“Dijimos Apruebo, pero el Rechazo está en todo” (We said I approve, but the rejection is in everything), whose title is a re-reading of a theme by Nicolás Jaar, appeals to different historical moments in Chile, where the feeling remains, things seem to change, but in their essence they keep the same. Many times we can think that we are in limbo, in a context of hopelessness shaped like a rainbow similar to the 1989 elections between YES and NO. However, the social outbreak of 2019 exploded a strong idea: that a change can be generated from individuals, an ideal time to modify the foundations of any society.

I do not believe that we can be oblivious to social changes, be blind to the evils that we as societies possess and that we have strongly sought to change. Music is a social reflection and represents important milestones that happen around us and influence us in the form of sound waves, such as the drought in Chile and in various parts of the world, social conflicts on all continents, looted and exploited natural resources , along with inefficient transportation systems, all of them are social ideas that are present and influence me when composing my music.

This album has taken about 3 years to be created, where the main instruments used were the Elektron Octatrack Sampler, the Analog4 synthesizers, Roland MC-202 and Yamaha Portasound, plus some sounds sampled with Ableton Live. I hope that listening this album is a real journey, as for me it was to compose it every afternoon and night from my studio in Santiago de Chile.

Pablo Flores
(Santiago, Chile. Febrero / February 2021)

(3 estados, originally released in November 2010)

Solid, liquid, gas. Pablo Flores new step, now under the name of Aysén, forces the memory of those three components. “3 estados” is a creative model bedazzled with concrete, fugacious, unmeasurability fantasies. A system signed by these three ways, an album working in a conception of song format understood as a dislocated vehicle, creating, manipulating, capturing new frames in countless sound levels.

From the attractive pop starting in ‘Estancia revisitada’, to the unmeasured epic ‘XXX’, this firts Aysén‘s work twistes moods and poetic approaches. ‘Sandungueo’ and ‘Estremecido’ correspond to moments of melody and quietness; ‘Talento inocuo’ and ‘Cuesco’ deal with a continuous interspersing of samples and programmed rhythms. Here, sounds capturing and minimal backgrounds elaborate a lexicon allured by an electronica mask, but proposing infinite possibilities -via manipulation- of material traceable in commonplaces (voices, settings, objects, noises). ‘

“3 estados” proposes unsteadiness as a creative site: neither known path nor final picture here, the album opens itself in delta, receiving sounds moving forward, back, in zigzag, marching towards an infinite point. A twisting-line exercise, restated in labyrinth-like songs, beautifully crafted, displaying, in their hesitations, the subtle insolence of their maker.

Felipe Mardones
(Santiago, Noviembre / November 2010)