Style: Progressive rock, psychedelic rock, jazz fusion (Clean vocals)
Recommended for fans of: Vulkan, Thank You Scientist, The Mars Volta
Country: Chile
Release date: 23 October 2026

---

For better or for worse, the present state of social media and the internet at large has made us far more aware of the dynamics of one-sided “parasocial” relationships than ever before. Whether it’s an impersonal fandom for a faceless franchise or an imagined connection with a social media figure that feels all too real, these relationships now shape our lives as much as, if not more than, our true personal interactions ever have. In music, we see this often with fans falling in and out of love with artists as they—both producer and consumer—develop their own styles and tastes over time. While some fans feel this shifting connection as a personal slight, and in the worst cases can even descend into hostility, there’s no shame or betrayal in the fading of a connection you once felt to a particular band or musician. It’s natural that both sides will change, and if that brings you out of alignment, so be it.

All that said, it’s reasonable to hope that a new love might last at least a couple albums before drifting apart, and that’s how I felt with Chercán after their self-titled debut last year offered a much needed ray of sunlight early in a year that otherwise brought little hope in its new releases. This year’s sequel brings a new mix of creative elements—some familiar and enticing, some new and exciting, and some old and tiresome. In particular, Canto de Silicio leans heavily into the more discordant psychedelia which peppered parts of Chercán’s debut. Although effective at mood setting, these components don’t show off nearly as well the band’s intricate songwriting and performance talents. Rather than energetic and impressive, the vibe is more lethargic and disorienting. Whether this represents a conscious shift in direction or merely the natural growing pains of developing one’s distinctive style remains to be seen.

This evolution is not monumental by any means—Chercán continue to develop their patented spicy blend of psychedelic progressive rock, jazz, and Chilean folk. Instead, the changes are most noticeable in the subtleties of the musical texture. The leading saxophone, flute, and vocal parts feel disconnected from the backing instruments at many times, splitting the layers into a fraying tangle. When they’re not actively clashing, too often the saxophone plays in simple unison with the vocal or guitar parts, compacting and smothering the rich, lively harmonies which made up Chercán’s highlights. Canto de Silicio by comparison feels fragile and underdeveloped, although still uniquely vibrant thanks to the woodwind presence and Chercán’s latin-folk-psychedelic fusion. Odd little interludes titled with a single cryptic unicode symbol, seemingly meant to deepen the mystery of the album’s tech-dystopian subject matter, instead mostly distract from the larger development of musical ideas.

The tracks “En lo Incierto” and “Ojos De Cristal” come the closest to recapturing the magic—“Ojos De Cristal” especially cultivates a sparkling, multifaceted construction with its long, slow development spanning the first two thirds before transitioning into a chaotic duet of saxophone and vocals for the last portion. Other brief highlights include “Pieles de Metal,” opening with a dark, mysterious atmosphere that gradually builds a faster undercurrent of foot-tapping rhythms. With too many of the best features spent in the first few tracks, the final run of three from “Sueño Diferido” to “La Evolución” (with not even a “⫸” to split them up) feels like a descent into madness. It’s not bad by any means, but the listener keenly feels the lack of any familiar, comforting handhold to grab onto and stop their precipitous plummet into the unknown depths.

Like Chercán before it, Canto de Silicio features mainly through-composed songs with little repetition or patterning, which is impressive given how uncommon that style of songwriting is even for progressive bands. Importantly for the new album, though, this structure also lessens the potential for a catchy jazz hook or stirring chorus to liven up one’s impression of the work. That may not be a problem for a hardened fan willing to put in the work of listening repeatedly to prospect for the nuggets at the bottom of the proverbial stream, but it’s one more obstacle to any given person finding enjoyment. If that sounds like a lot of work, that’s entirely the point; there’s a fine line between complex music that rewards exploration, and music so dense it becomes laborious just to try to parse its components into something emotionally or intellectually meaningful.

With their sophomore effort, Chercán teeter on the brink of impenetrability—although they haven’t fallen yet, it may take some work to hang onto the edge and pull themselves back up. Of course, that all depends on whether they feel the same as me about the direction they’re going. If not, so be it. The Chileans continue to display undeniable artistic talent, but their music has lost some of its pure enjoyment, becoming uncontrolled in its extremity—overwhelming and disconcerting rather than challenging and thought-provoking. For those intent on excavating every last twinkling tidbit from the depths of a convoluted album, though, by all means put on your mining helmet and get digging.

---

Recommended tracks: En lo Incierto, Ojos De Cristal
You may also like: Bend the Future, Seven Impale, Papangu
Final verdict: 5/10

Related links: Bandcamp | Facebook | Instagram

Label: Independent

Chercán is:
– Martín Peña Alacid (vocals, guitars, synths)
– Pablo Barría González (bass, synths)
– Roberto Faúndez Morales (guitars)
– Matías Bahamondes Martínez (saxophone, flute)
– Rodrigo González Mera (drums, percussion, synths)
With guests:
– Benjamín Ruz Guzmán (string arrangements, violin)
– Braulio Rivas Tapia (viola)
– Sebastián Fierro Neira (cello)