Since pop acts chart as Chile’s primary cultural export, we’ve had to do little digging into its metropolitan underground. Either incidental or accidental, it was a mistake, at least on my part, to not publicly react to my exposure to Megajoy’s Yonaguni, a tech-dystopic 2K12 manifest on Michita Rex. Though I have respect and admiration for the mega-joyous Hector Llanquin, specifically his enthusiasm for the digital arts, I’ll be the first to admit that his music is purely caustic, and it would be unethical to release such poison onto an unknowing CF public.
That being said, Llaquin’s emotional migration to mighty Monterrey, Mexico, has gave way to an entry point so that we can finally admire his talent. In “Kamisaraki,” we find the rhythmic pulsing of Ñaka Ñaka, an Internet2-like tinkering with world music instruments, and truly the most advanced understanding of technos that we’ve heard at Club Fonograma. As his previous work served as Global Warning, the newfound vulnerability will serve as an asset in personal persuasions of our digital plight and in due time, mass sermons.