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| Rock music in Chile | |
|---|---|
| Other names | Chilean rock |
| Stylistic origins | Rockabilly,rock and roll,twist,Psychedelic rock,Chilean folk music |
| Cultural origins | 1950s — 1960s,Chile |
Chilean rock is rock music and its corresponding subgenres produced inChile or byChileans. Chilean rock lyrics are usually sung in Spanish so can be considered as part ofrock en español, although they are sometimes sung in English as well.
Rock music was first produced in Chile in the late 1950s by bands that imitated, and sometimes translated, internationalrock and roll hits from the U.S. This movement was known as theNueva Ola (New Wave).[1][2] Although original bands started to emerge as well in the early 1960s.
During the second half of the 1960s, after the success of rock and roll music, theNueva Canción Chilena (New Chilean Song) andFusión latinoamericana [es] (Latin American fusion) genres were born in Chile, bringing to fame artists likeVioleta Parra andVíctor Jara as extremely influential folk singers, orLos Jaivas andCongreso who were more instrumentally elaborated.[3]
In the 1970s, however, there was a decline in the country's rock scene as a result of the military dictatorship imposed by the1973 coup d'état. From 1973 to 1990, all forms of rock music were prohibited (along with an important part of thecultural life), causing stagnation in the music industry.[4] Nevertheless, an underground scene grew up with new genres such asheavy metal,punk andnew wave music.Los Prisioneros were the most outstanding band of this era.
The 1990s saw the beginning of a revival for Chilean rock music, with several Chilean bands finding international success along with the growth of many rock subgenres such asalternative rock,pop rock,funk rock,reggae,grunge,britpop orlatin rock becoming commercially successful.Los Tres became the most iconic rock band of this era, alongsideLa Ley in pop.
In the early 21st century, many more independent artists have become increasingly popular, while the previous ones have consolidated generating a cultural legacy of wide variety and trajectory.Synth pop, neo-folk rock,latin rock,alternative rock andpop rock are recently successful subgenres, but are harder to categorize due to their fusion andindie natures.
Although frequently omitted from mass media preferring commercial foreign music instead, Chile has an extensive and rich rock culture, a permanent underground scene with hundreds of recognized bands, many niches of varied alternative sub-genres, as well as powerful regional scenes in Concepción and Valparaíso.[5][6]
Rock and roll originated in the United States in the late 1940s and 1950s and expanded rapidly around the world. In the late 1950s, the first Chilean rock and roll bands emerged, largely imitating popular North American bands and performing rock and roll songs they were already hits in the U.S.[1] Some of the first Chilean rock and roll bands includedWilliam Reb y sus Rock Kings,Harry Shaw y Los Truenos, which performed versions ofElvis Presley tracks in 1956–57 and would later go on to record versions ofBeatles songs. However, William Reb felt he never received the credit he deserved for his part in Chilean rock and roll.[7]
Chile's first solo rock and roll artists werePeter Rock, with his Elvis Presley coverBaby, I Don't Care/Something Happened (1959), and Nadia Milton, with her singleScobidou/Un poco (1960).
Thetwist was also very popular in the 1950s, imported to Chile by the bandLos Twisters with the singlesPenas juveniles,Caprichitos,Me recordarás,Sueña andMi secreto. In 1963, Los Twisters were voted the most popular band in Chile.[8]
What began in the 1950s with imitations of American rock and roll soon developed into original music. LaOrquesta Huambaly, with its roots intropical music andjazz, were the first Chilean rock and roll band to compose original songs, includingHuambaly rock (1957) andRock del mono (Monkey Rock, 1958).
However, the first real commercial success story of the Nueva Ola scene wasLos Ramblers, with theirEl Rock del Mundial (World Cup Rock) album released in May 1962 for the1962 FIFA World Cup in Chile.[9]
Los Ramblers opened the door to many other successfulNueva Ola artists. Some of the most well-known were:Peter Rock,Alan y sus Bates,Los Rockets,Buddy Richard,José Alfredo Fuentes,Antonio Prieto,Antonio Zabaleta,Cecilia Pantoja,Germán Casas,Ginette Acevedo,Gloria Benavides,Jorge Pedreros,Luis Dimas,Maitén Montenegro,Marcelo Hernández,Mirella Gilbert,Osvaldo Díaz,Germaín de la Fuente,Paolo Salvatore,Pat Henry, andRoberto Vicking Valdés. The Nueva Ola movement spread out ofSantiago and throughout Chile, with bands likeThe New Demons forming in the northern city ofIquique, andThe Blue Splendor, who formed – and still perform today – inValparaíso.
The success of the ChileanNueva Ola lasted until the mid-1960s, led by a second generation of musicians characterized by their original compositions, such asBuddy Richard,Patricio Renán,Los Ángeles Negros,José Alfredo Fuentes andCecilia, considered by some critics as the greatest teen star of the mid-1960s.[10]
TheNueva Ola has been criticized for foreignizing Chilean music because the style, lyrics and even names were heavily lifted from American and British culture.[11] For some, theNueva Ola movement is not considered the true origin of Chilean rock. They point instead to groups likeLos Mac's,Los Jockers andLos Vidrios Quebrados, who modelled themselves more on bands likeThe Rolling Stones andThe Beatles, and "were the first groupings who can really be identified as ‘rock made in Chile’, going further than the pop figures of theNueva Ola."[12] Bands that followed them wereLos Picapiedras,Los Beat 4,Los Lark's andLos Sonny's one of the bands of futureFlorcita Motuda.
During the second half of the 1960s and early 1970s, after the strong American and British influences of theNueva Ola, the Chilean rock movement began to return to the country's indigenous and Latin American sounds looking for his own identity. A neo-folk movement developed with the aim of recovering traditional Chilean folk music and merging it with Latin American rhythms such asandean music. This would have its fullest expression in theNueva Canción Chilena (the New Chilean Song), which grew up in parallel to othernueva canción movements across Latin America.[13][14]
TheNueva Canción Chilena was characterized by a rediscovery of the instruments and sounds of historic Latin American traditions, and in particular the work of the artistsVioleta Parra andVíctor Jara. Despite being mainly acoustic, both Parra and Jara were extremely influential in the development of a new, socially aware folk culture, and rock culture as well, which looked beyond traditional peasants themes and drew in contemporary issues from across Chile and Latin America. They tried to represent the reality of life for working-class people, instead of the idealized portrait traditionally seen in older folk music.[14]
After the singer-songwriter approach of the Nueva Canción,Los Jaivas would lead the movement to a more progressive rock style. Forming in 1963 inViña del Mar, Los Jaivas mixed rock withSouth American ancestral music to form what became known as folkprogressive rock orFusión Latinoamericana. The 1981 albumAlturas de Macchu Picchu (based on lyrics fromThe Heights of Macchu Picchu byPablo Neruda) is considered a South American rock masterpiece.[15][16]Congreso andLos Blops would follow this more elaborated way to make music and all three would be considered cornerstones in the definitive "Chilenization of Rock". Congreso would last more than 50 years creating new music and becoming an iconic Chilean band.En Busca del Tiempo Perdido,Congregación,Combo Xingú,Sol y Medianoche,Kissing Spell/Embrujo,Frutos del País andPanal made the rest of the scene. Their style would be later known asFusión latinoamericana.
Psychedelic rock andblues rock came to Chile in the 1970s as it did elsewhere, influencing bands likeAguaturbia,Escombros andSacros. Escombros contained former members of Los Mac's and Los Jockers and sung in English, producing covers ofJimi Hendrix andLed Zeppelin among others.[17] Sacros have been compared toThe Byrds andBob Dylan, with traces of, and released their first album, Sacros, days before the 1973 military coup. The album is now a collector's item.[18]
The famousWoodstock Festival in the U.S. inspired a similar event in Santiago, thePiedra Roja Festival of October 1970. The festival attracted many followers of the hippie movement and included performances byLos Blops andLos Jaivas, but poor organization led to a chaotic event which included sound problems and the presence of drugs and crime. The festival was, according to the National Digital Library of Chile, "the moment in which the youth subculture, represented by rock, became a public issue and was reported in the media as a latent social problem. Young people were shown as liberal, drug-taking, long-haired rebels who were affecting mainstream society."[19]
Major music festivals of the time werePrimer Encuentro de Música de Vanguardia (January 1970),Primer Festival de Rock Progresivo (October 1971) andLos Caminos Que Se Abren (February 1973). All three happened at Quinta Vergara (Viña del Mar).
The proliferation of Chilean rock bands in the early 1970s ended with themilitary coup of 11 September 1973. The repressive military regime prohibited all manifestations of rock music, along with many other forms of culture (seeMilitary government of Chile (1973–1990): cultural life). This brought about a decline of the music industry in Chile and a deterioration of the Chilean rock scene. Some Latin American fusion bands broke up, like Los Blop's, while others fled abroad, likeLos Jaivas, who emigrated to Argentina. Others, likeCongreso, were forced to radically change their music to a progressive rock style. By the late 1970s, an underground scene gradually began to emerge withpunk rock,heavy metal, and laternew wave music becoming increasingly popular.
However, one of the most well-known and influential bands since the 1980s, and from all history of Chilean rock, wasLos Prisioneros, who were especially known for their outspoken songwriter and lead vocalist,Jorge González. The trio was also conformed byClaudio Narea on guitar and second voices, andMiguel Tapia on drums. Musically ranged fromrockabilly, toreggae,ska,punk and latersynth pop. Jorge Leiva of Musica Popular describes Los Prisioneros as "by far the most representative Chilean rock group. Their stripped-down rock, free from virtuoso pretensions, and their lyrics, full of acute social observation, were the voice of youth disenchantment during the dictatorship of Augusto Pinochet."[20] Their albumsLa voz de los '80,Pateando piedras andCorazones are considered among the best of Chilean popular musical history. On 1 October 1993MTV's Latin Channel (MTV Latino) debuted and they chose as their first video broadcast the Los Prisioneros music videoWe are sudamerican rockers.[21]
Chile's first contribution topunk rock can be found abroad. In the mid-1970sÁlvaro Peña-Rojas, better known as "The Chilean with the Singing Nose",[22] joinedJoe Strummer in the bandThe 101'ers, one of the world's first punk bands and a precursor to the legendary bandThe Clash.From 1985, the first local punk bands began to play in union headquarters around Santiago, such as El Trolley, named after the trolleybus workers’ union, and a cab-drivers’ union in El Aguilucho inÑuñoa, Santiago. These saw performances from punk bands thePinochet Boys,Zapatilla Rota, andDadá, among others. The first Chilean punk festival took place in El Garage Internacional de Matucana withFiskales Ad-Hok,Ocho Bolas,Politikos Muertos andVandalik among others. Jordi Berenguer writes: “they were clandestine and illegal spaces. It was the last years of the dictatorship. If there was now less to fear, the death and repression still continued.”[23]In the following years, stand out punk bands would includeLos Peores de Chile,Bbs Paranoicos,Los Miserables,Machuca,Parkinson and post punk bandPánico. Thehardcore punk bands would beLos Morton,Anarkía,Caos,Los KK,Belial andDTH.Pop punk bands of the late 1990s wereTronic,Gufi, orLos Mox!.Pegotes andFamilea Miranda were able to take back punk to his original ideology.Horror punk was made byLetifer,Don Zata,Q.E.P.D orVoodoo Zombie.
In the later 1970s and 1980s, aheavy metal scene developed that was highly clandestine despite having no overt political affiliation or outward opposition to GeneralAugusto Pinochet and his ongoing military regime. Bands of this generation includedPentagram Chile,Dorso,Massakre,Necrosis,Panzer andRust.[24]Tom Araya would become the biggest metal figure as the lead vocalist and bassist ofSlayer, after his family emigrated to the United States. During the late 1980s, with the dictatorship coming to an end, bands such asSquad, Massakre, Necrosis, Pentagram Chile andCriminal become well known in Chile and even at an international level. In contrast topunk,thrash metal had its origin in Santiago's upper-class neighborhoods and was less involved with politics, although the lyrics of bands like Necrosis showed an interest in the political situation.[25] Many other bands would leave his trail such asTurbo,Callejón Oscuro,Arrecife,Ekkos,Panchorrata in addition to otherthrash metal bands such asSQVAD,SxNxFx (Sex No Future),[26]Cancerbero,[27]Atomic Aggressor[28]Vastator[29] andBloody Cross,[30] ablack metal band formed in 1986.
At the turn of the decade, and as the dictatorship came to an end, more Chilean metal bands emerged, includingSix Magics,Slavery,Torturer,Bismarck,Dracma andInquisición.Progressive metal bands such asAlejandro Silva power cuarteto,Coprofago,Crisálida,Horeja,Matraz orDelta, were also notable.Tumulto,Arena Movediza andMillantún were between heavy metal and hard rock styles. The heyday of theNu metal genre also expanded to Chile, generating a much more aggressive, raw and less commercial variant that was locally known as "Aggro Metal". Since the beginning of the new millennium several bands, like 2X, Rekiem and Rey Chocolate, got considerable airplay on MTV and also participated in annual festivals until the mid-2000s, when Aggro Metal started to lose its past relevance and most of the bands split up or migrated to other styles.[31]
A study made in 2018 confirms that Chile is the country with most metal bands per capita in Latin America doubling Argentina and the rest by far.[32]
Others groups of this decade were heavily influenced by electronic music,new wave music, as well asArgentine rock and pop. Acts such asAparato Raro,Upa!,Banda 69,Emociones Clandestinas andElectrodomésticos in addition to the last stages of Los Prisioneros, were pioneers ofindie andsynth pop of modern days, and earned a significant amount of success.
Heirs of the Fusion latinoamericana of the early '70s, under the Pinochet regime new bands emerged that emphasized influences other than folk, such ascontemporary classical music,jazz,metal,world music, orexperimental music, away from the massive public but acclaimed by the circuits of connoisseurs, despite often struggling to record. Congreso and Los Jaivas would continue to lead the way in the next decades however many creatives progressive and fusion rock ensembles would rise such asAlmandina,Kalish andGrace of King in the mid '70s. The jazz vibraphonist and classical conductorGuillermo Rifo was the founder of three important bands,Aquila, where he melds latin rhythms with electric ensemble, later form theSexteto Hindemith 76, where he merged jazz, academic music and folk, andLatinomusicaviva where chamber music, jazz improvisation and rhythm merge of rock. Other bands wereSanta y su gente,Miel, the first to use a synthesizer, andKámara. Formed in 1972,Fusión is historically considered the first Chilean jazz-rock project, using electric instrumentation, experimented on rhythmic patterns of soul, funk and rock, but maintaining intact the impulse of the primitive jazz improvisation. Shortly after, Pizarro (founder of Fusión) released as soloist and later he would found in Europe,Tamarugo andSkuas, with influences of classical music, jazz and latin. In the '80s other significant bands wereTercera Generación,Quilín,Evolución,La Banda del Gnomo,Bandhada,Amapola,Ernesto Holman (previously bassist in Congreso),Ensamble,La Hebra,Cometa,AlSur andHuara. A singular case of underground resistance wasFulano, inspired in theRock in Opposition movement, had a virtuosoZappa-likejazz-rock style, with a punk attitude and witty lyrics, that would influence on modernavant-garde rock bands such asAkinetón Retard andMediabanda.[33][34] Once back in democracy new outstanding bands were formed such asLa Marraqueta,Tryo,Matraz,Ergosum,Entrama,Akinetón Retard,Exsimio,Dwalin,Entrance,La Neura,Mediabanda (with their remarkable debut album in 2003 entitledEntre la Inseguridad y el Ego),Subterra,Mar de Robles,Primavera Negra,Astralis,Nubosidad Parcial andFractal.
In the 1990s, Chilean rock was characterized by a diversification of styles derived from rock and pop, as well as a greater exposure to the international market. This was due in part to the return of democracy and an end to the repression of cultural activities, as well as an increase in contact between the Chilean population and the rest of the world as a result ofeconomic liberalization.[35]Thus,Alternative rock andPop rock were the most common styles, among an increasingly wider range of subgenres.
The leading Chilean rock band of the 1990s wereLos Tres, who mixed styles like rock (fromrockabilly togrunge),jazz andcueca (Chile's folkloric national dance) and became particularly successful in Mexico,[36] The albumsLos Tres (1991),La Espada & la Pared (1995) andFome (1997) are considered among the most influential albums ofrock en español according toRolling Stone Magazine and Culto Magazine fromLa Tercera.[37] Besides anMTV Unplugged in (1995) which was one of the most laureate unplugged of the MTV Latino era. They became the iconic rock band of theChilean transition to democracy.The band took musical quality to a new level in Chile with its instrumental development of rock, thanks in part to versatile guitaristÁngel Parra, grandson ofVioleta Parra, and leader of his own latin jazz band calledÁngel Parra Trío.Álvaro Henríquez, lead singer and second guitarist, was previously known as the musician ofLa negra Ester, a very influential musical theater play (based on the poetry book written indécimas byRoberto Parra Sandoval and directed byAndrés Pérez). He also ledLos Pettinellis, duringLos Tres hiatus, who had a short but successful career from 2001 to 2004 before splitting up, not long after also performing in the Viña del Mar International Song Festival.[38] In addition to a homonymous solo album in 2005. The rest of the band was composed by bassistRoberto Lindl and drummerFrancisco Molina, who left the band in 2000 to start a jazz career in the United States after his experience in Chile withLos Titulares.[39][40] Henríquez would become the third major rock star of Chile, afterGato Alquinta from Los Jaivas, andJorge González fromLos Prisioneros, due to his outstanding career with Los Tres.
La Ley (Spanish for "The Law"), also had a very successful career in Mexico and other Spanish-speaking countries and won aGrammy Award, twoLatin Grammy Awards and anMTV Video Music Award.[41] After a failed first album,Desiertos (1990), they releasedDoble Opuesto (1991), which appears as the official first album of the band. Singles like "Desiertos," "Tejedores de Ilusión," and "Prisioneros de la Piel" made them stars inChile,Argentina andMexico, especially after the release ofLa Ley, their second recording (1993). After Andrés Bobe's death in 1994 (guitars, vocals), La Ley continued with a new guitarist, Pedro Frugone, and released two more albums; in 1995, the band releasedInvisible, the album was their international breakout record and provided to the band their best-selling studio album to date, it included the number ones "Dia Cero" and "El Duelo".
Other key 1990s bands included:Lucybell, whose popularity expanded during the decade throughout Chile and the rest of the continent, and more closely related toalternative rock.[42]Javiera y Los Imposibles, whose lead singerJaviera Parra is also member of theParra family, andNicole who became the first female rock pop solo artist to gain international recognition, were also very popular. During the first half of the 2000s, Javiera y Los Imposibles, whose 2001 albumAM was performed at the prestigiousViña del Mar International Song Festival in 2002, became widely popular.[43]Saiko also formed in the late 1990s (1999) and, made up of former members ofLa Ley and the singerDenisse Malebrán, found recognition during the first half of the 2000s.[44]La Rue Morgue would be a good example of jazzy pop rock music with good mainstream acceptance.Sexual Democracia was a regional band fromValdivia that reached popularity in Santiago. Other alternative pop rock bands wereElso Tumbay,Golem,Ludwig Band andProfetas y Frenéticos fromClaudio Narea.Aleste andSol Azul were the iconicsone-hit wonder of 1990s pop.Teen pop was led bySupernova andStereo 3, and in the 2000s byemo pop bandKudai.
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Even though the history offunk in Chile goes back to the late 1960s and Los Minimás,[45] it was not until the 1990s that funk became widely popular. The first band to create a purely funk album in Chile was Los Morton,[46] who formed in 1990 and released their debut album, "Santo Remedio", in 1993. Their funk sometimes incorporated other styles such asrap andHardcore, with other bands likeSupersordo sharing this kind of sound. In 1995Los Tetas, released their debut album entitledMama Funk, combining rock, funk, soul and hip hop. Los Tetas’ first single, "Corazón de Sandía" (Watermelon Heart), was asummer hit on the local radio stations and their first two albumsMama Funk (1995) andLa Medicina (1998), went on to be released and performed in several other Latin American countries.[47] Between these two major works, they collaborated in the 1997 album ofTiro de Gracia "Ser humano!!" (Human being), which is considered the sixth best album in the history of Chile according to Rolling Stone Magazine.[citation needed]
In 1995, the successful bandChancho en Piedra emerged with their debut album "Peor es mascar lauchas" (It's Worse To Chew Mice). Their style has been compared to theRed Hot Chili Peppers but they are also known for their unique funk/rock sound, goofy style, and their socially and politically aware lyrics. Their success continued withRíndanse terrícolas (Surrender earthlings) (1998) andMarca Chancho (Pig brand) (2000). As of 2020, they have released 11 albums.[48] Other funk bands emerging in this decade includedPapanegro,Matahari,Raiza,Mamma Soul,Solo di Medina, orCholomandinga in a mix of Latin rhythms and funk.La Pozze Latina,Makiza,De Kiruza, andTiro de Gracia, made therap funk scene, in the Chileanhip hop boom of the late 1990s. The electronic scene was led byDJ Raff andDJ Bitman. After the Los Tetas' hiatus in 2004, his members would have solo projects.C-Funk made a solo career in the United States and joinedChancho en Piedra as a guitarist in 2019.Tea-Time would foundFunk Attack together withRulo (who also foundedEsencia) and both would have a solo career as well before they all reunited in 2011.[49]
As in the rest of the world, thegrunge bands ofSeattle had a great impact on Chilean youth in the beginning of the 1990s, and the decade saw the emergence of Chilean grunge bands likeJusolis,Mandrácula,Los Ex,Blu Toi[50] andDuna.[51] These last two produced their first albums independently, though Blu Toi's album was distributed byWarner Bros. The influence of the grunge sound can also be seen in bands likeLos Tres,Yajaira[52] andWeichafe.[53]
One of the first bands to playreggae in Chile, despite reggae not being their main influence, wasSol y Lluvia, founded in 1976 and still active today. Sol y Lluvia also had strong ties to the Nueva Canción Chilena and later toalternative rock. Los prisioneros were also pioneers in reggae and ska during the 1980s. HoweverGondwana, founded in 1987, are today considered the most successful Chilean reggae band. Produced by the well-knownDoctor Dread ofRAS Records, Gondwana found success in Chile and abroad and performed in bothJamaica and the United States as well as his lead singerQuique Neira since he began his solo career in 2003.[54] Another exponent of Chilean reggae in the 1990s wasLa Floripondio, who mixedreggae withcumbia,ska, and rock, similar toJoe Vasconcellos.[55]
In the second half of the 1990s a new wave of Chilean bands appeared, influenced mainly by thealternative rock andBritpop scenes that spread around the world. These included bands likeGlup! who were heavily influenced byBlur, and reached great deal of mainstream success thanks to their hit singleFreebola of the album1999 released the same year. Other importants bands wereCanal Magdalena,[56]Solar,[57] andSantos Dumont,[58] all of whom became popular with Chilean Britpop fans.
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A prominent and special case wasJoe Vasconcellos, who had worked as lead singer inCongreso between 1980 and 1984. Since the late 1980s, he developed a solo career that in the 1990s reached his peak. His style combines rock,blues,cumbia,Brazilian music, and other Latin rhythms, often with big percussion andbrass sections.[59][60] His albumsToque (1995), andVivo (1999) were major hits, and would influence on next generations of Latin percussion-based rock artists, such asChico Trujillo and theNew Chilean cumbia movement.[61][62]Other bands in this kind of fusion would beSanto Barrio,Cholomandinga, andLa Floripondio.
The origins ofblues in Chile are uncertain, althoughAguaturbia was a benchmark in this style, as wereLos Jaivas in their songs such as "Canción del gancho",[63] there is no more concrete background. The song "O'Riley" byDestruction Mac's can be taken as a reference, which applies a harmonica with bluish touches, although the music of this band is clearly inspired by groups ofhard rock like Mountain. Although there was a small revival in the 1980s withMauricio Redolés, it was not until the 1990s that groups such asEl Cruce andLa Banda del Capitán Corneta that a blues of Creole dyes spread in Chile, the first two decades of the 21st century stood outPerrosky,Julius Popper,Zapatillas Social Blues,La Rompehueso andLa Rata Bluesera.
These years have seen a consolidation of the previous successes of Chilean rock-pop in the international market, while the older artists are now considered cultural icons. During the2010s, rock music in general saw a decline in mainstream popularity and chilean rock was not an exception, however a new generation of musicians began to appear, mostly independent and difficult to classify due to the increasing fusion of sub-genres. Folk rock and synth pop are genres that have been successfully reinvented, while an ever-present hard rock scene continues among fan niches.
In the second half of the 2000s, one of the best-known Chilean rock bands wasLos Bunkers, analternative rock group fromConcepción, Chile, who formed in 1999. With their contemporary rock sound, influenced by 1960s rock andfolk sounds, the band has achieved international success with the albumVida de perros (Dog's Life) and performed at theVive Latino festival inMexico City in 2006 and 2007. Also from Concepción are the bandDe Saloon, forming in 2003. Other notable band of this period includedSinergia, with a mix ofnu metal andComedy rock with humorous lyrics of daily and mundane Chilean topics, winning fans outside the rock scene.
Several Chilean artists – includingAnita Tijoux (previously known as lead singer inhip hop bandMakiza),Mon Laferte,Francisca Valenzuela,Álex Anwandter,Gepe,Javiera Mena,Pedropiedra,Camila Gallardo,Denise Rosenthal,María Colores,Teleradio Donoso,Ases Falsos,Planeta No,Astro,Primavera de Praga,Difuntos Correa,Niños del Cerro, andDënver, among others – gain international praise and recognition, especially in the Spanish press, withEl País calling Chile a "new pop paradise".[64][65][66][67]Alongside with the electronicaesthetics, a new generation of mostly acoustic singer-songwriters, andworld music inspired musicians had an important presence in stages and media.Manuel García (previously known as leader ofMecánica Popular),Nano Stern,Chinoy,Camila Moreno,Pascuala Ilabaca,Fernando Milagros,Paz Court,Evelyn Cornejo,Paz Quintana,Natalia Contesse are some of them.[68][69]
Among the most celebrated new rock bands of the 2010s decade wereKuervos del Sur,Rama,Tenemos Explosivos,Alectrofobia,Matorral,Cómo asesinar a Felipes (fusing alternative hip hop and jazz with rock)Weichafe,Adelaida,Angelo Pierattini andCler Canifrú.[70] Kuervos del Sur are considered heirs ofLos Jaivas in making rock with latinamerican instruments and rhythms, but with a harder sound, close topost-grunge. They won aPulsar Award for best rock album in 2017 forEl Vuelo del Pillán.[71][72]
In the 2010 "Festival El Abrazo" (The Hug Festival), held in Santiago to celebrate 200 years of independence for both Chile and Argentina, Chilean heavyweightsLos Jaivas andLos Tres were joined by Argentinean artists likeCharly García andFito Páez, among others. Meanwhile, Los Bunkers were, in 2011, the first Chilean band to playCoachella in the United States.[73]In April 2011, Chile hostedLollapalooza Chile, the first of theLollapalooza festivals to be held outside the United States. Its success was such that it returned again from 2012 to 2019 and attracted international artists likeThe Killers,Kanye West,Foo Fighters,Arctic Monkeys and hundreds of other big names. Chilean acts likeLos Bunkers,Chico Trujillo andAnita Tijoux have also performed at the Chicago version of Lollapalooza.[74]Another big festival wasLa Cumbre del Rock Chileno (The heights of Chilean rock) being held in 2007, 2009, 2012, 2013, 2017 and 2018. Hundreds of Chilean bands performed, included major artist as well as emerging ones.[75][76]
In 2012 and 2013, a festival called Metal Fest featured local metal bands with international artists such asAnthrax,The Misfits andBlind Guardian.[77]
Other festivals areRock en Conce (Also known as REC), held since 2015 inConcepción,[78]Rockódromo andRock Carnaza inValparaíso,[79]Fluvial inValdivia,[80]Woodstaco inMaule Region[81] andChiloé Metal Fest inChiloé Archipelago.[82]
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