We had a chat with Cristobal Torres, the hands behind the Chilean electronic music that is Minimental, who took time out to speak to chileno about what he's up to at the moment. Cristobal is from Santiago and his style is a

chileno:       So, what have you been up to recently Cristobal?

Well,  I`ve been releasing music on a new label based in Chile for progressive and psychedelic trance `Digital Yonkis Records`, an EP and a compilation album have been released with good feedback from everyone, so I'm really happy about it!

chileno:       How would you describe your sound and what are some of your main influences?

It's kinda difficult to define, because it's a mix of styles; progressive, deep, techno psychedelic…even experimental. It's something that flows, I can`t push myself to create a style that I don't fit in. My main influences came from the time when i produced psytrance, lots of the old school wave of the psychedelic techno sounds and of course new sounds too, to name a few: Atmos, Behind Blue Eyes, Sun Control Species, Perfect Stranger, X-Dream, Saiko pod, Kox Box, Penta, Ocelot, Iboga Records, Spiral Trax, Digital Structures, Flow, Echoes, etc.

chileno:      Are there any British sounds that you like? Boards of Canada or Aphex Twin for example?

Well, Simon Posford, Twisted Records, Tip Records, Prometheus, Eat Static, Shpongle, ManwithnoName, TRISTAN, NaNo,Dick Trevor,AMD, etc,etc,etc.

chileno:       What’s your philosophy in making music?

Just flow and create something new, not a copy, not thinking about a hit…just create.

chileno:       When did you first get into music?

At 10, when my dad gave me a drum, then I played a bit of bass til 14. After that, nothing til 2004, when I introduced myself into psychedelic trance. That´s when I met people involved and started DJing and since 2007 producing.

chileno:       Do you play in clubs a lot?

Well, there have been two years with not much music activity, playing just a few times a year, but now I'm focusing on music again, releasing and producing in my new studio.

chileno:       What’s the electronica scene like in Chile today?

Techno scene is quite big, good artists coming every month and good parties, psychedelic is serious, with some consolidated festivals and parties in the city often. Very good artists are coming up, good music and very professional in what they do, so it´s good for everyone.

chileno:       What other Chilean groups do you like?

Well, of course most of my friends producers/DJs from the label and others, they are producing massive tunes! Moaiact, Zlott, Electryxeed, Zoologic, Soldier, Sumerian Droids, Solar, Magnizm and more.

chileno:      Have you got any live gigs coming up?

Yes, but no official date to confirm.

chileno:   When you are not playing music what do you like doing?

I`m with my little daughter Rafaella a lot, but after work I train Brazilian Jiu Jitsu 3 times a week, and after being with Rafa i try to go cycling whenever possible, be with family, friends, outdoors, sports, cool stuff you know.

chileno:   What are you most excited about at the moment

Being a father. :)

chileno:   What are your plans for 2013?

Release a lot of music, play lots, have fun and of course, enjoy!

Keep up with Minimental via facebook.

Camila Moreno's newly released album Panal (honeycomb) is the latest and third offering from the young Chilean musician. In something of a departure from her earlier work (e.g. about half the songs in her debut album almismotiempo are heavily influenced by Chilean folclor), Moreno makes a first step in the transition from Chilean pop-fusion to rock. The change in direction is certainly not an unconscious one; in fact Moreno has for some time been mindful of not getting bogged down in a single musical style or form. The sentiment is no better illustrated than in a December article from online Chilean news outlet emol.com that quoted Moreno as saying, "Me aburrí que me encasillaran en el folk y en toda esa movida tan estrecha" or, "I'm bored with being typecast as a folk singer and all that narrow movement". Indeed, when we told her that we were keen to cover her new album she said, "I hope that you will not call it folk!" So in the spirit of good Anglo-Chilean relations we will henceforth refrain from using the 'F' word! Camila Moreno has been compared variously to artists like Björk and PJ Harvey and indeed these are some of her influences. Significant others include The Beatles and Radiohead. Most often thus far, however, she has been compared to the Chilean Nueva Canción f**k movement of the 1960s. Nevertheless Moreno resists the label and has been determined to free herself from what she sees as the shackles of being defined as belonging to the movement or even, as some say, being part of the legacy of and torchbearer for Chilean Legends Violeta Parra and Victor Jara. Some have noticed the seeming jump from f**k to rock and suggest overtones of Radiohead are apparent in the new music. As paniko.cl succinctly put it "Mas Radiohead, Chao Parra?" This certainly would make sense given that Moreno often cites the English band as a major influence, but is there any substance to the suggestion or is it more simply a desire to change? Now that the album is out, we can decide for ourselves. Incidentally, the release of the album courted some controversy in that Panal was partly financed through the use of 'crowdfunding'. Moreno used website idea.me in which fans were encouraged to contribute to production funds in return for rewards ranging from early release copies of the album with personalised messages to intimate concerts with the singer. Moreno had received some criticism for raising funds in this way and posted a rebuttal on facebook, saying that artists deserve to be paid properly as in other professions and that ultimately, "Es super simple , si no quieres , no participes del disco , pero ahórrense la mala onda, porque eso sobra en este país y en el mundo..." "It's super simple, if you don't want to, don't participate in making the album, save yourself the bad vibe, because there's plenty of that in this country and the world ..."  the singer said.

Panal, the album:

The album starts with an explosion, that's for sure. Incendié, a well-chosen powerful 'dropped d' tuning heavy anthemic opener, remains distinctly South American in flavour (at least to the European ear) with incessant batucama-style drumming creating an immense percussive drive, fused with indigenous Mapuche instrumentation. Yet simultaneously, the track has a classic rock feel to it that recalls Led Zeppelin's Four Sticks or perhaps, with the drums marching us onwards, The Immigrant Song. Incendié leaves us wanting more and with high expectations. We are not disappointed with the follow up De Que, which one can imagine could have been influenced by Radiohead's Go To Sleep, also featuring overlaid Zeppelin-esque mandolins giving sumptuous tone. The track builds to such a bass-filled crescendo that at this point one could be forgiven for not knowing what the word f**k means! That's not to say that there aren't delicate slices to the record like the beautifully evocative title track for example. The album also holds some very wistful, melancholic tracks like the haunting piano led Te Quise which is accompanied by Moreno's powerful vocals. Panal is an intelligent album both mature and in its outlook and rooted in core passionate beliefs such as the repression of indigenous peoples (Yo Enterré). It is not a rejection of f**k but a recognition that there are great musical possibilities to be had when one is free of certain constraints. What is slightly disappointing though is that the album is not a truly novel work but rather the potential beginning of a sea change in Camila Moreno's musical sound scape. I don't think Oxfordshire's five-piece have got anything to worry about just yet but then as Camila herself recognises in her facebook rebuttal, "I don't consider myself an established artist, but hopefully an artist though. I know that I'm working on it and I love doing it." Arguably the best indication of a transition to a new sound comes from a track called 1, 2, 3, por mí, por ti, por todos mis compañeros, ironically not included in this album. Interestingly the song contains a doffing of the hat to Radiohead's Kid A track optimistic. So if Camila Moreno is still playing in a f**k band someone has clearly failed to mention it to her. Chileno gives Panal 7/10.

You can download the single Raptado free from Camila Moreno's website and get the album from Chilean music download site Portaldisc

Tickets to the show reportedly cost Chileans anywhere from 27,000 pesos (around £35 ) to 300,000 pesos (£400). The incident comes on the back of several controversial events during the European leg of her MDNA including being booed in France.

The show in Santiago went ahead as can be seen from Madonna's rendition of Like a Prayer below:

Los bunkers, arguably Chile's most famous rock quintet, originally hail from the southern Chilean city of Concepción and moved to Santiago a year after forming in 1999, but have been based in Mexico since 2008. They are noted in Chile for their style of rock which is based on  classic 6os lineups such as The Kinks and blended with traditional Chilean folclor (folk music). The Beatles are clearly a big influence, which can be felt permeating through tracks like Ultima Cancion and Ahora que no estas. Although the classic English influence is certainly evident, Los Bunkers have a unique and particularly South American sound. It perhaps should not be as surprising as it was to us that the evolution of this particular branch of rock and roll in Chile has some similarities to that of their cousins over the pond. For example,Ven aqui and no me hables de sufrir are not a million miles away from something that might be released by a band like Kasabian. Los bunkers have released six studio albums thus far and a seventh is currently in the pipeline. Ther band are widely recognised as a major influence in the direction of Chilean rock music and have received numerous accolades including winner of the prestigious Altazor Award in 2006 and opening on Saturday night at the 2012 festival de Viña del Mar - not to mention the millions of views on their Youtube videos, and legions of fans and followers on their social networks.

The Chilean stars took some time out to talk to us about themselves- let's hope we can see a world tour in the not too distant future...

chileno: Where does the name Los Bunkers come from?

De dónde proviene el nombre de Los Bunkers?

Los Bunkers: Los Bunkers, is a play on words that refers to Chilean rock groups from the ‘60s like Los Jockers, Los Mac’s, Los Sonnys, etc. So we decided to continue a tradition and be part of a story that was cut short with the Coup D’etat of 1973. Moreover, we like the name, phonetically, because the name Bunker is very rock in our opinion, to have a B and a K, we paired ourselves with our biggest British music idols, The Beatles, The Kinks and many others. It also speaks in relation to the group and the music that developed as a refuge against all that surrounds us.

Los Bunkers, es un juego de palabras que remite a grupos de rock chileno de los años 60 como Los Jockers, Los Mac´s, Los Sonnys, etc. Así consideramos continuar una tradición y ser parte de una historia que quedó truncada con el golpe militar de 1973. Por otra parte, el nombre nos gusta fonéticamente por el sonido de la palabra Bunker es muy rockero a nuestro modo de ver, al llevar una B y una K, nos empareja con nuestros más grandes ídolos británicos de la música, The Beatles, The Kinks,y muchos más. Además dice relación con que el grupo y la música que desarrollamos es un refugio ante todo lo que nos rodea.

chileno: What are your main influences?

Cuáles son sus principales influencias musicales?

Los Bunkers: We have two main influences. On one hand, the movement called the Nueva Canción Chilena (Chilean New Song), born in the 1960s and unfortunately extinguished by the Military Dictatorship of 1973, which left Chile in total cultural darkness. The greatest exponents of this movement and at the same time our most important influences are Violeta Parra, Victor Jara, Inti Illimani, Quilapayún, the Parra siblings Isabel and Ángel. On the other hand, the English bands from the classic era, The Beatles, The Kinks, David Bowie, T Rex, The Zombies, some punk bands like the Sex Pistols, Joy Division, etc.

Nuestras principales influencias son dos. Por un lado, el movimiento llamado Nueva Canción Chilena, gestado a principios de la década de los 60 y apagado lamentablemente por el Golpe Militar de 1973, el cuál dejó a Chile en la absoluta oscuridad cultural. Los más grandes exponentes de este movimiento y al mismo tiempo nuestras más importantes influencias son, Violeta Parra, Victor Jara, Inti llimani, Quilapayún, Los hermanos Parra -Isabel y Ángel-. Por otro lado, las bandas inglesas de la era clásica, The Beatles, The Kinks, David Bowie, T Rex, The Zombies, Algunas bandas punk como Sex Pistols, Joy Division, etc.

chileno: How can you sum up these 13 years of experience since the band was formed in 1999?

¿Cómo podrían resumir estos 13 años de experiencia desde que la banda fue formada en 1999?

Los Bunkers: It’s been a musical journey from our hometown, Concepción, where we took our first steps, rehearsals and small concerts. Through to Santiago, the capital of our country, where we arrived in 2000 and where we recorded our first albums. Later, our first journeys to Mexico, with help from our fourth album, Vida de Perros. And finally our stay in Aztec lands, where we edited two albums, Barrio Estación and Música Libre. The latter allowed us to visit the US, and play in the Lollapalooza festival held in Chicago, and the legendary Roxy Theater in Los Angeles.

Ha sido un viaje musical desde nuestra ciudad natal, Concepción, donde dimos nuestros primeros pasos, ensayos y pequeños conciertos. Pasando por Santiago, capital de nuestro país, al cual llegamos en el año  2000 y donde grabamos nuestros primeros discos. Luego, nuestros primeros viajes a México, de la mano de nuestro cuarto album, Vida de Perros. Y finamente nuestra estadía en tierras aztecas donde hemos editado dos producciones, Barrio Estación y Música Libre. Este último nos permitió también visitar EU, y tocar en el Festival Lollapalooza realizado en Chicago, y en el mítico Roxy Theater de los Los Ángeles.

chileno: We are under the impression that you are permanently living in Mexico since 2008, am I correct in assuming that you chose that country due to the success of your album Vida de Perros? And what was the motivation to put down roots in another country?

Tengo entendido  que están radicados en México desde el 2008, Estoy en lo correcto en asumir que eligieron ese país debido al éxito de su disco Vida de Perros? Y qué los motivó a querer plantar sus raíces en tierras extranjeras?

Los Bunkers: That’s right. The album Vida de Perros took us for the first time to the Vive Latino festival in 2006. From that moment we started to come every year for longer periods of time until finally we made the decision to stay indefinitely and manage our career from Mexico.  A good place for the music, very magical and with lots of history.

Es correcto. El disco Vida de Perros nos trajo por primera vez al festival Vive Latino en el año 2006. Desde ese momento comenzamos a venir cada año por temporadas más largas lo que finalmente nos hizo tomar la decisión de radicarnos y llevar nuestra carrera desde México. Un  buen lugar para la música, muy mágico y con mucha historia.

chileno: Your performance at the Festival de Viña del Mar this year was a great success, you took all possible awards [see el monstruo] and were praised by the press as the best act of the 2012 festival. Can you tell us how long it took to prepare, choosing the messages about current issues, etc?

Cosas que no se rompen
Millones
Reverso Huidobro
Cae y Calla
Incendié
Antes Que
La Necesidad

Fernando Stern, aka Nano Stern, is a young, football-loving, Chilean artist riding the crest of the New Wave of musicians that has emerged in the country in recent years. His style is an Indie-Folclor-Rock fusion; deeply rooted in traditional Chilean music and inspired by legends like Violeta Parra and Inti-Illimani, yet combined with a host of influences absorbed from his patiperro travels around the world, as well as his early classical training. Added to the mix is a love for classic rock, which results in a truly unique sound, the whole becoming greater than the sum of the parts. Stern is an accomplished musician, playing a range of instruments from Spanish and electric guitar, violin to the more obscure willow flute. Not to be underrated on the albums, and equally live, is the power and emotion that emanates from his vocal prowess.  At only 27 years old, Stern's rise to fame has been meteoric, recently celebrating a recording career spanning five years and including four albums: Nano Stern, Voy y Vuelvo, Los Espejos and Las Torres de Sal. Although he was trained in the classical conservatories, Nano is now carving out his own musical path in life, and long may it continue!

Nano chatted to chileno about his life so far and the interview is presented below in both Spanish and English (para todo el mundo y Chilito).

Nano Stern Entrevista

We know you’re a football fan. Universidad de Chile are doing well in the Apertura, you must be pleased?

Like all the members of the big ‘blues’ family, I am tremendously happy and excited about what has happened with ‘la U’ during the last year. A near perfect performance and football that’s great to watch. In the latest FIFA ranking, la U ranked as one of the best teams in the world, second only to Barcelona. One of my songs, actually called “azul”, has been used in loads of videos that ran during the successful campaign in the South American cup 2011, and that pleased me no end!

Sabemos que eres un fan del futbol.  A la Universidad de Chile le está yendo bien en la Apertura, debes estar contento?

Bueno, como todos los miembros de la gran familia azul, estoy tremendamente contento y expectante con lo que ha ocurrido con la U durante el último año. Un rendimiento casi perfecto y un futbol que da gusto mirar. En el último ranking FIFA, la U figura como el segundo mejor equipo del mundo, sólo superado por el Barcelona. Una de mis canciones, que justamente se llama "azul", ha sido utilizada en muchos videos que recorren la exitosa campaña de la copa sudamericana 2011, y eso me alegra un montón!

So, you recently celebrated five years of your career, looking back what has the experience been like so far?

There isn’t a day that goes by that I’m not thankful to life for how extraordinarily fortunate I’ve been. In my 27 years I can feel proud to be a musician, to give my life to creativity, and be able to support myself. A month ago we celebrated 5 years of my recording career, but my relationship with music started much earlier, when I was 3 years old. I hope to keep playing and creating until the day I die.

Recientemente celebraste five años de tu carrera, mirando hacia atrás que tal ha sido la experiencia hasta el momento?

No pasa un día en que no agradezca a la vida por lo extraordinariamente afortunado que he sido. A mis 27 años puedo sentirme orgulloso de ser músico, de entregarle mi vida entera a la creación, y sustentarme así. Hace un mes celebramos los 5 años de mi carrera discográfica, pero mi relación con la música viene de mucho antes, desde que tengo 3 años. Espero seguir tocando y creando hasta el día en que me muera.

Is it true that Cristóbal  Berrú is your sound engineer? When we spoke to Jorge Coulon he said you have a “great talent”, how much does recognition from your peers matter to you?

Sometimes we work with Tocori Berrú (son of Max) as a sound engineer, and regularly do so with Neftalí Oyarzún, who today is the sound man for Inti Illimani.  It’s a pleasure to work with both of them, apart from being great professionals, they have become dear friends.  To be able to work closely with Inti is a dream come true, because I grew up listening to them…  I think I feel like an English guy would, being invited to play with Led Zeppelin, another one of my favourite bands.

Es cierto que Cristóbal Berrú es tu ingeniero de sonido? Cuando hablamos con Jorge Coulon, él nos dijo que tenías “un gran talento”, qué tanto significa para ti el reconocimiento de otros artistas?

A veces trabajamos con Tocori Berrú (hijo de Max) como sonidista, y regularmente lo hacemos con Neftalí Oyarzún, quien hoy por hoy es el sonidista de sala de Inti Illimani. Es un placer trabajar con ambos, por que además de grandes profesionales, se han convertido en queridos amigos. Poder colaborar de cerca con los Inti es un sueño hecho realidad, para mi que crecí escuchándolos... Creo que me siento como un cabro ingles que sea invitado a tocar con Led Zeppelin, que es justamente otra de mis bandas favoritas.

Have you been influenced by a wide range of music? We thought we picked up some Led Zeppelin in some tacks (e.g. Necesito un cancion) and of course you sometimes play Samba Lando from Inti-Ilimani? Is folcor close to your heart?

Folclor [Chilean folk music] holds the deep wisdom of the people, and because of this, I think it is the greatest gift that music gives us.  I have dedicated the latest years of my life to learning different musical traditions which now forms a big part of my musical identity, my “sound”, comes from the elements found in that search.  I hope to keep learning more and deepening my relationships with different traditions.

Has sido influenciado por una gran variedad de música? Creemos que notamos algo de Led Zepplin en algunas canciones (eg. Necesito una canción)  y por supuesto también algunas veces tocas Samba Lando de Inti-Illimani? El folclor está cerca de tu corazón?

El folclor esconde la sabiduría profunda de los pueblos, y por lo mismo me parece el regalo más grande que la música nos entrega. He dedicado los últimos muchos años de mi vida a aprender de las distintas tradiciones musicales y gran parte de lo que es hoy mi identidad musical, mi "sonido", se desprende de elementos encontrados en esa búsqueda. Espero seguir aprendiendo más y profundizando mi relación con distintas tradiciones.

We talked to Andrés Wood about the film [Violeta se fue a los cielos] and he said that it has formed a bridge between Chilean people and the emotional aspect of Violeta. Do you agree?

To a certain extent I would agree, but I think the film fails to portray the depth that her complex being deserves.

Hablamos con Andrés Wood acerca del film [Violeta se fue a los cielos] y nos comentó que había formado un puente entre los chilenos y la parte emocional de Violeta.  Están de acuerdo?

Hasta cierto punto estoy de acuerdo, pero creo que la película no alcanza a retratar a la Violeta con la profundidad que su intrincado ser merece.

How important is Violeta Parra to you?

I think that Violeta is the greatest artist there has ever been in Chile. Full stop.

Que tan importante es Violeta Parra para ti?

Creo que Violeta es la artista más genial que ha habido en Chile. Punto.

Los espejos has a slightly different feel to the others, is that fair? Perhaps more of a mixture between light and dark? Is it true that the album was in a way a tribute to your father?

Los Espejos is without doubt the darkest album I’ve done, and that’s to do with what I went through at the time. The album is very introspective and is dedicated to my father, who once told me that the only thing that mattered was that when I look in the mirror in the morning, I would see a reflection of a happy man. That inheritance is not necessarily easy to carry; sometimes I make it other times I don’t. But I always try to remember, that I have to be generous and share the joy from the stage.

Los Espejos tiene un sonido un poco diferente a los otros, es justo mencionarlo?  Quizás algo como una mezcla entre la luz y la oscuridad? Es cierto que este álbum ha sido en algún sentido un tributo a tu padre?

Los Espejos es sin duda el álbum más oscuro que he hecho, y tiene que ver con el proceso que vivía en ese momento. El disco es extremadamente introspectivo y está dedicado a mi padre, quien una vez me dijo que lo único que a él le importaba era que cuando me mirara al espejo por la mañana, lo que viera fuera el reflejo de un hombre feliz. Esa herencia no es necesariamente fácil de llevar; a veces cumplo, otras no. Pero lo que siempre intento recordar, es que tengo que ser generoso e intentar compartir la dicha desde el escenario.

You’ve released four albums so far, some people are saying that Torres de Sal is your best work so far, would you agree?

I try not to evaluate the albums comparatively. I think that each one has its beauty, and to the extent that they are honest, nothing else is needed.

Has lanzado four álbumes hasta el momento, algunas personas han dicho que Torres de Sal es tu mejor trabajo hasta el momento, estás de acuerdo?

Intento no valorar los discos comparativamente. Creo que cada uno tiene su belleza, y en la medida en que sean honestos, no falta más.

Although you primarily record on acoustic guitar, you also play a mean electric guitar (e.g. on “Voy Volando”). Do you like playing both?

I think that instruments are a means to an end, and that generally instrumentalists tend to obsess themselves with the object-instrument. The word tells us. “instrument”, can be used to create something. In this sense, all the instruments fascinate me. Electric, acoustic, synthesisers, hands, and above all, the voice.

Aunque inicialmente grabaste con una guitarra acústica, también has tocado con una guitarra eléctrica  (por ejemplo en “Voy Volando”)  Disfrutas tocando con ambas?

Creo que los instrumentos son medios, y que generalmente los instrumentistas tienden a obsesionarse con el objeto-instrumento. La palabra lo dice. "instrumento", que sirve para crear un algo. En ese sentido, todos los instrumentos me fascinan. Los eléctricos, acústicos, sintéticos, las palmas, y por sobre todos, la voz.

Maybe we can hear your classical training on Cuatros Vientos? A hat-tip to Bach? The lyrics also say “I spent nearly four years at University and everything they taught me I now try and forget”

Yes, that song is a retrospective reflection of many things, from the arrival of my immigrant grandparents to Chile, to this moment today, singing “our” folklor in distant lands. There is actually a nod to the no 1 suite for cello by Bach, in reference to the conservatories and that “conservative” way of living the music.  Needless to say I don’t identify at all with conservatism.

Quizás podemos conocer algo de tu enseñanza en el ámbito de lo clásico en Cuatros Vientos?  Un reconocimiento a Bach?  Las letras de las canciones también dicen “Yo fui casi cuatro años a la Universidad, todo lo que me enseñaron ahora trato de olvidar”

Si, esa canción es una reflexión en retrospectiva de muchas cosas, desde la llegada de mis abuelos inmigrantes a Chile, hasta mi momento hoy, cantando "nuestro" folklor en tierras lejanas. Hay efectivamente un guiño a la suite no. 1 para cello de Bach, en referencia a los conservatorios y esa manera tan "conservadora" de vivir la música. De más está decir que no me identifico para nada con el conservadurismo.

So what was Santiago College like and your experience at the conservatorio? What motivated you to leave your studies and do you have any regrets?

I am not fond of the institutions, and whilst studying at the conservatory I began to feel that the music was turning me grey. Although I learnt a lot at the conservatory, I think music has to be lived, especially if you are doing popular music. My best school has been without doubt out on the road.

Como fue la experiencia en el Conservatorio y en el Santiago College?  Qué te motivó a dejar tus estudios y si tienes algo que lamentar?

No soy amigo de las instituciones, y estudiando en el conservatorio, comencé a sentir que la música se me volvía gris. A pesar de haber aprendido mucho en el conservatorio, creo que la música hay que vivirla, especialmente si se hace música popular. Mi gran escuela ha sido sin duda el camino.

 Check out the links to the latest album, Las Torres Del Sal:

1		Cuatro Vientos	7		La Puta Esperanza
2		Décimas A La Viola	8		Voy Volando
3		Flor De Cactus	9		La Raíz
4		Las Torres De Sal	10		Las Llamas De La Impontencia
5		El Río De Los Tiempos	11		Naufragar
6		Felicidad	12		Lágrimas De Oro Y Plata
			13		El Comienzo

 

 

You can catch up with Nano Stern on twitter and on Nano's website. If you want to buy some of his music you can find Nano in the usual places, but why not think about supporting a Chilean music  shop

With a great sound, guitar in hand and meaningful lyrics, 'Trostrigo' looks set to join the growing ranks of the Chilean New Wave of musicians. A distinctive indie sound, and when considering Trostrigo's vocal style the music recalls the likes of Gepe and Chinoy. Currently living in Buenos Aires, the rising star talked to us to chat about himself and his musical journey.

Trostrigo: I was born in Rancagua, and stayed there until I finished high school, then I travelled to Talca to study at the University, then I left Talca and went to Buenos Aires ... I learned to play the guitar in high school and I worked so that I could buy an electric guitar and formed a couple of punk bands with friends, always self-taught I learned the tunes that I liked but never managed to equal them. When I started making real progress with the electric guitar, it got stolen then I started playing the acoustic guitar. From that point on I fell in love with acoustic chords. In 2007 I came back to Buenos Aires and began to write songs that form my current project.

The first time I played [on stage] I thought they would throw tomatoes at me or that noone would pay attention to a single word, but a guy approached me and told me how one of the verses had moved him. With that, all my fears about playing left me; today I relax too much on stage, I always enjoy it, I tell bad jokes but someone always laughs. Some people have told me that my voice on some songs sounds like a sweet woman, and others like a rabid ogre!

Nací en Rancagua, y estuve en esa ciudad hasta que termine la enseñanza media; luego viaje a Talca a estudiar a la Universidad, después abandone en Talca y me vine a Buenos Aires… Aprendí a acercarme a la guitarra en la enseñanza media cuando trabaje para comprar una guitarra eléctrica y formamos un par de bandas punk con amigos, siempre de forma autodidacta fui aprendiendo las melodías que me gustaban aunque nunca lograba igualarlas. Cuando empecé a progresar realmente con la guitarra eléctrica, me la robaron entonces empecé a tocar con la guitarra acústica. Desde ahí me enamoré de los acordes acústicos. El 2007 me vine a Buenos Aires y empecé a crear las canciones que componen mi proyecto actual.

La primera vez que toque pensé que me tirarían tomates o que nadie pondría atención a ninguna palabra, pero se me acercó un tipo y me dijo lo que le produjo una estrofa de una canción. Con eso se me fueron todos mis miedos que tenía al tocar; hoy me relajo demasiado en el escenario, siempre disfruto, digo chistes malos pero que siempre causan risa en alguien. Me han dicho algunas personas que mi voz en algunas canciones es como la de una dulce mujer, en otras como la de un ogro rabioso!

Chileno: So what have you been up to lately?

¿En qué has estado últimamente?

Trostrigo: Playing a lot, especially in Buenos Aires, promoting the album that we released recently called "AIREALVERSO". We are also planning a winter tour in central-southern Chile. We have recently released two video clips of songs from AIREALVERSO and hope to do more in the near future.

Tocando bien seguido, especialmente en Buenos Aires, promocionando el disco que recién estrenamos que se llama “AIREALVERSO”. También estamos programando una gira de invierno en la zona centro-sur de Chile. Hemos sacado recientemente 2 videoclips de canciones de AIREALVERSO y esperamos hacer más en un futuro próximo.

Chileno: In relation to your albums, how many have you produced so far and can you describe them a bit for us?

En relación a tus álbumes, ¿cuántos has producido y quizás descríbelos un poco?

Trostrigo: So far I have 3 albums: the first is "Fffuuuhh" which is an album comprised of 12 songs made between 2007 and 2009 and recorded in my bedroom, this album contains songs and soft melodies that are associated with Indie folk. The second is "Celebra" which was recorded in 2010 and produced by Diego Acosta, and later "Poncho Korea" was added in “Bombo Leguero” and was edited by Big-Making Records on CD and Cassette. In Celebra you can appreciate a more raw folk and a Chilean Argentinian fusion with the addition of the bombo leguero (Argentinian drum), the Venezuelan cuatro (type of guitar) that is seen in some songs makes it a Latin sound that comes to the surface as a unifier and not just from a particular country. The third and recently released is AIREALVERSO where you get a musical opening that exceeds the previous albums, which travels through folk, hip hop, ragammuffin, pop, etc ... also more musicians participated (Johann Haedicke on bass, Felipe Joffre on percussion and Diego Acosta on keyboards) and was recorded in the Studio "El Arbol" and "nomireasahora" and the mastering process was done by John Stewart.

I was just given a photo of Nekro (ex Fun People) holding in his hands an edition in cassette from "Celebra" which makes me very happy because I always admired his work very much. Then I found out that that cassette was also handed out to the vocalist from café Tacuba and Gruff Rhys. From the album Fffuuuhh we also did a Cassette and I personally gave it away to a great musician that I admire very much named Dan Deacon.

Hasta ahora tengo 3 álbumes; el primero es “Fffuuuhh” que fue un disco de 12 canciones que hice entre 2007 y 2009 y lo grabé en mi habitación, este disco contiene canciones y melodías suaves que se asocian al Indie folk. El segundo es “Celebra” que fue grabado el 2010 y producido por Diego Acosta, en este disco se sumó la participación de “Poncho Korea” en el Bombo Leguero y fue editado por Big-Making Records en CD y Cassete. En Celebra se aprecia un folklore más crudo y una fusión chileno argentina con la incorporación del bombo leguero, el cuatro venezolano que se aprecia en algunas canciones hace que el sonido latinoamericano aflore como un sonido unificador y no sólo de un país particular. El tercero y recientemente estrenado es AIREALVERSO donde se aprecia una apertura musical que supera a los discos anteriores, que transita por el folk, hip hop, ragammuffin, el pop, etc… además participaron mas músicos (Johann Haedicke en el Bajo, Felipe Joffre en percusiones y Diego Acosta en Teclados) y fue grabado en Estudio “El Arbol” y “nomireasahora” la masterización corrió por parte de Juan Stewart.

Me acaban de pasar una foto de Nekro (ex Fun People) sosteniendo en sus manos una edición en cassete de “Celebra” lo que me causa mucha felicidad porque siempre admiré mucho su trabajo. Después me enteré que ese cassete también se lo entregaron al vocalista de café Tacuba y a GRUFF RHYS. Del disco Fffuuuhh también hicimos Cassette y uno se lo regalé personalmente a un gran músico que admiro mucho llamado Dan Deacon.

Chileno: And you write your own songs?

¿Escribes tus propias canciones?

Trostrigo: Yes, I wrote 90% of them. A few others were written by my friend Mary, who occasionally sends me her poems as a gift and I transform them into music.

Si, el 90% las escribí yo. Otras pocas las escribió una amiga que se llama María, que de vez en cuando me envía sus poemas de regalo y los musicalizo.

Chileno: Where do you get your inspiration from?

¿De dónde proviene la influencia de tu música?

Trostrigo: From the experience and the belief that we have a creative power, the power to transform. I really liked bands like fun people, or eterna inocencia in my teens, when I grew up a bit more I became aware of the new wave of Chilean artists like Manuel Garcia, Gepe and Chinoy.

De las vivencias y de la creencia de que tenemos el poder creador, el poder transformador. Me gustaron mucho bandas como fun people, o eterna inocencia en mi adolescencia, cuando crecí un poco más me marcó el principio de la nueva trova chilena con Manuel García, gepe y chinoy.

Chileno: What are your dreams and ambitions?

¿Cuáles son tus sueños o ambiciones?

Trostrigo: I hope that this music can transcend boundaries; travelling doing what I like to do. That the music will make you think, that this music will let me and allow others to breathe deeply and peacefully.

Que esta música trascienda fronteras; viajar haciendo lo que me gusta. Que esta música haga pensar, que sea unificadora y despierte concientas, que esta música me permita y le permita a las demás personas respirar profundamente tranquila.

Chileno: In your opinion who are some of the best Chilean bands at the moment?

En tu propia opinión, ¿quiénes crees que son las mejores bandas chilenas en estos momentos?

Trostrigo: Gameover, bbs Paranoicos, Fiskales adhok, Marcel Duchamp, Cine Mental, Gepe, Cuarto de Trebol, Manuel Garcia, Chinoy, We Have The Place Surrounded.

Thanks Trostrigo, I'm sure we'll be seeing much more of you in the future!

You can keep up with Trostrigo on Twitter (@trostrigo) and Facebook and on his webpage.

Inti-Illimani are currently celebrating a 45 year milestone in their long and varied history as Chile’s best known pioneers of la Nueva Canción Chilena. Champions of the Andean tradition with a social and political conscience, Inti-Illimani have long been respected both at home and abroad. The group were exiled in Italy when the Allende government was usurped by General Augosto Pinochet but returned to a warm welcome in Santiago on Independence Day in 1988. They subsequently went on to support the ‘no’ campaign against eight more years of Pinochet’s regime and in 2001 the group were awarded the Premio a la Música Presidente de la República under the ‘popular music’ category. Moreover, they have enjoyed recognition and acclaim for their work throughout the world, not to mention the platinum selling records they have produced that include La Nueva Canción Chilena and Viva Chile!

The group’s name is derived from the Aymaran words Inti (the Incan Sun god) and Illimani, the endonym for the largest mountain of the Cordilla Real in Bolivia, standing at some 6000 plus metres into the Andean heavens. It is perhaps no small irony then that the group’s beginnings were found in the dark basement canteen room of the Escuela de Artes y Oficios, Universidad Tèchnica del Estado (UTE) in Santiago. In 1966, while Dylan and the Beatles released Blonde on Blonde and Revolver, respectively, Saturday mornings in the University basement were home to the peña foklórica (folk club) where students would gather with wine and empanadas to listen to groups from the University. It was here that the mighty Inti-Illimani spirit was born.

Following a split in 2001 (Inti-Illimani & Inti-Illimani Histórico), the band continues to record and tour the world. Like wonderfully soft invocations, the musical experience swoops down unbidden into your consciousness. Examples include the rhythmically infectious Rondombe, the classic, powerful  Samba Lando,  the  melancholy La Tarde Se Ha Puesto Triste and the ode to Che Guevara.

Founder member Jorge Coulon spoke to chileno.co.uk about the Inti journey...

Chileno: You have had a very illustrious career so far, what have been some of your most memorable moments?
Han tenido una carrera distinguida, cuáles han sido algunos de sus momentos más memorables?

Jorge Coulon: There are many different moments and artistically speaking, these include concerts in places like the Royal Albert Hall, the Sydney Opera House, the Palace of Fine Arts in Mexico City, the legendary Manaus Theatre in the Brazilian Amazon and a host of important stages around the world ...
Without doubt and from an emotional point of view certainly our return to Chile in 1988, over 6000 people who were waiting at the airport and the 200,000 who gathered in La Bandera park a week later...
And more recently, the multitude who attended our concert in Rome, in Via dei Fori Imperiali on the 30th anniversary of our arrival to the city, nearly a million students on August 22^nd at Parque O'Higgins in Santiago and the thousands of protesters from Aysén.
Jorge Coulon: Son muchos y de distintas características, artísticamente los conciertos en algunos lugares como el Royal Albert Hall, el Teatro de la Opera de Sydney, el Palacio de Bellas Artes en Ciudad de México, el legendario Teatro de Manaos en la Amazonía brasileña y un sinnúmero de escenarios importantes alrededor del mundo…
Del punto de vista emotivo sin duda nuestro regreso a Chile en 1988, las más de 6000 personas que nos esperaban en el aeropuerto y las 200.000 que se juntaron en el parque La Bandera una semana después…
También y más recientemente la multitud que asistió a nuestro concierto en Roma, en vía dei Fori Imperiali con motivo de los 30 años de nuestra llegada a esa ciudad, el casi millón de estudiantes el 22 de agosto en el Parque O’Higgins de Santiago, los miles de ayseninos movilizados contra el abandono…

Chileno: In the early days, when you were playing in the University, did you ever imagine you would have such an eventful life?
En sus comienzos, cuando estaban tocando en la Universidad, alguna vez imaginaron que llegarían a tener una vida tan animada?

JC: Never ... We always played with passion, to share with others...
JC: Nunca… Siempre tocamos por pasión, por compartir…

Chileno: You supported Allende’s Unidad Popular, what was your role, if any, after he was elected?
Uds. Apoyaron al Gobierno de la Unidad Popular de Allende, cuáles fueron sus roles, si hubo alguno, después de su elección?
JC: If the question refers to a specific role assigned to someone, there was none. We assumed, like many artists, that this government was a great opportunity for justice and development for the people of Chile and that we should be with him [Allende] and defend him and the achievement built over nearly a century of struggle for the dignity of workers.
JC: Si la pregunta se refiere a algún rol asignado por alguien, ninguno. Sí asumimos, como tantos artistas, que ese Gobierno era una gran oportunidad de justicia y desarrollo para el pueblo de Chile y que debíamos estar con él y defenderlo como una conquista construida en casi un siglo de lucha por la dignidad de los trabajadores.

Chileno: Things changed dramatically for everyone in Chile in 1973. You were in Italy at the time.  Now that many years have passed, what are your feelings about what happened and how you may have changed?
La situación en Chile cambio dramáticamente en 1973.  Uds estaban de gira en Italia en aquel momento.  Ahora que bastantes años han pasado, qué es lo que sienten de lo que sucedió y si ha cambiado su percepción?
JC: We haven’t changed our political perception of what happened, a success in Allende's government would have meant the end of the dominance of transnational corporations over Latin America. They did everything to thwart the Chilean experience. Probably we have changed, naturally, our perception of the world, regarding democracy and society, but not profoundly, to consider that social justice should be the main and final goal of democracy.
JC:No ha cambiado nuestra percepción política de lo que sucedió, un éxito de Allende en su Gobierno habría significado el fin de la dominación de las transnacionales sobre América Latina. Debían hacer, y lo hicieron, todo por hacer fracasar la experiencia chilena. Probablemente ha cambiado, como es natural, nuestra percepción del mundo, de la democracia y la sociedad, pero no en lo profundo, en considerar que la justicia social debe ser el objetivo principal y final de la democracia.

Chileno: You returned to Chile on Independence Day in 1988, how much had Chile changed then?
Regresaron a Chile en el día de la Independencia en 1988,  qué cambios percibieron en Chile en ese entonces?
JC: At first the changes we noticed were superficial, the city, the accentuated segregation, etc.. Later we realized that more complex changes had occurred inside Chileans themselves, in their culture, their relationship with others, with fear, with money ...
JC: En un primer momento los cambios que advertimos fueron superficiales, la ciudad, el acentuarse de la segregación, etc. A largo andar nos dimos cuenta que los cambios más complicados se habían producido al interor de los chilenos, en su cultura, en su relación con los demás, con el miedo, con el dinero…

Chileno: What have been your main Chilean and foreign musical influences?
Cuáles han sido sus principales influencias musicales tanto de Chilena como extranjera?
JC: Without doubt Violeta Parra among Chileans, Luis Advis, Sergio Ortega ... Also, and through direct contact, Victor Jara first and then Patricio Manns. Foreigners, if you can call them that, Atahualpa Yupanqui, Daniel Viglietti, Eduardo Falu ... among many others. Also Roberto de Simone from Italy.
JC: Sin duda Violeta Parra entre los chilenos, Luis Advis, Sergio Ortega…  También, y por contacto directo, Víctor Jara primero y Patricio Manns después. Extranjeros, si se pueden llamar así, Atahualpa Yupanqui, Daniel Viglietti, Eduardo Falú… entre muchos otros. También Roberto de Simone de Italia.

Chileno: What are you currently most excited about in your work?
En qué están entusiasmados en estos momentos relacionado a su trabajo artístico?
JC: In collaboration with various musicians from Chile and abroad, these are times of great collaboration with other musicians and singers. A new and exciting generation of singers and musicians are gaining ground in Chile, very interesting, passionate and committed. On the other hand, we had the opportunity to share the stage and work with Francesca Gagnon from Quebec, with Marta Gomez from Colombia, with several Chilean musicians of our generation and the younger generations. It’s a path that excites us and reflects a new atmosphere that breathes through Chile, less closed, less individualistic.
JC: En la colaboración con distintos músicos chilenos y extranjeros, son tiempos de gran colaboración con otros músicos y cantantes. Una nueva e interesante generación de cantantes y músicos se abre paso en Chile, muy interesante, apasionada y comprometida. Por otra parte, hemos tenido oportunidad de compartir escenario e incluso trabajos con Francesca Gagnon de Quebec, con Marta Gomez de Colombia,  con diversos músicos chilenos de nuestra generación y de generaciones más jóvenes. Es un camino que nos entusiasma y que refleja un nuevo ambiente menos cerrado, menos individualista que se respira en Chile.

Chileno: What has the experience been like playing in Europe and Latin-America?
Cómo ha sido la experiencia de haber tocado tocando en Europa y Latinoamérica?
JC: Coming to terms with similarities and differences and trying to understand and learn from these experiences.  We are more aware of our limitations, but we know very well our strengths as musicians and as societies, as cultural entities.
JC: Haber tomado conciencia de coincidencias y diferencias tratando de comprender y sacar lecciones de unas y otras. Conocemos mejor nuestras limitaciones, pero sabemos bien cuales son nuestra fortalezas, como músicos y como sociedades, como entes culturales.

Chileno: In recent years, there has been a wave of new emerging Chilean artists. How would you describe the current trend and who are you most impressed with?
En recientes años,  ha habido una ola nueva de artistas chilenos emergentes. Como describirían  la tendencia actual y  quienes han dejado una impresión en Uds?
JC: It is always a changing situation. The presence of a replacing generation is an obvious fact, yet it is a really varied reality and fortunately full of diversity. This diversity is expressed in musical styles in degrees of social commitment, and isn’t a homogeneous generation in terms of age. There are artists like Manuel Garcia and Alexis Venegas who have years of experience behind them and appear as faces of the Nouvelle Vogue and there are others like Nano Stern or Pascuala Ilabaca who are younger but who have shown great talent. It is difficult to point to individuals because you risk leaving someone out of the list, but among the names of groups are Juana Fe, Banda Shock and soloists include Chinoy, Peter Stone, Elizabeth Morris, Evelyn Cornejo, Gepe, Claudio Martinez , Nicasio Luna ...
JC: Es siempre una situación en movimiento. La presencia de una generación de recambio ya es un hecho evidente, pero a la vez es una realidad variada y afortunadamente llena de diversidad. Esta diversidad se expresa sea en estilos musicales que en grados de compromiso social, así como tampoco se trata de una generación homogénea del punto de vista de la edad. Hay artistas como Manuel García o Alexis Venegas que tienen a sus espaldas largos años de carrera y aparecen como rostros de esta Nouvelle Vogue y hay otros como Nano Stern  o Pascuala Ilabaca que son menores en edad pero que han dado muestras de gran talento. Es difícil señalar por el riesgo de dejar algunos fuera de una lista, pero entre los grupos aventuro los nombres de Juana Fe, Banda Conmoción y entre los solistas los ya nombrados y Chinoy, Pedro Piedra, Elizabeth Morris,  Evelyn Cornejo, Gepe, Claudio Martínez, Nicasio Luna…

Chileno: How do you think Chile as a nation has changed over the years and what has the future holds?
Cómo creen que Chile ha cambiado como nación en el transcurso de los años y que nos entrega el futuro?

JC: Chile is at a crossroads of culture and identity; this critical situation will determine the outcome of its future as a nation, in terms of national community. An economic model (and therefore cultural) that promotes individualism has been imposed by the state on a community that it is based on family values, solidarity, collaboration. The current situation is a rebellion to that model by the working and middle classes, those who for generations valued culture, education, honest work, political participation and a modest lifestyle, but who were less vociferous on the issues of guarantees of welfare, services, health, work, pensions, etc..

It has become evident that the way of managing and producing wealth, will never come to those sections of society and secondly that the model is based on the systematic expropriation of the already diminished wages of those who work hard. People have realised that their income must fund basic services always known as a right, health, education, pensions and so on. While big business in the country, natural resources, mining, tourism, fishing, etc. are owned by multinationals in partnership with national economic groups, that can be counted on the fingers of one hand. This expropriation of the common wealth for the benefit of very few has exhausted the patience of the Chileans.

How will the future be? It remains to be seen. It will depend on the capacity of the people, the middle classes and professionals to organize themselves and make serious demands to ensure that they get their fair share of the pie... but nothing is cast in stone, it could also be that Chileans are not able to overcome this difficult battle that is played in the minefield of an imperfect and incomplete democracy. It depends, in summary, on all of us, on our ability and our intelligence.

JC: Chile está en una encrucijada cultural y de identidad, esta situación crítica resolverá en buena medida cómo será su futuro en cuanto a nación, en cuanto a comunidad nacional. Un modelo económico (y por lo tanto cultural) que promueve el individualismo se ha estado imponiendo de manera dirigida desde el estado sobre una comunidad basada en los valores de la familia, de la solidaridad, de la colaboración. La situación actual es de una rebelión a ese modelo por parte de las clases trabajadoras y medias, aquellas que por generaciones tuvieron como máximos valores la cultura, la educación, el trabajo honesto, la participación política y un pasar modesto, pero finalmente tranquilo en cuanto a garantías de bienestar mínimo, servicios, salud, trabajo, pensiones, etc. 

Se ha hecho evidente por una parte que se está administrando y produciendo una riqueza que nunca llegará a esos sectores y por otra que el modelo se sustenta en la expropiación sistemática de los ya menguados salarios de quien trabaja duramente. La gente ha entendido que debe financiar con sus ingresos los servicios básicos que siempre conoció como un derecho, salud, educación, pensiones etc.  Mientras el gran negocio del país, riquezas naturales, minería, turismo, pesca, etc. Están en manos de multinacionales en sociedad con grupos económicos nacionales que se pueden contar con los dedos de una mano. Esta expropiación de la riqueza común en beneficio de poquísimos ha colmado la paciencia de los chilenos.

Cómo será el futuro?  Está por verse. Dependerá de la capacidad del pueblo, las clases medias y los profesionales de organizarse y exigir en serio la parte del banquete que les corresponde… pero no hay nada escrito, también puede suceder que los chilenos no sean capaces de vencer esta complicada batalla que se juega en el terreno minado de una democracia imperfecta e incompleta.  Depende, en pocas palabras de todos nosotros, de nuestra capacidad y nuestra inteligencia.

Chileno: Thank you Jorge, and we wish you continued success with the group.

1. So much better
2. Leave this town
3. Out of my tomb
4. Fireup
5. Just what is real
6. Left or right
7. I think you are wrong
8. Spending my time
9. Around here
10. It's all in my soul

"Lately we have taken a break and I formed another band: “Chicos de Nazca”, from which 2 discs came out (the second one is about to be released) and also I got into electronica (under the name  KB Cabala), I am about to release my first LP.  We are playing together again with La Hell Gang and we will release our second album which was recorded in 2010."

Chileno: We read that you are Boards of Canada fans is that true? How do you feel about rumours that they are about to release a new album?

"Of course, Boards of Canada are like gods, in my electronic side you can feel something close to them.  Yes I’ve heard they will probably release a new disc this year, it would be amazing, Boards of Canada have been getting better every year, their last album is simply incredible, I can’t imagine what would come out now."

Chileno: In which part of Chile have you played, and are you guys interested in playing abroad?

"We have played with The Hell Gang mainly in the capital, but also in the south of Chile, and in 2010 in Goiania, Brazil. We have played with Chicos de Nazca, in various parts of Europe, Portugal (milhoes de Festa) Belgium (yellowstock Fest), London, Sheffield and Spain (Vitoria Gasteiz, Zaragoza and Barcelona). Now I am thinking about playing electronica, I intend to stay with a friend in Germany; I’m editing my LP to take with me."

Alien Gun, a four-piece prog rock band from Santiago de Chile are about to release their debut album, Dreaming at 1420 MHz, which is currently available as a free mp3 download. We spoke to the band about the album and their music.
Chileno: So how long have you guys been playing together? Where did the name come from?
Por cuánto tiempo han estado tocando juntos? De dónde nació el nombre?
Alien Gun: We’ve been playing for about two years. After a few changes, we made it to our current line up: Felipe Ábrigo, Claudio Calderón, German Roumat and Andrés Riobó. Our name came up from some particular synths sounds that we use in some songs, which were reminiscent of alien gun sound effects in the 50’s movies. That’s how we called our ship “Alien Gun”.
Llevamos tocando juntos cerca de dos años. Luego de algunos cambios llegamos a la formación actual: Felipe Ábrigo, Claudio Calderón, Germán Roumat y Andrés Riobó. El nombre nació de unos sonidos particulares del sintetizador que utilizamos en algunas canciones, los cuales nos evocaban esas pistolas marcianas de películas de los años 50. Fue así como bautizamos a nuestra nave “Alien Gun”.
Chileno: How would you describe your style?
Cómo describirías tu estilo?
Alien Gun: This question is always hard to answer. We say that our songs are acid, space, psychedelic, electronic and post progressive rock. Nonetheless, in the band we have the philosophy of being carried away by the creative spirit and never restrict our inspiration. We all have certain influences, but we don’t want to close up to anything. For this reason in our first record you can find songs such as “Grey Lemons” that are classic progressive rock, and songs like “God Thinks Using My Head” that sound a lot like alternative rock.
Our intention is that our audience classifies our music the way they feel it, according to the emotions that arise in them, and as for us, we want to create rock songs without the pressure of saying “hey, that doesn’t sound like thrash, progresive, punk, metal, greenhardcorevegetarian, etc., give it up, we can’t play it ‘cause it is not our style”… we want to let the melodies flow, because the quest for the right sound is eternal.
Esta pregunta siempre se nos hace difícil de responder. Nosotros señalamos como estilos de AG el rock ácido, espacial, psicodélico, electrónico y post progresivo. Sin embargo, dentro de la banda tenemos la filosofía de dejarnos llevar por el espíritu creativo y no restringir nuestra inspiración. Si bien todos tenemos ciertas influencias, no queremos cerrarnos a nada. Por esta misma razón en nuestro primer disco hay temas como “Grey Lemons”, que podría ser encasillada dentro del rock progresivo clásico, y como “God Thinks Using My Head”, que suena en una corriente mucho más alternativa.
Nuestra intención es que el oyente clasifique nuestra música de acuerdo a como la sienta y qué emociones despierte en él y nosotros, por nuestro lado, queremos hacer canciones de rock sin tener la presión de decir “hey, esto no suena a thrash, rock progresivo, punk, metal, greenhardcorevegetarian, etc., déjala, no podemos tocarla por que nos es nuestro estilo”… queremos dejar que las melodías fluyan, ya que la búsqueda del sonido es eterna.
Chileno: We imagine that Pink Floyd has been an influence, is that true? What are your other main influences?
Nos imaginamos que Pink Floyd ha sido una influencia, es correcto? Cuáles han sido tus otras influencias?
Alien Gun: After our performances we always take the time to talk to our audience and, in a very interesting way, sometimes they associate our sound with Pink Floyd. Although that is a huge compliment, it’s also a heavy weight to carry. Influences are very important for us because in one way or another they made us the musicians we are today. With over 60 years of Rock & Roll history it’s very hard to reinvent the wheel (or to write another Sgt. Pepper), so the band has mainly been influenced by 70’s English rock and by more contemporaneous musicians such as Steven Wilson and by bands like Alice in Chains and Nine Inch Nails.
Luego de nuestras presentaciones siempre nos tomamos el tiempo de conversar con nuestro público y de forma muy interesante a veces asocian nuestro sonido con el de Pink Floyd. Si bien esto es un tremendo halago, también es una mochila pesada que cargar. Las influencias para nosotros son muy importantes porque de una u otra forma esculpieron lo que somos hoy en día como músicos. Con más de 60 años de historia del Rock & Roll es muy difícil reinventar la rueda (o escribir un Sgt. Pepper), es así como la banda mayoritariamente se ha influenciado por el rock inglés de los años 70 y por músicos más contemporáneos, como por ejemplo Steven Wilson y bandas como Alice in Chains y Nine Inch Nails.
Chileno: You are due to release your debut album Dreaming at 1420 MHz soon, tell us about it.
Están a punto de lanzar su álbum Dreaming at 1420 MHz pronto, cuéntanos acerca de éste.
Alien Gun: Dreaming at 1420 MHz is our first record. It’s not a concept album neither in its lyrics nor in its music, but it is when you listen to it from top to bottom given the story that it tells you.
The record starts with an intro that talks about the end of the world. A Russian woman (that will be in the intertracks of the album) is the voice of a ship’s central computer, which will initiate its systems, will tell the humans that they must go into the transportation capsules and will induce them to sleep through cryogenics in an interstellar journey in search of a new home.

"The Vanishing Point", a fast and dynamic rock song that could be described as space-rockabilly, talks about a situation of planetarium chaos originated from space where nobody, not even the most powerful people, could find salvation.
"God Thinks Using my Head" speaks of the deception of someone that feels like a toy used by the system, where vanity and consumerism rots the soul of human being, causing it to lose control.
"Wood & Silk", a power ballad that after its soft and gentle start, when the music strengthens its power, shows a desperate scream of someone that, after looking without finding, had faded and it’s no longer here with us.
"The Golden Age" is a melodic rock song with different musical passages, talks about someone that travelled from far away looking for a smile, something like happiness or a warm welcome, but didn’t find a thing.
"Curse" is the price for trading something perfect for ambitions. This takes place in a heavy rock atmosphere, with riffs that cross hard rhythms and wild conversations between guitar and keyboards.
"Grey Lemons", starts by explaining how hard it is for a couple to grow. Its second and central part is a storm. Here is where the rhythm and musical breadth of the band is developed; going through different passages where metric is the key. In its third part, the storm has passed and the couple has made it, so they realize it’s time to move on, it’s an invitation to take the challenge of moving forward together. Finally, after a mysterious code, we hear the conclusion of the record "You Really Made The Trip".
Dreaming at 1420 MHz es nuestro primer trabajo. No es un disco conceptual ni en sus letras ni en su música, pero sí lo es al escucharlo desde principio a fin dada la historia que en él se relata.
El disco comienza con una intro que nos da cuenta del fin del mundo. Una mujer rusa (que estará presente entre los tracks a lo largo del disco) es la voz del computador central de una nave, la cual iniciará los sistemas de la misma, indicará a los humanos que deben ingresar a las cápsulas de transporte y los inducirá al sueño a través de la criogenia en un viaje interestelar en búsqueda de un nuevo hogar.
"The Vanishing Point", una canción rock rápida y muy dinámica que se podría calificar como rockabilly espacial, habla de una situación de caos planetario originado desde el espacio y donde nadie, ni los más poderosos, nos podrán dar algún tipo de salvación.
"God Thinks Using my Head" nos cuenta la decepción de quien se siente como un juguete utilizado por el sistema imperante, en donde la vanidad y el consumismo pudre el alma del ser humano, llevándolo al descontrol.
"Wood & Silk", power ballad que después de su suave y sutil comienzo, cuando la música va 'in crescendo' en su fuerza y potencia, nos muestra un grito desesperado de alguien que pareciera que de tanto buscar y no encontrar, se ha disipado y ya no está entre nosotros.
"The Golden Age" es una canción rock muy melódica que tiene diferentes pasajes musicales, nos cuenta de alguien que viajó desde muy lejos buscando una sonrisa, algo así como felicidad o un cálido recibimiento, y no encontró nada.
"Curse" es el precio a pagar por haber cambiado algo perfecto por ambiciones. Se desarrolla en un ambiente de rock pesado con riffs que se entremezclan con un ritmo duro y con desenfadadas conversaciones entre guitarra y teclados.
"Grey Lemons", parte contándonos lo difícil que es, para dos, crecer. La segunda parte y central, es una tormenta en sí. Aquí es donde se desarrolla toda la amplitud rítmico-musical de la banda, pasando por diversos pasajes donde la métrica es la clave. En la tercera parte la tormenta ya ha pasado, ambos la han soportado y es el momento de seguir, es una invitación a tomar el desafío de avanzar juntos. Finalmente, luego de una misteriosa clave, escuchamos la conclusión del disco: "You Really Made The Trip".
Chileno: What was the process like from writing to recording?
Cómo fue el proceso de escribir las letras hasta la grabación?
Alien Gun:Most of the songs were ideas or sketches that we had for years that saw the light when we started this project. Specifically Felipe and Andrés had ideas that were presented to the band. With contributions from all the band members and some modifications, the lyrics were incorporated and within a year they were polished. So when we got to the studio we knew exactly what we had to record and we didn’t lose time adding unnecessary stuff.

The album was recorded in only four days. The process was fun but very intense because time ran fast. After a few shows we came back to mix and within another four days we had the album done.
All of this matched a trip that Claudio was planning to Europe in just a few days. For that reason we worked full time to finish the material and to be able to send some copies of it with Claudio for promotion. So, the very next day after we finished the mix, our sound engineer, Jean Pierre Rousseau, traveled from Santiago to Buenos Aires to master the record. Meanwhile, we were designing the graphics for the album and we were talking to Jean Pierre via Skype to give him our thoughts about the outcome. Three days later, 50 limited edition copies were being made and within a week they were being flown to the Old World.
Muchas de las canciones eran ideas o bocetos que teníamos desde hace años, las cuales vieron las luz al momento de embarcarse en este proyecto. Concretamente Felipe y Andrés llegaron con ideas, las que fueron presentadas a la banda. Con aportes de todos y con algunas modificaciones se incorporaron las letras y en un año ya estaban depuradas. De esta forma, cuando llegamos al estudio, sabíamos muy bien que teníamos que grabar y no perdimos tiempo agregando pomposidades innecesarias.
El disco fue grabado en tan solo cuatro días. El proceso fue muy entretenido y también muy intenso, ya que el tiempo corría rápido. Luego de un par de presentaciones volvimos a mezclar y en cuatro días más teníamos el disco terminado.
Todo esto coincidió con un viaje a Europa que Claudio planeaba para los próximos días. Por esta razón trabajamos a full para terminar el material y poder enviar algunas copias junto con él para promoción. Así, al día siguiente de terminada la mezcla nuestro ingeniero de sonido, Jean Pierre Rousseau, viajó desde Santiago a Buenos Aires para la masterizacion. Mientras él estaba en eso, nosotros diseñamos la gráfica del disco, y comunicándonos vía Skype con Jean Pierre entregábamos nuestras apreciaciones de cómo estaba quedando. Tres días después 50 copias limitadas estaban siendo fabricadas y a la semana siguiente los primeros promos viajaron al viejo continente.

Chileno: Is the track listing finalized and what’s the best way for people to get the album?
Ya tienen finalizada la lista de canciones y cómo podemos acceder a la compra tu álbum?
Alien Gun: The track list is completely done.
Currently our songs are available for free download at the Band Page tab of our Facebook account (www.facebook.com/aliengun) and from April 20^th a physical disc with intertracks will be sold in our website www.aliengun.co.uk
We’re evaluating some alternatives for distribution, but for now we are the ones who sell the record.
La lista de canciones está completamente lista.
Actualmente las canciones están disponible para descarga gratuita en la pestaña Band Page de nuestro Facebook (www.facebook.com/aliengun) y a contar del 20 de abril estará disponible el disco en formato físico con algunos intertracks a través de nuestra pagina web www.aliengun.co.uk
Estamos evaluando algunas alternativas de distribución, pero por el momento nosotros somos quienes vendemos el álbum.
Chileno: We hear you may have plans for some European dates, will that include the UK?
Hemos escuchado que tienen planes para venir a Europa, incluirá esta visita a UK?
Alien Gun: Of course! As we told you before, Claudio went to Europe in late 2011 and in that trip he made some contacts for us to play some shows there. We’re having conversations to do something in Germany, in The Netherlands and in the United Kingdom. In fact we became friends with a band from Sheffield called “Two Skies”. The idea is to do something together later this year, so we’re planning dates and places to play.
Efectivamente. Como contábamos antes, Claudio fue a Europa a fines del 2011, donde hizo algunos contactos para poder presentarnos allá. Hay conversaciones para hacer cosas en Alemania, en Países Bajos y en Reino Unido. De hecho hicimos amistad con una banda de Sheffield llamada Two Skies. La idea es poder hacer algo en conjunto a fines de este año, por lo que actualmente estamos definiendo fechas y lugares donde poder tocar.
Chileno: Have you played in other parts of Chile or mainly in Santiago?
Han tocado en otras partes de Chile o principalmente en Santiago?
Alien Gun: Mainly in Santiago, but that will change approximately in June, because we’re working on a project with the staff of the European Southern Observatory (ESO). The idea is to musicalize a short documentary about astronomy, with the intention of getting people closer to the world of stars and space through music. That’s why we’ll go to the Atacama desert, and, as the trip is long, we’ll play in every city we can along the way.
Principalmente en Santiago, pero eso cambiará aproximadamente en junio, ya que estamos trabajando en un proyecto junto a personal del European Southern Observatory (ESO). La idea es musicalizar un pequeño documental de astronomía, con la intención de acercar el mundo de las estrellas y el espacio a la gente a través de la música. Por esta razón es que llegaremos hasta el desierto de Atacama, y como el viaje es largo, tocaremos en cada ciudad que podamos en el camino.
Chileno: is there anything else you would like to add?
Hay algo más que quisieran agregar?
Alien Gun: We would like to take this opportunity to say thanks for the great welcome everyone has given to our music in Chile and abroad and to invite everyone who is in Chile to the official release of our album on April 20^th on Sala Master. And for those who can’t join us, stay tuned to our website and our social networks… 2012 is filled with new projects!
Queremos aprovechar esta oportunidad para agradecer la acogida que ha tenido nuestra música tanto en Chile como en el extranjero y de invitar a todos quienes estén en Chile el próximo 20 de abril al lanzamiento oficial de nuestro primer disco en Sala Master. Y a los que no puedan acompañarnos, que estén atentos a nuestra página web y a nuestras redes sociales, ya que el 2012 viene lleno de proyectos!
Chileno: Thanks for your time and good luck for the future.
Muchas gracias por tu tiempo y buena suerte en el futuro!
Alien Gun: Thank you so much for spreading our work, it’s very important for us. We hope to see you later this year in the UK.
Muchas gracias a ustedes por difundir nuestro trabajo, es muy importante para nosotros. Esperamos poder vernos a fin de año en Reino Unido.
Check out the promotional video and follow Alien Gun on facebook, twitter and reverbnation

Sebastián: PortalDisc is a download platform for Chilean mp3s. At present there are more than 3000 albums available, of different styles and from different generations. In our catalogue you can find more than 60 Chilean labels from several independent artists. One of the virtues of PortalDisc is that you can make downloads from anywhere in the world making the diffusion and distribution of Chilean music abroad easy. To download a disc, you simply have to buy a download code. Each code allows you to download a complete album of your choice. The codes cost between $5.9 and $8 USD depending on the number of codes that you buy. We also have a system of download cards which has been very successful in Chile.

Chileno: When did you start the project and what is the philosophy behind it?
Cuándo empezaste el proyecto, y cuál es su filosofía detrás?

Lanzamos PortalDisc en Julio de 2009. El objetivo incial era generar una solución de distribución digital a artistas emergentes e independientes. Casi como una alternativa a un sello. Sin embargo, poco a poco fuimos acogiendo también a los propios sellos, los que tienen necesidades similares en cuanto a solucionar el aspecto digital. Su filosofía es simplemente “Música chilena para el mundo”, facilitando el acceso mundial a miles de discos que normalmente son muy difíciles de conseguir (física y digitalmente).

Sebastián: PortalDisc was launched in July 2009. The initial objective was to generate a digital distribution solution for emerging and independent artists. Almost like an alternative to a label.  However, slowly we started taking on board actual labels as well, that had similar needs related to digital solutions. The philosophy is simply “Chilean music for the world” facilitating world wide access to thousands of albums which are normally very difficult to find (physical and digitally).

Chileno: You cover a wide range of music, currently how large is your catalogue?
Uds abarcan una gran variedad de música, actualmente qué tan grande su catálogo?

Es sin duda el lugar donde hay más música chilena reunida. Nuestro gran logro ha sido,por un lado, el rescate de la música histórica chilena, y por otro la abierta acogida a los nuevos músicos. Actualmente hay más de 3.000 discos, y en promedio, publicamos 100 nuevos discos mensuales. Un dato interesante y muy atractivo del Portal es que más del 70% de los discos disponibles en PortalDisc, no existen en formato físico tradicional.

Sebastián: It is without doubt the place that holds the most Chilean music. Our biggest achievement has been on the one hand, the restoration of historical Chilean music, and on the other, introducing new musicians. Currently, we have more than 3000 albums, and on average, we publish 100 new albums monthly. An interesting and very attractive fact for Portal is that more than 70% of the available albums do not exist in a traditional physical format.

Chileno: You have several sections of music and poetry. What is a cueca exactly?
Uds. Tienen varias secciones de música y poetría.  Qué es una cueca exactamente?

En PortalDisc, además de discos musicales, hay una enorme variedad de discos de poetas, audicuentos, documentales sonoros, etc. También tenemos una extensa gama de discos de Cueca, que es el baile tradicional chileno.

Sebastián: In PortalDisc, more than music, there is an enormous variety of poets’ albums, spoken recordings, audio documentaries, etc. We also have an extensive range of la Cueca discs, which is the traditional Chilean dance.

Chileno: The system was quite straightforward for us. We bought The Ganjas’ This is the time, which is excellent.What are you currently into and what would you recommend?
El sistema funcionó bien cuando compramos The Ganjas’ This is the time, el cual es excelente. En qué están actualmente y qué recomendarían?

Una de las características de PortalDisc es lo simple del proceso de descarga, tanto para usuarios chilenos como extranjeros. Más del 20% de las descargas es de usuarios que no viven en Chile. Actualmente en Chile ha tomado mucha fuerza la generación de nuevos cantautores. Recomendaría especialmente escuchar y descargar discos de Manuel García, Nano Stern, Chinoy, Camila Moreno y Francisca Valenzuela. También, para los que les gusta la fiesta, es imperdible tener discos de Chico Trujillo, Villa Cariño, Juana Fé y la Sonora Tommy Rey. En cuanto al Rock, podría recomendar Los Bunkers, Chancho en Piedra y Difuntos Correa. Bueno, y sin duda, revisar y descargar los discos de los grandes exponentes de la música chilena como Víctor Jara, Violeta Parra, Inti-Illimani, Quilapayú y Congreso. En el link www.portaldisc.com/ranking puede verse el listado de los discos más descargados los últimos 30 días.

Sebastián: One of the characteristics of PortalDisc is the simple download process, for Chilean users and for those abroad. More than 20% of downloads come from users outside Chile. At present in Chile, there has been a strong trend of emerging new singers. I would especially recommend to listen to and download the discs of Manual Garíca, Nano Stern, Chinoy, Camila Moreno and Francisca Valenzuela. Also, for those of you who like to party, you can't miss Chico Trujillo, Villa Cariño, Juana Fé and Sonora Tommy Rey. With regards to Rock, I could recommend Los Bunkers, Chancho en Piedra and Difuntos Correa. Well, and without doubt, you should check out the albums of the biggest exponents of Chilean music like Víctor Jara, Violeta Parra, Inti-Illimani, Quilapayún and Congreso. In the following link www.portaldisc.com/ranking you can see the most downloaded albums list for the last 30 days.

Chileno: Don’t suppose you have anything going for free?
Suponemos que no tienen nada gratuito?

Si bien nuestro foco está en la venta digital de discos, también tenemos una sección de descarga gratuita orientada a publicar singles, compilados y discos que han sido concebidos para ser distribuidos gratuitamente. La secció es www.portaldisc.com/gratis

Sebastián: Yes, although our focus is on the sale of digital albums, we also have a free download section, dedicated to publishing singles, compilations and discs that have already been distributed freely. The section can be found here www.portaldisc.com/gratis

Chileno: Why should English people be interested in Chilean music then?
Por qué la gente inglesa debiera estar interesada en la música Chilena?

La música chilena es muy amplia en cuanto a estilos y ha sido muy relevante en la historia musical, social y política en Latinoamérica. En todos los estilos hay artistas de gran calidad y de gran relevancia internacional. Navegando el portal y escuchando los previews de cada tema, cualquier usuario puede darse cuenta de la variedad y calidad de los artistas chilenos.

Sebastián: Chilean music is full of different styles and it has been very relevant in the musical, social and political history of Latin America. In all the styles there are high calibre artists and a great international relevance. Navigating the website and listening to previews of each style, any user can see the variety and quality of Chilean artists.

Chileno: Have you ever been to England?
Alguna vez has estado en Inglaterra?

Si, he estado en Inglaterra un par de veces… y toda mi infancia viví en Europa (nací en Suiza y viví 7 años en España). Mis padres tuvieron que irse de Chile por la dictadura de Augusto Pinochet. Fueron unos de los miles de exiliados del año 1973.

Sebastián: Yes, I have been to England a couple of times… and in my youth I lived in Europe (I was born in Switzerland and lived in Spain for 7 years). My parents fled Chile during the dictatorship of Augusto Pinochet. They were some of thousands of people exiled in 1973.

Chileno: Thanks for your time Sebastián and good luck for the future!
Gracias por tu tiempo Sebastian y buena suerte en el futuro!

Muchas Gracias a ustedes también por el interés y difusión de este creciente proyecto de apoyo a la música chilena!

Sebastián: Thanks for the interest in this growing project that supports Chilean music!

Don't you just hate it when someone promises to do something for you and then they don't bother (you know who you are!), well that's the focus of the track Promesas by Chilean super funksters Los Mono. The video is genius and quite rightly went viral on youtube. The track is from Los Mono Somos Los Que Estamos which you can get from itunes or Amazon (click the album cover), an album which continues the theme of doing the right thing:

"Not only is Somos Los Que Estamos a full on high-energy blast from start to finish, the album is an adventure with a moral message; promoting creativity, originality, positivism, and self-responsibility.  In fact, the conscious lyrics and upbeat vibe are the perfect compliment to an album that is driven from start to finish with a myriad of crunchy lo-fi beats n bleeps, infectious melodies and pure funk-fuelled inspiration." Los Mono at Sonic360.

Check out the first track from the album Promesas (Promises), which we have translated below:

*usually un gato por un liebre (i.e. don't rip me off) but is reversed here (i.e. saying yes when you mean no)

Nano Stern Los Espejos

Los Espejos is the third outing from Chilean Nano (Fernando) Stern who forms part of the so called new Chilean wave of musicians. A mature and intelligent album Los Espejos has earned Stern international acclaim and was placed at #3 in Rolling Stone Chile's best new album 2009 list. Nano is a true musician's musician playing guitar (Spanish and electric) piano, violin among other instruments (e.g. the willow flute). It was probably this album that launched him into both national and international fame alongside fellow Chilean singer Camila Moreno. The opening track Ópticas Ilusiones is an existential, reflective and pensive piece pondering on the nature of Being that is known (or not known) through optical (eyes) illusions ("look into my eyes and tell me what you see"). It is poignant and at times tinged with sorrow but at the same time wonderfully optimistic; a duality that probably well-describes Nano's style on the album. The guitar solo is both brilliantly executed and zestful in its refreshment. Although Nano is clearly influenced by Chilean great Victor Jara and Violeta Parra (he devoted a song, "dos cantores" to the pair) there is much much more in the mix, including hints of Southern States Country/Gaelic folk/Mapuche tradition (Por ti), Rock (Mal De Altura); at times there is a soulful seam cutting through the sonosphere that is reminiscient of England's Nick Drake. From the jazzy teje que teje, to the uplifting Azul, the melancholy Los Juegos and Canto al Aire, Nano Stern takes us through the full range of emotions. Los Espejos from the well-travelled multi-instrumentalist Nano Stern is a wonderfully soulful album and a great place to start with Chilean music. Track 8 from the album El Amanecer is a powerful and hauntingly reflective ode to the dawn: