In 1979, painter, singer and synthesizer experimenter Herminio Molero joined several other musicians to form a new rock group. Among them were the Auserón brothers (Luis and Santiago), who wrote then in a music magazine called Disco Express under the name Corazones Automáticos; Enrique Sierra, guitar player from Kaka de Luxe and percussionist Javier Pérez Grueso. They took their name from an Italian independent radio station.
Molero contributed a fusion of electronic and traditional music to the style of the group, while Sierra added a punk tone. After months of rehearsing and a few live performances, they released their first album Musica Moderna (Modern Music) in 1980, which was an unexpected success beyond the specialized circles.
Molero and Javier Pérez Grueso abandoned the group due to disagreements on the concept of their music, and the group is completed in 1981 with Solrac (Carlos Velázquez) who had already participated in the first album.
In 1981 they recorded the single "La estatua del jardín botánico" (The Statue of the Botanical Gardens), produced by Jaime Stinus, followed by "Dance usted" (You dance), in which they developed a new fusion style ("funky-punk") that made them successful all around Spain.
In 1984 they recorded their second album, La ley del desierto, la ley del mar (The Law of the Desert, The Law of the Sea), another unexpected commercial success, with the singles "Escuela de calor" (School of heat), "Historia de play-back" (History of play-back), "En Portugal" (In Portugal), "El nadador" (The swimmer) and "Semilla Negra" (Black seed). The album has two distinct parts, the dry and hard sounding Law of the Desert and a more watery Law of the Sea.
The following year they published De un país en llamas (From a country in flames), a risky and more baroque album due to the introduced technological innovations. A remarkable eight singles were taken from this album.
In 1989, the band is elected by popular vote as the best Spanish band of the 80s. By January 1990 they had completed what came to be their last studio LP, entitled Veneno en la piel. The self produced album kept in the trail of the Latin Rock its predecessor had defined, with no major style changes other than an even more basic or "clean" sound.
The album went straight to #1 in the charts and stayed there for weeks; impulsed by their record company, the band engaged in their biggest to date live tour. On Sept. 30th, 1990, the band closed it in Madrid with what was going to be their last live performance as a band.
By the time when the tour was finished, the band members had grown weary of the musical business and the enormous amounts of money generated around the band, with no precedent in the Spanish indie pop-rock scene. Having achieved a huge notoriorety and a near absolute lead in the Spanish pop-rock scene (only contested by the synth-pop oriented trio Mecano), and also influenced by Enrique Sierra's health problems and Halsall's death by overdose in 1992, they decided it was time to disband at the height of their careers before the music industry devoured their creativity as artists.
Radar
Radio Futura Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
abiertos al oscuro
sembrado de luz
sideral.
No sé si yo lo vi
o tal vez lo imagino
como un ciego que escucha
La boca y los oídos
abiertos al oscuro
sembrado de luz
sideral.
Como un ciego sentado
escucha a sus amigos
hablar, cantar, bailar
Radar...
The song "Radar" by Spanish rock band Radio Futura talks about a moment of sensory awakening in which the singer finds himself with his mouth and ears open, absorbing the darkness filled with stellar light. The lyrics suggest a spiritual experience where the singer is not sure if what he sees is real or imaginary. The comparison to a blind person who can hear the voice of a friend illustrates how the lyrics are grappling with the limitations and possibilities of perception.
The repetition of the verses, "La boca y los oídos abiertos al oscuro sembrado de luz sideral" enhances the mood of introspection and contemplation. The word "Radar" serves as a refrain that punctuates the song and invokes feelings of detection, search, and control. The song's central theme is the paradoxical feeling of being lost and found at the same time, driven by a desire to connect with something beyond one's physical senses.
Line by Line Meaning
La boca y los oídos abiertos al oscuro sembrado de luz sideral.
Keeping your ears and mouth open to the dark, starry sky above.
No sé si yo lo vi o tal vez lo imagino como un ciego que escucha la voz de su amigo.
Uncertainty of what was seen or heard, just like a blind person relying on the voice of a friend.
La boca y los oídos abiertos al oscuro sembrado de luz sideral.
Remaining attentive and undistracted to the cosmic light in the dark sky.
Como un ciego sentado escucha a sus amigos hablar, cantar, bailar Radar...
Sitting still, listening to friends talk, sing and dance, as if the song being referred to (Radar) is also a part of this cosmic experience.
Contributed by Hailey D. Suggest a correction in the comments below.