Portland, Oregon Troubadour originally from Buenos Aires, Argentina
Recorded circa 2005 in the home of pedal steel maestro Paul Brainard(Richmond Fontaine), Apology to a Bartender features the talents of the aforementioned Brainard on steel, piano and ukulele, Mike Coykendall on Bkg vocals and Fernando on vocals and fun machine organ. Download or listen via our Domingo Record Bandcamp page!
https://domingorecords.bandcamp.com/track/apology-to-a-bartender
A 
few years ago (2017,18?), I decided to write some 60’s inspired garage rock songs so after sketching out about 4-5 riffs, I asked the boys over to the house to cut some demos on my trusty old Yamaha 4 track cassette recorder. I’m pretty sure Kristen made enchiladas for the all of us afterwards but I digress…Like most of the songs that I write, nothing comes of them because eventually, I lose interest or life just gets in the way so about half of my demos and songs are lost to history. Well, that’s exactly what would of happened to this song if not for the pandemic so who says nothing good has come out of these past 14 months ha! Listening back to All is Forgiven, its lo-fi but not too shabby and I think that it would of been fun to play live. Sadly. it appears that I lost or taped over the other 3 or 4 songs from this session so I’m hoping that someone in the band remembers how they went because I know I lost those brain cells many moons ago!
https://domingorecords.bandcamp.com/track/all-is-forgiven-4-track-cassette-demo
Regardless, I hope you enjoy this lo-fi rocker and if so, I’ll try to keep finding more crap in my basement and attic
For the last couple of months Domingo Records has released two never before released Fernando songs for Bandcamp’s no fee Friday ( all sales go to support Fernando). For March, we released the song “Two Face” which was an outtake from 2001’s Dreams of the Sun and Sky and in April, we released “Can’t Get it Up” from Enter to Exit and on May 7th, we will be releasing another never before heard outtake called “The Nurse” from 2015’s critically acclaimed record Leave the Radio On. All three aforementioned tracks will be available for 1 dollar a piece or you can pay more if you like! If you enjoy the songs and would like to hear more unreleased demos, live tracks and new home recordings, can you please do us the favor of spreading the word via social media? Fernando is no longer on social media so word of mouth is all we have so your support would be greatly appreciated.
The new Fernando Viciconte record is not so new…it comes to the world fully realized for the first time: his second full-length album entirely in Spanish, the intended follow-up to the groundbreaking Pacoima. Once again, like Pacoima, it is the brainchild of Viciconte and long-time co-conspirator Luther Russell and a love-letter to the Argentine rock of the early Seventies—or rock nacional—that influenced them then and ever since. The greatest export of rock nacional was the late genius Luis Spinetta or El Flaco, as his people lovingly nicknamed him. After a long, colorful trip together to visit Fernando’s family in Argentina for Dos Mil, or “Y2K” to us ugly Americans, the pair sat on Viciconte’s porch on Belmont & 48th and dreamed it up: songs shaped out of Spinetta-like chords and stories told from la tierra abajo: The Pigman of Cañuelas–a poor, slow, deformed soul who was endlessly picked on by gauchos on the dark trails of the farm town where Fernando’s father and grandfather were raised. Songs about the savage human cost of the unholy alliance between fascism and greed (glad that’s not a thing anymore!). Songs about feeling like a rat in a cage and the existential screams of one simple statement: ‘¡Solamente la vida me da!’ or ‘It’s only my life you’re giving me!’ The record would encompass two sides: earthy and acoustic like the campesino folk-rock of vintage León Gieco, then molten and electric like the blistering rock psicodélico of Spinetta and his ilk. The conduit would be their most ambitious piece of music: “Cielo Sin Color”, the nearly 9-minute tale of a woman slowly going insane and her denial of the encroaching storm in her mind’s skies. The record would be called Justicia, and they knocked the “soft” side out in Fern’s basement and the “loud” side at the old Jackpot! Studios with a hand-picked cadre of favorite musicians: Fred Trujillo on bass, Sean Oldham on drums and Paul Brianard on guitar. Now that the pieces have finally been assembled it resembles nothing less than what was imagined nigh on 20 years ago: a fever dream split in two, looking back on the age trapped in amber that was hearty, proud Argentina…and what become the modern world: a funhouse ride on a slippery slide to hell, full of hypocrisy, callousness and corruption. But what remained, as ever with Fernando, was hope. And a little high-powered marijuana butter.
