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mil dolores pequeños
see also ajo
see also javier colis

see also vamos a morir
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Experimental rock.
audio vitaminic

After the lyrical drama of Vamos A Morir (1986-1992) and the wild expressionism of Demonios Tus Ojos (1987-1989), being both groups good representatives of experimental and avant-garde rock, Javier Colis (composer, guitarist, vocalist, songwriter and producer) created in 1991 Mil Dolores Pequeños, together with Ajo (singer and songwriter). With the incorporation of Javier Piñango (producer, synthesizer and percussion) and the collaboration of Jaime Munárriz (co-producer, bass, trumpet, harmonica, keyboards), they gave shape to "Lady Lazarus", first and amazing discographic contribution of the group. It was a very personal blend where we find quite different sound "landscapes": from acoustic placidity to hiperelectricity, from old German cabaret echoes to psychoindustrial environments. Later, it came "Soul Shack" (1994), the confirmation that "Lady Lazarus" was not just a sheer coincidence, and a more restrained and gloomy "Madrid Capone" (1996). This was trumpetist Markus Breuss' first collaboration with Mil Dolores Pequeños. Javier Piñago left the group and created Destroy Mercedes. Javier's brother Nacho Colis (drums, chorus and an occasional bassist), became a permanent part of the group. In October 1998, "Opio", fourth album of the group, was published. This is, for the great majority, the best work of the group. In 1995, it was published an EP with four versions of "De la piel pa'dentro mando yo", which is an original track of "Soul Shack", whose lyrics are a convincing anti-prohibitionist allegation written by the philosopher and jurist Antonio Escohotado, who collaborated in two of the four versions of the theme playing guitar and singing. For their concerts, Mil Dolores Pequeños use different collaborators. We must emphasise the collaboration, for instance, of artists such as Alejo Alberdi (ex Derribos Arias), Jaime Munárriz (Destroy Mercedes), Susana Cáncer (ex Chatarreros de Sangre y Cielo), Javier Bermejo, Margarita Blanca or Luis Escribano (ex Clónicos).

B. Amanuense.



  • Lady Lazarus (CD/LP, Por Caridad, 1992)
  • Soul Shack (CD/LP, Por Caridad, 1994)
  • On The Roof Of Your House/Pascalfisiskal Tango (promo single, Por Caridad, 1994)
  • De La Piel P'adentro Mando Yo (EP, Por Caridad, 1995)
  • VIII La Justicia (EP, G3G, 1995)
  • Madrid Capone (CD, Por Caridad, 1996)
  • Opio (CD, Por Caridad, 1998)
  • La Colmena
    (unpublished track, "Give Me More Of That Sound", CD, Spiral 12, 1994)
  • Willie The Pimp
    (unpublished track, "Unmatched - Tributo a Zappa", CD, Hall of Fame, 1996)
  • Soñeuqep Serolod Lim Free
    (unpublished track, "Trienni Talp Club", CD, Talp Club, 1999)
  • Tren nocturno a París: MP3 Single exclusive edition for experimentaclub
  • Radio Radio Radio Ra (Book-Record "Laboratorio", El Europeo, 2001)




Paseo lento
por la orilla
de lo eterno,
toco todo
lo que encuentro.
a lo lejos,
tu risa suicida;
te ríes de todo:
nada es eterno.


Uso las cosas:
yo las aprieto,
ellas me ahogan.


Que se me borren
las huellas de los dedos
si vuelvo a tocarte.
Que se me rompa la voz
al nombrar tu nombre
pero sobre todo
que se me parta el alma
si te apartas de mí
que se me parta el alma
si tu sombra se aleja
que no haya consuelo
si dejamos de pagar
el alquiler a medias.


No puede ser
primavera siempre
aunque te empeñes.
Bien sabe ella
a dónde va
y a quién engaña.
No necesita visados
para que sean
primeros de mayo
dónde y cuándo
a ella le déla gana.


Tengo una palabra mágica
guardada en una cajita
de plástico negro y rojo,
sólo la saco de vez en cuando
porque es la palabra opio.




Si te sobra el tiempo
no lo tires
que yo te lo uso.
Si me prestas media hora
te devuelvo hora y veinte.
Si me dejas diez minutos
me los quedo para siempre.


Huye el tiempo y yo me quedo
a soñar tus besos en silencio
huye el tiempo y yo me quedo
a besar en sueños tu recuerdo.

Huye el tiempo y ahí te quedas tú
soñando besos en voz alta
versos huecos y otros llenos
de sueños, besos y deseos.

Huye el tiempo y yo me quedo
a mentir al ritmo de la rima
y a bailar con los minutos
que me sobran si no estás tú.


In your language taxi
means another thing
what you want to say
is just follow me,
follow me.
And then pay the fee
Pay the fee.

In your stupid language
only good bye means
the same old shit,
the same old rubbish.


La reina de los mares
no sabe nadar
se mantiene a flote
sólo con soñar.

La reina de los mares
se ahoga en un mar,
en un mar de dudas
como las demás.


"The most complete, balanced and mature work of this band from Madrid, Opio.../... Mil Dolores introduce here one of the best Spanish songs of 1998." (Rafa Cervera - EL PAIS de las TENTACIONES).

"A very well weaved mattress, sounds that move from noising experimentation to something near to free-jazz... Mil Dolores Pequeños take another step to create a very risky album where the lyrics acquire their own entity. Naïve irony, passions close to the bolero in cuts with a placid narcotic effect..." (Silvia Grijalba - LA LUNA de EL MUNDO).

"Javier Colis wrenches from his guitar some forgotten sonorities inscribed to perfection.../... Ajo is more daring and amusing in voices and lyrics than ever.../... A very good shot." (MADRID METRÓPOLIS).

"Mil Dolores Pequeños' fourth LP contains nine little pleasures.../... They concentrate on those sonorous acupunctures that make us to thank them for some of the most attained moments of Hispanic experimental rock." (Luis Clemente - EFE EME).

"One of the most original and peculiar musical adventures of the decade.../... Javier Colis' guitar has never sounded so fine, so extraordinarily expressive and unique. Fortunately, Colis knows, being no pretentious at all, that there are still many things to discover in rock and roll." (Pablo Gil - EL TUBO).

"One feels a morbid curiosity when thinking in a song like "Taxi" being played in a "radio-formula station". (Manolo Torres - RUTA 66).

"There are some songs as equal as some works of art.../... Songs, in the charge of Ajo, with direct lyrics, being at the same time devilishly mysterious, combined with a music that plays with repetitive and psychedelic structures, which offer us sonorous, disconcerting and very beautiful images." (Iñaki Ellakuría - ABC).

"Different and unique.../... Opio is their best work.../... Ajo has reached an admirable maturity as a songwriter.../... Javier Colis is still native pop's grand unresolved mystery." (Oriol Rossell - ROCK DE LUX).

"...this group from Madrid's fourth album gives us back the imagination and the strength of one of the most surprising bands of the country.../... melodies more successful than ever, which make songs like "Interés Variable", "No Puede Ser", "Como Las Demás" or the delicate "Yo Me Quedo" being the most stimulating thing heard in 1998. Taste it and you'll repeat it." (Laura Tomillo - ORBITA BCN).

"Mil Dolores Pequeños are the head of the avant-garde proposals of Spanish pop, demonstrating with this album that they are still in the best form. A compulsory rara avis." (Ramón Llubiá - AVUI).

"Nine compositions in between of a desperate fierceness and a kind melody.../... Opio is a hypnotic album, at any moment, and often captivating, of a group that will never leave you indifferent at all." (J. I. Foronda - LA RIOJA).

"Thanks to Mil Dolores Pequeños for making art not disappearing at all. Let it flourish like a poppy in the waste plateau of Spanish rock." (Fernando Martín - EL PAIS).


Como las demás (excerpt)

Insúltame (excerpt)


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