Released on the first week of May, this project by Colectivx Hereje puts together bands from Valparaíso, Santiago and Concepción, united by their political visions and their DIY ethics. With the aim of spreading underground music from Chile and to connect people in times where we are physically separated, the virtual plaza becomes the primordial place where we can keep on intertwining the dots in our minds.
22 tracks, 11 bands, and a wide range of styles: Ska, Punk Rock, Post-punk, Hardcore Punk, Rap, Surf, Latin music and even Pop can be heard in more than an hour of sonic iterations. It was all started by the band Pantalón de Milico (from Valparaíso and Santiago). They had the desire to make a split release with some friends, but various circumstances kept delaying it, until the whole situation with COVID-19 broke out and they decide to turn that idea into a compilation with different bands from Chile through the work of Colectivx Hereje.
Alongside them, Ke Ria Calleja (Viña del Mar), Extraños en la noche (Valparaíso), Pukutriñuke (Cerro Navia), Bajavida (Santiago), Rosa Oyarzún (Concepción), Cuchilla e’ Mono (Villa Alemana), Suerte Perra (Concepción), La Combos Vienen (Valparaíso) Rancio Rencor (Valparaíso) and Colectivo No (Santiago) are present on this compilation with their personal approaches and relations to music.
Juan, guitarist in Pantalón de Milico (with a recently released a video for one of their tracks in here), took the title Holocausto del Progreso (Holocaust of Progress) from a book that talks about how progress and modernity will end up extinguish the culture of the Aymara, an indigenous nation from South America. In relation to that, various lyrics in here also deal with the topic of the Mapuche conflict and acts of resistance in Latin America in general.
The narrative that this work tries to push forward is one that establishes itself in that context of continuous and ever producing struggle, mostly embedded with the classical sonic and graphic aesthetic that punk has always had in Chile since the 80s and 90s (which can be seen as pretty unactualized, as it still tries to answer to the same things it did before using similar means, but that’s a whole other topic).
All in all, this set of songs work as a little diagram to roam through a fraction of the discourses that are being raised in that long and narrow strip of land called Chile, a spark of the fire that’s spreaded all along it, a fire made of pure intensity, of the possibility of becoming something else.