Compilación I

by CRISÁLIDA SÓNICA

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about

Este cassette ha sido hecho con harto sentimiento y ganas de seguir creciendo y experimentando sin estancarnos en ninguna época.
CRISÁLIDA SÓNICA
1997


Crisálida Sónica is a record that came out of a nascent Peruvian avant-garde scene in 1997. It highlighted a new breed of Peruvian music, influenced by the woozy shoegaze of The Telescopes and Slowdive, the seminal krautrock of Can and Kluster and the exploits of bands such as Spacemen 3, My Bloody Valentine and other records released by labels such as 4AD and Creation Records. Noticeably, all of these bands combined a knowledge of pop music along with a policy of not adherring to it, preferring to create their own sonic collages. The notion of a verse/chorus/verse structure was obliterated, replaced by extended structures that prioritised texture and feel. It was from this template that Crisálida Sónica took its roots, and became the name for the movement its record showcased. (Sounds & Colours, 2011)

soundsandcolours.com/articles/peru/crisalida-sonica-exploring-perus-avant-garde-3794/


Crisálida Sónica apareció en la Lima de mediados de los años 90’s (¿1995?) como un colectivo de inquietos artistas -músicos, no músicos, etc- quienes bebían de las neo-vanguardias que como el post-rock, el shoegaze, el aislacionismo, space-rock, ambient, etc se estaban fraguando intensamente en distintas ciudades del planeta. Fueron los primeros en navegar por tales senderos metamusicales en la escena peruana y en varios casos incluso en la escena latinoamericana. Eran los primeros días de internet, de la llegada de la televisión por cable y de una cada vez más palpable globalización en lugares como el Perú.
Publicaron un cassette con 4 bandas de Crisálida Sónica en Marzo de 1997. 1 hora llena de capas de guitarras estratosféricas, ambient volador, neo-psicodelia drone y más. Esta escena de transgresión y ruptura musical, poética y filosófica fue conformada en su momento de esplendor por:

Diosmehaviolado/Evamuss (proyecto al mando de Christian Galarreta junto a Fabiola Vásquez y Claudia Machuca)
Espira (proyecto de Miguel Ángel Burga, Renzo Lari, Aldo Castillejos y Raúl Ochoa)
Hipnoascensión (proyecto de Juan Roldán, Daniel Caballero, Hugo Medina, Lucho "Quimera" Tello y Patty Elías)
Avalonia (proyecto de Wilder Gonzales, Fernando Ponce, Óscar Pita y Fabián Escalante)
Girálea (banda de Carlos Mariño, Pierina Yupanqui, Miguel Ángel Burga y Henry Gates)
Catervas (banda de los hermanos Pedro, Raúl y Javier Reyes con Wilmer Ruiz)
Fractal (proyecto de Wilder Gonzales con Wilmer Ruiz)
Labioxina (proyecto de Fernando Ponce)

Casi todos sin excepción publicaron sendos casettes hacia fines de los años 90’s. Imperecederos testimonios del genio y la creatividad de estos jóvenes amantes del sonido y la locura. Llegado los años 2000’s la intensidad con que vivieron la música y visiones de aquellos años colaboró en la dispersión del colectivo. Sus integrantes tomaron diferentes formas sónicas, algunos más pegados al space rock o al stoner más colgado, o al indie rock, o a los destellos de la electrónica post-digital y a los mantras minimalistas, logrando traspasar las fronteras geográficas y cosechando reconocimientos en el exterior.

noisey.vice.com/es/article/bjpg48/crisalida-sonica-la-escena-peruana-del-shoegaze-que-se-adelanto-al-manana

Crisálida Sónica appeared in the Lima of the mid-90's (1995?) As a collective of restless artists - musicians, non-musicians, etc - who drank from the neo-avant-garde movements that as post-rock, shoegaze, isolationism , space-rock, ambient, etc were being intensely forged in different cities of the planet. They were the first to navigate such metamusical paths in the Peruvian scene and in several cases even in the Latin American scene. It was the first days of the Internet, the arrival of cable television and an increasingly palpable globalization in places like Peru.
They published a cassette with 4 bands of Crisálida Sónica in March of 1997. 1 hour full of layers of stratospheric guitars, flying ambient, neo-psychedelia drone and more. This scene of transgression and musical, poetic and philosophical rupture was shaped in its moment of splendor by:

Diosmehaviolado / Evamuss (project commanded by Christian Galarreta with Fabiola Vásquez and Claudia Machuca)
Espira (project by Miguel Ángel Burga, Renzo Lari, Aldo Castillejos and Raúl Ochoa)
Hipnoascensión (project by Juan Roldán, Daniel Caballero, Hugo Medina, Lucho "Quimera" Tello and Patty Elías)
Avalonia (project by Wilder Gonzales, Fernando Ponce, Óscar Pita and Fabián Escalante)
Girálea (band of Carlos Mariño, Pierina Yupanqui, Miguel Ángel Burga and Henry Gates)
Catervas (band of the brothers Pedro, Raúl and Javier Reyes with Wilmer Ruiz)
Fractal (Wilder Gonzales´ project with Wilmer Ruiz)
Labioxina (project by Fernando Ponce)

Almost all without exception released cassettes towards the end of the 90's. Imperishable testimonies of the genius and creativity of these young lovers of sound and madness. In the 2000s, the intensity with which they lived the music and visions of those years collaborated in the dispersion of the collective. Its members took different sonic forms, some more glued to space rock or more druggy stoner, or indie rock, or the flashes of post-digital electronics and minimalist mantras, managing to cross geographical borders and reaping recognitions abroad.

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released April 1, 2018

"La restricción es la madre de la innovación"
Holger Czukay
CAN

SUPERSPACE RECORDS
SSR 60

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