Tsunamis

Drone is a minimalist music genre defined by sustained tones, long durations, and extremely gradual change. Harmony is often static or centered on a single fundamental with subtle overtone shifts, while rhythm tends toward stasis or very slow pulses. Sound sources range from acoustic instruments (e.g., strings, organ, bagpipes, shruti box, tambura) to electronics (sine waves, oscillators, feedback, tape loops, and later digital synthesis and processing). Many composers favor just intonation or other alternative tuning systems to emphasize beating patterns, psychoacoustic effects, and the internal life of sound. Although drone as a sonic principle is ancient and global, the modern experimental genre cohered in the 1960s through the New York minimalists and related avant‑garde circles, then spread into ambient, experimental, and heavy music scenes. The focus is less on melody and more on timbre, resonance, and the phenomenology of listening.

Psicodelia chilena (Chilean psychedelia) is the national inflection of 1960s psychedelic rock filtered through local folk traditions, Andean timbres, and the social imagination of Chile. It blends fuzzed‑out guitars, Farfisa or Hammond organs, tape and echo experiments, and modal harmonies with rhythms and instruments tied to cueca, huayno, and other regional currents. Lyrically it moves from cosmic or surrealist imagery to socially aware and poetically coded texts. Across its classic era and modern revivals, the style pivots between concise, garage‑leaning songs and extended trance‑like jams, often embracing hypnotic grooves, drones, and spacious production that evoke desert expanses and Pacific horizons.