Ruta Destroy

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Ruta Destroy

Cover art for the album "Sonido de Valencia 1990-1997," featuring logos from prominent Valencian nightclubs of the era.

Other names

Ruta del Bakalao, La Ruta, La Marcha, Remember (Revival Events), Bakala, Mákinero (Subculture)

Decade of origin

Late 1970s - Mid 1990s

Key motifs

Nightlife, electronic dance music (Mákina, Bakalao, techno), club culture, graphic design (flyers, posters), Valencian nightclubs (Barraca, Spook, ACTV), extended clubbing sessions, social gatherings

Key colours

Neon colors (green, pink, yellow, orange), black, white, high-contrast palettes

Key values

Hedonism, freedom of expression, escapism, social connection, music appreciation, counterculture, post-Francoist cultural liberation

Related aesthetics

Acid House
Balearic Beat
Biker
Club
Early Cyber
Electronic Body Music
Gabber
La Movida
New Beat
Rave

Related media

Flyers and posters from Valencian nightclubs, Mákina and Bakalao music compilations, "Remember" parties, La Ruta (2022 TV series), IVAM "Ruta Gráfica" exhibition, Bit Music

This article is part of a series on Rave

Ruta Destroy, also known as Ruta del Bakalao, was a clubbing movement in Spain, centered in the Valencian Community, that flourished from the late 1970s to the mid-1990s. Directly inheriting elements of the "Movida Valenciana," it became Spain's largest clubbing phenomenon, arguably initiating the country's modern clubbing culture and leaving a lasting impact on Spanish nightlife.

Thousands of young people, often referred to as Bakalas or Makineros seeking hedonistic experiences, frequented nightclubs in the Valencia metropolitan area, particularly along the El Saler road (CV-500), as part of the Ruta Destroy. Prominent clubs included Barraca, Spook Factory, Chocolate, Espiral, NOD, Puzzle, and ACTV, which operated continuously throughout the weekend, often from Thursday evening to Monday morning, creating a unique and intense nightlife experience.

The movement coincided with the rise of "música máquina" (machine music), a local term that encompassed genres such as industrial techno, house, and related electronic dance music (EDM), which spread across Europe from its origins in Germany.^[1] The Ruta Destroy attracted young people and artists from across Europe, significantly influencing the development of modern EDM and rave culture. While the Ruta Destroy was associated with the Valencian-born Mákina and Bakalao subgenres, its musical scope initially included a wider array of genres, such as Eurodance, rock, pop, and punk. However, the movement later became synonymous with extended hard techno parties, often lasting for days, and the consumption of drugs.

In the mid-to-late 1990s, the Ruta Destroy experienced a decline due to negative media attention focused on drug use and related issues, leading to the closure of many nightclubs. Despite this, the Ruta Destroy remains a significant source of nostalgia for many in Generation X adults accross Spain, who remember it as a defining period of their youth. Nostalgic events, known as "Remember" parties, celebrate the music and atmosphere of this era and continue to be popular.

History[]

"Without EBM and North European synth-pop and Spanish clubs and DJs of the mid-80s, there would be no Techno." ― DJ The Hacker^[2]

Following the death of dictator Francisco Franco in 1975, Spain entered the "Spanish transition to democracy" (also known as la transición), which brought significant cultural and societal changes. This period also saw a lack of fully established legal frameworks, contributing to the growth of countercultural movements. The Movida Valenciana, part of the wider "La Movida" movement, coincided with the rise of electronic dance music in the region. Due to censorship during the Francoist era, themes such as nightlife, drugs, and sexual freedom were not mainstream among the general public, making them novel for younger generations.

The origins of what became known as the Ruta Destroy began in the late 1970s and early 1980s, within the context of the "Movida Valenciana." This movement, while receiving less national media attention than the "Movida Madrileña," played an important role in introducing international music, primarily British, to Spain. Valencian clubs became key entry points for these foreign acts. This period also saw the development of a distinct dance music scene, driven by DJs who imported records from London, Manchester, and other European cities.

During the post-punk and New Romantic era, Valencia experienced a cultural and musical resurgence. Local bands, such as La Banda de Gaal and La Morgue, emerged alongside venues like Pyjamarama, Bowie, and Tropical, which later became ACTV. These venues hosted emerging sounds of synth-pop, rock, and gothic rock music, largely from British origins. Initially, dance music primarily consisted of funk, early house, and Italo Disco, with the newer electronic sounds confined to concert halls and bars.

The opening of the club Oggi, by Juan Santamaría, marked a shift, introducing electronic and guitar-driven music to a dedicated audience. This venture later transitioned to the Metrópolis club, aiming to unite various subcultures, including rockers, mods, and new romantics. In 1982, the focus shifted to Barraca, a club in Les Palmeres (Sueca).

LaRutaMap — Map of the Valencian Community, showcasing the locations of prominent nightclubs.

Barraca, originally opened in 1976, began to alter its musical direction in 1982, incorporating electronic music from German/Belgian artists such as Front 242 and Kraftwerk. The opening of Chocolate in September 1982 further propelled the scene. By 1983, a circuit of clubs developed, with Barraca featuring synth-pop and electronic music, and Chocolate focusing on industrial sounds.

In 1984, Spook Factory opened, known for its extended sessions and attracting a clientele seeking alternative experiences. The prevalence of German and Belgian electronic music and industrial/EBM bands, notably Front 242, characterized this era. Valencia was positioned as a center for this musical and social movement, attributing its growth to the relative lack of social constraints compared to Madrid and Barcelona. The town of Cullera is cited as a starting point for early clubbing experiences.

Puzzle opened in 1986, offering a contrast with its lighter, dance-oriented music. By this time, the Ruta Destroy, involving Barraca, Chocolate, Spook Factory, and Puzzle, was established. Clubs extended their operating hours, and the use of "speed" became prevalent.

Espiral opened in 1987, introducing a more unrestrained atmosphere. By 1988, a pattern emerged, with attendees moving between clubs like Barraca, Chocolate, Spook Factory, and Puzzle. ACTV, which opened in 1989, became a final destination for weekend-long partying. This period saw the rise of "Acid House" and the influence of music from London's clandestine parties, along with the influence of "sonido de Valencia" from groups such as Megabeat. The early 1990s marked the peak of the Ruta Destroy, with clubs extending into parking lots to accomodate growth.

In 1991, extended sessions became a hallmark, with NOD hosting a 24-hour event and Barraca hosting a 48 hour event. This period also saw the growth of parking lot raves. The increasing popularity attracted international music acts, and brought in excess of 30,000 visitors, and possibly even 50,000 on more busy weekends. Throughout this time, additional clubs opened, and other preexisting clubs altered their schedules, to be added to the route.

By 1992, the use of ecstasy became prevalent. Road accidents and related fatalities, amplified by media sensationalism, began to overshadow the scene. Increased drug use and concerns about HIV/AIDS also contributed to negative media attention. Police intervention in nightclubs became more frequent. 1993 saw further decline, and in 1994, attendance dropped significantly. Clubs like ACTV and Espiral closed. By 1995, the original atmosphere had dissipated.

Renewed Interest[]

Today, Barraca continues to operate, hosting techno and minimal DJs. Events known as "Remember" parties seek to recreate the Ruta Destroy era and remain popular among Generation X celebrating their youth years.

While the Ruta Destroy movement largely ended by the mid-to-late 1990s, it remains a point of cultural reference for many in Spain. Communities such as Makineros 90s promote revival events and sell merchandise inspired by the era.^[3] The revival of Mákina music its associated club culture, often referred to as "Remember," includes events by groups such as La Resistencia, and Megapanic.^[4]

In Madrid, the term "Neo-Bakala" has been used to describe some contemporary music and cultural expressions. For example, the trio VVV [Trippin’you] has referenced Mákina influences, though their music primarily aligns with post-punk and new wave genres.^[5]

IVAMExposition — IVAM's *Ruta Gràfica* exposition, showcasing Ruta Destroy graphic design.

In 2022, the Institut Valencià d'Art Modern (IVAM) held the "Ruta Gràfica" exhibition, showcasing the graphic design associated with the Ruta Destroy.^[6]^[7] This exhibition featured posters, flyers, and documentaries, highlighting the movement's cultural impact and creative output.

Also in 2022, the television series "The Route" (La Ruta) premiered on Atresplayer. Created by Borja Soler and Roberto Martín Maiztegui, the series depicts the Ruta Destroy era, using a reverse chronological narrative.^[8] The series received critical acclaim and awards.^[9]

Visuals[]

Example of a promotional artwork by Spook, located in Pinedo, Valencia.

Initially, club promotion primarily relied primarily on word-of-mouth. However, around 1986, graphic design became essential. The Ruta Destroy generated a significant amount of graphic design work, including posters, flyers, and nightclub logos, which were pivotal in establishing the movement's visual identity. This graphic output is characterized by a vibrant aesthetic, characterized by old color palettes reminiscent of industrial design and punk aesthetics, innovative typography inspired by Bauhaus principles, and the works of the German group Kraftwerk, and striking imagery that often incorporated elements of industrial signage and experimental comic book styles.^[10]

In the early phase of the Ruta Destroy, graphic design served an important role for clubs to cultivate their own public image. Notably, by 1986, graphic design became fundamental in influencing the clubs' visual presentation. Designers like Edu Marín, responsible for numerous posters for Chocolate and contributing to the visual identity of Barraca, Arena, and Heaven, were important in developing this visual language. Paco Roca also contributed designs for Barraca, further emphasizing the importance of graphic design in this scene.

The establishment of the ACTV nightclub in 1986 marked a turning point in the Ruta Destroy's visual identity. Designers Paco Bascuñán and Quique Company crafted ACTV's graphic identity, drawing inspiration from New York City nightclubs and industrial design. The impact of ACTV's graphic design spurred other nightclubs to create their own unique visual styles, resulting in a wide array of graphic expressions.

The graphic design of the Ruta Destroy attracted the participation of prominent artists, including Javier Mariscal and Francis Montesinos. Other graphic designers who contributed to the clubs along the Ruta include Juan Enrique Bosch Quevedo (Michamunt), Vicent Josep Llobell Bisbal (Sento), Paco Roca, Edu Marín, Ramón Marcos, Paco Bascuñán, and Ana Miralles or Quique Company.

A substantial effort has been made to document and preserve the graphic legacy of the Ruta Destroy, most notably through the IVAM (Institut Valencià d’Art Modern) exhibition "Ruta Gráfica. El diseño del sonido de València." This exhibition featured 132 posters and 86 flyers, showcasing the contributions of designers and illustrators to the Ruta Destroy's visual style and its significance.

Fashion[]

Ruta del Bakalao fashion emerged around the 1980s and 1990s, when social media was not prevalent. Participants often drew inspiration from musical groups, television appearances, and magazines. Valencia became a center for "bakalas," young people who sought entertainment along the Ruta del Bakalao, dancing to techno music in clubs and parking lots. Outfits often featured a prominent piece, such as leather pants, with the remaining attire emphasizing comfort. Those with financial means wore New Balance or Nike Air Max sneakers, while others opted for comfortable boots suitable for extended wear.^[11] The Ruta del Bakalao encompassed various styles due to techno music's appeal to diverse social groups.

Notable garments included biker-style jackets, often leather with asymmetrical zippers. These jackets, originally designed for motorcyclists, gained popularity through figures like Marlon Brando and James Dean, and later through musicians like Depeche Mode. Additionally, "pedrogomez" puffer jackets, custom-made in vibrant colors, were worn by those with higher incomes. Alternative clothing, such as that from the Berlin-based brand 3000, featured recycled materials and unconventional designs. Miniskirts made from plastic bags, polyester dresses, and slogan t-shirts were common. Button-down shirts, often bicolor, were worn fully fastened. Long-sleeved polo shirts with thick stripes were also prevalent. Straight-leg jeans and leather pants in dark washes were typical. Leather belts with studs and large buckles were worn prominently. T-shirts from brands like Destroy and Boy London were highly sought after at the time. Vuarnet sunglasses with dark lenses and rectangular or oval frames were essential accessories. Leather chokers with studs and baseball caps were also common. Women would often style their hair with a fringe, or in a high ponytail.

The designer Pepa Salazar's SS17 collection referenced the Ruta del Bakalao, capturing its transformative essence. This era, marked by the rise of electronic music and club culture, influenced fashion with its stylistic mix. Designer María Ke Fisherman's collection drew inspiration from the "Bakala" movement and racing uniforms, and contained items such as; crochet tracksuits, and asymetrical dresses.^[12]

The clothing was not defined by one singular style, it was a very diverse collection of clothing that varied depending on the persons social class, and location.

Music[]

The musical genres associated with Ruta Destroy were diverse, evolving throughout its existence. In its early stages, during the late 1970s and early 1980s, clubs featured a mix of Eurodance, rock, pop, and punk, reflecting the eclectic tastes of the time. The influence of imported electronic music from Germany, Belgium, and the United Kingdom was also significant, with genres like EBM, industrial, synth-pop, and early techno playing a role.

As the 1980s progressed and acid house gained popularity in Europe, electronic dance music gained prominence. DJs played techno, house, progressive, and trance, using computer-generated rhythms and DJ mixes. This period saw the rise of "música máquina," a term indiscriminately encompassing these genres and referencing the use of synthesizers, samplers, and sequencers.

In the 1990s, Mákina, or Bakalao, a local electronic musical genre, emerged as a major component of the Ruta Destroy. It evolved from hardcore techno and hard trance influences, incorporating elements of Eurodance, and Happy Hardcore. Mákina is characterized by its fast-paced rhythms, typically ranging from 150 to 190 BPM, and melodic elements. Its development occurred within the Valencian club scene, influenced by the earlier "música máquina" and the evolution of sounds coming from Barcelona. It became popular across Spain and gained popularity in regions like North East England, Scotland, Japan, and France,^[13] though those scenes remained distinct from the original Valencian movement.

While Mákina grew in prominence, other genres such as Eurodance, pop, rock, and EBM continued to be played in clubs along the route. DJ-driven mixing techniques, utilizing two and three turntables, were a hallmark of the era, creating varied and dynamic sets. The period from 1995 to 2001 saw Mákina's commercial peak, supported by radio programs and large-scale events. This era was marked by diverse substyles within Mákina, including more melodic variations.

From 2002 onwards, Mákina experienced shifts in sound and a fragmentation of its scene. Clubs closed, and the genre's popularity waned. However, "Remember" events, independent record labels such as Bit Music, and radio stations such as MDT have maintained a presence for Mákina and associated sounds.