Winners of the Pepsi Music Award on their album “Sinvergüensuranzas” as the best traditional instrumental music album of the year 2013, this group from Mérida, Venezuela, has managed to conjugate the creation and the performance of the most representative genres of our musical patrimony. This versatile ensemble has eventually transformed into the inheritors of the musical tradition that institutions such as “El Cuarteto” and “Raíces de Venezuela” imposed, adding a hint of Jazz, a bit of fusion and dressing it with a fair touch of humor which always turns us into accomplices for good taste and good music.
Since 1999, the year where the group was founded, Los Sinvergüenzas have been always very clear on what they wanted to achieve in the genre of venezuelan instrumental music. What began as a musical experiment in the city of Mérida (Venezuela), performing a repertoire including the most renowned pieces of our musical patrimony, they have adventured since then, in the composition of a very strict repertoire with traditional roots combined with jazz influences and contemporary music that each of their members handles with great expertise thanks to their years of training as academic musicians.
The youth of their members is an asset to their constant evolution and the strong conviction that with their music they will contribute to the development of public conscience, offering competitivity to a national artistic expression next to other acclaimed musical expressions from foreign countries.
Los Sinvergüenzas have offered concerts in the most important halls of Venezuela, and they have represented their country in many important international festivals, being welcomed with the enthusiasm and the affection from those who enjoy good music. In the last three years, they have been invited to participate and collaborate in concerts and recordings with the most renowned groups and singers.
The ensemble counts with four record productions: “Bichoneando” (2000), “Desde otro Lugar” (2007), “Sinverguensuranzas” (2012) and "Raíces (2013).
“Everything has just the right proportions; there isn’t an excesive dose of any element whatsoever and you can appreciate the love and the professionalism while mixing the ingredients, the texture, the color and the variety of flavours, succeeding to delight the most exquisite palates (or ears).”
Raúl Delgado Estévez, El Cuarteto. Caracas, 2006
“In a sonorous setting where listening to the same pieces over and over again in a thousand different versions, becomes monotonous, the important contribution from Los Sinvergüenzas gives a breath of fresh air to the traditional instrumental venezuelan music environment.”
César Alejandro Carrillo, Conductor of the Orfeón Universitario UCV. Caracas, 2010
“… I can assure that they have risen as the inheritors of a generation of instrumental venezuelan music groups, that from a long time ago, have been pointing the road to follow among popular art.”
Orlando Moret, Raíces de Venezuela group. Mérida, 2000
“… To listen to Los Sinvergüenzas is always gratifying; In their hands, traditional music impregnates with humor and transforms, without a doubt, into modernity.”
Papel Literario, El Nacional. Caracas, 2009
“…A production firmly transiting towards the rejuvenation of a musical caracterization in Venezuela: what these people do will trascend, without any sort of obstacles, as the melodic trademark of this era, a sonorous contrast against the lyrics of the “vintage and caraqueña East Republic”. You are truly blessed, Sinvergüenzas with a capital “S”, because the Avant-Garde kingdom, is also yours!”
Marcos Valverde, Diario Correo del Caroní, Caracas 2012
“…In Mérida, not everything is about riots and pollution, no. Fortunately, we also have phenomenoms like four “Sinvergüenzas” making music, four Sinvergüenzas building dignity by the use of musical notes.”
Pedro Maldonado, Diario Frontera. Mérida, 2001
“The 36th edition of the Festival de Plectro en la Rioja”, will close the event with the performance of the venezuelan group “Los Sinvergüenzas”, a name that depicts the crazy but unique and natural way in which they play, to the rythm of a venezuelan cuatro, a doublebass, a flute and a mandoline.”
Diario “La Rioja”. España, 2002
“…They perfectly handle the concept of the arrangement and most importantly, I repeat: The most important thing is the legacy that they’re leaving behind them.”
Orlando Gámez, conductor of the Estudiantina Universitaria UCV. Caracas, 2010