{"id":1780300,"date":"2026-02-18T16:33:20","date_gmt":"2026-02-18T13:33:20","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1780300"},"modified":"2026-02-18T16:33:20","modified_gmt":"2026-02-18T13:33:20","slug":"a-24-hour-blitz-through-the-buenos-aires-underground","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1780300","title":{"rendered":"A 24-Hour Blitz Through the Buenos Aires Underground"},"content":{"rendered":"

[analyse_image type=”featured” src=”https:\/\/media.pitchfork.com\/photos\/698f77d6909c374373117c93\/16:9\/w_1280,c_limit\/P4K26_RabbitHoled_ArgentinaSceneReport_2x1.png”]<\/p>\n

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Columns<\/span><\/div>\n<\/div>\n<\/div>\n

A 24-Hour Blitz Through the Buenos Aires Underground<\/h1>\n
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Rabbit Holed is Kieran Press-Reynolds\u2019 weekly column exploring songs and scenes at the intersection of music and digital culture, separating shitpost genius from shitpass\u00e9 lameness. This week, they report live from the studio bunker of the boyband PILF, and traverse the Argentinian capital\u2019s DIY circuit with the electro-pop duo EQ.<\/div>\n
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By <\/span>Kieran Press-Reynolds<\/span><\/span><\/span><\/div>\n

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Graphic by Chris Panicker; Photos by Kieran Press-Reynolds<\/span><\/div>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n
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Argentina\u2019s underground has long been a hotbed of unhinged creativity. It\u2019s an ecosystem of park rap battles, parties, collectives, and young artists intentionally trying to piss off rock-loving oldheads. The trap scene evolved locally in waves: It really took off in 2017 with stars like Cazzu and Auto-Tune god Duki, a freestyler who broke through after winning the El Quinto Escal\u00f3n battle rap tournament. Then, during the pandemic, the rapper Dillom co-founded RIP GANG, an essential Argentine collective with new-gen oddballs like digicore artist Saramalacara and hyper-dance princess Taichu. It\u2019s impossible to distill the depth of the scene in a few sentences\u2014they pull generously from genres born abroad (baile funk, drill, the mutant, multinational rush of Latin Core) and at home. Peep cumbia villera<\/em> (Argentine shantytown cumbia) and the popular reggaeton hybrid it influenced, RKT, whose dirty snares and dembow sway took off after 2020 with hitmakers like L-GANTE.<\/p>\n

In 2026, most of these artists have become the old guard. Some of them are more popular than ever, like critical darlings CA7RIEL & Paco Amoroso, who took home five Latin Grammys in 2025 for their slick and fame-sick jazz rap EP PAPOTA<\/em>. But over the last few years, we\u2019ve seen the rise of an even more out-there vanguard. Boomers will drop dead when they hear PILF, the newly formed \u201cboyband\u201d consisting of four of the nation\u2019s most carefree young MCs. On the dancier side, too, there\u2019s a fleet of producers and pop girls and labels like TURRXCORE pulling the underground forward. Talking to Remezcla<\/em>, the Argentine producer Heartgaze described the musical zeitgeist they\u2019re involved in as one that stretches across multiple countries, a network of \u201cfreaky, Latino, non-binary internet music.\u201d<\/p>\n

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Stiffy, Zell, turrobaby, and AgusFortnite2008<\/p>\n

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Broadly speaking, the Argentine underground seems to be the most experimental it\u2019s ever been. Six Sex is straight-up moaning on the track and singing with a pilates instructor flow about how to make your ass bigger, while Stiffy raps about boom bap being \u201cshit\u201d and AgusFortnite2008 makes music videos that smush 1,000 browser pages into one frame. Over a crazed 24 hours last November, I hung out with the misfits of PILF and the electro-pop duo EQ. I developed a sense for how Argentina\u2019s new vanguard sees itself, forming its peripatetic and puckish identity amid an era of global internet cross-pollination and the election of Javier Milei, a Trump-like, supposedly ultra-libertarian and anti-government figure casting a shadow over everything.<\/p>\n

In the underground, AgusFortnite2008 tells me, it used to be uncommon to get over 300,000 plays a month. \u201cSome 30-year-old man listens to one of my songs and kills himself. They don\u2019t understand the distortion, the references. It\u2019s a generational appeal,\u201d Agus joked to me years ago. Now, a growing audience is finally starting to get it, and underground MCs regularly notch over a million plays. \u201cThere\u2019s a lot of new people listening,\u201d he says. \u201cIt\u2019s like a snowball.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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It\u2019s an unseasonably warm November day in Buenos Aires as the city edges into summer. Restaurants full of bloated loungers line the roads; the smell of grilled meat wafts in the air. I approach a black compound with large windows, guarded in front by a wall that looks faintly Japanese with long vertical slats. A key-coded door opens and I\u2019m ushered into the studios for Dale Play, the label home to the rap group PILF. Soon, the boys arrive like they\u2019ve just been dropped off by a parent after carpooling to a movie theater.<\/p>\n

Zell, 20, is the most clean-cut and the only sober one, with sharp features and baggy sweatpants that swoop down to his ankles. Stiffy, 19, looks like a tourist, a camo hat across his long puffy hair and a bag strapped around his white tank top; his shorts advertise local football team Club Atl\u00e9tico Ferrocarril Midland. turrobaby, 18, wears a stained athletic t-shirt and ripped-apart Nike flip-flops that half-hide grimy toenails. AgusFortnite2008, 18, is the most fitted, with necklaces and snakeskin Roberto Cavalli pants that creep over his Doc Martens.<\/p>\n

Today\u2019s a break day in the middle of PILF\u2019s national tour to celebrate their debut album P.I.L.F<\/em>, a clown fiesta of slapstick disses and belligerent trap. The project came after 10 days cooped up in the country in an area called Chascomus. They played football and Wii, swam in the pool, and got high as shit on mushrooms. \u201cIt was like, um\u2026 you know The Beatles?\u201d turrobaby offers. One night at 3 a.m., they walked into the woods and saw and heard what they genuinely believed was a monster. \u201cBwaaaooahhh,\u201d Stiffy roars, imitating the beast. They ran like hell. Agus lost a Croc and Stiffy lost one of his shoes.<\/p>\n

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For the last couple of years, PILF\u2019s band of pendejos atrevidos<\/em> have been breaking brains across Argentina. Agus and Stiffy unload a barrage of spinbacks, drunken FX, and asphyxiated Swag!<\/em> shrieks. It\u2019s both generational and regional, the byproduct of kids nursed on YouTube poop from a country that\u2019s historically centered rock over rap.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In person, they\u2019re silly and chill; turro can\u2019t stop grinning and Stiffy erupts into giggles that ricochet like tiny rubber balls. We have a live \u201crage-baiting\u201d session, where they try to one-up each other in a contest to see who can make the most outrageous claim. Agus, who\u2019s slumped beside me on a low-hanging green couch that\u2019s seen better days, begins by saying Skrillex is better than Luis Alberto Spinetta, one of the founding fathers of Argentine rock.<\/p>\n

Then turrobaby, sitting on a chair nearby, says that the white underground rapper Boolymon is better than 2Pac, stroking his hairless chin in thought. \u201cFar, far better.\u201d<\/p>\n

\u201cPeople here love Gustavo Cerati and rock idols,\u201d he adds, \u201clike you can\u2019t say nothing.\u201d<\/p>\n

\u201cThey\u2019re like gods. If you say something, it\u2019s like whooaaaa<\/em>,\u201d Agus groans. \u201cLazer Dim is better.\u201d<\/p>\n

They don\u2019t actually<\/em> hate 2Pac or Argentina\u2019s rock pantheon\u2014the very influential Cerati, who founded the band Soda Stereo in the \u201880s, is perfectly cool to them. But inventing a weird new style sometimes requires killing your elders. \u201cturrobaby?\u201d AgusFortnite2008 says, smiling at his buddy across the room. \u201cBetter than Carlos Gardel.\u201d<\/p>\n

PILF began with just AgusFortnite2008 and Stiffy, who met online in 2020 while playing Minecraft<\/em>, bonding over a love for the demented. They formed a duo, Swaggerboyz. Their early output was all Chief Keef cosplay and delicious brain poison with titles like \u201cJesus escucha plug.\u201d They\u2019ve since reached beyond their American inspo to a pulverized mash of local Argentine references and mindful provocation. They turned \u201cmontage parodies,\u201d a 2010s style of videos madly defaced by stimuli, into a fully-fledged sonic aesthetic. The cover art of the duo\u2019s standout 2024 tape Murio La Musica,<\/em> where they rap like sleep paralysis demons spamming hook-hexes, is a picture of Beethoven shooting himself in the face.<\/p>\n

Agus and Stiffy met turrobaby and Zell after inviting them to perform at their annual festival Swaggerpalooza. Their first song as a foursome, \u201cBABASONICO,\u201d distilled their modus operandi: Over a degraded flip of MexikoDro\u2019s glittery beat for Playboi Carti\u2019s \u201cMoney Counter,\u201d, they rap about getting a blowjob \u201cBabasonicos style,\u201d a play on the famous Argentine rock band and the Spanish word for \u201cdrool.\u201d It\u2019s a cross-continental defacement, or a double homage, depending how you look.<\/p>\n

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turro grew up participating in rap battles in parks as a kid, but he only started making music two years ago. Zell began making music at 15 thanks to a government laptop he was given through Conectar Igualdad, a program launched in 2010 by former left-wing president Cristina Kirchner that sought to democratize access to technology across the country. That system was completely defunded and eliminated in 2024 by a Milei government that’s basically waged war against any and all cultural funding.<\/p>\n

\u201cKirchner’s government used to be known for supporting national culture and young artists: we had a lot of free festivals, new cultural centers, funds for film productions,” says Antonia Kon, a music writer from Buenos Aires who works at a cultural center. Most of that is gone\u2014and there’s a new veil of censorship, where state-owned cultural centers are now “now prohibited from approaching feminist and LGBT topics, and also speaking about the dictatorship that Argentina faced between \u201876 and \u201883.\u201d<\/p>\n

The result is a scattered landscape full of artists who dislike the current government but fear speaking out. Some have done so and faced consequences: The pop star Lali, an LGBTQ ally who tweeted something anti-Milei (\u201cQue peligoroso. Que trieste\u201d \u2014 \u201cHow dangerous, how sad\u201d) after he won the election, was banned from performing at state-owned cultural centers, along with Maria Becerra, another leading Argentine singer who defended Lali.<\/p>\n

PILF have gotten political in a few eye-catching instances, like on turrobaby\u2019s early breakout jerk song \u201cCOLOMBIANA HOODTRAP,\u201d when he shat on Javier Milei and declared he\u2019ll fuck women best because he\u2019s a \u201creal Peronist,\u201d a reference to Juan Peron, the former Argentine president popular among the working class. For the most part, the boys aim their vitriol at unnamed losers who “pee in pools,” dudes so lonely and dirty their only friend is the lice in their hair, and random celebrities (Lil Tecca and Edgar Allen Poe catch strays in Stiffy’s madcap mixtape HACELOS CONCHA STIFFY<\/em>).<\/p>\n

Kon thinks their music reflects a hypersaturated and “cynical, unhopeful” generation. “Their lyrics are satirizing the first generation of trap stars\u2019 fixation with accumulating capital and bragging about drugs and sex,” she says. “A lot of rock critics here in Argentina believe that it\u2019s shallow that the trap scene became so big\u2014and not a more explicitly \u2018political\u2019 music scene I guess\u2014but for me it\u2019s the total opposite.”<\/p>\n

She understands why youth uncertainty would manifest in this kind of ignorant-aspirational music against the backdrop of Argentina\u2019s recent recession and hyperinflation. “They dream of becoming big trap artists or streamers and making money because it\u2019s so hard to dream of socially ascending here\u2014it\u2019s almost impossible.\u201d<\/p>\n

Perhaps part of the reason the PILF boys trash Argentina\u2019s legends is projection, and secretly a wish to restore the country to what it was like when they were younger, when government funding of the arts was abundant and everyone was more united under a monoculture. \u201cIt\u2019s a culture that\u2019s lost in the years,\u201d Agus laments, speaking yearningly of an era when there were genuine bands; it\u2019s why they decided to call themselves a \u201cband\u201d and not a collective. Stiffy grew up admiring the punk band Flema, playing in a folk orchestra in the hood in Mor\u00f3n and busking on the guitar in Plaza Francia, a public square near the water in the barrio<\/em> of Recoleta.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Like many choices the band makes, their name came haphazardly: They took one of their perennial crude obsessions, MILFs, and changed \u201cmoms\u201d to \u201cpendejos,\u201d idiots. (In what may be a shocking blindside to fans, Stiffy, after penning countless odes to hot mothers, announces on PILF\u2019s debut album that he\u2019s done with them and only interested in models now.)<\/p>\n

The pubescent dumbass spirit is baked into PILF\u2019s art. During one show at Teatro Opera in La Plata, Agus accidentally elbowed Stiffy in the face until he started bleeding everywhere; Zell shows me a picture of a paper setlist stained with Stiffy\u2019s blood. They tell me about the making of the video for lead single \u201cHIT,\u201d a raucous bender of woodwind trap, which involved them trashing a staged wedding reception and, in the process, tarnishing their industry cred. \u201cThe production [team] hated us,\u201d turrobaby laughs. \u201cThey told us not to break things, objects. Glasses, plates. When I was trying to step on the table, I was kicking everything.\u201d<\/p>\n

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\u201cPeople were crying, it was a mess,\u201d Agus adds matter-of-factly. \u201cWe are struggling with the next video because of that. But we\u2019re still going to make it.\u201d They all start talking about their dream video ideas. Agus wants \u201c50 seconds in the Pyramids, 50 seconds in Paris, in Malaysia, in Japan.\u201d Stiffy wants a stop-motion animation. Zell wants his own episode of a cartoon. \u201cOr a video with, like, 1 million girls!\u201d Agus interjects, sending the room into hysterics.<\/p>\n

In both their sound and visuals, PILF are straining to dress their microwaved instincts with a more mainstream sensibility. The results are uneven, and sometimes generic. Judging by the unreleased music they played me in the studio, however, they\u2019re finding a way to elevate their psycho impulses to arena grandeur. One track juddered with extreme vibrato; another was a feverish collaboration between Zell and boolymon, with a \u201cZELL Y BOOLYMON\u201d hook that tore out of the speakers like a neon claw. They\u2019re working on a tune with the tantalizingly trembly enzocerobulto, the \u201cGOAT of the Argentina underground\u201d per turro, and would like to collaborate with Modo Diablo, the trio of Duki, Neo Pistea, and YSY A. \u201cThat would be the only PILF fit\u2014or a Korean band, like BTS,\u201d Agus says. Agus and Stiffy aren\u2019t done with Swaggerboyz, either; they\u2019re plotting a new tape all about them growing up.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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It\u2019s impressive how influential these four dropouts have managed to become at their age. Fans swarm PILF shows with bandanas and long hair like Agus and Stiffy. turro recently returned to his school, the one he not too long ago dropped out of, to talk about his career, and claimed the kids were fitted like them.<\/p>\n

\u201cWe are like heroes in the underground,\u201d Zell tells me proudly. \u201cIt\u2019s beautiful that people are dressing like us.\u201d \u201cIt\u2019s like you are looking like yourself, but young,\u201d Agus adds. I mentioned \u201cSwaggerboyz\u201d to dozens of people on my trip, and everyone was amused\u2014either they loved them or thought they were clowns. But everyone knew them.<\/p>\n

I asked PILF what their families think of their rise.<\/p>\n

\u201cMy mom is my number one fan,\u201d Zell says with a sheepish expression.<\/p>\n

\u201cMy mom is also my fan,\u201d turro smirks. I later learn that turrobaby is the son of the poet Cecilia Pav\u00f3n. Only a few years ago, turro was writing political analysis about the conditions that led to Milei and literary criticism for the magazine Revista Jennifer<\/em>. His turn from culture critic to trashy rotslop rapper broke my brain a little, but he acts like his path was destiny.<\/p>\n

At the end of our convo, we spill out into a rocky little patio-garage with a motorcycle, the boys posing for photos and passing a joint. For now, it\u2019s time to eat asado<\/em> and bounce to the tour van.<\/p>\n

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Twelve hours earlier, late afternoon, I\u2019m sitting around a table with Candela Mattera and Laura Ferreira, who make dance pop as EQ. While their music couldn\u2019t be further from the profane filth of PILF, both groups are linked inside the incestuous ouroboros of this local and global, increasingly country- and genre-hybridized underground. They\u2019ve been to each other\u2019s shows and they\u2019re friends, both groups coming up in Buenos Aires\u2019 post-COVID milieu.<\/p>\n

Ferreira wears a funereal black hat gifted from her mother, a black graphic top, and a patchwork skirt with a chunky belt. Mattera\u2019s also in all-black with a Betty-Boop-themed motorcyclist purse. We\u2019re at the pretty and pastel Merienda Cafe in the Palermo Soho neighborhood in the north of Buenos Aires. The waitress gives us impossibly huge menus that look like brochures for a Great Gatsby weekend getaway package.<\/p>\n

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Qiri<\/p>\n

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Estratosfera and Qiri<\/p>\n

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Politics come up a lot faster in this conversation, as EQ describes how they think the current underground Buenos Aires scene has diminished slightly compared to that thrilling moment a few years ago. \u201cOur president Javier Milei, that fucking fascist, he won,\u201d Ferreira shoots. \u201cI think a lot of cultural paradigms [here have] shifted to the right. As soon as he won, a lot of venues got shut down.\u201d They pointed to the venue Maquinal as a frequent target of police raids and shutdowns. They were supposed to DJ at another venue for Pride, but it got shut down last minute.<\/p>\n

Like any major city, Buenos Aires has a network of venues. Among them is Local Support in Palermo, which Agus described to me as for the “starter underground.” \u201cYou know Pok\u00e9mon? That\u2019s like the lobby when you spawn,\u201d he explained. There’s also the popular Niceto Club, a pit stop for every rising artist in the scene. Despite the political and economic situation, the city seems to be a fizzling motherboard of activity, with a host of gender- and genre-oscillating underground parties like Popperazo! and Kioskera.<\/p>\n

EQ met online, during COVID, amid what Mattera describes as the worst year of her life. At one point, she tried to learn skateboarding and had an accident that required cold metal rods be inserted into her wrists. \u201cI thought she tried to kill herself when she posted that, I was like, what the fuck?\u201d Ferreira says. \u201cI was milking that shit online,\u201d Mattera giggles. \u201cI was always quoting the Bladee lyric, \u2018I broke my wrist, I gotta ice it.\u2019 That was my shit.\u201d They didn\u2019t meet in person until 2021, at a Halloween show, where Mattera dressed as a juggalo and Ferreira a vampire.<\/p>\n

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Like PILF, their music doesn\u2019t rage violently against the machine. But instead of the vulgar pleasures of blown-out bass and MILF worship, EQ opt for delicate club distraction. They tingle the cochlear nerves with ringlets of ASMR vocals and tasteful sub-bass. And unlike PILF, EQ are bigger abroad than at home; they\u2019ve made music with the Canadian producer CFCF and the British club pop darling Shygirl. \u201cBoytoy,\u201d one of the most shivery-sexy songs of 2024, unfurls like a finger tracing the nape of your neck. Ferreira, who performs as Estratosfera (the \u201cE\u201d to Mattera\u2019s \u201cQ,\u201d Qiri), sings about the zygote stage of a relationship when everything\u2019s red-hot with possibility. That was the first song they made, and it became the opener for their self-titled debut EP.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Mattera has been playing music her whole life, singing \u201cwhen I was wearing diapers, basically,\u201d and taking classical opera singing and piano lessons. She studied electroacoustic experimental composition at the National University of Arts for six years, before dropping out. Ferreira also gave the National University of Arts a shot, quitting three months in.<\/p>\n

E and Q rolled into one partly because Ferreira wanted to learn how to produce on Ableton. Her government-subsidized laptop in high school couldn\u2019t handle anything beyond stock plugins, but Qiri had a fully functional PC. \u201cBoytoy\u201d came out of a period where they\u2019d meet up to work on music, attend parties and have sleepovers.<\/p>\n

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They\u2019re party girls but also production nerds who know how to manipulate negative space so every bauble of bass glitters just right. \u201cYou can be a baddie or whatever, but we\u2019re also the brains,\u201d Ferreira elaborates. \u201cIn pop music, because of the patriarchy, the popstar is this woman that\u2019s like an object of desire. And then the person that maybe makes most of the music is just some guy\u2014and I hate that so much. You can tell when an instrumental is done by a woman. When I listen to New York, for example, even without their vocals, you can just tell. It was clear for us that we had to make that.\u201d<\/p>\n

This is deconstructed sleaze, rewiring and blurring SOPHIE and PC Music\u2019s concepts of fake products and hyper-emotion. \u201cI feel like someone, Getty image stunt,\u201d Ferreira cries ecstatically on \u201cB.S.A.S.,\u201d imagining the act of becoming<\/em> as a stock photo, a single-shot climax of airbrushed perfection. Their lyrics conjure up American frat parties spilling with Solos, but the compulsively organized, curlicue-fine music sounds like the last thing you\u2019d hear at Alpha Delta Phi.<\/p>\n

Their sensibility has paid off. \u201cBoytoy\u201d became a small hit online, escaping the confines of Argentina, and the pseudo-stock photos they made as art went viral. Because of the way the internet is baked into their sonic DNA, they feel unmoored from any specific place. \u201cI feel more in touch with a global modern art underground scene, with people like Babymorocco and Frost Children,\u201d Mattera says. \u201cI feel like we have already had a little taste of everything in Buenos Aires\u2019 local scene.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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I haven\u2019t had a taste, though, so they agree to take me to Niceto Club in Palermo for a show by rapper-turned-synthpopper K4 and the \u201ctransfeminist noise-punk\u201d band Blanco Teta, hosted by the indie label EQ works with, Fractura. Inside, the women seem to know everyone we pass. On the floor, hundreds of people convulse to Blanco Teta\u2019s ravenous yowls and monster-truck basslines off their July album La debacle de las divas<\/em>. Onstage, Violeta Garc\u00eda grasps a cello striking profane sounds that do not seem like they should spawn from that gracefully curved instrument. Despite the \u201cPOR FAVOR NO FUMAR\u201d signs, lit ends pierce the darkness everywhere.<\/p>\n

Next, we hop in a car and head to the city center. Along the way, Ferreira and Mattera name some of their homegrown influences: Gustavo Cerati, the supernatural singer-songwriter Juana Molina and composer Daniel Melero. Mattera tells me the punk band Fun People introduced her to bilingual singing, which became a core element of EQ. We circle around the Obelisk, a skinny relic of Argentine modernism built to celebrate 400 years since the founding of Buenos Aires.<\/p>\n

Earlier, Mattera and Ferreira reminisced on attending the first-ever Swaggerboyz show in 2022, as part of something called Schizophrenic Fest. “They literally played the tracks out of YouTube from the mixer, then their mics on top with no chain, just direct output, which was fucking hilarious. It sounded like shit, the venue was shit. There was like 100 people\u2014crazy 16-year-olds,\u201d Ferreira remembered. \u201cStiffy brought his whole family. I remember seeing his grandfather and his mom rooting for him from the crowd, it was very cute to witness,\u201d added Mattera.<\/p>\n

The chaotic event was personally inspiring to the duo, who had just become friends and were excited to see a new generation burst to life after COVID. In a recording online, you can see a younger Mattera bouncing gleefully with a white hat and bunny ears in the pit. The venues are bigger now, but the scene’s attitude is still as delightfully homegrown. The communal spirit hasn’t fallen apart, even as it spills across the internet and wider world.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cWe\u2019re ruining a whole generation,\u201d AgusFortnite2008 told me, grinning. \u201cOr saving it.\u201d<\/p>\n

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[analyse_source url=”http:\/\/pitchfork.com\/thepitch\/a-24-hour-blitz-through-the-buenos-aires-underground\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"

[analyse_image type=”featured” src=”https:\/\/media.pitchfork.com\/photos\/698f77d6909c374373117c93\/16:9\/w_1280,c_limit\/P4K26_RabbitHoled_ArgentinaSceneReport_2x1.png”] Columns A 24-Hour Blitz Through the Buenos Aires Underground Rabbit Holed is Kieran Press-Reynolds\u2019 weekly column exploring songs and scenes at the intersection of music and digital culture, separating shitpost genius from shitpass\u00e9 lameness. This week, they report live from the studio bunker of the boyband PILF, and traverse the Argentinian capital\u2019s […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,54],"class_list":["post-1780300","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-pitchfork-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1780300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1780300"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1780300\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1780300"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1780300"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1780300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}