Style: progressive rock, jazz fusion, psychedelic rock (clean vocals)
Recommended for fans of: Vulkan, Thank You Scientist, The Mars Volta
Country: Chile
Release date: 4 March 2025
Ah, the ever-contentious question of what determines a genre. I return often to this video essay by Mike Rugnetta at the (sadly now defunct) PBS Idea Channel, which posits in part that new artistic genres are not always defined by an artist doing anything strictly groundbreaking. Some trend-setters, such as Franz Kafka or the Dark Souls series of video games, instead “create their own precursors,” establishing new genres by recontextualizing artistic elements that had already been used by their peers and predecessors. These subtle revolutionaries bring new perspectives as they pick out existing commonalities that in retrospect could have already described a genre of their own, had anyone cared to see the link. Music, of course, is no exception to this kind of effect; sometimes the most exciting artists aren’t those breaking new ground entirely, but rather those who can combine things you already loved in a way few others have (yet).
Chercán step onto the stage with their self-titled debut album, and while it would be premature to herald the formation of a new genre, their most noteworthy features are found in the recombination of diverse styles—familiar, but not exactly like any individual band. I was first drawn to Chercán by their similarity to Vulkan, a moderately-known but rarely-imitated band fusing aspects of psychedelic and heavy progressive rock (reminiscent of The Mars Volta but far less wacky). Chercán draw their core sound from this same well, leaning slightly away from the heavy prog influences in favor of jazz, and the Chileans’ instrumentation strays into the unconventional with the inclusion of saxophone as a primary contributor. Matías Bahamondes covers the whole range of the woodwind’s capabilities, from calm jazz rock akin to Thank You Scientist in “7 Colores” to experimental wailing at the tail end of “Caen Las Hojas Blancas,” but for the most part the saxophone integrates into the mix as smoothly as a second lead guitar. Guest musicians on string instruments also add extra color to the palette, sometimes subtly blending with the more traditional jazz/rock orchestration, but also stepping into the spotlight from time to time, such as during the interlude “Desolación (En)” and the opening of the balladic followup “Tiempos Paralelos.”
Chercán excel as much at expressing an aggressive, hard-edged mood bordering on metal as they do at producing a softer, instrumental focused, almost symphonic rock sound. Even moreso, it’s impressive how the same musicians and instruments can contribute equally to each facet. Martín Peña’s vocals impart a sense of tension and urgency during more abrasive times like “Caen Las Hojas Blancas” just as much as they add to the expressive beauty of the string-focused “Tiempos Paralelos.” Meanwhile, the duelling saxophone and guitar melodies that adorn each song shift effortlessly into whichever tone is required from moment to moment, alternately pouring out harsh intensity to the full extent of each instrument’s capabilities in the second half of opener “La Culpa” and producing sweet, calming melodic layers in “Kalimba.” I would be remiss to not also mention drummer Rodrigo González Mera, whose fantastic rhythm parts almost rival the melody instruments in their intricacy (most notably in “Relato De Una Obsesión. Parte II: El Orate”). Additional percussion instruments not found on a standard drum kit add a further sense of the otherworldly and sublime throughout both parts of “Relato De Una Obsesión” as well as during the marimba-filled opening of “Kalimba.”
I complain all too often about bands whose unwieldy and repetitive riffs carve virtual ruts into the sound of their music, wearing down the listener’s patience the way anxious pacing wears out the carpet. I have good news, though: Chercán are not one of those bands. Repetitive phrases like the chugging guitar and saxophone rhythms which recur a couple times throughout “Las Mentiras Del Muro” establish a steady groove while mixing up the details, like the shift from low, almost growled vocals to high shrieks after a couple cycles. Most importantly, Chercán have the sense to get out of the way and move on to something else before it becomes too stale, as they do with the energetic instrumental break that closes out “Las Mentiras.” Only two slightly dimmer spots blemish the sheen of this otherwise excellent album. While Chercán’s musical talent and quality never come into question, the tracks “Caen Las Hojas Blancas” and “Las Mentiras Del Muro” partially undercut the musical experience that Chercán otherwise provides. Both focus more heavily on the in-your-face and intense side of the band’s repertoire, and the relative uniformity leads to a less exciting and dynamic experience than the subtlety that Chercán are capable of at their peak, as demonstrated by the opener “La Culpa” which successfully balances both extremes.
Unbound by standards of genre or instrumentation, Chercán revel in the endless recombination of music. Drawing on the eclectic psychedelic and progressive influences of their musical ancestors Vulkan and The Mars Volta, Chercán execute a coup de grâce with the addition of saxophone and strings, elevating their debut to a unique plane of music. Chercán is dynamic, it shows a range of talents, and it’s also just gorgeous. Talented songwriting allows the musicians the space they need to shine, building momentum and avoiding dull repetition with a wealth of musical ideas available to cycle through, but also maintaining a steady pace that never feels like it’s in a rush to continue from one section to the next. Although their individual features inevitably trace back to some other source of inspiration, their creative combination offers a welcome shot of novelty in a year that’s been a little slow to get off the ground.
Recommended tracks: La Culpa, Kalimba, Tiempos Paralelos, Relato De Una Obsesión (both parts), 7 Colores
You may also like: Bend the Future, Seven Impale, Papangu
Final verdict: 8/10
Related links: Bandcamp | Spotify | YouTube | Facebook | Instagram
Label: Independent
Chercán is:
– Martín Peña (vocals, guitars – “7 Colores”)
– Simón Catalán (bass)
– Roberto Faúndez (guitars)
– Matías Bahamondes (saxophone)
– Rodrigo González Mera (percussion)
With guests:
– Benjamín Ruz (violin)
– Javiera González (viola)
– Ariadna Kordovero (cello)
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