Tan Frío el Verano, a Post-Rock band that was born in Venezuela but it is now based in Buenos Aires, Argentina. ‘Otoño’ is their new album. Ten songs that symbolize a real turn, totally the opposite of what has been done before in ‘Primavera’ (2012). Their first works were surrounded by an optimistic nostalgia, hope and full of life. What the band make today is the opposite: everything is much darker, experimental and in minor tones. In addition, we added new sound resources, such as: noise, industrial influences, glitch and IDM.

Tan Frío el Verano was formed in 2007, in the venezuelan city of Barquisimeto. They started as a (Post) Rock band, with a clear experimental flair. Shortly after, they extended their concept to the audiovisual field (to the point that they have a VJ in the band in its current formation). The band started to consolidate in the venezuelan scene and had the opportunity to play at several music festivals, including SXSW (Austin, TX) and also getting Korean Editions of "Primavera (2012) Album, back in 2013. Through the years, they got influenced by Shoegaze, Minimal music and Film Soundtracks. They even felt they went into a crisis following the crucial mission: making an album like ‘Otoño’. Behind an album of these features, with so much going on like moving to a different country, having new band members, etc.

The stations are entities in our stories, and ‘Otoño’ had to be the bad guy.

The classical Post-Rock sound of bands like Explosions in the Sky was left behind, and the venezuelan alien Arca, Ben Frost and Pharmakon were added to the band’s influences.
‘Otoño’ transmits everything lived. Deconstruction, in this sense, is the starting point. Mistakes happen to be something useful in this album. And what others tend to repress or discard, as the feedback of an electric guitar or a computer system glitch, becomes substantial in ‘Otoño’. Nothing rare for a band that learned to listen to the noise. Thus, as a spring is stretched, starts ‘El Nacimiento’, a brief introduction to implement climate and give step to a relentless song: ‘Cazador de aves’. The rhythm as a weapon. And each beat as a shot. Based on this martial anthem, NIN stylish, a somber tune is repeated: "Y tú, que lloras las perlas rojas". ‘Zyklon B’ gives no truce and is as formidable as its name (a cyanide pesticide). ‘Huesos rotos’ a chaotic adventure, among floods of speed and layers of saturation: worthy of Aphex Twin. ‘Kamshout’ creates a different environment with its desertic winds. It is the breath that comes unexpectedly at the rhythmic entropy. And it is also the preamble to one of the greatest songs: ‘Los reyes y sus cruces’; a march that feels moved by each step, where the metal warriors pray – at pure hear