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Key Information

Martin Sorrondeguy (born December 3, 1967) is the singer of American hardcore punk bands Los Crudos and Limp Wrist,[1] the founder of the DIY record label Lengua Armada Discos, and a prominent figure in both the straight edge scene and the queercore scene.[2] He currently does vocals in the band Canal Irreal.[3]

Biography

[edit]

Martin Sorrondeguy was born in Montevideo, Uruguay, and grew up in Chicago, United States. He sang about many issues facing Spanish speaking minorities in the U.S. as the vocalist for Los Crudos.[4] The band recorded in both Spanish and English, releasing many recordings, and toured in South America and Mexico, as well as the U.S. and Canada.[5] Sorrondeguy created the independent record label Lengua Armada Discos to release his bands records.[6] While in Los Crudos, Sorrondeguy began making his documentary film Beyond The Screams: A U.S. Latino Hardcore Punk Documentary. The film was released in 2004.[7]

It was during the time he was vocalist for Los Crudos that Sorrondeguy made his sexuality public and began to speak out about it. In 1997, he appeared in Scott Treleaven's documentary film Queercore: A Punk-U-Mentary and spoke about being gay in the hardcore punk scene. In the mid 1990s, Sorrondeguy put together a new band called Limp Wrist, a straight edge queercore band.[8] In 2001, he was featured in the Punk Planet publication We Owe You Nothing. In 2002, he appeared in the "Queer Punk" issue of the long running San Francisco-based punk zine Maximum Rock n Roll speaking with musicians such as Aaron Detroit of The Little Deaths, Cookie Tuff of Subtonix and members of Sta-Prest.[9] In 2006, Limp Wrist toured the U.S. and began recording for a new album, to be released in 2007.

Since the early 2000s, Sorrondeguy has been very active in solo and group photo exhibitions of his photography, which has also been regularly documented in his semi-regular 'zine, Susto. Sorrondeguy has been an occasional guest lecturer on his experiences in Canada, Brazil, Australia and the U.S.[10] Los Crudos continues to tour, embarking on U.S. and Scandinavian dates in 2016.

Sorrondeguy was interviewed about his life by Nicholas De Genova for Episode 2 of the Metropolis Rising podcast.

Discography

[edit]

for discographies see:

Films

[edit]
  • Queercore: A Punk-U-Mentary, directed by Scott Treleaven (1997)
  • Beyond the Screams: A U.S. Latino Hardcore Punk Documentary directed by Martin Sorrondeguy (1999)

References

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[edit]
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Martin Sorrondeguy

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![Sorrondeguy performing with Limp Wrist](./assets/Martin_Sorrondeguy_croppedcropped Martin Sorrondeguy (born December 3, 1967) is a Uruguayan-born American vocalist, best known as the lead singer of the Latino-focused band and the group Limp Wrist. Raised in Chicago's working-class Pilsen neighborhood after his family immigrated from in 1968, Sorrondeguy entered the punk scene in the as a performer and , later founding the DIY Lengua Armada Discos to distribute independent punk releases. Los Crudos, formed in the early , addressed themes of Latino identity, immigration, and social resistance in bilingual lyrics, gaining influence in underground hardcore circles despite the band's short lifespan before disbanding in 1998. Following this, Sorrondeguy co-founded Limp Wrist, which explicitly incorporated perspectives into aggressive punk, challenging heteronormative elements within the genre and continuing to perform sporadically into the . His work extends to visual documentation of punk communities through , zines, and , emphasizing over commercial success.

Early Life and Background

Childhood and Immigration to the United States

Martin Sorrondeguy was born on December 3, 1967, in , . His family relocated to the in 1968, when Sorrondeguy was about one year old, and settled in Chicago's Pilsen neighborhood. Pilsen, a predominantly Latino, working-class community on Chicago's Lower West Side, became the primary environment for his childhood and adolescence. The area's socioeconomic challenges, including limited resources typical of immigrant enclaves in the late 20th century, characterized his early experiences amid a backdrop of urban industrial decline and .

Initial Exposure to Punk and Formative Influences

Sorrondeguy, born in and relocated with his family to the Pilsen neighborhood of in 1968, initially engaged with urban through b-boy activities in the early 1980s, which emphasized physical discipline and cross-neighborhood collaboration amid prevalent gang tensions. This period transitioned as he encountered punk through media exposure, including mainstream depictions and the performance of from in the 1981 concert film , marking his shift toward the genre's raw energy and DIY ethos. As a teenager, Sorrondeguy discovered variants within Chicago's mid-to-late 1980s scene, drawn to principles that prioritized individual sobriety and self-control as countermeasures to local culture and substance-influenced rebellion, rather than collective defiance alone. He identified with during this formative phase, viewing it as a structured that aligned with his immigrant family's emphasis on resilience and from mainstream vices. This appeal stemmed from punk's potential to provide viable paths for youth disaffected by socioeconomic constraints in working-class Latino enclaves like Pilsen. By the late 1980s, Sorrondeguy's exposure deepened through direct participation, including organizing Pilsen's inaugural punk show in at Casa Aztlán, a community center at 1831 S. Racine Avenue, which drew nearly 300 attendees and featured acts such as Pre-Pegboy, Bhopal Stiffs, and Generation Waste to fund local art initiatives. Despite initial community skepticism and a subsequent ban on such events by the center's director, this effort highlighted punk's grassroots potential in Latino neighborhoods, influenced by broader hardcore elements while rooted in personal agency over subcultural violence. Complementary non-punk factors, including his Uruguayan heritage and exposure to , reinforced a focus on cultural specificity and self-directed expression amid urban challenges.

Musical Career

Los Crudos and Latino Hardcore Punk

Los Crudos formed in 1991 in as an all-Latino band, founded by vocalist Martin Sorrondeguy and guitarist Casas, who served as the core members throughout its run amid rotating bassists and drummers. The group operated within the city's DIY punk scene, drawing from the raw energy of hardcore while emphasizing Spanish-language to articulate experiences of marginalization. Their music featured short, aggressive tracks typically under two minutes, blending fast tempos, shouted vocals, and minimalistic instrumentation to convey urgency on social issues. The band's output included several EPs and compilations, such as the 1995 El Segundo EP and the comprehensive Discografía double LP reissued in 2016, which compiled tracks addressing personal and communal struggles. Lyrics focused on hardships, , , U.S. , and individual agency, often critiquing systemic barriers faced by Latinos without romanticizing victimhood. For instance, songs like "Asesinos" highlighted violence against youth in , positioning punk as a tool for direct confrontation rather than passive lament. Los Crudos embodied a DIY by self-managing tours, booking shows in unconventional venues like community spaces, and handling record production and distribution independently, which reinforced themes of amid external . They toured extensively across the U.S. and occasionally internationally until their final performance in October 1998, fostering connections in Latino-heavy neighborhoods while challenging the predominantly white, English-centric hardcore scene. This approach not only sustained the band without major label support but also modeled proactive resistance, as Sorrondeguy emphasized booking shows to assert control over narratives of Latino exclusion. In representing Latino voices, innovated by prioritizing Spanish as the primary language in a genre often sidelined by nativist undercurrents, thereby amplifying immigrant and working-class perspectives and inspiring subsequent Spanish-speaking punk acts. Their anthemic style provided identification points for Latino youth in punk, countering casual in scenes where bands like theirs were derogatorily labeled, and helped expand hardcore's demographic reach without diluting its intensity. This focus on unfiltered cultural specificity distinguished them from broader punk trends, prioritizing empirical community realities over assimilationist appeals.

Limp Wrist and Queercore Contributions

Limp Wrist formed in 1998 in Philadelphia, shortly after the dissolution of Los Crudos, when vocalist Martin Sorrondeguy and guitarist Mark Telfian decided to create a band centered on queer themes within the hardcore punk scene. The group, featuring all gay members, emerged as a key contributor to queercore, a punk subgenre that directly challenged the homophobia and machismo prevalent in broader hardcore communities during the 1990s and early 2000s. Their music adopted a thrashcore style characterized by short, aggressive songs that rejected polished production in favor of a raw, DIY ethos, setting it apart from more mainstream or assimilationist queer cultural expressions. The band's lyrics explicitly confronted issues of homophobia, straight hegemony, and internalized tensions around queer masculinity, often through provocative and unapologetic declarations that highlighted punk's internal conflicts over identity politics. Early releases included the 2001 Limp Wrist EP and a split with Knifed in 2003, followed by a self-titled LP in 2002 on La Vida Es un Mus, compiling blistering tracks that critiqued scene machismo and exclusionary norms. A Complete Discography compilation appeared in 2004, encapsulating their initial burst of activity before a period of reduced output. Limp Wrist maintained sporadic activity into the , releasing the album Facades on August 2, 2017, which continued their confrontational approach with themes of defiance amid punk's evolving identity debates. This evolution reflected ongoing tensions in punk subcultures, where queercore bands like Limp Wrist pushed against residual homophobia while navigating criticisms of or overemphasis on identity. Their unfiltered style prioritized visceral authenticity over broader acceptability, fostering spaces for unrestrained expression in a historically marked by and pressures.

Other Bands and Ongoing Projects

In addition to his primary roles in Los Crudos and Limp Wrist, Sorrondeguy participated in short-lived projects during the early , including drumming for Trágatelo, a Los Angeles-based band active around 2003 that featured members from other DIY scenes and emphasized raw, aggressive performances. This collaboration underscored his versatility across instruments and regional punk networks without shifting toward mainstream production. In the , Sorrondeguy fronted , a outfit known for D-beat-influenced tracks addressing , with their debut Desesperación 7-inch released in 2012 via Iron Lung Records, followed by full-lengths Desastre and Twisted Vision. The band's output remained confined to independent labels and limited pressings, reflecting Sorrondeguy's commitment to DIY distribution over commercial expansion. More recently, in the , Sorrondeguy has led Canal Irreal, formed around 2019 with collaborators from bands like Sin Orden and , delivering driving, in English and Spanish on releases such as the 2021 self-titled LP and 2023's Someone Else's Dance, both issued through small punk imprints like Impediment and Maximum Rocknroll-affiliated channels. These efforts, including live shows and as late as 2023, continue his pattern of involvement in punk subcultures, prioritizing thematic intensity and scene-based recording over broader industry pursuits.

Activism and Political Engagement

Advocacy for Latino and Immigrant Issues

Sorrondeguy co-founded the hardcore punk band in in 1991, using the group's performances and recordings to highlight experiences of Latino immigrants and challenge anti-immigrant prejudice through Spanish-language lyrics that critiqued U.S. policies and societal . Songs such as "Asesinos" (Murderers), released on the 1995 demo El Segundo EP, directly referenced violence against immigrants and border enforcement tactics, framing them as state-sanctioned killings. The band's motto, "Ilegal y Qué?" (Illegal and So What?), adopted during live shows in the mid-1990s, explicitly defended undocumented Latinos against fears amid rising nativist following California's Proposition 187 in 1994. Through ' DIY tours across the U.S. and from 1993 to 1997, Sorrondeguy organized over 100 shows that connected networks in cities like Chicago's Pilsen neighborhood, fostering gatherings where immigrant youth shared stories of discrimination and labor exploitation without relying on mainstream advocacy channels. These events, often held in community spaces or squats, emphasized and cultural resistance, drawing crowds of 50 to 200 attendees per performance and inspiring subsequent Spanish-speaking punk acts. In 1999, Sorrondeguy produced and directed the documentary Más Allá de los Gritos (Beyond the Screams), a 55-minute at punk venues and film festivals that compiled interviews and footage from – scenes to document grassroots pushback against immigration restrictions and cultural erasure. The project featured firsthand accounts from band members on navigating undocumented status within punk, achieving distribution through independent labels and reaching audiences via and later digital formats without institutional funding.

Queer Identity and Anti-Discrimination Efforts

Martin Sorrondeguy publicly identified as within the predominantly heterosexual and often macho scene of the 1990s, where conservativism and homophobia posed challenges to participants. In his band , active from 1991 to 1998, he addressed sexuality explicitly in two songs on their LP, marking an early integration of themes into Latino hardcore. This openness contrasted with the scene's heteronormative norms, as Sorrondeguy later reflected in interviews, stating, “I like punk too and I like to suck dick and I don’t give a fuck if you don’t like it.” To directly confront these exclusions, Sorrondeguy formed the all-queer hardcore band Limp Wrist in 1998 in a Philadelphia basement, with their first performance occurring in 1999 at Stalag 13 in West Philadelphia. Limp Wrist served as a vehicle for provocative expression, employing humorous and confrontational lyrics—such as in “I Love Hardcore Boys/I Love Boys Hardcore”—to mock the male-dominated punk environment and assert queer presence without assimilation. Live shows amplified this resistance, featuring minimal clothing and direct audience challenges, including exhortations for queer men to reject body hatred and heteronormative imitation, as when Sorrondeguy urged attendees to remove shirts to foster unapologetic visibility. Sorrondeguy participated in events during the 1990s, including multiple performances at Homocore Chicago festivals with , which propped open spaces for punks amid broader scene hostilities. His efforts extended to educational activism, such as teaching history at an alternative high school, and benefit gigs addressing LGBTQI issues alongside and immigrant rights, emphasizing alliances over isolated . These actions prioritized scene-internal disruption through unfiltered assertion rather than external institutional appeals.

Responses to Gentrification and Urban Change

Sorrondeguy addressed in Chicago's predominantly Latino neighborhoods of Pilsen and through punk fliers, lyrics, and personal documentation during the 1990s, observing how rising property values and redevelopment displaced working-class residents. In fliers distributed at shows, he critiqued the physical and social transformations, writing that "apartment buildings which have been transformed have not only been carefully sculpted, they have also been given something similar to an enema…in this case flushing people out from their homes," linking aesthetic upgrades to resident driven by real estate speculation. These writings highlighted market pressures, including the 1994 introduction of (TIF) districts, which subsidized development on vacant lots and invited bankers and speculators, accelerating displacement in Mexican-American communities without attributing changes solely to individual developers but to broader economic incentives. His band's lyrics, such as in the "Llegan Empujando," directly referenced these dynamics: "Here come the owners of everything, buying buildings and renting at outrageous prices," underscoring how influxes of higher-income buyers inflated rents and eroded affordability for longtime Latino families who had settled in Pilsen since the mid-20th century. Sorrondeguy documented venue losses in these areas, where DIY punk spaces like the A.P.O. Building and Casa Aztlan—key to community gatherings in the early —faced closure or repurposing amid neighborhood shifts, reflecting causal chains of desirability leading to property value surges and community fragmentation. By the , reflecting on these changes, Sorrondeguy noted the rapid pace of gentrification's impact on punk scenes, as seen in evolving spaces like the Fireside Bowl, which adapted post-2004 to broader audiences, and criticized municipal neglect exacerbating inequalities, such as improved infrastructure for newcomers alongside underfunded schools in Pilsen. His captured related protests, including a 1996 immigrant rights march on Pilsen’s 18th Street against policies intertwined with insecurity, illustrating how urban economic pressures compounded vulnerabilities for low-income residents. These efforts emphasized empirical observations of displacement over ideological narratives, prioritizing documentation of lived market-driven realities like rent hikes and speculation-fueled redevelopment.

Non-Musical Creative Output

Filmmaking and Documentary Work

Sorrondeguy produced, shot, and edited the 1999 documentary short Más Allá de los Gritos / Beyond the Screams, which chronicles the emergence and development of the U.S. Latino and scene from the late 1970s to the early 1990s. The approximately 30-minute incorporates live performance footage of bands such as , Subsistencia, Huasinpungo, and Sbitch, emphasizing the DIY ethos that enabled participants to channel frustrations with institutionalized , anti-immigration policies, and police brutality into and . Filming commenced in the late 1990s during Sorrondeguy's involvement with , utilizing footage gathered from the band's tours and broader scene activities to document punk's role as a form of resistance among youth of color facing socioeconomic and cultural barriers. This hands-on production approach aligned with the punk movement's self-reliant principles, avoiding mainstream funding or distribution channels. The documentary premiered through independent punk networks and has since been screened at events including programs, outdoor punk gatherings, and cultural festivals, with copies distributed via DIY outlets such as the Video Data Bank and online platforms for accessibility. No additional directorial works by Sorrondeguy are documented in available records of his output.

Record Label and Publishing Ventures

Lengua Armada Discos, founded by Martin Sorrondeguy in the early 1990s in , , operates as a DIY specializing in releases from Latino and queer-identifying artists. The label emerged to support Sorrondeguy's band , with its first output being the group's 7-inch EP La Rabia Nubla Nuestros Ojos in 1993, followed by additional singles and the compilation Discografia aggregating early recordings. Other key releases include works by bands such as Limp Wrist and compilations like Yo Hablo (1996), emphasizing politically charged content in English and Spanish. The label sustains itself through a self-funded model rooted in punk's DIY , relying on personal networks for production, distribution via mail-order and tours, and minimal overhead without corporate backing or advances. This approach underscores individual agency in niche scenes, enabling consistent output despite limited resources; for instance, Lengua Armada handled ' catalog during their international tours across five continents in the . Preservation efforts include reissues of historical material, such as the 2015 expanded discography, which documented the band's raw, frustration-driven tracks addressing immigrant struggles and experiences. These ventures maintain accessibility to out-of-print punk artifacts, distributed through independent channels rather than mass-market platforms.

Photography, Zines, and Archival Contributions

Sorrondeguy began photographing punk and hardcore gigs in the 1980s, focusing on live performances in and international scenes to document the raw energy of DIY events. His images, often taken during the early , include bands like Screeching Weasel and capture venues central to the local punk ecosystem. This work culminated in the 2012 book Get Shot: A Visual , compiling hundreds of photographs from global tours and shows, emphasizing unfiltered depictions over polished aesthetics. Exhibitions of his photography, such as the 2016 international punk photography show in , highlighted selections from his archive, including works printed as large-format posters. Sorrondeguy continues this documentation via under @martincrudo, sharing gig shots from the onward alongside contemporary punk imagery. In December 2024, he participated in a discussion on punk photography, underscoring his role in preserving visual histories of the scene. Through the series, Sorrondeguy compiles and distributes punk photography in limited-edition formats, such as screen-printed portfolios encased in custom folders. Issues like #17 feature curated sets from other photographers, including Dawn Wirth's images of underground shows, prioritizing archival dissemination over narrative essays. Earlier zine contributions include articles on bands like in international publications, such as the 1996 Japanese SORTO #3. His collections of photographs, posters, and ephemera provide archival value by recording fleeting DIY gatherings, including 1990s flyers and international punk ephemera that might otherwise vanish. These materials, spanning decades, serve as primary visual records for studying punk's grassroots networks, with Sorrondeguy's output emphasizing factual preservation through direct capture rather than interpretive framing.

Legacy and Assessment

Influence on Punk Subgenres and DIY Culture

Los Crudos, active from 1992 to 1997 and fronted by Sorrondeguy, advanced Latino hardcore by incorporating Spanish-language lyrics on immigrant hardships, including deportation risks amid California's Proposition 187 in 1994, thereby modeling a culturally specific variant of the genre for later U.S. Latino punk acts. The band's independent tours, which reached audiences in Mexico via bootlegged recordings and drew crowds of up to 1,000 in 1993, exemplified replicable DIY touring practices that bypassed mainstream venues. Limp Wrist, formed in 1998 with Sorrondeguy on vocals, shaped through high-speed addressing queer and anti-racist themes, influencing subsequent bands like Traidora, which cited and Limp Wrist as primary references for queer-oriented hardcore. This emulation extended punk's subcultural boundaries by prioritizing explicit identity-based aggression over assimilationist norms. Sorrondeguy's establishment of the Lengua Armada label in the mid-1990s facilitated self-production of records with English translations for broader reach, a method adopted by other underground acts to maintain autonomy and fund community initiatives like women's shelters. Benefit shows tied to these efforts, such as those supporting health projects, promoted punk's expansion into diverse demographics by forging alliances with Latino, anarchist, and activist groups.

Critical Reception and Broader Impact

Los Crudos' recordings received reissues in the mid-2010s, underscoring their historical role in Latino hardcore punk, as explored in a 2015 interview with Sorrondeguy that emphasized the band's documentation of immigrant and working-class experiences previously overlooked in the genre. The outlet portrayed the reissues as a means to preserve raw, confrontational energy that influenced subsequent DIY scenes, with Sorrondeguy noting the band's tours across five continents and fundraising efforts tied to independent releases. Limp Wrist has sustained visibility through intermittent performances, including a 2017 tour marking the group's return after a nine-year break, which described as a revival of its aggressive style rooted in Sorrondeguy's prior work with . Appearances at events like Toronto's festival in 2013 further demonstrated ongoing draw within hardcore circuits. Sorrondeguy's broader contributions include the 2019 artist-in-residence program at Michigan State University's in and Humanities, where he delivered talks, facilitated workshops using printing, and supported the exhibit "Ripped & Torn: Punk at the Intersection" from April 14 to 20. Via Lengua Armada Discos, founded in the 1990s, he has issued dozens of punk and hardcore titles, including ' Canciones Para Liberar Nuestras Fronteras (1996) and various Limp Wrist outputs, amplifying underground voices through self-managed distribution. Outlets like the Express have credited this output with establishing Sorrondeguy as a punk ambassador whose work extends punk's confrontational legacy beyond performance.

Evaluations of Activism's Effectiveness

Sorrondeguy's efforts through bands like and Limp Wrist heightened awareness of Latino immigrant struggles and within punk circles, contributing to the emergence of Spanish-language hardcore acts and networks that provided subcultural solidarity for marginalized youth. ' tours across five continents and for social-justice initiatives amplified voices on issues like border militarization and anti-Latino violence, inspiring subsequent bands and fostering a sense of collective identity among and immigrant punks in the . However, empirical indicators of broader effectiveness remain sparse; while Latino representation in punk grew modestly—evidenced by the formation of bands emulating ' model—no direct causal links exist to reductions in or rates, which persisted amid rising deportations from over 180,000 in 1996 to peaks exceeding 400,000 annually by the 2010s under policies unaffected by subcultural protests. Critiques from observers highlight how such , rooted in punk's anti-authoritarian , often prioritized expressive "cultural noise" over structural reforms, reinforcing identity-based silos that fragmented broader coalitions rather than advancing universal principles like individual or economic . In contexts, Limp Wrist's raw depictions of anti-gay violence built safe spaces for queer people of color, yet persistent disparities—such as higher and rates among LGBTQ+ individuals compared to the general population—suggest limited attenuation of systemic , with gains more attributable to market-driven corporate inclusion and legal precedents like (2015) than protest-driven shifts. Similarly, anti-gentrification responses in Chicago's punk scene, including Sorrondeguy's involvement, documented displacement but failed to alter urban economic dynamics, where rising property values displaced low-income residents regardless of activist opposition, underscoring how market forces and policy incentives outweighed subcultural resistance. Alternative perspectives emphasize that punk activism's focus on collective grievance may inadvertently hinder progress by diverting from personal agency and entrepreneurial adaptation, which have driven disproportionate advancements in queer visibility through private-sector normalization rather than sustained confrontation. Right-leaning analyses argue this approach yields performative solidarity—evident in punk's enduring niche appeal without scalable policy victories—contrasting with self-reliant paths that prioritize skill-building over perpetual opposition, as seen in immigrant economic mobility via labor markets over advocacy-dependent reforms. Overall, while Sorrondeguy's work endures as a catalyst for subcultural resilience, its causal impact appears confined to inspirational echoes, with enduring issues like urban displacement and identity-based animosities persisting amid evidence that exogenous factors, not agitation, predominantly shape outcomes.

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  70. https://www.merionwest.com/when-identity-politics-meets-the-punk-scene/
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  75. https://dc.cod.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1565&context=essai
  76. https://aestheticsforbirds.com/2017/12/20/punk-rock-philosophy-2-nihilism-or-activism/
  77. https://scholarworks.lib.csusb.edu/cgi/viewcontent.cgi?article=5345&context=etd-project
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