A union of forces often yields stronger results, and this idea has found fertile ground in the Canary Islands, where collaborations among artists have shown how a shared project can help a genre rise to prominence with less reliance on outside forces. In Alicante, five local rappers have formed Origami Bangers, a collective that aims to unleash their creativity and pool their vocal talents under a label rooted in the regional pride of the terreta.
The lineup behind Origami Bangers features Santiuve, Cleo Pathfinder, Bha, Txell del Beat, and DJ Force. Together, they inaugurate this musical venture with the track Can’t Touch This. The song reimagines a classic MC Hammer sample, giving each member space to rap while maintaining a balanced dynamic where no single artist stands above the others. The project is conceived as a purely musical pursuit, with no predetermined emphasis on commercial metrics or numerical outcomes—its purpose is to explore sound and collaboration rather than stardom.
This Alicante-based rap collective represents a meaningful shift in a region where solo projects have sometimes overshadowed collective efforts. In a December interview with Informació, Cleo Pathfinder, one of the group’s members, announced the creation of the project and hinted that a forthcoming album would arrive in 2024. The group intends to preserve their core essence while integrating contemporary influences from other musical styles, signaling a deliberate blend of nostalgia and modernity that could broaden their appeal beyond traditional rap circles. The statement from Pathfinder underscored a willingness to experiment with diverse sounds, aiming to keep the quintet equitable in its artistic contributions and to ensure that each member’s voice is heard in the music.
Addressing broader questions about unity within the urban music scene, Pathfinder suggested that real change starts with personal transformation. The project already has momentum, with the first track expected to set the tone for a broader musical arc designed to reassert Alicante’s place on the map of the genre and to elevate the city to a recognized level of prestige within the broader Spanish rap landscape. The collective’s approach reflects a conscious effort to move away from fragmented collaborations and toward a cohesive, supportive network that can sustain creative growth over time.
Origins and outlooks in Alicante’s rap scene have often highlighted the tension between solo ambitions and collaborative workflows. Origami Bangers offers a concrete example of how a group from a particular city can redefine its trajectory by prioritizing shared authorship, mutual respect, and a common artistic language. The project emerges at a moment when audiences increasingly respond to artists who actively cultivate collective identity while still honoring individual strengths. The group’s early strategy—an equal distribution of spotlight among members and a rejection of a numbers-driven mindset—speaks to a larger conversation about how creative communities can thrive through cooperation rather than competition. In this light, Can’t Touch This becomes more than a song; it acts as a manifesto for what a locally rooted collective can achieve when its members commit to a common vision and to the craft itself.
Cleo Pathfinder’s remarks from the interview illuminate the band’s long-term ambitions: a new album they hope to release within the year, anchored in the recognizable essence of their early work, yet infused with a broader palette of modern sounds. That ambition signals an intention to connect with listeners who value both tradition and innovation, and it positions Origami Bangers as a hopeful example of how regional scenes can contribute meaningfully to the national rap conversation. The project’s emphasis on musical depth over mere exposure suggests a strategy designed to cultivate durable artistry, with an emphasis on sonic experimentation, collaborative storytelling, and a shared sense of pride in their Alicante roots.
The broader implication of this development is a potential reorientation of how the region is seen within Spain’s urban music map. Rather than a backdrop for individual success stories, Alicante could become a beacon of collective craftsmanship, where artists reinforce one another’s careers through joint projects, live performances, and cross-pollination of styles. If Origami Bangers maintains its course, the project might become a touchstone for aspiring local acts seeking to balance personal expression with communal achievement. In the medium term, the group’s evolution is likely to attract attention from fans who crave authenticity, collaborative integrity, and music that respects its origins while bending toward new sonic frontiers. The energy surrounding Origami Bangers reflects a broader trend in contemporary hip-hop where collective identity and artistic parity take center stage, offering a fresh narrative for Alicante and similar regional scenes that aspire to gain broader recognition within the national landscape.