Spanish punk rock musician and composer Miguel Costas has published his memoirs, titled ¡Esas palmas, coño!, detailing his career as a founding member of Siniestro Total and his decades in the Spanish music scene.
The book was written by lawyer, journalist, and author Renato A. Landeira, who transcribed stories told to him by Costas. Both men originate from Vigo, the coastal city in Galicia, northwestern Spain, where Siniestro Total was originally formed in the early 1980s.
Despite the release of the volume, Costas admitted that he has not yet read the book from cover to cover. He explained that after working through repeated revisions and corrections prior to publication, authors often need time before reading the finished work, though he has reviewed sections and intends to read it in full.
Royalties and Siniestro Total Legacy
Costas noted that while the book is earning money, the financial return is modest. The co-authors receive two euros per copy sold, which is divided equally to yield one euro each. He added that the work is not a global bestseller translated into multiple languages selling a million copies.
The subtitle of the memoirs prominently features Siniestro Total because it remains the most commercially successful brand of Costas's career. In addition to Siniestro Total, his musical trajectory includes Spanish rock groups Aerolíneas Federales, Los Feliz, and his solo project Costas, along with several solo album releases.
Reflecting on his departure from Siniestro Total, Costas acknowledged that forming a new group, Los Feliz, rather than continuing under his own name was a mistake for his public profile. Transitioning from major record labels to independent signees led the general public to lose track of his work for nearly 20 years, during which he played smaller venues to dedicated fans.
Costas left Siniestro Total at the height of its success while the band was recording in Memphis, Tennessee, and performing before large concert crowds. He described his departure as the result of a combination of circumstances, explaining that his bandmates wanted to move in a new direction by becoming a cover band, an idea he refused to join.
He added that if he was going to form a parallel group, he preferred doing so with new musicians rather than the same lineup. He also recalled the exhausting routine of Siniestro Total, noting that the members spent all day together eating meals, rehearsing, and discussing band management after shows, creating an environment he found overly absorbing.
Controversial Lyrics and Public Reaction
Addressing whether a band like Siniestro Total could exist in today's music climate, Costas defended controversial songs such as ¿Qué tal, homosexual?, Chochos voladores, Las tetas de mi novia, and El sudaca nos ataca. He stated that such a group could still operate today without issue, provided songs do not launch personal attacks against specific individuals or institutions.
Costas emphasized that Siniestro Total never intended to offend anyone, pointing to people who become offended easily over minor matters. He cited recent reading suggesting that an inability to comprehend irony is a medical condition, adding that individuals who take offense at everything due to a lack of irony should consult a psychiatrist.
Comparing the 1980s to the current era of social media, Costas noted that online platforms allow anonymous users to criticize artists freely. He cited ongoing backlash against Spanish pop-rock band Hombres G over their song Sufre, mamón and its use of sensitive terms. He also highlighted a contrast between song lyrics and books, stating that while songs face strict scrutiny, authors can write whatever they wish in a book without interference.
Band Comparisons and Songwriting Partnership
Costas rejected comparisons between Siniestro Total and Extremoduro, the Spanish urban rock band formed in the late 1980s. He explained that Siniestro Total played primarily for entertainment and fun, whereas Extremoduro expressed direct rage against society and established authorities.
Discussing his songwriting partnership with bandmate Julián Hernández, Costas explained that Hernández gradually took on writing most of the lyrics, while Costas composed most of the music. By their final album together, Costas wrote no lyrics but composed the majority of the musical tracks.
He detailed the creation of their hit song Bailaré sobre tu tumba, recalling that he composed the melody and chorus, Hernández wrote the lyrics, and guitarist Javier Soto created the guitar riff. Costas expressed confidence that had the pair continued working together, Siniestro Total would have achieved an even larger status in Spain.
Although Siniestro Total became a benchmark cult band in Spanish rock, Costas recalled that the members initially started with virtually no ability to play their instruments. Through constant daily rehearsal, they developed into skilled musicians, culminating in their live album Made in Japan, released in 1993.
International Tours and Live Performance
Costas addressed the blurb on his book jacket claiming that he maintains constant live touring across Spain, Portugal, Colombia, Chile, Peru, and Argentina. He dismissed the description as Galician irony, stating he was unsure who wrote that text for the publisher.
Despite his humorous response to the jacket copy, Costas confirmed he maintains a strong fanbase in South America and is currently negotiating with promoters in Colombia and Venezuela to organize return tours. He added that in Chile he enjoys greater public recognition than in Spain.
Costas affirmed that his passion for performing live concerts remains strong and that he still thoroughly enjoys playing on stage. He admitted that the travel aspects of touring, including long journeys in band vans, changing hotels daily, and eating post-concert meals of bacon and cheese sandwiches, have grown tiring, but insisted his passion during performances continues.
