Will expose a feature of what exists in Chile behind that curtain that separates conventional music from experimental music. Abundant and always risky, it exhibits a common denominator: the mystery and intensity of proposals designed for the experience of listening and watching live, and above all the adventure of what is to happen but we do not know how or when it will occur.
A medium-sized orchestra, led by the saxophonist Cristián Crisosto, one of the founders of another jazz and rock band during the military dictatorship, Fulano. Since 2000 it operates as a female voice ensemble, rock rhythm section with two electric guitars and a row of saxophones. They have marked a route in the renewal of Chilean music with its mixes between rock, jazz and spontaneity, together with young musicians around Crisosto and their album series.
ZET is the project led by Christian Hirth, one of the founding musicians of MediaBanda itself. As a drummer trained in classical percussion and contemporary jazz, Hirth has explored other fields of avant-garde music, forcing the expansion of those borders. This is how Zet’s idea is understood as the acronym for the term “terminal eclectic zone”: a concept that attempts to describe the dimensions and scope of music even further than we understand during the act of listening. His albums Comandante Beat (2017) and Zet (2019) cover this narrative from drums, electric guitars and electronics.
MAP is the duo that forms the musician Silvio Paredes and the medial artist Marco Martínez, two usual names around the scenes of Chilean underground and experimental electronics. Silvio Paredes integrated one of the most decisive projects at the same time under military surveillance, Electrodomesticos. He pioneered the experimentation with tapes and samples in the 80s, and in his journey has resulted in an electronic author, rhythmic-melodic, close to ‘house’. There are defined moments of meetings with Marco Martínez, a leading provider of digital images in this same scene of improvised music. MAP not only means Martínez and Paredes, but it also plays with the concept of mapping in the elaboration of its proposal on “visual concerts”, with the use of the computer, the electric bass and the image projection screen.