The Quartet of Us

Álvaro "Alvin" Pintos

• Role in the 90s: Drummer and backing vocals.

• Biography: Born on February 26, 1964 in Montevideo. He formally joined the band in 1984, completing the definitive lineup of the 90s. Pintos provided the rhythmic solidity and versatility necessary for the Quartet to seamlessly transition from alternative rock to tropical genres, punk, ska, cumbia or Uruguayan murga, a recurring theme in the albums of that decade.

Personality and humor:
• Neurosis: Alvin was the only one likely to pass a standard psychological test, which automatically made him the most dangerous guy in the group. In any destructive cult, there's always a smiling guy who spreads the poison with a friendly touch; that was Alvin.
• His dark humor: Musical sadomasochism. Alvin's humor consisted of self-inflicted public humiliation. Roberto wrote a song about an inbred and deformed family? Alvin would add a party-style rhythm to it so the audience would happily dance to it at concerts. In the music videos, he dressed up as anything and everything, acting as the cheerful jester who provided the soundtrack to the end of the world. His drum kit was the metronome that kept the beat while the band set fire to the morals of the time.

• He liked: Playing any rhythm (from jazz to cumbia), football, and having a normal life.
• He was disgusted by: Songs with flat rhythms and getting caught up in the Musso brothers' verbal sparring matches.

• Style: The band's usual style.
• Traits: Athletic build and arms marked by drumming. Short hair in the traditional 90s rocker style, friendly face and an almost permanent smile that contrasted with the serious or unhinged faces of the other three.

Santiago Tavella

• Role in the 90s: Bassist, composer and singer.

• Biography: Born on July 27, 1961, in Montevideo. Tavella complemented the compositions of the Musso brothers, contributing a different and highly bizarre artistic approach to the lyrics (creator of iconic 90s songs like "El día que Artigas se emborrachó" or "Princesa azul"). In addition to his musical career, Tavella is a prominent visual artist, art curator, and writer, having held exhibitions in various museums and galleries in Uruguay and abroad.

Personality and humor:
• The neurosis: Tavella was the type who would go to a funeral in formal attire just to criticize the appalling taste of the flowers on the coffin. Intellectual, snobbish, and deeply cynical, he looked at the world with a raised eyebrow and a moral superiority gained from reading books that no one else understood.
• His dark humor: Blasphemy in a white glove. Tavella wasn't interested in excrement or rhymes; he enjoyed destroying the country's moral pillars for pure aesthetic pleasure. He took Uruguay's greatest national hero, José Gervasio Artigas, and portrayed him as a drunken horseman in the midst of an orgy with cows and prostitutes. He managed to provoke spasms of indignation from the military and politicians of the 90s, leading them to censor him and file criminal charges. That was his fuel: seeing respectable people hyperventilate while he played bass with a bored expression.

• He liked: Snobbish conceptual art, weird literature, ridiculous clothes, and kitsch pop.
• He was disgusted by: Blind nationalism, untouchable national heroes, and ordinary people.

• Style: The bohemian and extravagant intellectual.
• Features: Tall, thin, with an elongated face and a languid or bored gaze. He stood out for his clothing: brightly colored suits, silk shirts, dark glasses and, occasionally, strange hats or hairstyles that screamed "avant-garde visual artist".

Ricardo "Riki" Musso

• Role in the 90s: Lead guitarist, occasional keyboardist, composer and lead vocalist on several of the band's most absurd songs.

• Biography: Born in Montevideo in 1960, Riki was responsible for giving the band its experimental, punk, and DIY sound. In addition to being a musician, he is a music producer, sound engineer, and computer enthusiast, having designed and installed cutting-edge audio systems during that era. His 90s compositions

• He liked: Noise, dirty punk, broken old technology, and childish bad taste.
• He was disgusted by: Commercial producers, adult logic, and being told how to play.

• Neurosis: The younger brother was the equivalent of leaving a five-year-old with anger issues in charge of a nuclear power plant. Riki was chaos; he was bored by normal music and by sane people. If Roberto was order, Riki was the kind of guy who would set fire to the tablecloth just to see what color the flames were.
• His dark humor: Violent and scatological absurdity. Riki's humor fed on the grotesque and the uncomfortable. While Uruguayan society tried to maintain its manners, he would compose a song about underwear with bicycle brakes or invent stories about amputations, deformities, and cannibalism with the same ease as someone ordering a coffee. His goal in the 90s was to push bad taste so far to the limit that laughter made you feel guilty, like laughing at a wake because the deceased has a

• Style: The polar opposite of his brother; the "outcast" of the group.
• Characteristics: Long, tangled, and disheveled hair with a very punk vibe. Expressive face, relaxed gaze, and an overall "just woke up" look. He wore ripped clothes, baggy t-shirts, and guitars slung almost to his knees.

• Role in the 90s: Lead vocals, rhythm guitarist and one of the main songwriters.

• Biography: Born on November 20, 1961, in Montevideo, he is Riki's older brother. Throughout the 1990s, Roberto balanced his musical life, characterized by biting lyrics and outlandish characters, with his formal profession: he is a Systems Engineer and worked for Uruguayan public entities until the band's international success in the 2000s allowed him to dedicate himself fully to music. His songwriting style in the 1990s was characterized by rapid rhymes, intricate wordplay, and a sharp satire of Uruguayan society. He remains the current leader of the group.

Personality and humor:
• Neurosis: Roberto operated with the cold detachment of a serial killer who, instead of bodies, dismembered language. While by day he programmed computers for the government, by night he sat calculating how many human misfortunes, venereal diseases, and mental defects he could rhyme into a single stanza.
• His dark humor: The surgical dissection of misery. Roberto didn't tell you a joke; he held up a distorting mirror. His humor consisted of taking the average Uruguayan—that gray, hypocritical, and envious being—and stripping him bare in public while dancing to a cheerful rhythm. His specialty was composing odes to chronic losers, to decadent old age, or to erectile dysfunction, all measured with mathematical precision so that you would laugh at your own future misfortune.

• He liked: Mathematics, computer science, perfectly timed rhymes, and pathetic losers.
• He was disgusted by: Unpunctuality, disorder, and solemn musicians who cried on stage.