{"id":190206,"date":"2025-06-03T08:08:49","date_gmt":"2025-06-03T14:08:49","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=190206"},"modified":"2025-08-15T10:59:45","modified_gmt":"2025-08-15T16:59:45","slug":"visions-through-the-sense-of-silence","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/visions-through-the-sense-of-silence\/","title":{"rendered":"Visions through the sense of silence"},"content":{"rendered":"<p><a href=\"https:\/\/www.instagram.com\/sopadeburbujas\/\" target=\"_blank\" rel=\"noreferrer noopener\">Entrevista por Pamela RM <br><\/a><br>Sum\u00e9rgete en un paisaje sonoro donde la oscuridad y la introspecci\u00f3n se abrazan como viejos amantes. <br><br>Este \u00e1lbum es una exploraci\u00f3n con pulsos electr\u00f3nicos y texturas ambientales que laten desde las profundidades, tiene melod\u00edas y voces et\u00e9reas que se arrastran por las sombras.\u00a0Cada pista se despliega como un sue\u00f1o cinematogr\u00e1fico: hipn\u00f3tico, doliente, \u00edntimo como un susurro al o\u00eddo.\u00a0<\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.instagram.com\/the.deadly.affair\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Deadly Affair<\/a><\/strong> se ha convertido en uno de los actos m\u00e1s prometedores de la escena underground que fermenta en Chile. Este proyecto nuevo no pide permiso: est\u00e1 tallando una identidad sonora propia, con estructuras disonantes que mutan como una herida abierta, neg\u00e1ndose a encajar en formas de canci\u00f3n convencionales.<\/p>\n\n\n\n<p>Su sonido\u2014una mezcla de guitarras saturadas, reverberaciones cavernosas y electr\u00f3nica pulsante, evocadora\u2014no solo se escucha: se siente en el pecho, en la nuca, como una presencia corp\u00f3rea que amenaza con derrumbarse sobre s\u00ed misma en cualquier momento.<br><br>M\u00fasica de niebla y ecos.\u00a0<\/p>\n\n\n\n<p>En el n\u00facleo del sonido de <strong>The Deadly Affair<\/strong> habita <strong>Santiago Gonz\u00e1lez Lihn<\/strong>.<br>Su voz no canta: se manifiesta. Es una presencia profunda, implacable. No interpreta\u2014atestigua, ordena, confiesa en un tono que oscila entre la amenaza y la revelaci\u00f3n.<\/p>\n\n\n\n<p>La fuerza que impulsa el pulso r\u00edtmico de la banda es <strong><a href=\"https:\/\/www.instagram.com\/die.afilador\/\" target=\"_blank\" rel=\"noreferrer noopener\">Diego Lorca<\/a><\/strong> (ex <strong>F\u00f6llakzoid<\/strong>), cuya bater\u00eda golpea con una intensidad casi cham\u00e1nica. Su ritmo no avanza: arrastra, hipnotiza, empuja como si algo estuviera a punto de romperse.<\/p>\n\n\n\n<p>Y sosteniendo todo desde abajo, como una ra\u00edz negra que no deja que el caos flote a la deriva, est\u00e1 el bajo de <strong><a href=\"https:\/\/www.instagram.com\/lulu_miharu__\/\" target=\"_blank\" rel=\"noreferrer noopener\">Louise Schmidt<\/a><\/strong>. Grave, vibrante, siempre presente. Suena como si el abismo tuviera un coraz\u00f3n latiendo lento. Es el cimiento sobre el que se posa lo abstracto, lo evanescente, lo que no termina de existir del todo.<\/p>\n\n\n\n<p>Recientemente soltaron su nuevo disco: \u201cVisions through the sense of silence\u201d, con ocho canciones.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<iframe style=\"border-radius:12px\" data-src=\"https:\/\/open.spotify.com\/embed\/album\/1gvH86aPmUPiILwWfeQZrf?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" class=\"lazyload\" data-load-mode=\"1\"><\/iframe>\n<\/div>\n<\/div>\n\n\n\n<p><strong>\u00bfC\u00f3mo fue el proceso creativo para realizar este nuevo \u00e1lbum?\u00a0<\/strong><br><br><strong>Santiago Gonz\u00e1lez Lihn:<\/strong> Regres\u00e9 a Chile el 2024 despu\u00e9s de estar viviendo en M\u00e9xico un tiempo, volv\u00ed con esa ambici\u00f3n de armar un proyecto nuevo; el punto de inflexi\u00f3n era que conectara con el sentimiento m\u00e1s primario que tuviera en mi memoria en relaci\u00f3n a la m\u00fasica. De ah\u00ed aparece la l\u00f3gica de la guitarra y la voz, que fue como empec\u00e9 en la m\u00fasica cuando era ni\u00f1o. Llegando a Chile empec\u00e9 a componer algunas demos que m\u00e1s adelante las fui perfeccionando junto a Diego para darle esa din\u00e1mica estructural que entrega el manejo de intensidad de su bater\u00eda.<\/p>\n\n\n\n<p>Unos meses despu\u00e9s entramos a grabar el disco, en total habr\u00e1n sido unas seis o siete sesiones. Lo que s\u00ed fue extenso y casi quir\u00fargico fue la producci\u00f3n, que la realic\u00e9 en conjunto con Atom TM. Ah\u00ed si fueron varios meses de probar cosas nuevas y de encontrar esa identidad est\u00e9tica\/ sonora que tiene. Mucho m\u00e9todo, muchas conversaciones hasta las cinco de la ma\u00f1ana hablando de compresi\u00f3n, reverb, etc. En total tom\u00f3 alrededor de un a\u00f1o todo.<\/p>\n\n\n\n<p>Pude percibir en las canciones un ambiente que podr\u00eda definir a veces fantasmag\u00f3rico,\u00a0como si al escuchar el disco entraras a caminar entre neblina para invocar algo que ya no est\u00e1 pero al mismo tiempo sigue estando. <br><br><strong>\u00bfUstedes qu\u00e9 invocan al hacer su m\u00fasica?<\/strong><\/p>\n\n\n\n<p><strong>Santiago Gonz\u00e1lez Lihn:<\/strong> No creo que estemos invocando algo espec\u00edfico, como una imagen o un concepto claro. Lo que hacemos es abrir un espacio donde lo ausente puede manifestarse. Hay cosas que ya no est\u00e1n, pero que siguen teniendo un peso en la forma en que habitamos el presente. La m\u00fasica nos permite entrar en contacto con eso \u2014con lo que se ha perdido, con lo que ha sido silenciado o simplemente olvidado.<\/p>\n\n\n\n<p>Tampoco se trata de nostalgia ni de un ejercicio est\u00e9tico. Hay algo m\u00e1s f\u00edsico y espiritual en juego. Hay una dimensi\u00f3n ritual en c\u00f3mo componemos y tocamos. Y en ese gesto aparecen diversas mezclas, sincretismos \u2014fragmentos de distintas tradiciones espirituales o emocionales que se cruzan dando vida al trance entre la banda y el p\u00fablico. No se trata de algo religioso, pero s\u00ed hay que tener disposici\u00f3n a sentirlo; ah\u00ed es donde siento que la m\u00fasica tiene sentido, cuando hay un intercambio entre ambas partes. Si no, lo siento vac\u00edo, como publicidad sonora, un producto que se impone ante ti para que lo digieras lo antes posible y eso jam\u00e1s me ha hecho ni har\u00e1 sentido.\u00a0<\/p>\n\n\n\n<p><strong>\u00bfQu\u00e9 emociones construyen el sonido de \u2018Visions through the sense of silence\u2019?\u00a0<\/strong><\/p>\n\n\n\n<p><strong>Santiago Gonz\u00e1lez Lihn: <\/strong>M\u00e1s que apelar a una emocionalidad directa, el \u00e1lbum propone una experiencia afectiva mediada por la distancia, la suspensi\u00f3n y el umbral entre presencia y ausencia. En ese sentido, el sonido se construye como una arquitectura emocional, donde el silencio, la repetici\u00f3n y el ruido operan como dispositivos que inducen una escucha introspectiva, casi hipn\u00f3tica. Las emociones dominantes no se presentan como cl\u00edmax narrativos, sino como estados latentes que tensionan la relaci\u00f3n entre el oyente y el entorno ac\u00fastico.<\/p>\n\n\n\n<p><strong>\u00bfSus letras tienen referencias literarias? \u00bfQu\u00e9 les gusta leer? \u00bfQui\u00e9nes son sus autores favoritos?<\/strong><\/p>\n\n\n\n<p><strong>Santiago Gonz\u00e1lez Lihn: <\/strong>Me gusta mucho leer poes\u00eda, en espec\u00edfico para este disco recuerdo que oscilaba entre Tres libros constantemente:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Para \u00c1ngeles y Gorriones<\/em> de Jorge Teillier<\/li>\n\n\n\n<li><em>Poemas de amor<\/em> de Idea Vilari\u00f1o<\/li>\n\n\n\n<li><em>La tierra bald\u00eda<\/em> de T.S. Elliot<\/li>\n<\/ul>\n\n\n\n<p>Siento que cuando estoy muy concentrado y entregado en un proceso creativo, las referencias se van develando solas, solo hay que estar atento cuando eso sucede y escucharlas. En este caso esos fueron los libros que le\u00ed principalmente mientras estaba componiendo el disco.&nbsp;<\/p>\n\n\n\n<p><strong>Para ustedes, \u00bfcu\u00e1les son las im\u00e1genes que m\u00e1s evoca este disco? \u00bfC\u00f3mo describir\u00edan este disco en im\u00e1genes?<\/strong><\/p>\n\n\n\n<p><strong>Santiago Gonz\u00e1lez Lihn:<\/strong> Si se trata de im\u00e1genes yo siento personalmente que este disco es un reflejo del paisaje geogr\u00e1fico de mi pa\u00eds. Chile puede ser un lugar muy desolado, ser del fin del mundo es un peso maravilloso, dif\u00edcil de comprender.<\/p>\n\n\n\n<p>El imaginario visual lo constru\u00ed a partir de mi relaci\u00f3n con el territorio chileno, que no es s\u00f3lo un espacio f\u00edsico, sino una condici\u00f3n hist\u00f3rica, pol\u00edtica y existencial. Las im\u00e1genes que evoca no son necesariamente narrativas ni literales, sino sensaciones asociadas a una cierta forma de habitar el margen. Hay algo en la geograf\u00eda de Chile \u2014su aislamiento, sus fronteras naturales, su verticalidad extrema entre el desierto, el mar y la Patagonia \u2014 que moldea una sensibilidad marcada por el vac\u00edo, por lo remoto, por la tensi\u00f3n entre belleza y amenaza.<\/p>\n\n\n\n<p>Pens\u00e9 este disco como una forma de dar cuerpo a esa experiencia de estar en un lugar donde el paisaje impone silencio, donde las distancias no son solo geogr\u00e1ficas, y donde la historia reciente sigue filtr\u00e1ndose por debajo de todo. En ese sentido, hay un v\u00ednculo con trabajos como <em>El Bot\u00f3n de N\u00e1car<\/em> de Patricio Guzm\u00e1n, que entienden el territorio como un archivo vivo. No es s\u00f3lo una referencia est\u00e9tica: es una manera de pensar desde d\u00f3nde se produce sonido, imagen y memoria.<\/p>\n\n\n\n<p>Lo que aparece no son paisajes reconocibles, sino estados. Lugares vac\u00edos, espacios abiertos, el fr\u00edo, la reverberaci\u00f3n del sonido en superficies duras. El disco tiene una relaci\u00f3n directa con ese clima: con la sensaci\u00f3n de estar lejos de todo, incluso de uno mismo.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.instagram.com\/lauraeiriarte\/\" target=\"_blank\" rel=\"noreferrer noopener\">Fotograf\u00eda por Laura Iriarte<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>El sonido se construye como una arquitectura emocional, donde el silencio, la repetici\u00f3n y el ruido operan como dispositivos que inducen una escucha introspectiva, casi hipn\u00f3tica.<\/p>","protected":false},"author":7801,"featured_media":190209,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-190206","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - 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