rolling Stones—and together they decided to form a band. Their main lyrical inspiration came from a fictional city called "Tajo", where the characters that would later appear in their songs were imagined. In 1978, together with Ricardo, they formed El Cuarteto de Nos; originally, the band was composed of the Musso brothers, Santiago Tavella on bass, and Guzmán Villamonte on drums. In 1984, three years after Guzmán’s departure, they released their debut split album, Alberto Wolf y el Cuarteto de Nos, which featured tracks by Uruguayan musician Alberto Wolf on side A and tracks by the band on side B. Baroncini left the group and was replaced by Álvaro Pintos, who remains the drummer to this day; in 1987, they published their first solo album, Soy una arveja, under the Orfeo label, and to promote it they held a recital at Teatro El Galpón. Emilio García (1988) and Canciones del corazón (1991) continued the same musical and lyrical approach as Soy una arveja, and in 1993 they signed a contract with the Ayuí/Tacuabé label to release their fifth studio album, Otra Navidad en las Trincheras (1994), which received great recognition and unanimous praise from the press during its release, selling 6,000 copies and becoming the best‐selling rock album in Uruguay; as a result, it was certified platinum and gold by the CUD (Uruguayan Recording Chamber). Their following album, Barranca abajo (1995), did not achieve the same level of recognition.

## History
### 1978–1993: Beginnings and Early Albums

Thanks to several performances in various Montevideo theaters – including at El Tinglado, where they held their first concert under their final name in 1981 – the Ayuí label proposed that they record their first album, to be shared with Alberto Wolf. The proposal was accepted and on October 1, 1984, Alberto Wolf y el Cuarteto de Nos was released; it was first issued in cassette format and the following year on vinyl with six songs by Wolf and six by the band, making it a split album. In 1985, they made their live debut at the Villa Biarritz fair, where they dressed with aluminum foil on their legs and had balloons attached to their heads, generating public interest. From that time on, the originality of their varied performances bore fruit and they amassed a wide following across all ages. By 1986, El Cuarteto de Nos was named among the most prominent bands of post-dictatorship rock and one of the country’s most promising acts.
In November 1986 they participated in the Montevideo Rock festival, which was attended by 60,000 people – the largest event in the history of Uruguayan rock at that time. However, they were forced to leave the stage when the audience began to boo and throw objects at them. A review in Brecha commented:
    "When we asked why the group was being attacked in this manner, we were told that people disliked that they promoted Lee jeans, that they had a TV program [La cueva del rock on Canal 4], that they were overly promoted by the media, and that they dressed in a snobbish manner."
Their first solo studio album, Soy una arveja, was released in 1987 and presented that same year at Teatro El Galpón, where they officially introduced their new costumes depicting adult women – as referenced in the album’s eleventh track – with names like Potota, Tita, Berta, and Albina. Pintos revealed that in the post-dictatorship rock movement "they were not so welcome" and that they enjoyed playing in theaters because they felt like "fish in water" and it worked well. Soy una arveja contains fourteen songs and features a sound much more focused on new wave than their previous album, as electric guitars were introduced. The lyrics take a more unusual and surreal turn, including the first references to the city of Tajo.
They held their first series of performances, titled Homenaje a Cuarteto de Nos, in 1988 at El Tinglado while recording their next album, Emilio García (1988); the title refers to the fictitious manager the band had at that time. Emilio García follows the same structure as Soy una arveja, both in sound and in lyrics. The album was presented in a series at Teatro del Notariado, where "Los Bedronclos y Tuquito y Sus Cowboys" – parodies performed by the band – acted as opening acts. In 1989 they toured the country with their live shows, and in December 1991 they performed for the first time in Argentina at the Second Biennial of Young Art. The recording of their next studio album, Canciones del corazón (1991), began in 1990 while they were simultaneously performing cycles at La Tramoya and Teatro del Notariado. Edited by the same record label as their previous works, it was released only on cassette, due to the high cost of CDs in Uruguay at that time; Tavella recalled it was a "depressed moment for the music industry," though in the early 1990s they were "doing relatively well" as they performed in various theaters and participated in different scenes.
After completing their first three solo albums, they began working on their fourth. When the band proposed to the label that they wanted to release the next album on CD, Orfeo decided not to take the risk due to the high cost and uncertainty regarding sales.

### 1994–2005: Otra Navidad en las Trincheras and Recognition

In 1994, they released Otra Navidad en las Trincheras, which was immediately embraced by both the public and the press. This album stands out musically for its breadth: it mixes salsa, rock, electronic elements – almost every style – in a tongue-in-cheek manner, with lyrics that are less surreal than in previous albums, taking on an acid and politically incorrect tone. Some of its greatest hits were "Sólo un rumor", "Eres una chica muy bonita", "Soy un capón", "Bo cartero" (a loose version of "Please Mr. Postman"), "El putón del barrio", and "Me agarré el pitito con el cierre". Ricardo commented on the recording and composition of the album:
    "It was recorded by a bunch of 'guarangos' fooling around in a studio. We thought, 'Perhaps the same guarangos who laugh at the same stupid things will follow us, so let’s include all the stupidities that come to our mind.' What we achieved was nurturing more guarangos in Uruguay."
    – Riki Musso
In May 1994 the album was released on cassette, and the following month – in June – on CD, with CDs being manufactured in Argentina with a minimum run of 500 copies. Shortly after its release, Otra Navidad en las Trincheras managed to sell 6,000 units throughout Uruguay, a feat that earned it platinum certification by the Cámara Uruguaya del Disco (CUD).
There was a theory that the album's popularity was due to its release on CD in Uruguay; however, Ubal refuted this, noting that in the first year more cassettes were sold than CDs – the tapes were produced on demand by the label, and during periods when CDs were not available, orders for cassettes could not be met. Over time, album sales reached a maximum of 20,000 units, compared to later records such as Este fuerte viento que sopla (1999) and Todo es tan inflamable (2006) by No Te Va Gustar, which eventually surpassed the sales of Otra Navidad en las Trincheras.
The concert tour to promote Otra Navidad en las Trincheras was held in various venues across Uruguay. One notable venue was a nightclub in the area of Joaquín de Salterain and San Salvador called Katakimbé, which had an attendance of 2,000 people. Álvaro Pintos recalled that the venue was packed, and subsequently, they began performing regularly – first on Thursdays and then on Fridays and Saturdays. Pintos commented: "For a Uruguayan band, doing that was incredible; it made us think that something interesting was happening." Later they held another concert in Pocitos (Montevideo), where they were not well received and the venue eventually closed. Due to the limited capacity of smaller venues, they decided to perform at Teatro de Verano, which attracted 5,000 people.
In response to the massive public acclaim for Otra Navidad en las Trincheras, the band humorously nicknamed their 1995 release Barranca Abajo. Although the title was meant to be an ironic nod to their fame, the album was very well sold in Uruguay. This record is notable for its darker musical tone compared to its predecessors, incorporating elements of punk; among its standout tracks are "Vino en mi jeringa", "No me puedo mover", "Barranca Abajo", and "El diablo en mi corazón". Riding on the success generated by Otra Navidad en las Trincheras, in 1995 they released La misma porquería, a compilation of the most popular songs from their second, third, and fourth albums. In 1996, the band published their new album titled El tren bala. The first song on the album contained the track that sparked a major controversy: "El día que Artigas se emborrachó", for which the Ministry of Education and Culture of Uruguay filed a criminal complaint alleging defamation of the national hero José Gervasio Artigas. The trial was eventually nullified when the prosecutor determined that no crime had been committed. Later, attempts were made to have it tried by military courts in full democracy, as it was believed to vilify Artigas’s flag. Finally, the INAME – now INAU – prohibited the album’s sale to minors and its broadcast during protected hours. This marked the only case of attempted censorship of a musical work in Uruguay since the return to democracy in 1985.
After this episode, the band’s popularity declined somewhat. Their next album, Revista ¡¡Ésta!! (1998), featured songs that presented news stories and included a small magazine-style bookl

### 2006–2013: International Success, the "Trío Raro" and Riki’s Departure

In 2006, the band’s popularity increased even further with the release of the album Raro in May. Musically, Raro continued in the same vein as El Cuarteto de Nos and was also produced by Campodónico. It contains twelve songs – two written by Santiago Tavella, one by Ricardo Musso, and nine by Roberto Musso. Notably, the lyrics are longer and delivered in a rap style with obsessive wordplay. Although sarcastic and acid, the lyrics are more believable, serious, and reflective than those of previous albums. By mixing rock with hip hop and rap, they created a compositional style that would characterize them from this album onward. It includes major hits such as "Yendo a la casa de Damián" (which was nominated for a Latin Grammy in 2007), "Pobre papá", "Ya no sé qué hacer conmigo", and "Invierno del 92". In 2007, El Cuarteto de Nos promoted Raro throughout Latin America.
In 2009, Riki Musso (photographed in 2010) left the band due to musical differences after performing at festivals such as Vive Latino in Mexico, Rock al Parque in Colombia, and Quito Fest in Ecuador. In 2008, they participated in Pepsi Music 2008, a festival in Argentina alongside other major bands and soloists. In the second half of 2009, amid the production of the album Bipolar, it was announced that Ricardo Musso had artistic and administrative differences with the new direction of the band. Majareta Producciones, in charge of the band’s management and communications, stated that the band “is not breaking up or dissolving” but would undergo a “structural change”. The bassist, Santiago Tavella, declared: "El Cuarteto de Nos is not splitting up, but Riki Musso is leaving."
In anticipation of the release of Bipolar, planned for early June, Tavella explained: "We are already looking for new people to replace Riki, because Bipolar is a very sophisticated album. The idea is to make a change that would include two additional members, although we have not yet defined who." With Riki’s departure, two new instrumentalists joined the band: Gustavo "Topo" Antuña, from Buenos Muchachos, on guitar, and Santiago Marrero on keyboards. Bipolar follows the direction initiated by Raro. Musically, it is noted for being much more electronic compared to Raro, with lyrics that fully embrace the rap genre and focus on describing strong personalities rather than telling stories. The album comprises twelve tracks – one by Riki, two by Santiago, and nine by Roberto – and includes "El hijo de Hernández", which became the new hit of the band, as well as other songs like "Miguel gritar" and a new version of "Me amo". Bipolar made them so well known throughout Latin America that they were invited to numerous festivals in various countries. Once again, the album was produced by Juan Campodónico. In 2010, the band held their first concert at the historic Palacio del Boxeo in Argentina (known as Luna Park). The show featured the participation of Fernando Santullo in "Mírenme" and the band’s producer, Campodónico, in "El hijo de Hernández" and "Yendo a la casa de Damián". The album won a Graffiti Award in June 2010. Other important appearances included the Nem Catacoa festival in Colombia on October 9–10 (where they performed alongside Green Day, Jamiroquai, The Bravery, and Don Tetto), Cosquín Rock in 2010, and a return to Pepsi Music in 2011.

### Porfiado and subsequent years

Porfiado contains 12 songs. Ten of the tracks were written by lead composer and singer Roberto Musso, and two by bassist Santiago Tavella. This is the first album recorded by the five members of the new lineup. According to Musso, Porfiado completes the trilogy that began with Raro and continued with Bipolar, but it has a life of its own: "It is the best of Raro and Bipolar, but modernized." The album’s characters are obsessive—with fixed, stubborn, and naively negative goals. With much more ambiguous lyrics, the raps are shorter and more sung, exploring emotional areas never before visited by the band while setting aside humor in some tracks, though without erasing the irony that has always been their trademark. Sonically, the record balances electronic, pop, and rock elements, bringing it to the level of contemporary music (auto-tune even appears in the chorus).
Porfiado was mastered in Los Angeles and was released under the Warner label simultaneously in Uruguay, Argentina, and Chile on April 25, 2012, and later in other countries such as Spain, Mexico, and Brazil.
They also performed for a second time at Luna Park (Buenos Aires) on June 22, 2012, with a full stadium, followed by additional shows in the interior of the country and in Uruguay (including two sold-out performances at Teatro de Verano). Furthermore, Porfiado was presented in several other Latin American countries such as Peru, Colombia, Venezuela, Mexico, and Brazil.
On November 15, 2012, the band traveled to Las Vegas for two nominations at the Latin Grammy Awards (Best Pop/Rock Album for Porfiado and Best Rock Song for "Cuando sea grande"). El Cuarteto de Nos won both awards, becoming the first Uruguayan band to win a Latin Grammy in the rock category.
On April 9, 2013, they premiered the song "Un poco de acción", a jingle commissioned by the Argentine radio station Rock&Pop, composed by Roberto Musso—who, inspired by the station’s name, blended rock and pop sounds while maintaining their signature continuous rhymes. On May 17, they launched the web series "Cuarteto vs Cuartetitos", which tells the story of how the band’s alter egos (represented as dolls), called Macacos, come to life and attempt to take over their roles. On May 31, the band held its third performance at Luna Park, featuring a renewed setlist that reinterpreted some old classics and recounted the story of "Los Cuartetitos".
They performed for the first time in their history at the Municipal Velodrome of Montevideo on October 26, as part of the second season of the "Cuarteto vs Cuartetitos" web series, to conclude the tour for Porfiado. After a summer in 2014 filled with numerous festival appearances (primarily in Uruguay and Argentina), the band recorded another jingle for the radio program "10 años no es nada" (commissioned by Segunda Pelota to celebrate their ten-year anniversary on air). They also held two concerts at La Trastienda (Uruguay) on May 8–9, with sold-out venues, while in Argentina they performed at Gran Rex on May 17, also to a full house – serving as the final closure for the trilogy of Raro, Bipolar, and Porfiado and as a retrospective of their earlier works.
Habla tu espejo was released on October 15, 2014, produced by Juan Campodónico and under the Warner Music label. It is the second CD recorded by the new five-member lineup. This album charts a new course in lyrical composition and music, leaning toward a more personal and emotional style (leaving behind humor) and featuring a more pop-oriented sound with sophisticated, melodic arrangements, while still incorporating verbose and rap elements. It contains ten tracks, including "Cómo pasa el tiempo", "El aprendiz", "No llora" (dedicated by Roberto Musso to his daughter Federica), "De hielo", "Roberto", "21 de septiembre" (referring to International Alzheimer’s Day, an illness that affected both Musso’s mother and grandmother), "Whisky en Uruguay" (a loose version by Santiago Tavella of the Irish song "Whiskey in the Jar" and perhaps the most humorous track on the album), "Habla tu espejo", "Caminamos", and "Un problema menos". Apocalipsis zombi was released on May 12, 2017, and is [the text continues with further details of releases, tours, and subsequent projects].

## 2014–2023: International Tours, Increased Fame, and Major Concerts

[The article continues with an account of extensive touring in countries including the United States, Argentina, Chile, Spain, Mexico, Brazil, and more; details of performances at Luna Park, Teatro de Verano, Movistar Arenas, and participation in festivals such as Cosquín Rock and Tecate Coordenada are provided.]

## 2024–present: Visual Universe, New Projects, and Santiago Tavella’s Departure

[The article describes new visual projects, upcoming releases, and the announcement on March 19, 2024, of Santiago Tavella’s departure after 46 years to focus on personal projects. On October 24, 2024, the single "¡Miren para allá!"—featuring two tracks ("El perro de Alcibíades" as side A and "Cara de Nada" as side B)—was released. The band has plans to release a new studio album between late March and May 2025. Additionally, through Instagram, they revealed working titles for new songs such as "El Astrónomo Que no Podía Ver el Cielo" and "Ganaron Los Malos".]

## Musical style and lyrics

Throughout their career, El Cuarteto de Nos has explored many musical styles, and their sound is considered to encompass alternative rock, pop rock, rap rock, and Latin rock. Their early albums experimented with sounds inspired by new wave, alternative rock, and pop – notably in Soy una arveja, Emilio García, and Canciones del corazón. In discussing their early days, Musso has noted that their first compositions were "crude copies" of The Beatles (for example, "Ve con él" from Otra Navidad en las Trincheras, inspired by "Anna (Go to Him)" from Please Please Me, 1963). When asked to describe the band’s style from 1978 to 2006, Musso remarked that their influences were less musical and more critical – drawing from the tradition of murga and carnival, which were cultural expressions that fought against Uruguay’s military dictatorship. He considers that they were a punk band without being punks, and that they were deeply influenced by the absurd and surreal theater of Eugène Ionesco and Johann Wolfgang von Goethe. Since then, the originality of their performances has resonated with audiences of all ages. By 1986, they were recognized as one of the most outstanding bands of post-dictatorship rock in Uruguay. Following the significant musical transformation that began with the release of Bipolar (anticipated since the launch of Raro), Musso has admitted that he would not perform some of their older songs today because, although they retain their ironic spirit, the subversive edge has mutated. He also asserts that their current repertoire is far superior and connects better with contemporary audiences, reflecting a confidence that comes with personal growth.

## Legacy

After nearly fifty years since their formation in the mid‑70s, El Cuarteto de Nos is considered one of the most important bands in the history of Uruguayan and Latin American rock. Their fifth studio album, Otra Navidad en las Trincheras (1994), is the best‑selling rock album in Uruguayan history.
They have been named cultural ambassadors of Uruguay because they export culture and enhance the "Uruguay Natural" brand internationally, representing the country with notable global projection. This recognition was bestowed in 2015 by then–Tourism Minister Liliam Kechichian and then–President Tabaré Vázquez. Juan Campodónico commented that the albums he produced for the band are part of the cultural heritage of people in other countries who have come to know Uruguay through their music.
Roberto Musso has stated, "Today we see that Uruguay has positioned itself on the international stage as an advanced country, and we feel like cultural ambassadors, while youngsters in Mexico, Colombia, or Venezuela have our song lyrics tattooed on their bodies." (Roberto Musso – Gobierno de Uruguay, 2015)
Antonio Carámbula Sagasti, Executive Director of Uruguay XXI, added, "It is relevant for the international positioning of the country that these prestigious national artists, recognized both domestically and abroad, sign the agreement that endorses the use of the isologotype."
For all these reasons, Musso recognizes El Cuarteto de Nos as a band of adaptable individuals. He also points out that they have translated into a musical and colloquial language many of the issues that challenged young people in their struggles against power. Musso has noted that not underestimating young people plays an important role in the band’s ongoing strength, citing anecdotes from meet-and-greet sessions where parents discover the band through their children rather than vice versa, explaining that "(...) young people go against the current, which is what we always did when we were kids – that rebellious, countercultural spirit (...)".
He further remarked, "We are being required to take a stand in every sphere—political, cultural, sporting, whatever—and if you don’t, you are labeled as indifferent. I never liked that, especially when the choices are reduced to black or white, with no shades of gray. I find in the Rorschach Test a reflection of our times."