RYAN – ‘VAQUEROS’

BY JANIN AYALA FELIX | SEPTEMBER 18, 2024 | ALBUMS

The Buenos Aires-based Ryan isn’t here to play nice. They’re part of the new wave bringing garage rock back to its raw, visceral roots. With Vaqueros, their second album, they double down on everything that made their 2022 debut Bar’Celona stand out. This time, though, it’s tighter, louder, and sharper—fourteen tracks drenched in distortion, pulsating rhythms, and a frontman who commands every second of attention.

Opening track “Desesperadamente accidental” is a barn burner, with jagged guitar riffs that cut through the air like a knife and a chorus that grabs you by the collar. From there, Vaqueros doesn’t let up. “Madonna y Basquiat,” “Yo me quedo,” and “Estrelas” follow, each track racing along with the kind of frenetic energy that dares you to keep up. These songs are the sonic equivalent of a late-night drive through a city that never sleeps, where every corner holds the promise of something explosive.

But it’s not all chaos for chaos’ sake. Producer Alejandro Vázquez (Intoxicados, Bersuit Vergarabat) shapes the band’s “baby rock” sound—Ryan’s own term—with careful precision. The result is an aggressive yet disciplined album that’s full of youthful rebellion, but with an awareness of the legacy it’s stepping into. The term “baby rock” might seem ironic at first, but Ryan owns it. It’s a sound that’s fresh, defiant, and full of swagger.

The band shows their range on standout tracks like “Lo verás mañana,” where bassist Cata Banegas takes the mic. Her vocals are drenched in emotion, pouring raw pain into every note, leaving you shaken. Then there’s the slow burn of “El beso más famoso del mundo,” a ballad that builds into a cathartic release, held up by ethereal harmonies and frontman Dante’s voice, floating above it all. As the track fades out with the sound of a rehearsal, blending Babasónicos with the Rolling Stones, you get a glimpse of the band’s playful, rebellious spirit.

By the time you reach “No los pueden separar” and “Todo el bien,” it’s clear why these tracks have already become anthems. And just when you think Ryan’s run out of tricks, they switch gears with the ‘90s-style blues of “Nadie extraña nada,” before closing out with the one-two punch of “No me sale” and “Dicen que va a parar”—two tracks that channel pure rock ‘n’ roll energy.

Vaqueros is more than an album. It’s a manifesto from a band that’s staking its claim on a scene that’s sorely needed new blood. Ryan watches the world burn around them and, instead of backing down, they light another cigarette and crank up the volume. Buenos Aires may no longer produce rock stars like it used to, but Ryan’s out to change that. They aren’t just part of the “baby rock” movement—they’re leading it. And with Vaqueros, they’ve proven they’re here to stay.

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