Founded by lead singer Germán Coppini and keyboardist Teo Cardalda, the band was originally a duet until 1983, when they were joined by guitarist Pablo Novoa, and bassist Luis García.
[1] Singer and songwriter Germán Coppini and multi-instrumentalist and composer Teo Cardalda met as teenagers while attending Colegio Nebrija in Vigo, Pontevedra.
They won the contest, and Mario Pacheco, head of label Nuevos Medios travels to Vigo to meet them after hearing their songs on the radio.
[4] After wiining the contest, Mario Pacheco, head of label Nuevos Medios travels to Vigo to meet them after hearing their songs on the radio.
The album's title comes from the Galician folk myth of the Santa Compaña, with a cover that also represents Galicia, as a way to bridge punk music with traditional culture.
The EP's main themes are religion, spirituality and myths, going in a much darker and theatrical direction both lyrically and sonically, compared to their previous album.
Nuevos Medios' owner Mario Pacheco recommended Cardalda to work on other projects which angered Coppini, who wanted him to be centered on the band.
He made a brief collaboration with Nacho Cano "Dame un chupito de amor" ("Give me a shot of love", Ariola, 1986).
Coppini then opted for riskier musical terrain: "El ladrón de Bagdag" ("The Thief of Baghdad", 1987), "Flechas Negras" ("Black Arrows", 1989) and "Carabas" (1996).
Then, he formed a new band, Duendes, later known as Cómplices, along with his partner, María Monsonís, launching a career that gave him many commercial successes over the next decade.
[1] In November 1997, Coppini and Cardalda reunited to record a television documentary directed by the Basque filmmaker Juanma Bajo Ulloa.
[1] Coppini was not aware that Novoa and García were not invited at first, describing the collaboration as being, "between Teo and his manager", he felt uncomfortable and disliked most of the others elements of the project, from the "exorbitant caché" imposed by the recording company, the artistic arragenments, to the choice of guest musicians.
[11] He explained his fixation with religion as a lyrical theme came from a "very spiritual period" where he was inspired by mystical figures such as Teresa of Ávila and Augustine of Hippo.