Música

Dream Theater regresa a Bogotá y Iron Maiden da pistas de que los 2600 metros llaman: el rock vibra en la capital

Dos bandas veneradas, una en el rock progresivo y otra en el heavy metal, pintan 2026 de enorme expectativa con sus anuncios de conciertos en Bogotá...

GoogleSiga todas las noticias de la cultura en Discover, manténgase al día con las novedades

10 de diciembre de 2025, 12:05 a. m.
Volvió Mike Portnoy a Dream Theater y algo de normalidad regresó al mundo...
Volvió Mike Portnoy a Dream Theater y algo de normalidad regresó al mundo... Foto: Redferns

Los años 2006, 2008 y 2012 marcaron las visitas iniciales de Dream Theater a Colombia. La primera, en el Palacio de los Deportes (Octavarium Tour); la segunda, en el entonces Coliseo El Campín (Chaos in Motion Tour); y la tercera, de regreso al Palacio de los Deportes (A Dramatic Tour of Events). Y fueron conciertos geniales, marcados por la enorme expectativa de ver a los genios del metal progresivo (estuvimos presencialmente en los dos primeros), pero algo nos dice que el que viene en 2026 será el mejor a la fecha. Como mínimo, será el de mejor sonido.

BEAT en Bogotá: una noche mágica, histórica e inolvidable, que percances hicieron más corta y épica de lo esperado

Antes de dar más detalles, vale anotar que el año que viene anuncia sus cartas concierteras y las señales para los seguidores del rock siguen siendo positivas. Esto pues, solo del lado de Páramo Presenta, en enero vienen My Chemical Romande y The Hives; a finales de marzo, el Festival Estéreo Picnic se trae a Deftones, a Tom Morello y a Turnstile (entre otros); y el sábado 2 de mayo Korn tocará en el MedPlus (no lo hace desde 2017, cuando rockeó el Chamorro con el hijo de Robert Trujillo en las cuatro cuerdas).

(De izq. a der.) John Myung, Jordan Rudess, John Petrucci y Mike Portnoy de Dream Theater actúan en el escenario del festival Tons of Rock el 25 de junio de 2025 en Oslo, Noruega. Foto: Per Ole Hagen/Redferns.
(De izq. a der.) John Myung, Jordan Rudess, John Petrucci y Mike Portnoy de Dream Theater actúan en el escenario del festival Tons of Rock el 25 de junio de 2025 en Oslo, Noruega. Foto: Redferns

Ahora sí, entrando en la materia que congrega a los progresivos, el día del anuncio de un nuevo concierto de Dream Theater en Colombia era uno muy esperado por los seguidores de la banda. Y estos la hubieran visto con los músicos que fuera siguiera Mike Magini o no detrás de los tambores. Pero la ocasión se hizo especial desde que se confirmó el regreso del baterista Mike Portnoy, parte original y corazón espiritual del combo. Se une de nuevo a la voz de James LaBrie, las guitarras absurdas y también oníricas de John Petrucci, el bajo plástico de John Myung y los teclados virtuosos de Jordan Rudess.

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Así se eliminaban pistas superficiales para comprobar si la diferencia estaba realmente en la estructura de la composición. En ambos casos, los participantes acertaron por encima del azar: incluso tras manipular las imágenes, seguían distinguiendo autorías humanas de autorías animales."},{"_id":"MP4DR65BBNBBTAI5MZZWHIMMP4","additional_properties":{},"type":"text","content":"Este resultado sugiere que existe algún tipo de “firma humana” reconocible incluso en obras no profesionales. Pero ¿qué aspectos concretos de una imagen evocan esa sensación de intención?"},{"level":2,"_id":"UFLDSI3F5NCZHGXEGPKQWDVXN4","additional_properties":{},"type":"header","content":"Buscando patrones"},{"_id":"YULNDU6QLVD47KH6PEY7TXTIWQ","additional_properties":{},"type":"text","content":"Para explorarlo, hicimos otro estudio. Un nuevo grupo de participantes evaluó las mismas veinte obras según varios criterios: intencionalidad, equilibrio, complejidad y organización. Además, debían indicar cuánto les gustaba cada pieza."},{"_id":"ZGSJYBSOL5FVHPT2O4YO7N6PPU","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Juanita González - Idartes","address":{},"syndication":{},"auth":{"1":"8d70b30d1759da648a32f8a9dd55f24c222a63a5a3283fd495945b20072460fb"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/OGCK2VUHEZE2HOIFEI2ABDZOA4.jpg","licensable":false,"alt_text":"Armonización por cuenta de un sabedor muisca, parte de 'Arquitectura Emocional' de Angélica Teuta.","credits":{"affiliation":[{"name":"Juanita González - Idartes","type":"author"}],"by":[{"name":"Juanita Gonzalez","type":"author","byline":"Juanita Gonzalez"}]},"subtitle":"","width":3705,"creditIPTC":"Juanita González - Idartes","_id":"OGCK2VUHEZE2HOIFEI2ABDZOA4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/OGCK2VUHEZE2HOIFEI2ABDZOA4.jpg?auth=8d70b30d1759da648a32f8a9dd55f24c222a63a5a3283fd495945b20072460fb","proxyUrl":"/resizer/v2/OGCK2VUHEZE2HOIFEI2ABDZOA4.jpg?auth=8d70b30d1759da648a32f8a9dd55f24c222a63a5a3283fd495945b20072460fb","takenOn":"2019-04-27T07:10:00Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/OGCK2VUHEZE2HOIFEI2ABDZOA4.jpg","published":true,"resizeUrl":"/resizer/v2/OGCK2VUHEZE2HOIFEI2ABDZOA4.jpg?auth=8d70b30d1759da648a32f8a9dd55f24c222a63a5a3283fd495945b20072460fb","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/OGCK2VUHEZE2HOIFEI2ABDZOA4.jpg?auth=8d70b30d1759da648a32f8a9dd55f24c222a63a5a3283fd495945b20072460fb&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"2_Armonizacion_sabedor_muisca_Arquitectura_Emocional_Angelica_Teuta_XIII_PLC_0.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2025-12-18T15:48:36Z","last_updated_date":"2025-12-18T15:48:36Z","height":2470,"image_type":"photograph"},"description":{"_id":"6VZOS76KHBCS7ISJTRQFZWDXXY","type":"text","content":""},"_id":"RWQZHBBMJNE5JGBPMCB7L5UYMQ","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Angélica Teuta gana el XIII Premio Luis Caballero por ‘Arquitectura emocional: Cobijos & Moradas’","url":"https://www.semana.com/cultura/articulo/angelica-teuta-gana-el-xiii-premio-luis-caballero-por-arquitectura-emocional-cobijos-moradas-de-que-trata/202557/"}]},{"_id":"DR5W54UM45AK5OZ4YGD5GHNFMM","additional_properties":{},"type":"text","content":"Las obras humanas recibieron puntuaciones más altas en todos los aspectos salvo en complejidad. Es decir, no eran necesariamente más recargadas, pero sí parecían más equilibradas y organizadas, y transmitían una mayor sensación de propósito. Cuando los autores analizaron cómo contribuían estas tres características (equilibrio, organización y complejidad) a las valoraciones de intencionalidad y preferencia, encontraron conexiones claras en todos los casos."},{"_id":"LBB42G6EMRAM5BT24B24AITAB4","additional_properties":{},"type":"text","content":"En otras palabras, cuando una composición reparte sus elementos de forma coherente y presenta un cierto orden interno, tendemos a interpretarla como producto deliberado de una mente humana. Esas claves, que percibimos de manera casi automática, parecen guiar nuestras decisiones incluso sin que podamos verbalizarlas."},{"_id":"QJFXJXECFZDE3ME3ESQSHRY6C4","additional_properties":{},"type":"text","content":"¿Por qué presentamos esta tendencia? Como especie, no podemos evitar ver patrones. Nuestra visión parece estar especialmente afinada para detectar variaciones sutiles en distribución y organización. Esto hace que busquemos señales de intención en prácticamente cualquier disposición que nos rodea. Los lectores más veteranos recordarán el entusiasmo por lo que parecía ser una cara en la superficie de Marte. ¿Acaso no nos ha recordado alguna vez un enchufe a una cara humana?"},{"_id":"ZAGZ6TTEU5H3ROKRJ3TIL6O3RQ","additional_properties":{},"type":"text","content":"A lo largo de la evolución, reconocer cuándo un patrón había sido producido por otro ser humano probablemente supuso una ventaja. Identificar rastros, señales o símbolos creados por nuestros semejantes habría facilitado la cooperación y la comunicación a través del espacio y el tiempo. Que funcionemos así incluso en un museo no es más que un eco moderno de una habilidad ancestral."},{"level":2,"_id":"WRUMGDWVMFAJPOH5KJLAF6674E","additional_properties":{},"type":"header","content":"Dónde está la intención"},{"_id":"GIDVAULPUZBEXPZOPFVYMQXWUQ","additional_properties":{},"type":"text","content":"Otro punto interesante del estudio es la relación entre intencionalidad y preferencia. Las obras que parecían más deliberadas también tendían a gustar más, lo que sugiere que quizá estemos predispuestos a prestar atención y a valorar positivamente los patrones que creemos generados por otros humanos."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Wikimedia Commons","address":{},"syndication":{},"auth":{"1":"2f8197d02603cd2864eafd0c28188d19658032e45825111468ff77f84d486e7f"},"caption":"A mediados del siglo pasado era bastante común experimentar con simios cautivos dejándoles pintar con óleos. En la foto aparece Peter, también conocido como Pierre Brassau, del zoo sueco Borås Djurpark.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/4CQUHAGS2ZHLLLX7EMSJPJ6H7I.jpg","licensable":false,"alt_text":"A mediados del siglo pasado era bastante común experimentar con simios cautivos dejándoles pintar con óleos. En la foto aparece Peter, también conocido como Pierre Brassau, del zoo sueco Borås Djurpark. 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Aunque a primera vista pueda parecer caótico, contiene rasgos de equilibrio, estructura y organización que nuestro cerebro interpreta como señales de una mente detrás del gesto."},{"_id":"KPGOAXVEKNE7HA3NFRCXIXRQXA","additional_properties":{},"type":"text","content":"Esto tampoco significa que cualquier persona pueda replicar la obra de un gran artista. Los experimentos solo comparan obras de estudiantes con los dibujos espontáneos de chimpancés. Pero sí muestran que, incluso en niveles muy básicos de producción artística, hay un sello humano reconocible: un modo particular de distribuir las formas que transmite intención."},{"_id":"IKSTQARAZ5B6DFEPUQUP7LXOKU","title":"","type":"link_list","items":[{"image":{"copyright":"Cortesía de Juan Covelli","syndication":{},"auth":{"1":"69ba02ba9d6141c73afb8dc3e49f55892124be9b9ce8279bc6d304b173d7af2c"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","geo":{},"licensable":false,"alt_text":"La instalación Atrato en V&A de Londres, uno de los museos de arte y diseño más importantes del mundo, marca un hito para el arte colombiano contemporáneo al ser la primera exposición individual de un artista colombiano en este espacio dedicado al arte digital.","credits":{"affiliation":[{"name":"Cortesía de Juan Covelli","type":"author"}],"by":[]},"creditIPTC":"cortesía V&A","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/6JZTQRHA5JFXNBK7XZ5FS3RBTA.jpg?auth=69ba02ba9d6141c73afb8dc3e49f55892124be9b9ce8279bc6d304b173d7af2c","keywords":[],"proxyUrl":"/resizer/v2/6JZTQRHA5JFXNBK7XZ5FS3RBTA.jpg?auth=69ba02ba9d6141c73afb8dc3e49f55892124be9b9ce8279bc6d304b173d7af2c","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/6JZTQRHA5JFXNBK7XZ5FS3RBTA.jpg","published":true,"resizeUrl":"/resizer/v2/6JZTQRHA5JFXNBK7XZ5FS3RBTA.jpg?auth=69ba02ba9d6141c73afb8dc3e49f55892124be9b9ce8279bc6d304b173d7af2c","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/6JZTQRHA5JFXNBK7XZ5FS3RBTA.jpg?auth=69ba02ba9d6141c73afb8dc3e49f55892124be9b9ce8279bc6d304b173d7af2c&width=300","version":1,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"unnamed (9).jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"last_updated_date":"2026-01-06T15:23:50Z","height":825,"image_type":"photograph","owner":{"sponsored":false,"id":"semana"},"address":{},"version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/6JZTQRHA5JFXNBK7XZ5FS3RBTA.jpg","subtitle":"","width":1000,"_id":"6JZTQRHA5JFXNBK7XZ5FS3RBTA","created_date":"2026-01-06T15:11:35Z"},"description":{"_id":"FZVBV7VCK5BHDBACRYRCBOCS2I","type":"text","content":""},"_id":"4LDYZDGBYJA77J6VMOASRBSHXA","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"‘Atrato’, instalación de Juan Covelli, protagonista en el Victoria and Albert Museum del Reino Unido","url":"https://www.semana.com/cultura/articulo/atrato-instalacion-de-juan-covelli-protagonista-en-el-victoria-and-albert-museum-del-reino-unido/202657/"}]},{"_id":"HRTN7S37ZNBRXB37OC7SHP4RII","additional_properties":{},"type":"text","content":"El hallazgo también ayuda a entender por qué seguimos debatiendo qué es arte y qué no lo es. Parte de ese debate surge porque tratamos de identificar intención en las imágenes. Cuando la percibimos, asignamos significado, valor o emoción. Cuando no la vemos, la atribuimos a un niño o un animal. Sin embargo, incluso sin darnos cuenta, nuestro cerebro detecta patrones formales propios de la acción humana."},{"_id":"2R26EJRX65FGLICQWUNP3JGRZ4","additional_properties":{},"type":"text","content":"En resumen, nuestro estudio muestra por primera vez de manera explícita que ciertos rasgos formales como el equilibrio, la complejidad u organización interactúan para generar la impresión de intencionalidad en una obra. Y esa impresión nos permite identificar correctamente qué piezas han sido creadas por personas, incluso cuando no son artistas y aunque la obra sea abstracta."},{"_id":"X2QIJ2VCPVH3PIGYTZXAHTHLQE","additional_properties":{},"type":"text","content":"La próxima vez que alguien diga “esto lo pinta mi perro”, quizá valga la pena recordar que incluso los garabatos menos deliberados llevan la huella de una mano humana."},{"_id":"FFFHQL74XVFXLLRLFTFMLKVRHA","additional_properties":{},"type":"text","content":"*Profesor Distinguido especializado en investigaciones de Biología y Psicología Evolutiva, Universidad de Las Palmas de Gran Canaria. *Senior Researcher in Archaeology and Cognitive Psychology, University of Bergen."},{"_id":"YP23EFZEPVCHRIBLQYO4XO474Y","additional_properties":{},"type":"text","content":"This article is republished from The Conversation under a Creative Commons license. Read the original article."}],"copyright":"Juan Olvido Perea García * Larissa M Straffon * The Conversation","subheadlines":{"basic":"Cuando una composición reparte sus elementos de forma coherente y presenta un cierto orden interno, tendemos a interpretarla como producto deliberado de un ser humano."},"source":{"system":"composer","name":"semana","source_type":"staff"},"taxonomy":{"sections":[{"path":"/cultura","parent":{"default":"/"},"_website":"semana","parent_id":"/","name":"Arcadia","description":"Explore lo mejor del arte, literatura, cine, música y más. Mantenga al día con las últimas noticias culturales en Colombia y el mundo en Semana.","_id":"/cultura","additional_properties":{"original":{"parent":{"default":"/","semana_footer_ourbrands":"/","SemanaMainHeader":"/"},"navigation":{"nav_title":"Arcadia"},"site":{"site_url":"/cultura/","site_keywords":null,"site_about":"6","site_description":"Explore lo mejor del arte, literatura, cine, música y más. 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"},{"_id":"Y2VYR2UDSBFZZB7MDCRND3XKT4","additional_properties":{},"type":"text","content":"En Bogotá, Loureiro ofrecerá una combinación de clínica y concierto para inspirar a los participantes y a todos los que en la expresión musical y en la guitarra encuentran en espacio de creación o un escape necesario. Sobre música, Angra, Megadeth y guitarras, hablamos con el virtuoso brasilero. Esto nos dijo. "},{"_id":"NMENKAHOLRAGXJQ5P4R2DTOTPM","additional_properties":{},"type":"text","content":"SEMANA: Ha integrado proyectos musicales notables y los ha alternado con una exitosa carrera solista de 20 años ya, ¿cómo maneja su tiempo para mantener su proyecto vigente sin afectar los otros trabajos?"},{"_id":"JAEJPHIDE5AILMCJLKGWK27VR4","additional_properties":{},"type":"text","content":"Kiko Loureiro: Todo empezó cuando estaba en Angra; siempre escribía composiciones orientadas al sonido de la guitarra. Mientras estábamos escribiendo el álbum Temple of Shadows (2004), sentí la necesidad de orientarme mucho más en la guitarra y de enfocar canciones en ella, en un proyecto distinto que no afectara a la banda; le manifesté la idea al productor del álbum, Dennis Ward. Dennis sabía que era fanático de siempre de guitarristas como Joe Satriani o Steve Vai, tal como él, así que coincidimos en nuestros gustos. "},{"_id":"B7EZGLVBTBAGRK3PHI7EBEIRMY","additional_properties":{},"type":"text","content":"Después de grabar el álbum con Angra, Ward apostó por este proyecto, y lo hicimos posible, lanzando No Gravity (2005), y desde entonces lo he alternado con los demás proyectos sin afectarlos. Es bastante trabajo, pero es lo que amo hacer; lo he hecho y disfrutado como estudiante, como intérprete y como artista; como mencionaba, respeto mucho las visiones de mis compañeros de las bandas con quienes he compartido, por lo que mi proyecto no ha afectado musical ni personalmente ninguna decisión tomada conjuntamente por las bandas."},{"_id":"AOCJXD2SKZB45JG5SPFFMDAE2M","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"ESTEBAN VEGA LA-ROTTA","address":{},"syndication":{},"auth":{"1":"273e07a9822fd9b5981918ccd16e8c9378d8f7ee6d252403c658f7c34042bad1"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/FS5CMXBR6RDWLMCAS3HUVWEQDA.jpg","licensable":false,"alt_text":"IRON MAIDEN, BOGOTÁ NOV 24, 2024, EL CAMPÍN","credits":{"affiliation":[{"name":"ESTEBAN VEGA LA-ROTTA","type":"author"}]},"subtitle":"","width":3062,"creditIPTC":"ESTEBAN VEGA LA-ROTTA","_id":"FS5CMXBR6RDWLMCAS3HUVWEQDA","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/FS5CMXBR6RDWLMCAS3HUVWEQDA.jpg?auth=273e07a9822fd9b5981918ccd16e8c9378d8f7ee6d252403c658f7c34042bad1","proxyUrl":"/resizer/v2/FS5CMXBR6RDWLMCAS3HUVWEQDA.jpg?auth=273e07a9822fd9b5981918ccd16e8c9378d8f7ee6d252403c658f7c34042bad1","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/FS5CMXBR6RDWLMCAS3HUVWEQDA.jpg","published":true,"resizeUrl":"/resizer/v2/FS5CMXBR6RDWLMCAS3HUVWEQDA.jpg?auth=273e07a9822fd9b5981918ccd16e8c9378d8f7ee6d252403c658f7c34042bad1","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/FS5CMXBR6RDWLMCAS3HUVWEQDA.jpg?auth=273e07a9822fd9b5981918ccd16e8c9378d8f7ee6d252403c658f7c34042bad1&width=300","version":0,"usage_instructions":"Semana /Cultura","originalName":"20241124210718_EVL_6804 (1).jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2024-11-25T14:26:17Z","last_updated_date":"2024-11-25T14:26:17Z","height":2041,"image_type":"photograph"},"description":{"_id":"KVRUXQEWABB2VKFI7VUQT43C3A","type":"text","content":""},"_id":"NMAREOMNRJEUJGTA73NMIW66RQ","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Suprema, incomparable, inigualable: Iron Maiden derritió El Campín y revalidó su pasión ardiente con Colombia","url":"https://www.semana.com/cultura/articulo/suprema-incomparable-inigualable-iron-maiden-derritio-el-campin-y-revalido-su-pasion-ardiente-con-colombia/202405/"}]},{"_id":"NAEZ6IUKQVHKJCDB6YACN4N53Q","additional_properties":{},"type":"text","content":"SEMANA: Teniendo en cuenta el virtuoso y reconocido músico que eres ¿En este momento estás únicamente enfocado en tu proyecto solista o has considerado trabajar con otras agrupaciones?"},{"_id":"J2PJ36CWZNAH3CMMIRGBK3MK74","additional_properties":{},"type":"text","content":"K.L.: Por ahora estoy totalmente enfocado en mi proyecto solista. De hecho, en este momento estoy trabajando en nuevo material que posiblemente salga en julio de este año. Actualmente, me encuentro trabajando en ajustes en los riffs y en lo que serían los solos para su mezcla y producción. Me he sentido muy cómodo trabajando así porque manejo menos presión y únicamente soy yo quien impone las reglas bajo mi propio gusto. Por ejemplo, cuando trabajaba con Megadeth, también me sentí muy cómodo para componer y demás, sin embargo, a veces los percances no solo eran por cuestiones de la banda, sino también por el gran itinerario, por temas logísticos o de organización para hacer giras o presentaciones, algo muy común para una banda tan reconocida; ese tipo de detalles algunas veces hacen que se atrase un poco tu trabajo; así que como mencioné, en este momento, estoy 100% enfocado en mi proyecto para ir más a un ritmo en donde me siento realmente cómodo. "},{"_id":"Z6PY3YHKTRFOVLGWDYHFTQKW6Q","additional_properties":{},"type":"text","content":"SEMANA: Sobre su trabajo más reciente, Theory of Mind (2024), ¿cómo fue el proceso de composición y producción teniendo en cuenta que no lanzaba música solista desde 2020?"},{"_id":"DT6XQOGQ3JFGLODTXJMD362MSQ","additional_properties":{},"type":"text","content":"K.L.: Fue un álbum complejo al momento de grabarse. Venía trabajando en él desde 2020 antes de que ocurriera la pandemia, y además de ese hubo impedimentos que atrasaron parte del trabajo. Adicional a eso, hacía parte Megadeth desde hace un tiempo, y eso exigía mucho trabajo y esfuerzo, por lo que el tiempo era muy limitado para trabajar en mi proyecto propio. "},{"_id":"FPN2DC5B25A3DGIBYNTGYVIEZQ","additional_properties":{},"type":"text","content":"Cuando tuve la oportunidad de retomar mi trabajo individual de manera más atenta, decidí integrar diferentes estilos de música y combinarlos a lo pesado del rock; en cuanto al concepto, decidí nombrarlo Theory of Mind basándome en términos psicológicos, que se basan en cómo entendemos la mente y el comportamiento humano. Me inspiré viendo el comportamiento de mis hijos e inclusive viendo la notoria influencia de la inteligencia artificial en la actualidad; ambos, factores que me hicieron analizar cómo estos afectan mi vida personal, desde lo familiar y lo profesional. Todo está basado en la perspectiva de que hoy día la inteligencia artificial ha influido en el mundo, incluso en la creación de música. Quise integrar todo esto en un solo concepto, de ahí el nombre del álbum."},{"_id":"EX2YVYKNYBAEZBDCUGDJQAB3LA","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Ricardo Matsukawa","address":{},"syndication":{},"auth":{"1":"a70bf6b8ab29c4549c7f42dd8200e7bd69f5946f95fdb99892f46133ebd6870b"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7RJP3NQGRRHRNPNNWJBALZD7QI.jpg","licensable":false,"alt_text":"Judas Priest se ha acostumbrado a jamás decepcionar.","credits":{"affiliation":[{"name":"Ricardo Matsukawa","type":"author"}],"by":[{"name":"Ricardo Matsukawa","type":"author","byline":"Ricardo Matsukawa"}]},"subtitle":"","width":2048,"creditIPTC":"Ricardo Matsukawa","_id":"7RJP3NQGRRHRNPNNWJBALZD7QI","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/7RJP3NQGRRHRNPNNWJBALZD7QI.jpg?auth=a70bf6b8ab29c4549c7f42dd8200e7bd69f5946f95fdb99892f46133ebd6870b","proxyUrl":"/resizer/v2/7RJP3NQGRRHRNPNNWJBALZD7QI.jpg?auth=a70bf6b8ab29c4549c7f42dd8200e7bd69f5946f95fdb99892f46133ebd6870b","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7RJP3NQGRRHRNPNNWJBALZD7QI.jpg","published":true,"resizeUrl":"/resizer/v2/7RJP3NQGRRHRNPNNWJBALZD7QI.jpg?auth=a70bf6b8ab29c4549c7f42dd8200e7bd69f5946f95fdb99892f46133ebd6870b","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/7RJP3NQGRRHRNPNNWJBALZD7QI.jpg?auth=a70bf6b8ab29c4549c7f42dd8200e7bd69f5946f95fdb99892f46133ebd6870b&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"54465183714_f5956c32ce_k.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2025-04-21T14:16:18Z","last_updated_date":"2025-04-21T14:16:18Z","height":1365,"image_type":"photograph"},"description":{"_id":"PPP2HCM7ZNCZXKGHEGHX7ADBGM","type":"text","content":""},"_id":"YYKY5VHY5FHAZOPVCVMYMLT52Y","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Así fue Monsters of Rock II Bogotá: Scorpions dejó un gran vacío que Judas Priest llenó con clásicos y joyas únicas","url":"https://www.semana.com/cultura/articulo/asi-fue-monsters-of-rock-ii-bogota-scorpions-dejo-un-gran-vacio-que-judas-priest-lleno-con-clasicos-y-joyas-unicas/202516/"}]},{"_id":"VO7GCVS6WBGGNIYLFODHL7D7OY","additional_properties":{},"type":"text","content":"SEMANA: A la fecha ha lanzado 6 álbumes de estudio como solista; desde No Gravity de 2005 hasta el mencionado Theory of Mind ¿Cuál ha sido el trabajo más desafiante?"},{"_id":"K4YE2Z574BAZHOZNT7CYQYQ6BU","additional_properties":{},"type":"text","content":"K.L.: Considero que cada álbum tiene un desafío en particular, sin embargo, para mí lo más desafiante es mantenerse consistente como artista. Cada álbum, sin importar si trabajas como solista o con alguna banda en específico, requiere de mucho esfuerzo. Puedes estar en el estudio, ensayando, componiendo o incluso detrás de una consola tú solo (o con los otros músicos) decidiendo qué modificar o corregir; es un trabajo muy demandante. "},{"_id":"4K7QJ745ZJETVNIPTPQM3TSUAM","additional_properties":{},"type":"text","content":"Y puede ser desafiante desde la parte mental cuando quieres mejorar algo en el sonido repitiendo o agregando detalles reiteradas veces, además de la parte física, que siente el tocar repetidamente algo para perfeccionarlo; puede ser agotador y requiere de bastante esfuerzo. "},{"_id":"EGF26RN4SNFL3O42D7XTFOVHNQ","additional_properties":{},"type":"text","content":"Si estás con una banda, puedes discutir lo que se puede mejorar y lo que no; estando solo, puedes tomar todas las decisiones que consideres, no es tanta presión, pero la sientes. Cada situación tiene su grado de dificultad, así que no podría mencionar un álbum en particular porque detrás de cada uno hay diferentes desafíos según las necesidades musicales que se requieran."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"cortesía oregon / black line","address":{},"syndication":{},"auth":{"1":"63f08e530b0dc0c8ce627a8fae355b6cc33d4e528119dfda74676e747d340841"},"caption":"Su carrera en solitario empezó mientras escribían con Angra el álbum 'Temple of Shadows' (2004). Ahí supo que quería crear otra capa que no tocara la de las bandas que integra.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/LRROSLFGXND3RFBN2NP3QPQ6CA.jpg","licensable":false,"alt_text":"Su carrera en solitario empezó mientras escribían con Angra el álbum 'Temple of Shadows' (2004). Ahí supo que quería crear otra capa que no tocara la de las bandas que integra.","credits":{"affiliation":[{"name":"cortesía oregon / black line","type":"author"}]},"subtitle":"Kiko Loureiro","width":2000,"creditIPTC":"cortesía oregon / black line","_id":"LRROSLFGXND3RFBN2NP3QPQ6CA","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/LRROSLFGXND3RFBN2NP3QPQ6CA.jpg?auth=63f08e530b0dc0c8ce627a8fae355b6cc33d4e528119dfda74676e747d340841","proxyUrl":"/resizer/v2/LRROSLFGXND3RFBN2NP3QPQ6CA.jpg?auth=63f08e530b0dc0c8ce627a8fae355b6cc33d4e528119dfda74676e747d340841","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/LRROSLFGXND3RFBN2NP3QPQ6CA.jpg","published":true,"resizeUrl":"/resizer/v2/LRROSLFGXND3RFBN2NP3QPQ6CA.jpg?auth=63f08e530b0dc0c8ce627a8fae355b6cc33d4e528119dfda74676e747d340841","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/LRROSLFGXND3RFBN2NP3QPQ6CA.jpg?auth=63f08e530b0dc0c8ce627a8fae355b6cc33d4e528119dfda74676e747d340841&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"unnamed (19).jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2025-05-12T15:28:02Z","last_updated_date":"2025-05-12T15:28:02Z","height":1356,"image_type":"photograph"},{"_id":"PPX7UOO4JRDLDLRDGMYBM6N7WA","additional_properties":{},"type":"text","content":"SEMANA: Excelentes músicos de sesión lo acompañan en sus presentaciones y al desarrollar sus proyectos, ¿selecciona músicos según las necesidades sonoras del momento o apela a los que ya conoce?"},{"_id":"EXCXUMSTRVCJTO7WHD2SWNQ5X4","additional_properties":{},"type":"text","content":"K.L.: Los músicos con los que trabajo son personas con quienes he compartido desde hace años. En el bajo me ha acompañado Felipe Andreoli que es un gran músico, y Bruno Valverde me ha acompañado en ocasiones en la batería (ambos miembros de Angra). Bruno me aportó mucho en la grabación del último álbum. También, tomo referentes de cada instrumento y trato de aplicarlos a mi trabajo; por ejemplo, un gran referente en las percusiones es uno de los mejores bateristas de Brasil llamado Cuca Teixeira, es muy versátil."},{"_id":"ATQUO64Q6FAB7P24KP327UZFFM","additional_properties":{},"type":"text","content":"Para las canciones que compongo, el tema de las percusiones es complejo y muy importante; no todos los bateristas podrían adaptarse para lo que requieren las canciones que compongo. Desde que inicié mi proyecto solista, he sido muy detallista con este aspecto, pues busco que el músico tenga componentes del heavy, que sea técnico, con tintes progresivos e, inclusive, que en ocasiones maneje ritmos brasileños; es decir, no necesariamente debe estar enfocado en ellos, pero si los tiene, es un gran plus para desarrollar nuevos sonidos. Como comentaba, me siento muy a gusto con Bruno en las percusiones y con Felipe en el bajo, son grandes profesionales y personas; sin embargo, a futuro, si quisiese experimentar y lanzar un nuevo álbum o proyecto, quizás pueda experimentar con otros músicos; tal vez quiera probar con otros sonidos y diferentes niveles de tecnicismo. Eso puede pasar."},{"_id":"6NUXYWLJ25FLZPJJNP67I77X4U","additional_properties":{},"type":"text","content":"SEMANA: Hablando de su paso por Megadeth, participó en los últimos álbumes de estudio de la banda Dystopia (2016) y The Sick, the Dying… and the Dead! (2022); ¡tuvo libertad de componer canciones para la banda! ¿Cómo fue la experiencia, teniendo en cuenta que las dinámicas seguramente eran diferentes a las que conocía?"},{"_id":"AEGE6LY24ZGMJF3HAVSOMR56TE","additional_properties":{},"type":"text","content":"K.L.: Como mencionaba, trabajar y componer grupalmente es desafiante, es muy diferente a cuando tú manejas un proyecto individual. Dave Mustaine es muy perfeccionista y enfocado con su proyecto; sin embargo, me posibilitó una gran libertad creativa, por lo que pude componer canciones como “Post American World”, “Poisonous Shadows” y “Lying in State” para el álbum Dystopia. La presión fue alta, pero el resultado fue muy positivo, tanto así, que para el álbum The Sick, the Dying… and the Dead! tuve mucha participación componiendo y participando activamente en la mayoría de las canciones del disco; desde componer intros, añadir arreglos en el piano y las voces de los coros, hasta nuevamente componer canciones completas. Los resultados fueron increíbles; los fans y la crítica tuvieron muy buenas opiniones, lo que dice que hice las cosas bien gracias a un gran trabajo y esfuerzo. Muestra de todo lo dicho, fue haber ganado un Grammy en 2017, siendo ganadores de la mejor interpretación de metal de ese año con la canción Dystopia; lo cual fue muy satisfactorio para todos nosotros. "},{"_id":"SUEYT2UX5FF25JS7FPRY7PCE5Q","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Esteban Vega La-Rotta","address":{},"auth":{"1":"d2b553e2a54b19e7b8bd4c7acd77e976e37d89ba1fd85fd1883013b28eadd552"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PTSEYJ3YTFDCTCQWWBOGZ4IBNE.jpg","licensable":false,"alt_text":"Megadeth en Bogotá, abril 21 de 2024.","credits":{"affiliation":[{"name":"Esteban Vega La-Rotta","type":"author"}]},"subtitle":"","width":5646,"_id":"PTSEYJ3YTFDCTCQWWBOGZ4IBNE","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/PTSEYJ3YTFDCTCQWWBOGZ4IBNE.jpg?auth=d2b553e2a54b19e7b8bd4c7acd77e976e37d89ba1fd85fd1883013b28eadd552","keywords":[""],"proxyUrl":"/resizer/v2/PTSEYJ3YTFDCTCQWWBOGZ4IBNE.jpg?auth=d2b553e2a54b19e7b8bd4c7acd77e976e37d89ba1fd85fd1883013b28eadd552","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PTSEYJ3YTFDCTCQWWBOGZ4IBNE.jpg","published":true,"resizeUrl":"/resizer/v2/PTSEYJ3YTFDCTCQWWBOGZ4IBNE.jpg?auth=d2b553e2a54b19e7b8bd4c7acd77e976e37d89ba1fd85fd1883013b28eadd552","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/PTSEYJ3YTFDCTCQWWBOGZ4IBNE.jpg?auth=d2b553e2a54b19e7b8bd4c7acd77e976e37d89ba1fd85fd1883013b28eadd552&width=300","version":0,"usage_instructions":"Semana /Cultura","originalName":"20240421211836_EVL_4570.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2024-04-22T21:27:23Z","last_updated_date":"2024-04-22T21:27:23Z","height":3764,"image_type":"photograph"},"description":{"_id":"UEK6B2AMDNEUBMVVKSCEVUMXSE","type":"text","content":""},"_id":"XB3DK6WQEFEI5OCVWLCG2EFIMA","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Megadeth en Bogotá: dos noches inolvidables en el Movistar Arena marcaron la congregación de la iglesia de Mustaine","url":"https://www.semana.com/cultura/articulo/megadeth-en-bogota-dos-noches-inolvidables-en-el-movistar-arena-marcaron-la-congregacion-de-la-iglesia-de-mustaine/202440/"}]},{"_id":"GFBVXDRNIRGQ7KA3GVQUC62CMQ","additional_properties":{},"type":"text","content":"SEMANA: Si tuviera que elegir una canción de sus trabajos en Angra y Megadeth, ¿cuál elegiría y por qué?"},{"_id":"SBUYJFQY7VDBLDKSEJ5MLU4JBI","additional_properties":{},"type":"text","content":"K.L.: Es una pregunta muy compleja. Porque cuando comparto con compañeros en las bandas, antes de cada presentación nos cuesta un poco elegir qué tocar, teniendo en cuenta que tanto le gusta al público en el momento. Pero, si tuviera que elegir una canción de Angra de la cual me enorgullezco, sería “Late Redemption” del Temple of Shadows (2004); me encantó el resultado de como suena porque mayormente la compuse en el piano; pero también me encanta Holy Land (1996) del álbum homónimo, que fue escrita por André Matos y la considero una obra maestra hasta el día de hoy."},{"subtype":"youtube","referent":{"referent_properties":{},"provider":"https://www.youtube.com/oembed?maxwidth=560&maxheight=340&url=","service":"oembed","id":"https://youtu.be/nsWmD66bUpg?si=tiUnubo-FipRcLuK","type":"youtube"},"_id":"NLDKBG4XBJFFFOQK5DMIE2JGSE","raw_oembed":{"author_name":"Angra - Topic","provider_url":"https://www.youtube.com/","title":"Late Redemption","type":"youtube","thumbnail_url":"https://i.ytimg.com/vi/nsWmD66bUpg/hqdefault.jpg","version":"1.0","thumbnail_height":360,"author_url":"https://www.youtube.com/channel/UCTkcCBkaRc7knrvFO6hkr-g","width":453,"thumbnail_width":480,"html":"","_id":"https://youtu.be/nsWmD66bUpg?si=tiUnubo-FipRcLuK","provider_name":"YouTube","height":340},"type":"oembed_response"},{"_id":"ILSW6EWGINCMVHFMLIZZLOMPII","additional_properties":{},"type":"text","content":"Si eligiera canciones de mi etapa en Megadeth, elegiría “Dystopia” del álbum homónimo; de The Sick, the Dying… and the Dead!, es difícil porque me encanta todo el álbum y el trabajo, sin embargo, me encanta “Dogs of Chernobyl”, porque compuse la intro y Dave Mustaine añadió el resto; fue un trabajo que en lo personal me encanto, pues Dave y yo complementamos muy bien el ritmo de las guitarras, dando como resultado algo de lo cual me enorgullezco mucho."},{"subtype":"youtube","referent":{"referent_properties":{},"provider":"https://www.youtube.com/oembed?maxwidth=560&maxheight=340&url=","service":"oembed","id":"https://www.youtube.com/watch?v=QrV61ATP3Ec","type":"youtube"},"_id":"RXSJFNOQRBBJTKDEF2TRRAAFPQ","raw_oembed":{"author_name":"megadethvevo","provider_url":"https://www.youtube.com/","title":"Megadeth - Dystopia (Audio)","type":"youtube","thumbnail_url":"https://i.ytimg.com/vi/QrV61ATP3Ec/hqdefault.jpg","version":"1.0","thumbnail_height":360,"author_url":"https://www.youtube.com/@megadethvevo","width":560,"thumbnail_width":480,"html":"","_id":"https://www.youtube.com/watch?v=QrV61ATP3Ec","provider_name":"YouTube","height":315},"type":"oembed_response"},{"_id":"IAJKRRG4AVHTDAZC6TB3DDLRL4","additional_properties":{},"type":"text","content":"SEMANA: Kiko, gracias por su amabilidad y tiempo. Nos vemos en Bogotá este 17 de mayo..."},{"_id":"UJFNNVOECZF25CNFPBVDLBPNEM","additional_properties":{},"type":"text","content":"K.L.: ¡Claro que sí! Los espero a todos el 17 de mayo en el Ace of Spades de Bogotá para compartir con ustedes lo que más amo hacer. ¡Allá nos veremos!"},{"_id":"PF24GNFTWZEPNKV5DPTE7D2HPY","title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"MATH VALBUENA","address":{},"syndication":{},"auth":{"1":"2cf51e9b15f64569579476ae2f1fc2a8d9fad42f69f55c628e8000b403095f9b"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PKZIFCGA4FGKTEGROR7OUUMT4Y.jpg","licensable":false,"alt_text":"Foreigner / Movistar Arena de Bogotá, 5 de mayo 2025","credits":{"affiliation":[{"name":"Mathew Valbuena / @valbuenamath","type":"author"}],"by":[{"name":"MATH VALBUENA","type":"author","byline":"MATH VALBUENA"}]},"subtitle":"","width":2700,"creditIPTC":"Mathew Valbuena / @valbuenamath","_id":"PKZIFCGA4FGKTEGROR7OUUMT4Y","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/PKZIFCGA4FGKTEGROR7OUUMT4Y.jpg?auth=2cf51e9b15f64569579476ae2f1fc2a8d9fad42f69f55c628e8000b403095f9b","proxyUrl":"/resizer/v2/PKZIFCGA4FGKTEGROR7OUUMT4Y.jpg?auth=2cf51e9b15f64569579476ae2f1fc2a8d9fad42f69f55c628e8000b403095f9b","takenOn":"2025-05-06T03:07:03Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PKZIFCGA4FGKTEGROR7OUUMT4Y.jpg","published":true,"resizeUrl":"/resizer/v2/PKZIFCGA4FGKTEGROR7OUUMT4Y.jpg?auth=2cf51e9b15f64569579476ae2f1fc2a8d9fad42f69f55c628e8000b403095f9b","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/PKZIFCGA4FGKTEGROR7OUUMT4Y.jpg?auth=2cf51e9b15f64569579476ae2f1fc2a8d9fad42f69f55c628e8000b403095f9b&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"BFLIVE_FOREIGNER_MV8_3017.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2025-05-07T21:32:21Z","last_updated_date":"2025-05-07T21:32:21Z","height":1796,"image_type":"photograph"},"description":{"_id":"HU5D3FYM3VAIZBGLW72YL6PZEY","type":"text","content":""},"_id":"KI6RYS5TGJFEHD3ERWNPYNTQQM","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Foreigner: lo que se esperaba y mucho más por cuenta de Lou Gramm, así fue su concierto en el Movistar Arena","url":"https://www.semana.com/cultura/articulo/foreigner-lo-que-se-esperaba-y-mucho-mas-por-cuenta-de-lou-gramm-asi-fue-su-concierto-en-el-movistar-arena/202506/"}]},{"_id":"5G6QRMXDXFC7JFCWOSXYT7RKYE","additional_properties":{},"type":"text","content":"El sábado también tocará Andy Addams, invitado especial. Addams, quien abrió un show para Ozzy, es historia viva de amor al instrumento. Y por su entrega y perseverancia, hoypuede girar el continente al lado de Kiko Loureiro y Marty Friedman. Andy rinde tributo a sus raíces y a los íconos que lo inspiraron, por eso pueden esperar un homenaje a Elkin Ramírez y a Kraken. "},{"_id":"LKENWYLROFD3VKAJTTUNEQQ2YQ","additional_properties":{},"type":"text","content":"*Boletas en este enlace. Boletas físicas en Blasting Records y Sin Fronteras Discos."}],"copyright":"Redacción Arcadia","subheadlines":{"basic":"En el marco del primer Guitar Fest Colombia, que coronará este sábado, en Ace of Spades, a un joven guitarrista colombiano entre 170 participantes, el astro brasilero de las seis cuerdas visita el país para tocarle, enseñarle e inspirarlo. 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La vida pudo haber dictado que los instrumentos llegaran de México a las 10 de la mañana, como estaba pactado, no a las 7 p.m.; los hechos pudieron conspirar para que los instrumentos aterrizaran en escena antes de las 9 de la noche y alcanzaran las manos de sus virtuosos ejecutantes mucho antes de las 10:50 de la noche, hora a la que empezar a regar su magia."},{"_id":"SXITFGWRRFCW3NM6U7U6FY4OWI","additional_properties":{},"type":"text","content":"Tocaron, y nadie allí presenté lo olvidará. Son tan grandes ellos y su equipo que hicieron su prueba de sonido con su canción de apertura, la experiencia caótica llamada “Neurótica”. Desde ahí, exceptuando muy cortos tramos saturados, sonaron fantástico."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Santiago García / @electro_dynamique","address":{},"auth":{"1":"fa8e8e5dd40895c55f33e69e27d1555a42fe4b3eafac6bb5ebe89a8e952cd407"},"caption":"Danny Carey ama esta música y se nota. 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En el Royal Center, la gente pudo bailar su Crimson y su Beat cuando quiso, pudo corear, y le cantó el Oé Oé Oé Oéee a sus ídolos. Y eso no tuvo precio. Además, ayer en Bogotá tocaron por primera vez Belew, Levin, Vai, tres músicos que sintieron el calor de la gente y la devoción por esas canciones y exploraciones sonoras. Se sintió una energía de primer encuentro que jamás se replicará (pero ojalá se repita)."},{"_id":"EUMO7546HJFYLD6UR552LAPQ7U","title":"","type":"link_list","items":[{"image":{"copyright":"2022 Paul Bergen","syndication":{},"auth":{"1":"cb050a8805e3b589d9866a10f0d484abf5b73cca60fc19c0bc700699a3f8db26"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","licensable":false,"alt_text":"Steven Wilson, líder, cantante y guitarrista de Porcupine Tree, en el Ziggo Dome de Ámsterdam, en 2022. 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Porque vale anotar que son genios, pero que esta música es tan brava y emocionalmente compleja que sacarla perfecta no es de humanos. Y es fascinante verlos recomponer el camino cuando alguno toma una curva extraña. Es fascinante saberlos humanos y admirarlos aún más por eso, a metros de distancia."},{"level":2,"_id":"5YIE566HQVHKHIKVTZFQU665QY","additional_properties":{},"type":"header","content":"momentos, todos"},{"_id":"3SAMZMSVPBBLXMNLBD2EPVLWBE","additional_properties":{},"type":"text","content":"Con canciones de esa resonancia, cada espectador tuvo muchos picos de la noche, y qué milagro poder escoger algunos favoritos entre tantos. 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Tony Levin lo invita.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg","licensable":false,"alt_text":"Tony Levin, en el bajo y el Chapman Stick, es una figura musical impresionante.","credits":{"affiliation":[{"name":"Jon R. Luini","type":"author"}]},"subtitle":"BEAT (Adrian Belew, Tony Levin, Steve Vai, Danny Carey)","width":1667,"creditIPTC":"Jon R. 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Sí y no. El supercuarteto BEAT es liderado por esos reclutas que dieron una nueva personalidad a Crimson, Adrian Belew y Tony Levin, claves en la arquitectura del sonido; y para sopesar las ausencias de los británicos Fripp y Bruford, que estaban en otra sintonía, suma a dos estrellas planetarias, enamoradas e influenciadas por la música que tocarían: Steve Vai, que desde su guitarra ha empujado bordes sónicos, y Danny Carey, que con su batería ha hecho de Tool una fuerza global (que con esa banda viene de impactar a Bogotá de manera gloriosa hace apenas unas semanas)."},{"_id":"T5QNTM4NDJBGTPW3TDGIO5U4DA","additional_properties":{"_id":1744441046423},"type":"text","content":"Luego de cinco años de cuadrar los tiempos de estos músicos capaces de reemplazar a gigantes y no hacerlos extrañar, cosa que ha sucedido (para muchos, este fue el mejor tour del año pasado en Estados Unidos), Belew hizo de BEAT un show que todo el mundo quiere ver, y que antes de pasar por Europa vendrá a lugares de Latinoamérica, donde no ha sonado esta música. Ha sido un absoluto éxito, porque esta música pedía estallar, no ser olvidada."},{"_id":"KIDAIB76ABF4TDPKG32H6RQEGQ","additional_properties":{"_id":1744441046424},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"King Crimson","address":{},"syndication":{},"auth":{"1":"d59a776135b93f2914dd41afb7fb6ac2b5c89d5cdad32e22a1dda9244b41ff49"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/DJXE4ZVEFRDVRAPIPFO7F3GRYU.jpg","licensable":false,"alt_text":"Red King Crimson","credits":{"affiliation":[{"name":"King Crimson","type":"author"}]},"subtitle":"","width":1000,"creditIPTC":"King Crimson","_id":"DJXE4ZVEFRDVRAPIPFO7F3GRYU","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/DJXE4ZVEFRDVRAPIPFO7F3GRYU.jpg?auth=d59a776135b93f2914dd41afb7fb6ac2b5c89d5cdad32e22a1dda9244b41ff49","proxyUrl":"/resizer/v2/DJXE4ZVEFRDVRAPIPFO7F3GRYU.jpg?auth=d59a776135b93f2914dd41afb7fb6ac2b5c89d5cdad32e22a1dda9244b41ff49","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/DJXE4ZVEFRDVRAPIPFO7F3GRYU.jpg","published":true,"resizeUrl":"/resizer/v2/DJXE4ZVEFRDVRAPIPFO7F3GRYU.jpg?auth=d59a776135b93f2914dd41afb7fb6ac2b5c89d5cdad32e22a1dda9244b41ff49","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/DJXE4ZVEFRDVRAPIPFO7F3GRYU.jpg?auth=d59a776135b93f2914dd41afb7fb6ac2b5c89d5cdad32e22a1dda9244b41ff49&width=300","version":0,"originalName":"red arcadia.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2021-04-08T21:20:11Z","last_updated_date":"2021-04-08T21:20:11Z","height":530,"image_type":"photograph"},"description":{"_id":"E4CC5UTKMZHE5OGOGOPPPTRV6M","type":"text","content":""},"_id":"CCM7KRV2U5BRNEGMEENSBP7SVQ","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"Sobre King Crimson y la “música progresiva”: una charla con Sid Smith","url":"https://www.semana.com/cultura/articulo/sobre-king-crimson-y-la-musica-progresiva-una-charla-con-sid-smith/202152/"}]},{"_id":"VIDKPJU3V5AV5PBF5EZCCYNKSI","additional_properties":{"_id":1744441046425},"type":"text","content":"Al respeto de este evento histórico para la música progresiva en el país (que ha recibido a Opeth y a Tool, pero no a estos padres fundadores), SEMANA habló con Adrian Belew, el virtuoso de la guitarra, de voz asombrosa, cuyo empeño por darles vida nueva a estas canciones las tiene vibrando. Belew habló desde Nashville, donde vive. “Me honra ir a Bogotá y tocar por primera vez”, dice, “y llevar conmigo la mejor banda que he tenido”. No es poco decir considerando el tamaño de bandas que ha integrado, ¡incluyendo la que creó esta música!"},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. 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Por fortuna, el doctor de Steve Vai lo dejó perfecto para su toque en el país."},{"_id":"B3O4VOIPXJAM3DJS7PKW4HLDSY","additional_properties":{"_id":1744441046428},"type":"text","content":"Sobre la respuesta de la gente a BEAT, Belew la describe como “una explosión de felicidad, mucho más grande de lo que nadie esperaba”, razón por la cual decidieron llevar la gira a tantos lugares como pudieran. Pero hacer una gira mundial “es difícil cuando tienes gente como Steve Vai, Danny Carey y Tony Levin. Todos tienen otras cosas andando. Así que tratamos de apartar temporadas para coincidir y tocar en otros países”. Con toda esta logística involucrada, hacen esto por mera devoción."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. Luini","address":{},"syndication":{},"auth":{"1":"e625860d4bb6432b59a3eeaf2831942ecbda255b509cad7c0aeb61614bcec8f0"},"caption":"Steve Vai no imita a Robert Fripp, respeta sus canciones pero también les da su toque.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/IHHEDQBTSBHFZAPMLARENUA734.jpeg","licensable":false,"alt_text":"Steve Vai no imita a Robert Fripp, respeta sus canciones pero también les da su toque.","credits":{"affiliation":[{"name":"Jon R. Luini","type":"author"}]},"subtitle":"BEAT (Adrian Belew, Tony Levin, Steve Vai, Danny Carey)","width":1667,"creditIPTC":"Jon R. 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Hablan por teléfono y le ha hecho sugerencias. Robert no ha visto el espectáculo, no sé si vendrá, pero ha dicho cosas buenas”. Más que el de Fripp, cuenta el testimonio de miles de fanáticos como Osorio, que han visto el show y no le cambiarían nada."},{"_id":"DYU45RV3FRCU7CC6M46H5YBV3M","additional_properties":{"_id":1744441046432},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Kevin Westernberg","address":{},"auth":{"1":"c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86"},"vanity_credits":{"by":[{"name":"","type":"author"}]},"caption":"","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg","licensable":false,"alt_text":"Steven Wilson/ 'The Overview'","credits":{"affiliation":[{"name":"Kevin Westernberg","type":"author"}],"by":[{"name":"Kevin Westenberg","type":"author","byline":"Kevin Westenberg"}]},"subtitle":"","width":9000,"_id":"VLOKFYAN75AE5EYT3HRTBJ5R5A","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86","proxyUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86","takenOn":"2024-09-20T16:46:50Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg","published":true,"resizeUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"SW©WESTENBERG-364©WESTENBERG.v5.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"iptc_title":"Photographer"},"created_date":"2025-03-14T16:33:33Z","last_updated_date":"2025-03-14T16:33:33Z","slug":"Cpyright ©Kevin Westenberg ALL Rights Reserved","height":6750,"image_type":"photograph"},"description":{"_id":"GGSKO6VT2ZFHLJJTKUWRJ3IBKM","type":"text","content":""},"_id":"Z7HGADK7UVCZVC7M46XCHBZF6U","additional_properties":{"nofollow":false,"sponsored":false,"openInNewTab":true},"type":"interstitial_link","content":"El genio Steven Wilson, en entrevista exclusiva con SEMANA: “The Overview es una película para los oídos”","url":"https://www.semana.com/cultura/articulo/el-genio-steven-wilson-en-entrevista-exclusiva-con-semana-the-overview-es-una-pelicula-para-los-oidos/202500/"}]},{"_id":"RZML25ISVJA4ZBALOWCYGSPMPA","additional_properties":{"_id":1744441046433},"type":"text","content":"Sobre esas canciones y ese sonido que reviven en esta gira, Belew rememora: “Cuando nos reunimos, nos dimos cuenta de que hacíamos algo que no se parecía a la otra música de King Crimson y no se parecía a ninguna otra música. Y no solo nos estábamos descubriendo como músicos y la manera de trabajar, teníamos nueva tecnología que nadie estaba usando: Robert y yo teníamos sintetizadores de guitarra, Bill tenía una batería electrónica y Tony Levin apareció con esta cosa llamada stick. Nos miramos y dijimos: ‘¿Qué es eso?‘. Eso también contribuyó al carácter único. 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Por eso integró, se elevó y elevó la música de agrupaciones como las de Frank Zappa, David Bowie y Talking Heads. Por eso, un músico visionario como Robert Fripp lo llamó en los años ochenta para decirle “Quiero formar una banda contigo y con Bill Bruford”."},{"_id":"5YATGFSAGFG63KBDGRYQC2Y3A4","additional_properties":{"_id":1744390222273},"type":"text","content":"Desde ese momento, en el que Belew le dio el sí a Fripp y comenzaron a trabajar con Bruford, pero también con el fantástico bajista y stickista que es Tony Levin (una figura que no solo acompaña a Peter Gabriel en sus giras y grabaciones, les imprime su sello sonoro a sus hermosas canciones), se forjó una de las eras más recordadas e impactantes de King Crimson, la ochentera, con tres discos memorables (Discipline, 1981; Beat, 1982; Three of a Perfect Pair, 1984) que han marcado a los músicos que han marcado su vida."},{"_id":"KRMNBF3QKFHWNF32TDFEHRPZMQ","additional_properties":{"_id":"4UBAXLHCQVG4ZOP6RJKJP5EXF4"},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"King Crimson","address":{},"syndication":{},"auth":{"1":"558865736277e933d6a114c2e703393940fdef80b8e196de464ab2963c2eaaa9"},"caption":"In the Court of the Crimson King - King Crimson","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/LQDPU67THFFRZGPVLZEOPB3T7Y.jpg","licensable":false,"alt_text":"In the Court of the Crimson King - King Crimson","credits":{"affiliation":[{"name":"king","type":"author"}]},"subtitle":"In the Court of the Crimson King","width":1000,"creditIPTC":"king","_id":"LQDPU67THFFRZGPVLZEOPB3T7Y","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/LQDPU67THFFRZGPVLZEOPB3T7Y.jpg?auth=558865736277e933d6a114c2e703393940fdef80b8e196de464ab2963c2eaaa9","proxyUrl":"/resizer/v2/LQDPU67THFFRZGPVLZEOPB3T7Y.jpg?auth=558865736277e933d6a114c2e703393940fdef80b8e196de464ab2963c2eaaa9","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/LQDPU67THFFRZGPVLZEOPB3T7Y.jpg","published":true,"resizeUrl":"/resizer/v2/LQDPU67THFFRZGPVLZEOPB3T7Y.jpg?auth=558865736277e933d6a114c2e703393940fdef80b8e196de464ab2963c2eaaa9","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/LQDPU67THFFRZGPVLZEOPB3T7Y.jpg?auth=558865736277e933d6a114c2e703393940fdef80b8e196de464ab2963c2eaaa9&width=300","version":0,"originalName":"21st century arcadia.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2021-04-08T21:20:11Z","last_updated_date":"2021-04-08T21:20:11Z","height":530,"image_type":"photograph"},"description":{"_id":"ABJ7IOVIBNGJLEFHEYHMHCEVEE","type":"text","content":""},"_id":"AIO2HQRAYRHPLPR3NSPIZL4WEY","type":"interstitial_link","content":"Sobre King Crimson y la “música progresiva”: una charla con Sid Smith","url":"https://www.semana.com/cultura/articulo/sobre-king-crimson-y-la-musica-progresiva-una-charla-con-sid-smith/202152/"}]},{"_id":"XO45DGGZNZCVRHILRCKQIRJFWI","additional_properties":{"_id":1744390222275},"type":"text","content":"Entre los devotos de esta música incomparable se encuentran dos virtuosos como Steve Vai, guitarrista de otro planeta, admirador de las artes de Robert Fripp en las seis cuerdas, y Danny Carey, dios del trueno, baterista de Tool y absoluto estudioso de todo lo que Bill Bruford hizo con sus baterías en esos ochenta. 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De hecho, se plantea seguir, cuando pueda, como pueda, tocando esta música que sabe hace feliz a la gente (que ha respondido de manera sobrecogedora) y los alegra a ellos como músicos. Adrian es un hombre que, en sus palabras, canta todo el día, canta porque sí. La música le brota por los poros, y no puede estar más emocionado por seguir llevando estas canciones, que parecían condenadas al olvido (Fripp no las incluyó en su gira, tampoco a Belew, quizá el único capaz de cantarlas como merecen), a “tanta gente le sea posible”."},{"_id":"YBDGP7MXWZDZJEWGRW3UI54ZLI","additional_properties":{"_id":1744390222278},"type":"text","content":"Antes de su visita a Bogotá, con su absurda superbanda, Belew nos dio 34 minutos de su tiempo, todos aprovechados, todos memorables, en los que habló de todo: la huella de época pero sin época de la música que tocan, el milagro de esta gira, cómo conoció y produjo a Caifanes, el día en que visitó a Frank Zappa con Bill Bruford y muchísimo más."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. 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Tuve una cirugía en la mano, y ha sanado bien. Hace pocos días enviamos nuestra instrumentación para que llegue a tiempo a nuestra primera fecha en Monterrey, México. Estoy listo, estoy muy emocionado."},{"content_elements":[{"_id":"UJLKOGLTABCODC4546VX3QVE6Y","additional_properties":{},"type":"text","content":"Me honra ir a Bogotá a tocar por primera vez y llevar conmigo la mejor banda que he tenido."}],"citation":{"type":"text","content":""},"subtype":"blockquote","_id":"7DW2VKCNFZHN5AUI5QKGXY7BOA","type":"quote"},{"_id":"RWGW5DD2IZF3HO6QC45EFDTXCM","additional_properties":{"_id":1744372341804},"type":"text","content":"SEMANA: ¿Algo que sepa de Colombia?"},{"_id":"ZKQ27CX7GBEU7MUSV5CUPSFI2Q","additional_properties":{"_id":1744372341805},"type":"text","content":"A.B.: No, nunca he ido y creo que es maravilloso poder hacerlo: encontrar un lugar nuevo en el cual tocar. ¡He tocado casi en todas partes!"},{"_id":"ERAQZMOVXNF3TECTRGHGK5VLRU","additional_properties":{"_id":"TXYIT5BIYZCSPG3HARM7LA4UA4"},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Kevin Westernberg","address":{},"auth":{"1":"c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86"},"caption":"Steven Wilson/ 'The Overview'","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg","licensable":false,"alt_text":"Steven Wilson/ 'The Overview'","credits":{"affiliation":[{"name":"Kevin Westernberg","type":"author"}],"by":[{"name":"Kevin Westenberg","type":"author","byline":"Kevin Westenberg"}]},"subtitle":"Steven Wilson/ 'The Overview'","width":9000,"_id":"VLOKFYAN75AE5EYT3HRTBJ5R5A","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86","proxyUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86","takenOn":"2024-09-20T16:46:50Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg","published":true,"resizeUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/VLOKFYAN75AE5EYT3HRTBJ5R5A.jpg?auth=c2d8b195f8aa559d70deac628a0e1e65017baa800730d03c366e48971f23bc86&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"SW©WESTENBERG-364©WESTENBERG.v5.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"iptc_title":"Photographer"},"created_date":"2025-03-14T16:33:33Z","last_updated_date":"2025-03-14T16:33:33Z","slug":"Cpyright ©Kevin Westenberg ALL Rights Reserved","height":6750,"image_type":"photograph"},"description":{"_id":"5NAUJDFHNNGCLFBPCAFCQPSTZU","type":"text","content":""},"_id":"2MHSRDGCNRDW5DAWFGWH7ANRLY","type":"interstitial_link","content":"Steven Wilson, en entrevista exclusiva con SEMANA: “The Overview es una película para los oídos”","url":"https://www.semana.com/cultura/articulo/el-genio-steven-wilson-en-entrevista-exclusiva-con-semana-the-overview-es-una-pelicula-para-los-oidos/202500/"}]},{"_id":"3GLM3LAJXVHZ7GOA5CHK7CJH4E","additional_properties":{"_id":1744372341806},"type":"text","content":"SEMANA: Volviendo a esa cirugía reciente, ¿le dejó alguna lección o perspectiva?"},{"_id":"R2PNLSTSQNDBHLLVPW6KX23U7M","additional_properties":{"_id":1744372341807},"type":"text","content":"A.B.: Antes que todo, ¡Steve Vai también ha tenido un par de cirugías! En el tour más reciente, de 65 shows en Estados Unidos y Canadá, comencé a sentir que la mano izquierda se entumecía, a veces durante todo el día hasta la prueba de sonido. Y eso era aterrador. Pero Steve Vai había pasado por lo mismo. Así que me presentó a un cirujano increíble en Los Ángeles, el doctor Zari, quien hizo un trasplante de mano humana, ¡si puedes imaginarlo! Es así de bueno."},{"_id":"XBJUFOXL25DS7FAPKMLQJZMQK4","additional_properties":{"_id":1744372341809},"type":"text","content":"SEMANA: ¡Estaba en buenas manos!"},{"_id":"I3PK2F3BUJETRIHK6ZPLMTFXAA","additional_properties":{"_id":1744372341810},"type":"text","content":"A.B.: Para él, una cirugía de túnel carpiano es algo de rutina. No representa un gran reto. Y el proceso de recuperación ha sido muy bueno. Al principio no puedes tocar, por supuesto, pero eventualmente vuelve la destreza. Y, lo más importante, es que no he sentido ningún entumecimiento desde la cirugía y ya todo ha sanado. Todo está bien."},{"_id":"VLMU2S7ZSVFJPDAJUGGHCRSEFU","additional_properties":{"_id":1744372341811},"type":"text","content":"SEMANA: El mundo está un poco extraño estos días, hay caos, ¿cómo impacta a la música, a la banda? ¿Cómo lidia con estos tiempos?"},{"_id":"KVMWKFYWVVGCTNJVU2KYTPV6UE","additional_properties":{"_id":1744372341812},"type":"text","content":"A.B.: ¿Sabes? Nosotros solo hacemos lo que hacemos. Por supuesto, es difícil. Quiero decir, ha sido más difícil salir de los Estados Unidos, pero siento que eso está empezando a cambiar. Así que lo decidimos, después de una gira tan exitosa en la que nos encantó tocar juntos y todo fue maravilloso (es la banda perfecta para lo que estamos haciendo, todos son muy dedicados y todo nuestro equipo es genial). Y al final dijimos: “Bueno, llevemos esto ahora a tantos lugares del mundo como podamos. Hagamos una gira mundial”. Y eso es difícil cuando tienes a gente como Steve Vai, Danny Carey y Tony Levin, porque todos tienen otras cosas andando. Así que, poco a poco, estamos tratando de apartar temporadas en las que podamos coincidir para tocar en otros países, y Sudamérica es nuestra primera parada. Estamos muy contentos de haber podido hacerlo."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. Luini","address":{},"syndication":{},"auth":{"1":"2dfa24d99dbe2b0dbff49c97c34523db9d7d74324a95eecf3e4f3354d3346488"},"caption":"Tony Levin, en el bajo y el Chapman Stick (que toca en esta foto), es una figura musical impresionante que ha influido poderosamente en el sonido de King Crimson, de Peter Gabriel y, claro, de BEAT.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg","licensable":false,"alt_text":"Tony Levin, en el bajo y el Chapman Stick, es una figura musical impresionante.","credits":{"affiliation":[{"name":"Jon R. Luini","type":"author"}]},"subtitle":"BEAT (Adrian Belew, Tony Levin, Steve Vai, Danny Carey)","width":1667,"creditIPTC":"Jon R. Luini","_id":"PM57W7GUWBARNKWQHRUCXOFB4E","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg?auth=2dfa24d99dbe2b0dbff49c97c34523db9d7d74324a95eecf3e4f3354d3346488","proxyUrl":"/resizer/v2/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg?auth=2dfa24d99dbe2b0dbff49c97c34523db9d7d74324a95eecf3e4f3354d3346488","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg","published":true,"resizeUrl":"/resizer/v2/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg?auth=2dfa24d99dbe2b0dbff49c97c34523db9d7d74324a95eecf3e4f3354d3346488","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/PM57W7GUWBARNKWQHRUCXOFB4E.jpeg?auth=2dfa24d99dbe2b0dbff49c97c34523db9d7d74324a95eecf3e4f3354d3346488&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"BEATTonyJonRLuini.jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"34BD5E3YHVFEDFC6EQ2KZH6WQU"},"created_date":"2025-04-11T00:39:48Z","last_updated_date":"2025-04-11T00:39:48Z","height":2500,"image_type":"photograph"},{"_id":"R2PXQCAZLVFBFF2RATBFF6UIVY","additional_properties":{"_id":1744372341813},"type":"text","content":"SEMANA: Es una banda increíble, supergrupo si los hay, ¿cómo describiría en pocas palabras a estos tres increíbles músicos que lo acompañan?"},{"_id":"GOGXKQNIRRCCHCTPMAH5GOIXXI","additional_properties":{"_id":1744372341814},"type":"text","content":"A.B.: Bueno, ¡tengo la impresión de haber trabajado con Tony Levin toda mi vida! Es fenomenal. No puedo decir lo suficiente sobre él como persona y como músico. No hay nadie como él. Desde el principio supe que, si podía, tenía que tener a Tony en la banda, pues eso lo cambiaría todo. Y debo decir que Tony está más feliz tocando en esta banda de lo que jamás lo he visto. ¡De cierta manera, ha vuelto a la vida! Está tocando tan bien. Es increíble."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. Luini","address":{},"syndication":{},"auth":{"1":"7f2d55eef43b224977ee2523e4fe38390b0e32cf371d569998af958b1d071442"},"caption":"Belew asegura que no ha visto así de feliz a Tony Levin en su vida. ¡Y han trabajado juntos por décadas!","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/2EKDXHPO3FHSZJVN5W45ZQLPKQ.jpeg","licensable":false,"alt_text":"Belew asegura que no ha visto así de feliz a Tony Levin en su vida. Y han trabajado juntos por décadas.","credits":{"affiliation":[{"name":"Jon R. Luini","type":"author"}]},"subtitle":"BEAT (Adrian Belew, Tony Levin, Steve Vai, Danny Carey)","width":1667,"creditIPTC":"Jon R. Luini","_id":"2EKDXHPO3FHSZJVN5W45ZQLPKQ","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/2EKDXHPO3FHSZJVN5W45ZQLPKQ.jpeg?auth=7f2d55eef43b224977ee2523e4fe38390b0e32cf371d569998af958b1d071442","proxyUrl":"/resizer/v2/2EKDXHPO3FHSZJVN5W45ZQLPKQ.jpeg?auth=7f2d55eef43b224977ee2523e4fe38390b0e32cf371d569998af958b1d071442","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/2EKDXHPO3FHSZJVN5W45ZQLPKQ.jpeg","published":true,"resizeUrl":"/resizer/v2/2EKDXHPO3FHSZJVN5W45ZQLPKQ.jpeg?auth=7f2d55eef43b224977ee2523e4fe38390b0e32cf371d569998af958b1d071442","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/2EKDXHPO3FHSZJVN5W45ZQLPKQ.jpeg?auth=7f2d55eef43b224977ee2523e4fe38390b0e32cf371d569998af958b1d071442&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"BEATTonyDannyJonRLuini.jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"PIEPQYYROJHO7KHANY4PVRMC6Y"},"created_date":"2025-04-11T00:39:48Z","last_updated_date":"2025-04-11T00:39:48Z","height":2500,"image_type":"photograph"},{"_id":"Q6WSKYYP65GHHAEMADJ3QP6OFY","additional_properties":{"_id":1744372341815},"type":"text","content":"A Steve Vai no lo conocía, pero conocía su trabajo y sabía que era un gran admirador del trabajo de Robert Fripp con King Crimson, el King Crimson de principios de los ochenta. Así que fue la primera persona a la que llamé. Pensé que si podía conseguir a alguien adecuado para encargarse de las partes de Robert, el resto sería mucho más fácil. Y lo ha hecho muy bien. Lo que les dije tanto a él como a Danny (Carey) fue: “Quiero que elijan las cosas esenciales que tenemos que hacer para que la música sea correcta, pero luego quiero que retomen todo y lo hagan a su manera”. No quiero que la gente venga a ver a Steve Vai imitando a Robert Fripp. Quiero que vean a Steve Vai tocando algunas de las partes que hay que tocar, a su manera. Y él ha hecho exactamente eso. Y también Danny. Conozco a Danny desde hace mucho tiempo. Ha tocado en un par de mis discos como solista. Desde el primer momento en que conocí a Danny, me abrazó tan fuerte que pensé que me iba a romper la espalda, porque dijo: “Te amo mucho por esos discos que hiciste en los ochenta”."},{"_id":"KZXTLOVDUJFK7FNVLJOMIPKVSE","additional_properties":{"_id":1744372341816},"type":"text","content":"Así que ya sabía que él era el mayor fanático de esa música. Dijo que le cambió la vida (de hecho, compró mucho del equipo que Bill Bruford usó y luego vendió a lo largo de los años). Así que Danny era, para mí, el baterista perfecto. Eso sí, tuve que esperar hasta que todos estuvieran listos: esperé a que Tony terminara de tocar con Peter Gabriel y esperé a Steve. Cuando le propuse por primera vez que lo intentáramos después del covid, me respondió que tenía 18 meses de gira continua por delante. Finalmente, cuando Tool terminó su gira, vinieron aquí donde vivo, a Nashville. Los conozco muy bien. Son buenos chicos. Así que pude ir al concierto y le pregunté a Danny en persona si estaba dispuesto. De nuevo, casi me mata a abrazos."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. Luini","address":{},"syndication":{},"auth":{"1":"e625860d4bb6432b59a3eeaf2831942ecbda255b509cad7c0aeb61614bcec8f0"},"caption":"Virtuoso se escribe con V de Vai. El guitarrista ha logrado tomar las partes de Robert Fripp, respetarlas y también hacerlas suyas. Se dice que brilla locamente en 'The Sheltering Sky'.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/IHHEDQBTSBHFZAPMLARENUA734.jpeg","licensable":false,"alt_text":"Steve Vai no imita a Robert Fripp, respeta sus canciones pero también les da su toque.","credits":{"affiliation":[{"name":"Jon R. Luini","type":"author"}]},"subtitle":"BEAT (Adrian Belew, Tony Levin, Steve Vai, Danny Carey)","width":1667,"creditIPTC":"Jon R. Luini","_id":"IHHEDQBTSBHFZAPMLARENUA734","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/IHHEDQBTSBHFZAPMLARENUA734.jpeg?auth=e625860d4bb6432b59a3eeaf2831942ecbda255b509cad7c0aeb61614bcec8f0","proxyUrl":"/resizer/v2/IHHEDQBTSBHFZAPMLARENUA734.jpeg?auth=e625860d4bb6432b59a3eeaf2831942ecbda255b509cad7c0aeb61614bcec8f0","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/IHHEDQBTSBHFZAPMLARENUA734.jpeg","published":true,"resizeUrl":"/resizer/v2/IHHEDQBTSBHFZAPMLARENUA734.jpeg?auth=e625860d4bb6432b59a3eeaf2831942ecbda255b509cad7c0aeb61614bcec8f0","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/IHHEDQBTSBHFZAPMLARENUA734.jpeg?auth=e625860d4bb6432b59a3eeaf2831942ecbda255b509cad7c0aeb61614bcec8f0&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"BEATSteve3JonRLuini.jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"JP6AE7ORYRDYZFODR2VBH3NRAM"},"created_date":"2025-04-11T00:39:48Z","last_updated_date":"2025-04-11T00:39:48Z","height":2500,"image_type":"photograph"},{"_id":"TPIB7USNYNEPLKFVZ2KWZIFFGA","additional_properties":{"_id":1744390222300},"type":"text","content":"SEMANA: Es necesario conectar con Robert Fripp. ¿Qué tan clave fue hablar con él y obtener su bendición, e incluso quizás la sugerencia para el nombre?"},{"_id":"3BEHCVUUHVCW5EZR6WWHFG2LKQ","additional_properties":{"_id":1744372341818},"type":"text","content":"A.B.: Robert apoyó la idea desde el principio. Cuando lo llamé en 2019, yo sabía que el aniversario de la música de los ochenta de King Crimson y el aniversario de mi ingreso y el de Tony a King Crimson estaban a tan solo dos años (2021). Le dije que, si era posible, deberíamos hacer algo al respecto, celebrarlo, así fueran unos pocos conciertos. Él lo pensó y al día siguiente me dijo en un correo electrónico que tenía demasiadas cosas en marcha y no creía poder comprometerse. Pero sí me dijo por teléfono: “Si tú quieres impulsarlo”, y esa fue la palabra que usó, “tienes mi bendición para hacerlo”."},{"_id":"Y45UBKZCPBHYZBDPODUOVU4W6A","additional_properties":{"_id":1744372341819},"type":"text","content":"No creo que Robert imaginara lo que tenía en mente, o que entendiera que hablaba tan en serio y que iba a conseguir a los mejores músicos del mundo. Creo que pensó que solo conseguiría a un par de personas para quizás tocar algunos conciertos (risas). Pero ahora ha desarrollado una relación con Steve Vai. Hablan mucho por teléfono sobre la música y le ha hecho algunas sugerencias."},{"_id":"FRJX6K2HZBDXRPR5I6DV5WQYCE","additional_properties":{"_id":1744372341820},"type":"text","content":"Volviendo al cuento, cuando supe que todos estaban alineados, volví a llamar a Robert. Habían pasado años, y le dije: “Bueno, esto es lo que estoy haciendo”. Hablamos y estaba muy contento. Y preguntó: “¿Cómo lo vas a llamar?”. Y dije: “Tenemos todo un equipo de producción y productores, pero realmente no sabemos”. Y él dijo: “Bueno, he usado tanto la palabra ‘disciplina’ en mi trabajo (su sello discográfico incluso se llama así). Y sé que tú y Tony han usado las palabras Three of a Perfect Pair para la Bandcamp durante 13 años”. Y sí, lo hacemos todos los años. Y sugirió, “¿Por qué no lo llaman BEAT?”. Y pensé que era perfecto, es muy fácil de recordar y obedeciendo a la leyenda de que estamos “haciendo música de los ochenta de King Crimson”, queda muy claro lo que vas a obtener. Eso funcionó muy bien."},{"_id":"G56OKOO7RJCGJJUFYEOKFCZT5M","additional_properties":{"_id":1744372341821},"type":"text","content":"Robert no ha visto el espectáculo, y no sé si vendrá a verlo o no, pero probablemente ha visto muchos videos y ha dicho cosas buenas al respecto."},{"_id":"HCM55W6SCJEIVJ4ICIDJANIEJI","additional_properties":{"_id":1744372341822},"type":"text","content":"SEMANA: ¿Ha notado algún cambio en cómo responde el público a este material en comparación con los años ochenta?"},{"_id":"MZDEXYQMF5BYLAFZ4R2ZJPFPYA","additional_properties":{"_id":1744372341823},"type":"text","content":"A.B.: ¡Oh, me ha sorprendido mucho! Ha sido una explosión de felicidad entre los fans. Sabía que tendría algún efecto. Pensé que habría gente que lo había visto en aquel entonces y gente más joven que quería verlo, pero que nunca había tenido la oportunidad. Pero luego, cuando se suman los fans de Tool y los fans de Steve Vai, realmente me sorprendió. Fue mucho más grande de lo que nadie esperaba. Aquí, en los Estados Unidos, mucha gente la llamó “la gira del año”. Eso nos llevó a continuar, es demasiado bueno para no seguir adelante y tocar por todo el mundo si podemos."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. Luini","address":{},"syndication":{},"auth":{"1":"62567e9886bb7c664d1036519e127027c042a862a83d2406c6e15beee2769057"},"caption":"\"Conozco a Danny desde hace mucho tiempo. Ha tocado en un par de mis discos como solista. Y desde el primer momento en que lo conocí, me abrazó tan fuerte que pensé que me iba a romper la espalda. Me dijo: 'Te amo mucho por esos discos que hiciste en los ochenta'\", explica Adrian sobre el baterista que enloqueció a Bogotá hace apenas unas semanas con Tool. Verlo de nuevo en este escenario más íntimo será increíble. ","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/P3IN2A6XIJFJFMGD2BEH3HWOKU.jpeg","licensable":false,"alt_text":"Danny Carey enloqueció a Bogotá hace apenas unas semanas con Tool. Verlo de nuevo en este escenario más íntimo será increíble.","credits":{"affiliation":[{"name":"Jon R. Luini","type":"author"}]},"subtitle":"BEAT (Adrian Belew, Tony Levin, Steve Vai, Danny Carey)","width":1667,"creditIPTC":"Jon R. Luini","_id":"P3IN2A6XIJFJFMGD2BEH3HWOKU","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/P3IN2A6XIJFJFMGD2BEH3HWOKU.jpeg?auth=62567e9886bb7c664d1036519e127027c042a862a83d2406c6e15beee2769057","proxyUrl":"/resizer/v2/P3IN2A6XIJFJFMGD2BEH3HWOKU.jpeg?auth=62567e9886bb7c664d1036519e127027c042a862a83d2406c6e15beee2769057","link":"","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/P3IN2A6XIJFJFMGD2BEH3HWOKU.jpeg","published":true,"resizeUrl":"/resizer/v2/P3IN2A6XIJFJFMGD2BEH3HWOKU.jpeg?auth=62567e9886bb7c664d1036519e127027c042a862a83d2406c6e15beee2769057","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/P3IN2A6XIJFJFMGD2BEH3HWOKU.jpeg?auth=62567e9886bb7c664d1036519e127027c042a862a83d2406c6e15beee2769057&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"BEATDannyCareyJonRLuini.jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"TP2V7VDQZBAV3KHTHJFBFAMAXU"},"created_date":"2025-04-11T00:39:48Z","last_updated_date":"2025-04-11T00:39:48Z","height":2500,"image_type":"photograph"},{"_id":"WOQH6OGUYNCDDE5Z66ZQZKQ6AE","additional_properties":{"_id":1744372341824},"type":"text","content":"SEMANA: ¿Otras canciones que se llevan las ovaciones en estos conciertos?"},{"_id":"RN5AQD3SD5HQXJEA7OSQ3MM3FE","additional_properties":{"_id":1744372341825},"type":"text","content":"A.B.: Sí, hay otras. Hay algunas de las favoritas que sabes que generarán reacciones, como “Elephant Talk”. Pero cuando Steve Vai hace un solo prolongado en “Sheltering Sky”, en el que es su momento para brillar, genera una gran reacción. Luego, cuando hacemos “Waiting Man”, llevamos la batería al frente y Danny y yo hacemos exactamente lo que hacíamos con Bill (Bruford). Creo que ese es un momento especial. Hay muchos momentos especiales, en realidad. “Matte Kudasai” y tantas... se siente como un espectáculo perfecto. Y tiene dos secciones. Lo organicé de tal manera para tener algunas de las cosas más oscuras en la primera mitad y luego regresar y hacer todas las canciones que todos conocen mejor. Eso parece funcionar muy bien."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Esteban Vega La-Rotta","address":{},"syndication":{},"auth":{"1":"6d48931b44bbeb4205a8894b0daab55ea35328bac02ff4efcab5df54638257f0"},"caption":"El bajista Justin Chancellor y el baterista Danny Carey, modificando el espacio sonoro en Bogotá con la banda que lo hizo famoso, Tool. Carey es tan seguidor de esta música que tocará con BEAT en Bogotá, que compró todos los equipos que Bill Bruford tocó en esa época ochentera de King Crimson.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/APVLDWIHC5C55GLUATZK2DZWJ4.jpg","geo":{},"licensable":false,"alt_text":"tool no usar","credits":{"affiliation":[{"name":"Esteban Vega La-Rotta","type":"author"}],"by":[]},"subtitle":"no usar","width":6720,"creditIPTC":"Esteban Vega La-Rotta","_id":"APVLDWIHC5C55GLUATZK2DZWJ4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/APVLDWIHC5C55GLUATZK2DZWJ4.jpg?auth=6d48931b44bbeb4205a8894b0daab55ea35328bac02ff4efcab5df54638257f0","keywords":[],"proxyUrl":"/resizer/v2/APVLDWIHC5C55GLUATZK2DZWJ4.jpg?auth=6d48931b44bbeb4205a8894b0daab55ea35328bac02ff4efcab5df54638257f0","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/APVLDWIHC5C55GLUATZK2DZWJ4.jpg","published":true,"resizeUrl":"/resizer/v2/APVLDWIHC5C55GLUATZK2DZWJ4.jpg?auth=6d48931b44bbeb4205a8894b0daab55ea35328bac02ff4efcab5df54638257f0","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/APVLDWIHC5C55GLUATZK2DZWJ4.jpg?auth=6d48931b44bbeb4205a8894b0daab55ea35328bac02ff4efcab5df54638257f0&width=300","version":1,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"20250328213756_EVL_4691.jpg","mime_type":"image/jpeg","restricted":true,"template_id":280,"galleries":[],"_id":"MAGJG3KPJNF6ZIOCW3DRQNQNU4"},"created_date":"2025-04-11T13:41:20Z","last_updated_date":"2025-04-11T13:42:32Z","height":4480,"image_type":"photograph"},{"_id":"KTZI7NIPKNGLNMVNLCHTV3Y3VM","additional_properties":{"_id":1744390222311},"type":"text","content":"SEMANA: Sobre el setlist, ¿ha evolucionado?, ¿hay algún cambio?, ¿es dinámico?"},{"_id":"G5W464URNRDKZBHTKGCNQVMMQ4","additional_properties":{"_id":1744372341827},"type":"text","content":"A.B.: Diría que es eso, una “lista” que está muy “set” (establecida). Y hay razones para eso. No tenemos tiempo para ensayar nada nuevo. No tenemos tiempo para, ya sabes, trabajar nuevas ideas. Estamos yendo de un lugar a otro todos los días."},{"_id":"QTWJB6UURZH6XMU63QFOHZPRVY","additional_properties":{"_id":1744372341828},"type":"text","content":"Además, esa es la manera en que nos gusta la lista. Nadie se ha cansado de ella todavía. Todos decimos “Es genial, dejémosla así por ahora”, pero creo que cuando sigamos el próximo año, quiero introducir un par de canciones del doble trío, las que siento que podemos hacer y quizás reemplazar un par de canciones de este set que ya habrán tenido su momento. Hay algunas canciones que me hacen pensar que tenemos mejor material, pero no son de los ochenta. Así que pienso que tocaremos algunas cosas de los noventa. Trabajaremos en eso, porque el próximo año, creo, empezaremos de manera más natural y tendremos un tiempo para ensayar."},{"_id":"AVHYEUZAXNAZTBULPPVGCDP2DQ","additional_properties":{"_id":"AFRU5LGGMVCZ7H6UBHDHU4G3UE"},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"ESTEBAN VEGA LA-ROTTA","address":{},"auth":{"1":"095ba3a3e423bb3cbb7b7c1099132fc438003170970163a01b3e868522627aab"},"caption":"THE HIVES\nedición 15 del Festival Estéreo Picnic Bogotá 28 marzo 2025","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/NFAEWEVJ3RHKVEJRISPVY2GKFE.jpg","licensable":false,"alt_text":"THE HIVES\nedición 15 del Festival Estéreo Picnic Bogotá 28 marzo 2025","credits":{"affiliation":[{"name":"ESTEBAN VEGA LA-ROTTA-SEMANA","type":"author"}]},"subtitle":"THE HIVES edición 15 del Festival Estéreo Picnic Bogotá 28 marzo 2025","width":6025,"_id":"NFAEWEVJ3RHKVEJRISPVY2GKFE","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/NFAEWEVJ3RHKVEJRISPVY2GKFE.jpg?auth=095ba3a3e423bb3cbb7b7c1099132fc438003170970163a01b3e868522627aab","proxyUrl":"/resizer/v2/NFAEWEVJ3RHKVEJRISPVY2GKFE.jpg?auth=095ba3a3e423bb3cbb7b7c1099132fc438003170970163a01b3e868522627aab","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/NFAEWEVJ3RHKVEJRISPVY2GKFE.jpg","published":true,"resizeUrl":"/resizer/v2/NFAEWEVJ3RHKVEJRISPVY2GKFE.jpg?auth=095ba3a3e423bb3cbb7b7c1099132fc438003170970163a01b3e868522627aab","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/NFAEWEVJ3RHKVEJRISPVY2GKFE.jpg?auth=095ba3a3e423bb3cbb7b7c1099132fc438003170970163a01b3e868522627aab&width=300","version":0,"usage_instructions":"SEMANA","originalName":"20250328181923_EVL_3047.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2025-03-29T14:08:17Z","last_updated_date":"2025-03-29T14:08:17Z","height":4017,"image_type":"photograph"},"description":{"_id":"YCWQUQI2VJGY5GIHQEEV4HEHNM","type":"text","content":""},"_id":"ZBRTA4ZUGZFDZEOPS4E3WJLOZA","type":"interstitial_link","content":"Estéreo Picnic 2025, día 2: en una jornada épica, The Hives venció tormentas y Tool redefinió el plano sonoro","url":"https://www.semana.com/cultura/articulo/festival-estereo-picnic-2025-dia-2-en-una-jornada-epica-the-hives-vencio-tormentas-y-tool-redefinio-el-plano-sonoro/202550/?_gl=1*moecg3*_gcl_au*Nzg1MzY0NTE1LjE3NDQxMTM2NzE."}]},{"_id":"2CYSEQMNAFCBVPHRD4OAMLWWEQ","additional_properties":{"_id":1744372341831},"type":"text","content":"SEMANA: La música de los ochenta con King Crimson dejó tres discos históricos, y quería que nos contara un poco cómo esa música difiere del resto de lo que ha hecho..."},{"_id":"KHFDWEKIQNFZZMCCW5GZVDEOZA","additional_properties":{"_id":1744372341832},"type":"text","content":"A.B.: Robert me llamó y me dijo: “Quiero formar una banda contigo y con Bill Bruford”, y yo estaba tocando con Talking Heads. Fue realmente increíble recibir esa llamada. Conocía la música de Robert y Bill muy bien, y estaba encantado, pero ni yo imaginé a dónde nos llevaría. Cuando nos reunimos, nos dimos cuenta bastante rápido: “Wow, estamos haciendo algo que realmente no se parece a la otra música de King Crimson, ¡y no se parece a ninguna otra música!”. Y sentí que estábamos entrando en un territorio inexplorado, haciendo cosas que nadie había hecho antes."},{"content_elements":[{"_id":"EMTUBXTOPJCFHB7URKEKLNODLQ","additional_properties":{},"type":"text","content":"Cuando nos reunimos, nos dimos cuenta bastante rápido de estar haciendo algo que realmente no se parece a la otra música de King Crimson y a ninguna otra música. Estábamos entrando en un territorio inexplorado, haciendo cosas que nadie había hecho antes"}],"citation":{"type":"text","content":""},"subtype":"blockquote","_id":"HFE7XCF75VALPNRM57GKM3PULE","type":"quote"},{"_id":"GEV3W4G5AJB2RDLW5RRCE4CLOE","additional_properties":{"_id":1744390222318},"type":"text","content":"Por ejemplo, fue muy difícil para mí aprender a llevar el rol de compositor con ese material. Cuando tienes las dos guitarras ‘tadarara tararara - tadara tada’, es maravilloso, pero luego Robert dice: “Ahora, ¿puedes convertir esto en una canción?”. ¡Veamos! No hay cambios de acordes y no hay melodía. Y bueno, trabajé mucho en eso y comencé a poner cambios, a resolver acordes y a mover las partes con la aprobación de Robert, y las canciones comenzaron a surgir. Ahí supe que era algo realmente especial."},{"content_elements":[{"_id":"WMFGTECA7ZHWVMHXE464HDZBEA","additional_properties":{},"type":"text","content":"Fue muy difícil para mí aprender a llevar el rol de compositor con ese material. Cuando tienes las dos guitarras ‘tadarara tararara - tadara tada’, es maravilloso, pero luego Robert dice: “Ahora, ¿puedes convertir esto en una canción?”. Veamos... ¡No hay cambios de acordes y no hay melodía!"}],"citation":{"type":"text","content":""},"subtype":"blockquote","_id":"ZBWQX6HMCFAOZJKABAIHRSOQYQ","type":"quote"},{"_id":"H2UALYOGUJHXXBEWSOPW435NQY","additional_properties":{"_id":1744372341834},"type":"text","content":"Esta música me ha afectado a lo largo de mi vida porque mucha gente siempre quiere escucharla. No sé cuántas giras en solista he hecho, pero siempre he tocado canciones de King Crimson de esa época y también del material posterior. Es un tipo de música única y nadie más ha podido hacer exactamente lo mismo. Tampoco creo que deban intentarlo, pero eso lo hace especial."},{"copyright":"1982 Rob Verhorst","syndication":{},"auth":{"1":"9d68c92e28b62fb7dc380ddb6668137fdcbbf604a07cf3157a6c79487ddb101e"},"caption":"\"Siempre sentí que Robert y yo éramos como dos caras opuestas de la misma moneda, porque en el medio había cosas que compartíamos, pero él tenía su manera de aproximarse a la música y yo la mía\", dice Belew. En la imagen, Robert Fripp, el cerebro creador de King Crimson, en sus tantas etapas notables, maravillando el Tent, Olympisch Stadion, de Ámsterdam, en 1982. Foto: Rob Verhorst/Redferns.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","licensable":false,"alt_text":"Robert Fripp, el cerebro creador de King Crimson en sus tantas etapas notables, toca en el Tent, Olympisch Stadion, de Ámsterdam, en1982. Foto: Rob Verhorst/Redferns.","credits":{"affiliation":[{"name":"Redferns via Getty Images","type":"author"}],"by":[{"name":"Rob Verhorst","type":"author","byline":"Rob Verhorst"}]},"creditIPTC":"Redferns via Getty Images","country_name":"Netherlands","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/QFSWNFLITNAZXOFXMLONQQBIKU.jpg?auth=9d68c92e28b62fb7dc380ddb6668137fdcbbf604a07cf3157a6c79487ddb101e","iptc_source":"Redferns","proxyUrl":"/resizer/v2/QFSWNFLITNAZXOFXMLONQQBIKU.jpg?auth=9d68c92e28b62fb7dc380ddb6668137fdcbbf604a07cf3157a6c79487ddb101e","link":"","takenOn":"1982-09-06T00:00:00Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/QFSWNFLITNAZXOFXMLONQQBIKU.jpg","published":true,"resizeUrl":"/resizer/v2/QFSWNFLITNAZXOFXMLONQQBIKU.jpg?auth=9d68c92e28b62fb7dc380ddb6668137fdcbbf604a07cf3157a6c79487ddb101e","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/QFSWNFLITNAZXOFXMLONQQBIKU.jpg?auth=9d68c92e28b62fb7dc380ddb6668137fdcbbf604a07cf3157a6c79487ddb101e&width=300","version":0,"countryId":152,"usage_instructions":"Not Released (NR) Not to be licensed for wall decor or fine art prints","originalName":"GettyImages-2050126451.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"DWALLEO725GDLAWYM6WRH66AJ4","iptc_title":"Contributor"},"last_updated_date":"2025-04-11T13:37:06Z","slug":"2050126451","height":2448,"image_type":"photograph","owner":{"sponsored":false,"id":"semana"},"address":{"locality":"Amsterdam","country_name":"NLD"},"version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/QFSWNFLITNAZXOFXMLONQQBIKU.jpg","subtitle":"King Crimson / Robert Fripp","width":3543,"_id":"QFSWNFLITNAZXOFXMLONQQBIKU","created_date":"2025-04-11T13:37:06Z"},{"_id":"5SB5ELBBBRC3VLGNKBZIUCQ4M4","additional_properties":{"_id":1744390222322},"type":"text","content":"SEMANA: Si tuviera que elegir uno de esos tres álbumes (Discipline, 1981; Beat, 1982; Three of a Perfect Pair, 1984) para lanzarlo a una cápsula del tiempo, ¿cuál sería?"},{"_id":"SMPCBR6VRBAHTLZGWLEWRC4VW4","additional_properties":{"_id":1744372341836},"type":"text","content":"A.B.: Creo que sería Discipline, aunque todos los discos tienen cosas que amo. De cierto modo, es una pregunta injusta, pero elegiría Discipline porque fue muy innovador. Robert solía decir que era nuestro disco de luna de miel. Estábamos recién casados y muy felices juntos (risas). Te estás reuniendo por primera vez y estás descubriendo cosas."},{"_id":"HZCI62PBQJDONKHGLG7YNAQFPA","additional_properties":{"_id":1744372341837},"type":"text","content":"Tienen que recordar que no solo nos estábamos descubriendo como músicos y descubriendo cómo trabajar juntos, sino que todos teníamos nueva tecnología que nadie más estaba usando. Robert y yo teníamos sintetizadores de guitarra, Bill tenía una batería electrónica y Tony Levin apareció con esta cosa llamada stick. Nos miramos y dijimos: “¿Qué es eso?”. Eso también contribuyó al carácter único. Estábamos descubriendo qué hacer con la tecnología y cómo hacerla avanzar. Y funcionó maravillosamente. Siempre pensé que mucho de lo que tocaba Tony era tan importante como las melodías, y parecía que lo de cada uno hacía afectaba lo que hacían los demás."},{"subtype":"spotify","referent":{"referent_properties":{"additional_properties":{"_id":1744390222325}},"provider":"https://embed.spotify.com/oembed/?url=","service":"oembed","id":"https://open.spotify.com/intl-es/album/20dTbQRkxuOTkf3SFyaT2m?si=Qm9qwO6LRGGribpNJnLWVA","type":"spotify"},"_id":"AU274LR2KRGMBLVI7MYYSD3PZM","raw_oembed":{"provider_url":"https://spotify.com","type":"spotify","title":"Discipline","thumbnail_url":"https://image-cdn-fa.spotifycdn.com/image/ab67616d00001e02ff2d2448a42a43c281b6f556","version":"1.0","thumbnail_height":300,"iframe_url":"https://open.spotify.com/embed/album/20dTbQRkxuOTkf3SFyaT2m?si=Qm9qwO6LRGGribpNJnLWVA&utm_source=oembed","width":456,"thumbnail_width":300,"html":"","_id":"https://open.spotify.com/intl-es/album/20dTbQRkxuOTkf3SFyaT2m?si=Qm9qwO6LRGGribpNJnLWVA","additional_properties":{"_id":1744390222325},"provider_name":"Spotify","height":352},"type":"oembed_response"},{"content_elements":[{"_id":"HEOWBVGO4VG3HLKNWUENLPZ7S4","additional_properties":{},"type":"text","content":"No solo nos estábamos descubriendo como músicos y descubriendo cómo trabajar juntos, sino que todos teníamos nueva tecnología que nadie más estaba usando. Robert y yo teníamos sintetizadores de guitarra, Bill tenía una batería electrónica y Tony Levin apareció con esta cosa llamada stick. Nos miramos y dijimos: “¿Qué es eso?”. Eso también contribuyó al carácter único"}],"citation":{"type":"text","content":""},"subtype":"blockquote","_id":"UMMFS72U6ZEJXGRWF3YHUTO7EE","type":"quote"},{"_id":"ONDC4EVVSRCKNBA3PKYNZ4VMOU","additional_properties":{"_id":1744372341838},"type":"text","content":"Siempre sentí que Robert y yo éramos como dos caras opuestas de la misma moneda, porque en el medio había cosas que compartíamos, pero él tenía su manera de aproximarse a la música y yo la mía. Y no era difícil resolver lo que debías tocar. Si él iba a tocar algo, yo siempre pensaba, bueno, “esto es lo que debo tocar en respuesta a eso”, y así sucesivamente. Compartíamos una base común, pero teníamos nuestro propio territorio. Y es lo mismo con Steve, para mí. Es una asociación similar en la que ni siquiera tienes que hablar mucho al respecto, ¿sabes? Aquí está lo que voy a tocar y sé lo que vas a tocar."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Jon R. Luini","address":{},"syndication":{},"auth":{"1":"e13bb63c6b86242f5dc49f36a7f608b683b65a7013c47d63669b89f4cf9a3d91"},"caption":"Los \"nuevos\" en asumir este repertorio crimsioniano han logrado lo que parecía imposible, que la ausencia de Robert Fripp y Bill Bruford sea una nota al pie. Y también se vale soñar sobre, algún día, ver en estas partes a esos dos enormes músicos tocando lo que quieran.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/AEV5JE25EBB7NCPKWEPCRPSDA4.jpeg","licensable":false,"alt_text":"Los \"nuevos\".","credits":{"affiliation":[{"name":"Jon R. 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Luini","_id":"AEV5JE25EBB7NCPKWEPCRPSDA4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/AEV5JE25EBB7NCPKWEPCRPSDA4.jpeg?auth=e13bb63c6b86242f5dc49f36a7f608b683b65a7013c47d63669b89f4cf9a3d91","proxyUrl":"/resizer/v2/AEV5JE25EBB7NCPKWEPCRPSDA4.jpeg?auth=e13bb63c6b86242f5dc49f36a7f608b683b65a7013c47d63669b89f4cf9a3d91","link":"","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/AEV5JE25EBB7NCPKWEPCRPSDA4.jpeg","published":true,"resizeUrl":"/resizer/v2/AEV5JE25EBB7NCPKWEPCRPSDA4.jpeg?auth=e13bb63c6b86242f5dc49f36a7f608b683b65a7013c47d63669b89f4cf9a3d91","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/AEV5JE25EBB7NCPKWEPCRPSDA4.jpeg?auth=e13bb63c6b86242f5dc49f36a7f608b683b65a7013c47d63669b89f4cf9a3d91&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"BEATSteveDannyJonRLuini.jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"UKKZCCKULBAFVGWM22UQXIDV3A"},"created_date":"2025-04-11T00:39:48Z","last_updated_date":"2025-04-11T00:39:48Z","height":1667,"image_type":"photograph"},{"_id":"JIASWQEHTRE6DD6AG5CP2ZHXGE","additional_properties":{"_id":1744372341839},"type":"text","content":"SEMANA: Adrian, toca la guitarra de manera increíble, pero también está su voz, potente, emocional, ¿cómo la cuida para conservarla de esa manera?"},{"_id":"UT7KZSDFJJCCVEPOLIO7AN5X34","additional_properties":{"_id":1744372341840},"type":"text","content":"A.B.: Bueno, creo que lo mejor es cuidarse. Como cantante, probablemente nunca deberías fumar un cigarrillo, y nunca lo he hecho. Hago ejercicio, trato de cuidarme. Y tengo un montón de energía. Tengo 75 años y me siento como de 25. Creo que hay una cuestión: cantar mucho, y lo hago, canto mucho. Si estoy feliz, canto, y a veces canto cuando no hay razón para hacerlo. Si haces eso, tu voz se mantiene en forma. Y siempre he leído que tu voz, si la cuidas, madura hasta cierto punto a medida que envejeces. No digo que se mantendrá para siempre, pero en esta última ronda de giras, con 64 shows seguidos, canté cada uno sin ningún problema. Mi voz siempre estuvo lista y a todos les pareció que fue perfecta. Eso dijeron. No sé."},{"content_elements":[{"_id":"WI53D3PBR5DV7DSGZ742DFXKFI","additional_properties":{},"type":"text","content":"Como cantante, probablemente nunca deberías fumar un cigarrillo, y nunca lo he hecho. Hago ejercicio, trato de cuidarme. Y tengo un montón de energía. Tengo 75 años y me siento como de 25. Creo que hay una cuestión: cantar mucho, y lo hago, canto mucho. Si estoy feliz, canto, y a veces canto cuando no hay razón para hacerlo. Si haces eso, tu voz se mantiene en forma"}],"citation":{"type":"text","content":""},"subtype":"blockquote","_id":"AG7RRQQMA5BSVHAZTVT7H6LU6E","type":"quote"},{"_id":"MSAXGEX3VBDKPN62BHZQMGQM7Q","additional_properties":{"_id":1744372341841},"type":"text","content":"SEMANA: Cada fan tiene una línea favorita. Algunos tenemos “I’m a 1952 Studebaker Coupe” tatuado en la mente y el alma. ¿Hay alguna línea que lo mueve más que otras?"},{"_id":"G5QVCC6UKBA2XKIYDIKSQ2VLBM","additional_properties":{"_id":1744372341842},"type":"text","content":"A.B.: Dios mío. ¿Sabes?, cuando estoy cantando y tocando, realmente no estoy pensando en nada. Dejo que suceda y trato de no desviarme del camino. Pero he escrito muchas canciones y muchas letras en mi vida, y hay muchas con las que me siento realmente feliz. A veces miras hacia atrás y piensas: “Eso, justo ahí, significó algo”. Y creo que así se sienten la mayoría de los compositores. No todo lo que vas a hacer va a ser lo mejor, pero a veces haces algo y sientes “Estoy satisfecho con eso”. Y me pasa mucho, especialmente con el material de King Crimson."},{"subtype":"youtube","referent":{"referent_properties":{"additional_properties":{"_id":1744390222334}},"provider":"https://www.youtube.com/oembed?maxwidth=560&maxheight=340&url=","service":"oembed","id":"https://www.youtube.com/watch?v=kTTyKmTCuTk","type":"youtube"},"_id":"KC6TEHXGGBDQ7OEFFK4Z2AXUSE","raw_oembed":{"author_name":"King Crimson","provider_url":"https://www.youtube.com/","title":"King Crimson - Neal And Jack And Me","type":"youtube","thumbnail_url":"https://i.ytimg.com/vi/kTTyKmTCuTk/hqdefault.jpg","version":"1.0","thumbnail_height":360,"author_url":"https://www.youtube.com/@kingcrimson","width":560,"thumbnail_width":480,"html":"","_id":"https://www.youtube.com/watch?v=kTTyKmTCuTk","additional_properties":{"_id":1744390222334},"provider_name":"YouTube","height":315},"type":"oembed_response"},{"_id":"PCPMONBZB5DA5OTCUOXJOO6LLU","additional_properties":{"_id":1744372341843},"type":"text","content":"Siempre fue muy difícil escribir para King Crimson, porque como escritor, letrista y creador de las melodías, estás hablando por los demás miembros de la banda. Escribes las palabras. En mis álbumes en solitario puedo ser divertido, puedo hacer el tonto, puedo hacer lo que quiera. Puedo jugar con las palabras o llevarlas donde quiera. Pero con King Crimson tengo que tener cuidado. ¡No quiero avergonzar a Tony Levin!"},{"_id":"CKAIUY4GZVDRREFP62PYGJQAVE","additional_properties":{"_id":"BJALD6ORUREGRCNXNDTSTRUGAE"},"title":"","type":"link_list","items":[{"image":{"copyright":"2024 Jim Dyson","syndication":{},"auth":{"1":"dd56725ee03a47c5720db6c1785791de5b15adeca5c1c56bc840f1bab45077df"},"caption":"Shirley Manson de Garbage en el OVO Arena Wembley, en su último concierto de 2024. Colombia es la próxima parada.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","licensable":false,"alt_text":"Shirley Manson de Garbage en el OVO Arena Wembley, en su último concierto de 2024. 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En los ochenta, una de las veces que tocamos en Londres, había este camerino (Green Room) en el que puedes ir y conocer a algunos de los fans o a quienquiera que haya ido al show. Entré al camerino y vi a esta persona grande, alta y guapa que se acercó a mí. No hablaba inglés muy bien, no todavía (ha mejorado mucho), pero simplemente me dijo algo así como: “Tú y yo vamos a trabajar juntos algún día”. Y pensé: “Está bien... interesante”."},{"_id":"NHWIAYXMTVHORGAORMSUNMEN4A","additional_properties":{"_id":1744372341846},"type":"text","content":"Y esa persona resultó ser Saúl (Hernández), por supuesto. En un momento dado, cuando estaba haciendo mucho trabajo en solitario, mientras King Crimson estaba de vacaciones (una de las vacaciones que Robert nos daba), recibimos una llamada de Marusa Reyes, su mánager, y me dijo que les gustaría que los produjera. Y a mí realmente me interesaba la producción y el proyecto me sonaba único."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"ESTEBAN VEGA LA ROTTA","address":{},"auth":{"1":"f47927cf0d276e16b410e2dbb28650dbe2204ca625297eabf2a3e2a4cab342f3"},"caption":"La anécdota de cómo se cruzaron los caminos de Saúl Hernández y Adrian Belew, quien produjo el tremendo álbum 'El silencio' de Caifanes, es maravillosa. Aquí la comparte.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/ZC7QHVW2D5E7VN26CXZVMESOGQ.jpg","licensable":false,"alt_text":"Caifanes, 3 de mayo de 2024, Movistar Arena, Bogotá.","credits":{"affiliation":[{"name":"Esteban Vega La-Rotta","type":"author"}]},"subtitle":"Caifanes, 3 de mayo de 2024, Movistar Arena, Bogotá","width":5760,"_id":"ZC7QHVW2D5E7VN26CXZVMESOGQ","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/ZC7QHVW2D5E7VN26CXZVMESOGQ.jpg?auth=f47927cf0d276e16b410e2dbb28650dbe2204ca625297eabf2a3e2a4cab342f3","keywords":[""],"proxyUrl":"/resizer/v2/ZC7QHVW2D5E7VN26CXZVMESOGQ.jpg?auth=f47927cf0d276e16b410e2dbb28650dbe2204ca625297eabf2a3e2a4cab342f3","link":"","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/ZC7QHVW2D5E7VN26CXZVMESOGQ.jpg","published":true,"resizeUrl":"/resizer/v2/ZC7QHVW2D5E7VN26CXZVMESOGQ.jpg?auth=f47927cf0d276e16b410e2dbb28650dbe2204ca625297eabf2a3e2a4cab342f3","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/ZC7QHVW2D5E7VN26CXZVMESOGQ.jpg?auth=f47927cf0d276e16b410e2dbb28650dbe2204ca625297eabf2a3e2a4cab342f3&width=300","version":0,"usage_instructions":"Semana /Cultura","originalName":"20240503211147_EVL_6642.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"BG7GS6BN5BDF5BBTL3AR3B3JRA"},"created_date":"2024-05-04T13:23:14Z","last_updated_date":"2024-05-04T13:23:14Z","height":3840,"image_type":"photograph"},{"_id":"3WAGGLOD6FC6XIAI3XLPPXVJ5E","additional_properties":{"_id":1744372341847},"type":"text","content":"Así que fui a México y viajé mucho con ellos, nos conocimos, me mostraron su cultura y la música con la que crecieron. Fuimos a diferentes eventos y festivales porque realmente quería saber de qué se trataba esta música, no se trataba de solo producir una banda. Cuando terminó ese proceso, sentí que realmente entendía la música y su espiritualidad. Es un tipo de música muy espiritual. Yo vivía en Lake Geneva, en Wisconsin, y había un estudio hermoso allí donde trabajaba. Así que los invité a grabar el disco en Wisconsin en pleno invierno. Hacía un frío helado. Quiero decir, increíble. No sé lo que ellos pensaron de eso, pero era el estudio correcto. De eso sí estoy seguro."},{"content_elements":[{"_id":"2PP5CH6SWRHPDCISBO4LLB3XKM","additional_properties":{},"type":"text","content":"Las interpretaciones fueron geniales. Las canciones fueron geniales. Me sorprendió mucho después cuando supe que me habían elegido productor del año por El silencio. Es curioso. Incluso ahora, cada vez que conozco a alguien de ascendencia latina o alguien que ha vivido en esa parte del mundo y se dan cuenta de que produje a Caifanes, ¡se vuelven locos!"}],"citation":{"type":"text","content":""},"subtype":"blockquote","_id":"MW2PAG4DLVF23KLRZINFE22SLU","type":"quote"},{"_id":"N7PSILCMYNENZEUVAHPKEMCFS4","additional_properties":{"_id":1744372341848},"type":"text","content":"Las interpretaciones fueron geniales. Las canciones fueron geniales. Me sorprendió mucho después cuando supe que me habían elegido productor del año por El silencio. Es curioso. Incluso ahora, cada vez que conozco a alguien de ascendencia latina o alguien que ha vivido en esa parte del mundo y se dan cuenta de que produje a Caifanes, ¡se vuelven locos! Es muy gracioso. El otro día, en el restaurante mexicano que frecuento, había alguien allí y les estaban hablando y dijeron: “Este es Adrian Belew, ya sabes, y trabajó con Frank Zappa”. La persona no reaccionó. “Okay”. “Estuvo en King Crimson, trabajó con David Bowie”: ninguna reacción. Luego dijeron: “Okay, trabajó con Caifanes” y ahí estalló: “¡Caifanes!, Dios mío, ¡vamos a pedir unas margaritas!”. Es como una palabra mágica para la gente que conoce esa música."},{"_id":"TO7B5Q2V45C7FD7GIQGYWHSH5Y","additional_properties":{"_id":"HT3Z6T6JL5EUJJFZZCTVTO53QQ"},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"ESTEBAN VEGA LA ROTTA","address":{},"auth":{"1":"e106aeb05f00e7e7df7b098b009d86ba60a5225a33e32bfab119527339c0566f"},"caption":"Caifanes, 3 de mayo de 2024, Movistar Arena, Bogotá.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/DD33PZLDDNCADIJNPEROR6Z2IA.jpg","licensable":false,"alt_text":"Caifanes, 3 de mayo de 2024, Movistar Arena, Bogotá.","credits":{"affiliation":[{"name":"Esteban Vega La-Rotta","type":"author"}]},"subtitle":"Caifanes, 3 de mayo de 2024, Movistar Arena, Bogotá","width":4531,"_id":"DD33PZLDDNCADIJNPEROR6Z2IA","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/DD33PZLDDNCADIJNPEROR6Z2IA.jpg?auth=e106aeb05f00e7e7df7b098b009d86ba60a5225a33e32bfab119527339c0566f","keywords":[""],"proxyUrl":"/resizer/v2/DD33PZLDDNCADIJNPEROR6Z2IA.jpg?auth=e106aeb05f00e7e7df7b098b009d86ba60a5225a33e32bfab119527339c0566f","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/DD33PZLDDNCADIJNPEROR6Z2IA.jpg","published":true,"resizeUrl":"/resizer/v2/DD33PZLDDNCADIJNPEROR6Z2IA.jpg?auth=e106aeb05f00e7e7df7b098b009d86ba60a5225a33e32bfab119527339c0566f","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/DD33PZLDDNCADIJNPEROR6Z2IA.jpg?auth=e106aeb05f00e7e7df7b098b009d86ba60a5225a33e32bfab119527339c0566f&width=300","version":0,"usage_instructions":"Semana /Cultura","originalName":"20240503211717_EVL_6743.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2024-05-04T13:23:14Z","last_updated_date":"2024-05-04T13:23:14Z","height":3021,"image_type":"photograph"},"description":{"_id":"QTHVZ2ZFBBE7XLD4KXZCYMNEPM","type":"text","content":""},"_id":"LH2YYIDM2RABBMPJJZVESW5AZY","type":"interstitial_link","content":"Caifanes en Bogotá: en otra noche de su música intemporal y profunda, el ritual se probó eterno y se superó","url":"https://www.semana.com/cultura/articulo/caifanes-en-bogota-en-otra-noche-de-su-musica-intemporal-y-profunda-el-ritual-se-probo-eterno-y-se-supero/202422/"}]},{"_id":"UBU24ZUHVRGWZNNBKHDC3HQYLQ","additional_properties":{"_id":1744390222345},"type":"text","content":"SEMANA: Usted mantuvo el contacto con Frank Zappa. ¿Alguna vez comentó algo sobre la música de King Crimson?"},{"_id":"Q33AOEVXDFCPHMMSRPDNKJYYBE","additional_properties":{"_id":1744372341852},"type":"text","content":"A.B.: No creo que Frank conociera la música de King Crimson. De hecho, una vez, cuando estábamos en Los Ángeles (yo siempre iba a ver a Frank por mi cuenta), estaba con Bill Bruford y le dije: “¿Quieres subir a conocer a Frank Zappa?”. Y él dijo: “Sí”. Subimos y saludamos a Frank, y no creo que Frank supiera quién era Bill Bruford. Fue un poco extraño. Ya sabes, estábamos hablando y Frank nos mostraba su estudio y cuánto había cambiado. Siempre estaba reconstruyéndolo. Siempre decía: “Bienvenidos a mi proyecto de construcción”. Fue algo extraño para mí darme cuenta de que realmente no conocía el trabajo de King Crimson. Pero él era un poco como yo, con la cabeza enterrada porque estoy trabajando en tantas cosas al mismo tiempo. Realmente siento que no tengo tiempo para escuchar otras cosas y hay demasiadas opciones. Así que es difícil encontrar tiempo. Pero creo que Frank era igual. Siempre tenía la cabeza metida en la música de Frank Zappa, que es lo que debía estar haciendo."},{"copyright":"Getty Images","syndication":{},"auth":{"1":"29c03af3e6fb02210e41df8d1a0711ba67a590aa836f6e3c68682f538cf8e024"},"caption":"Así como Adrian Belew, Steve Vai también tuvo su etapa formativa con Frank Zappa (1940-1993). Aquí se los ve juntos en el escenario del Palladium de Nueva York, la noche de Halloween de 1981. Foto: Gary Gershoff","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","licensable":false,"alt_text":"American musicians Steve Vai (left), on guitar, and Frank Zappa (1940 - 1993) perform on stage at the Palladium, New York, New York, October 31, 1981. 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No creo que le importara. Es una persona muy curiosa. Él estaba muy interesado en el estudio y en el proceso. Y cada vez que hablabas con Frank Zappa era una conversación intrigante, sin importar la ocasión o el marco. Era maravilloso hablar con él. 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Hace mucho tiempo, pensé que algún día me encantaría tocar la guitarra con una orquesta. No creo que en ese momento nadie lo hubiera hecho. Y resultó que eventualmente escribí una sinfonía de 45 o 43 minutos. Aunque no escribo música, pude explicarla al arreglista y hacer que todo se resolviera y se pasara a partituras. Toqué con la Orquesta Metropole en Ámsterdam mi pieza musical llamada E. Esa fue una experiencia asombrosa para mí. Estás frente a toda una orquesta, todos están leyendo tu música, pero no sabes leer música, y hay un director que te está dirigiendo y tú estás como, “Wow, eh... oh, qué nervios”."},{"subtype":"youtube","referent":{"referent_properties":{"additional_properties":{"_id":1744390222353}},"provider":"https://www.youtube.com/oembed?maxwidth=560&maxheight=340&url=","service":"oembed","id":"https://www.youtube.com/watch?v=bxeWWkEndMo ","type":"youtube"},"_id":"UHS7ZEYZ5ZBJTLACYW7ULWDRSI","raw_oembed":{"author_name":"submarcos1986","provider_url":"https://www.youtube.com/","title":"Adrian Belew & Metropole Orkest - E","type":"youtube","thumbnail_url":"https://i.ytimg.com/vi/bxeWWkEndMo/hqdefault.jpg","version":"1.0","thumbnail_height":360,"author_url":"https://www.youtube.com/@submarcos1986","width":560,"thumbnail_width":480,"html":"","_id":"https://www.youtube.com/watch?v=bxeWWkEndMo ","additional_properties":{"_id":1744390222353},"provider_name":"YouTube","height":315},"type":"oembed_response"},{"_id":"HF5JBGGKORAG7IQS3AHI3AFXPA","additional_properties":{"_id":1744372341857},"type":"text","content":"La segunda cosa viene de cuando era niño. Crecí con dibujos animados, Bugs Bunny y todo eso. Siempre quise hacer algo con animación. Un día recibí una llamada de Pixar y, por supuesto, hice su cortometraje llamado Piper, que ganó un Óscar. ¡No puede ser mejor que eso! Ese fue un punto muy alto en mi vida, además de otros momentos destacados como conocer y trabajar con Frank (Zappa) o David (Bowie). Y quedaba una cosa más. Pensé que, dado que la banda que más significó para mí cuando empecé en la música fueron los Beatles, pensé que sería genial, si bien no podrás tocar con ellos, quizá podría saludarlos o algo así. Y terminé hablando con Paul McCartney durante una hora en su habitación de hotel... en su suite presidencial, debería decir, en Filadelfia. Eso completó mi lista. Realmente ahora solo quiero seguir creando y ser una fuerza creativa. Pero no tengo una lista para hacer algo con alguien en este momento. No hay otra cosa por buscar. Estoy feliz donde estoy."},{"_id":"673K2ECLS5BHRLR4M4BGFZCJAA","additional_properties":{"_id":1744372341858},"type":"text","content":"SEMANA: ¡Colombia!"},{"_id":"ZUM4E5P7XNGJHLECWY7OTDO6UA","additional_properties":{"_id":1744372341859},"type":"text","content":"A.B.: Sí. Ir a Colombia, eso todavía está en mi lista y todavía no lo he hecho."},{"_id":"RNFDEKADHNAKHNPGRMYVDNIT4M","additional_properties":{"_id":1744372341860},"type":"text","content":"SEMANA: Adrian, antes de despedirnos, tenemos aquí a uno de los tantos seguidores de su música en Colombia. Esto quiere decirle..."},{"_id":"UEHXVKHHZFAEJACPCEBJ3GHRZQ","additional_properties":{"_id":1744372341861},"type":"text","content":"Felipe Osorio: Hola, Adrian. ¿Sabes?, uno de mis sueños también es saludar a alguien que admiro profundamente, ¡y lo estoy haciendo ahora mismo! Estamos esperando ansiosamente a la banda aquí en Bogotá. Será mi segundo concierto, ya que pude asistir al que hiciste en Orlando el año pasado. Fue increíble para mí. Imagina lo que se siente pasar de pensar que nunca escucharía en vivo las canciones de mis álbumes favoritos de King Crimson a escucharlas dos veces. Quiero decir, estoy muy feliz. 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Primero que todo, esa es exactamente la razón por la que trabajé duro para que esto sucediera. Tomó cinco años armarlo, y nunca me di por vencido, porque pensé: “No, esta música necesita volver a ver la luz del día”, para la gente que no tuvo la oportunidad de verla la primera vez. Todavía es relevante; es atemporal. Pensé que era importante sacar esta música a la luz, pues corría el riesgo de olvidarse. El último King Crimson que hizo Robert, sin mí, no tocó la música de los ochenta. Y sentí algo como, “Wow”, ya sabes. Puse gran parte de mi vida y de mi creatividad en eso y quiero ver que sigue viva. Ese es el primer punto. El segundo punto es que necesitas venir al backstage y estrechar mi mano y decirme quién eres. 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Sobre la música, el milagro de esta gira, cómo conoció y produjo a Caifanes y más, esto nos dijo."},"description":{"basic":""},"language":"","source":{"system":"composer","name":"semana","source_type":"staff"},"taxonomy":{"sections":[{"path":"/cultura","parent":{"default":"/"},"_website":"semana","parent_id":"/","name":"Cultura","description":"Explore lo mejor del arte, literatura, cine, música y más. Mantenga al día con las últimas noticias culturales en Colombia y el mundo en Semana.","_id":"/cultura","additional_properties":{"original":{"parent":{"default":"/"},"navigation":{"nav_title":"Cultura"},"site":{"site_url":"/cultura/","site_keywords":null,"site_about":"6","site_description":"Explore lo mejor del arte, literatura, cine, música y más. 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Contestó desde su frío estudio, desde donde compartió su visión y su franqueza."},{"_id":"2CDRW3JPABA75KRWQQMXEYHRXQ","additional_properties":{},"type":"text","content":"¿Sabe algo de Colombia? Con inesperada candidez, Wilson acepta que no conoce más que su producción de cocaína, pero anota que es “consciente de que el país es mucho más que eso”. Y que espera visitarlo. Antes de abordar su trabajo más reciente, lo consultamos sobre el suceso que para él ha marcado la música de los últimos 30 años. “El desarrollo de la tecnología computarizada ha hecho de la música un arte potencialmente más creativo. No ha habido un momento como este en la historia de la música, con tantas maneras disponibles de procesar o de darle un giro al arte. Y eso debería ser muy emocionante, porque lo es, pero tristemente la música estos días suena genérica. 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Me formé en la era de la grabación digital, de la creación y grabación por computador. Y la adoro, no podría hacer mi música sin ella, pero, a la vez, me fascina lo que aportan los equipos análogos antiguos. Y por eso en The Overview también escucharás piano Fender Rhodes, piano, melotrón, guitarras acústicas, coros notables, guitarras eléctricas. Es decir, escucharás todos los sonidos de la era clásica del rock, pero también mucho de lo más moderno que la tecnología ofrece”."},{"_id":"CWENZHBTAJGDJDGNOXIU2P2SGE","additional_properties":{},"type":"text","content":"Es un momento complejo para la música, pero mucha música valiosa se hace; para la muestra, este disco. ¿Algo lo impacta de lo que suena estos días? “No realmente”, responde. “La mayoría de mi ADN musical viene de artistas que me marcaron cuando era joven: Pink Floyd, Kate Bush, David Bowie. Y aun sabiendo que ellos están engranados profundamente en mi ADN musical, trato de no cohibirme. Por eso, The Overview toma de muchas fuentes: la electrónica, el ambient, el progresivo vieja escuela, el metal e incluso el pop. Y la única razón por la que funciona es porque no lo sobreanalizo. Si trato de intelectualizarlo, me comienzo a decir: ‘¡No puedes combinar eso!’”."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Kevin Westernberg","address":{},"auth":{"1":"ecf063752375fac4aecb84a9eb24cc262325728466e9352b66e54d1099d8bbf7"},"caption":"Steven Wilson nació el 3 de noviembre de 1967, en Kingston-upon-Thames, Inglaterra. Si bien integra bandas importantes como Porcupine Tree, su naturaleza controladora lo lleva a disfrutar más su carrera en solitario. ","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/67W26KOVVRCJHKZNPRFGH6Y2F4.jpg","licensable":false,"alt_text":"Steven Wilson/ 'The Overview'","credits":{"affiliation":[{"name":"Kevin Westernberg","type":"author"}],"by":[{"name":"Kevin Westenberg","type":"author","byline":"Kevin Westenberg"}]},"subtitle":"Steven Wilson/ 'The Overview'","width":6750,"_id":"67W26KOVVRCJHKZNPRFGH6Y2F4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/67W26KOVVRCJHKZNPRFGH6Y2F4.jpg?auth=ecf063752375fac4aecb84a9eb24cc262325728466e9352b66e54d1099d8bbf7","proxyUrl":"/resizer/v2/67W26KOVVRCJHKZNPRFGH6Y2F4.jpg?auth=ecf063752375fac4aecb84a9eb24cc262325728466e9352b66e54d1099d8bbf7","takenOn":"2024-09-20T16:08:32Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/67W26KOVVRCJHKZNPRFGH6Y2F4.jpg","published":true,"resizeUrl":"/resizer/v2/67W26KOVVRCJHKZNPRFGH6Y2F4.jpg?auth=ecf063752375fac4aecb84a9eb24cc262325728466e9352b66e54d1099d8bbf7","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/67W26KOVVRCJHKZNPRFGH6Y2F4.jpg?auth=ecf063752375fac4aecb84a9eb24cc262325728466e9352b66e54d1099d8bbf7&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"SW_Studio-288©WESTENBERG.v1.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"YLBYTJWNZRDPHNCHC7ANJSCM4A","iptc_title":"Photographer"},"created_date":"2025-03-14T16:33:33Z","last_updated_date":"2025-03-14T16:33:33Z","slug":"Cpyright ©Kevin Westenberg ALL Rights Reserved","height":9000,"image_type":"photograph"},{"_id":"DG5WR4FS4BDOFI3P2LMHF3PQSU","additional_properties":{},"type":"text","content":"Desde la temática, el álbum (que viene acompañado de una película) aborda el llamado efecto perspectiva. El músico anota que es lo que experimentan los astronautas al ver la Tierra desde el espacio exterior. “Es muy interesante como tema, porque algunos tienen una reacción muy positiva y otros una muy negativa. Y mucho depende de la persona que eres. Si eres alguien muy religioso, quizá el overview effect te haga reevaluar tu concepto de Dios, ante la ciencia en su forma más pura. Es una muestra del caos y de la enormidad que hay en el universo, en el cosmos. Me atrajeron mucho esos extremos en las reacciones al efecto perspectiva, y creo que reflejan lo que vemos en redes sociales. La gente reacciona en términos de blanco y negro”."},{"_id":"JV72VVH4WFDRHISOWOKWSM2RQ4","additional_properties":{},"type":"text","content":"Una de sus grandes influencias, Pink Floyd, incursionó en el álbum conceptual con todo éxito, pero a él, ¿saber dónde apuntar le hizo el proceso más llevadero o más difícil? Para Steven, tener una idea tan fuerte y clara se sintió extraño. “En este caso tenía no solo el título, también el concepto entero antes de escribir una palabra o una nota. Ojalá siempre fuera así. Usualmente, hago música “en la oscuridad”, sin dirección, escribiendo canciones sin saber cómo van a engranarse o cómo van a encajar entre ellas. Y en algún punto de ese proceso se manifiesta un tema que todo lo cohesiona, y solo ahí entiendo lo que estoy haciendo”. En esta oportunidad, diametralmente opuesta, “no fue fácil, pero se hizo más fácil con una dirección marcada. En mi cabeza escuché este disco y entendí que sería un continuum musical. Tocar el efecto perspectiva exigía un viaje musical a lo largo de sus 40 minutos. Y antes de componer, también decidí que sería un disco al estilo de los viejos vinilos, con dos secuencias musicales de 20 minutos. Esto se relaciona con lo que hablábamos antes: conectar nuevas producciones con viejas maneras. Y obedece a cómo me relacioné con la música de niño, con 20 minutos en cada cara del disco, ¡clásico!”. Wilson piensa el álbum “como una película para los oídos, y en ese sentido tiene escenas también”."},{"subtype":"youtube","referent":{"referent_properties":{"additional_properties":{"_id":"RD3HKS6EKFB5JFVZIGRO5XKMMM"}},"provider":"https://www.youtube.com/oembed?maxwidth=560&maxheight=340&url=","service":"oembed","id":"https://www.youtube.com/watch?v=c0KhmJwJzDc","type":"youtube"},"_id":"IFF6MLWONRDXRMPXFV77LEO4J4","raw_oembed":{"author_name":"StevenWilsonVEVO","provider_url":"https://www.youtube.com/","title":"Steven Wilson - Objects Outlive Us: Objects: Meanwhile","type":"youtube","thumbnail_url":"https://i.ytimg.com/vi/c0KhmJwJzDc/hqdefault.jpg","version":"1.0","thumbnail_height":360,"author_url":"https://www.youtube.com/@StevenWilsonVEVO","width":560,"thumbnail_width":480,"html":"","_id":"https://www.youtube.com/watch?v=c0KhmJwJzDc","additional_properties":{"_id":"RD3HKS6EKFB5JFVZIGRO5XKMMM"},"provider_name":"YouTube","height":315},"type":"oembed_response"},{"_id":"X722DRI4TZFSTKX3KFCBJ43TWM","additional_properties":{},"type":"text","content":"Son tiempos turbulentos para la industria musical, en los que Spotify amplifica mundialmente, pero les paga a los músicos lo menos posible y trata a su música como “contenido”. Al respecto, Wilson enfatiza en que hay que proveer la alternativa. “Es curioso, porque en la música siempre se menciona esta noción de ‘música alternativa’. Cuando yo era un niño en los ochenta, la música alternativa era The Cure, The Smiths, Cocteau Twins. Luego, en los noventa, la música alternativa eran Nirvana y sus contemporáneos (y hay ironía en llamar alternativa a una de las bandas más grandes del planeta en ese momento). Mi punto es que siempre hay un lugar para darle una alternativa a la gente que no quiere lo que ofrece el mainstream. Spotify es eso en este momento. Es un epítome del mainstream, que reduce a la música a una especie de playlist. Hay una mentalidad de reducir la música para vivirla y experimentarla en pedacitos cortos. TikTok es aún peor, tomando –por mucho– 15 segundos. Es absurdo."},{"_id":"ALGXKU6CAZFMTAAXALHEKXHOSQ","additional_properties":{},"type":"text","content":"Y digo: nunca subestimes a quien escucha. Cientos de miles de personas van todas las noches de la semana a un cine y se sientan y conectan con una pieza de arte. Lo hacen durante 90 minutos, o dos horas, o más, sin perder concentración, sin ver su email. Se sientan y ven una película por dos horas. ¿Por qué hemos olvidado hacer lo mismo con la música? Mi filosofía es proveer la alternativa. Y aquí estoy. Hice un disco, que propone una pieza musical continua de 40 minutos, diseñada para que te concentres, te involucres. Y si lo haces, ojalá disfrutes ese viaje. Esto es lo que podemos hacer, porque mientras más cosas así suenan, más oportunidad hay para la gente de descubrir otras opciones”."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Kevin Westernberg","address":{},"auth":{"1":"260bb2a04221d0aeccadcb44c97d44a15d5e3727d8270ed268b388ea7ec22f9c"},"caption":"Para Wilson, librarse del dominio de Spotify y del mainstream implica crear la alternativa, pero también necesita de un público más atento.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/ZR3MBZP2OZFNTMWU5VHI6LHHT4.jpg","licensable":false,"alt_text":"Steven Wilson/ 'The Overview'","credits":{"affiliation":[{"name":"Kevin Westernberg","type":"author"}],"by":[{"name":"Kevin Westenberg","type":"author","byline":"Kevin Westenberg"}]},"subtitle":"Steven Wilson/ 'The Overview'","width":9000,"_id":"ZR3MBZP2OZFNTMWU5VHI6LHHT4","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/ZR3MBZP2OZFNTMWU5VHI6LHHT4.jpg?auth=260bb2a04221d0aeccadcb44c97d44a15d5e3727d8270ed268b388ea7ec22f9c","proxyUrl":"/resizer/v2/ZR3MBZP2OZFNTMWU5VHI6LHHT4.jpg?auth=260bb2a04221d0aeccadcb44c97d44a15d5e3727d8270ed268b388ea7ec22f9c","takenOn":"2024-08-29T19:42:33Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/ZR3MBZP2OZFNTMWU5VHI6LHHT4.jpg","published":true,"resizeUrl":"/resizer/v2/ZR3MBZP2OZFNTMWU5VHI6LHHT4.jpg?auth=260bb2a04221d0aeccadcb44c97d44a15d5e3727d8270ed268b388ea7ec22f9c","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/ZR3MBZP2OZFNTMWU5VHI6LHHT4.jpg?auth=260bb2a04221d0aeccadcb44c97d44a15d5e3727d8270ed268b388ea7ec22f9c&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"SW_SUNSET_IMG4952©WESTENBERG.v4.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"VL6NFG7ANBDBDAY6OYXUY4HDNM","iptc_title":"Photographer"},"created_date":"2025-03-14T16:33:32Z","last_updated_date":"2025-03-14T16:33:32Z","slug":"Cpyright ©Kevin Westenberg ALL Rights Reserved","height":6750,"image_type":"photograph"},{"level":2,"_id":"QSSWYCKAGRHOVEXLEXQIXH7NQU","additional_properties":{},"type":"header","content":"Bonus Tracks: sobre The Overview, sobre Porcupine y más"},{"_id":"DTMY4PYTJRAP3N44UH2WTDJQUA","additional_properties":{},"type":"text","content":"SEMANA: Se le considera un explorador sonoro, ¿qué desarrollo cree que predominó en la creación de The Overview?"},{"_id":"NC6KCVH2DFHMXJYA7OJ35UL35M","additional_properties":{},"type":"text","content":"S.W.: Es difícil responder esa pregunta, porque no soy consciente de lo que hago mientras lo hago (disculpas si suena a excusa). Lo cierto es que estoy poniendo en juego muchos aspectos de mi personalidad musical. Y sobre esa personalidad, diré que ya atravieso mis 50 y que llevo escuchando y absorbiendo música por décadas. Técnicamente, sé que podría nombrarte algunos plugins que adoré usar, pero creo que la pregunta iba más hacia el proceso creativo. Para mí, se trata de tener estos recursos a mi disposición y poder pintar en muchos colores increíbles sin pensarlo demasiado."},{"_id":"EVDXT4HQTRGTXARYFVLHOPV4KM","additional_properties":{},"type":"text","content":"SEMANA: Hay un poderoso aspecto visual ligado al álbum, una película que lo acompaña. ¿Se podrá ver en el mundo?"},{"_id":"EA4D2ZPILVDDJOIJWG72FDSOKI","additional_properties":{},"type":"text","content":"S.W.: Estoy seguro de que así será. Por ahora, suceden dos cosas: organizo eventos en los que se proyecta el filme junto con la versión Dolby Atmos del álbum (*Wilson es un experto de este plano) e integro este aspecto visual al show en vivo. Y si bien no hay shows programados en Colombia, adoraría poderlos visitar. En un tiempo prudente, seguramente lanzaremos apartes de la película, y hablando desde el deseo, sin haberlo definido con mi management, pienso que sería genial compartir un Blu-ray del show en vivo."},{"subtype":"spotify","referent":{"referent_properties":{"additional_properties":{"_id":"4FTAPEIPC5AO5OO3KEB2JCGSHA"}},"provider":"https://embed.spotify.com/oembed/?url=","service":"oembed","id":"https://open.spotify.com/intl-es/album/3xOcExpIWzroZldcdc212q","type":"spotify"},"_id":"TSNALMLVSNACXADTYLZ5X2V42I","raw_oembed":{"provider_url":"https://spotify.com","type":"spotify","title":"The Overview","thumbnail_url":"https://image-cdn-fa.spotifycdn.com/image/ab67616d00001e025afcc99f886d653895de5288","version":"1.0","thumbnail_height":300,"iframe_url":"https://open.spotify.com/embed/album/3xOcExpIWzroZldcdc212q?utm_source=oembed","width":456,"thumbnail_width":300,"html":"","_id":"https://open.spotify.com/intl-es/album/3xOcExpIWzroZldcdc212q","additional_properties":{"_id":"4FTAPEIPC5AO5OO3KEB2JCGSHA"},"provider_name":"Spotify","height":352},"type":"oembed_response"},{"_id":"YAC6SQKO7RG5ZFMEEVNRKE3BFE","additional_properties":{},"type":"text","content":"SEMANA: Entrando al álbum, remitiéndonos a ese primer track de 20 minutos, cuéntenos del segmento espeluznante que une “Objects Meanwhile”, “The Cicerones Ark” y “Cosmic Sons of Toil”."},{"_id":"OBQXPL2L3RESBJAXTVU5D7ARAQ","additional_properties":{},"type":"text","content":"S.W.: Pienso en el álbum como una pieza análoga con la película. Es una película para los oídos, y en ese sentido tiene escenas también. Estas piezas que mencionas corresponden a escenas. Y si bien los personajes son los mismos en las escenas, lo que experimentan es distinto. “Objects Meanwhile” era un intento por crear música que contrastara dos aspectos. Por un lado, la vida diaria de la gente común, en algún pueblo pequeño de Inglaterra o de otro lugar del mundo: el esposo siendo infiel a su mujer, una enfermera trabajando en un hogar de ancianos, un joven empezando su primer día de trabajo, estas imágenes de gente común en yuxtaposición con masivos fenómenos cósmicos: hoyos negros implosionando, estrellas muriendo, nébulas en pique. Se trata de destacar las cosas más comunes con las más descomunales, y, ojalá, de darnos a todos un poco de perspectiva sobre el lugar que ocupa la Tierra en este universo. Y por extensión misma, también mirar al lugar de raza humana en este universo, ¡que es minúsculo!"},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Kevin Westernberg","address":{},"auth":{"1":"18f5c194de02c89fa9f5f7efcf5d184d46f2ec46caa695b405a8ccb44b464c06"},"caption":"No somos el centro del universo, pero nuestras vidas importan tanto como un colapso gravitatorio y un hoyo negro.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/L3GU32M7QFFZBCTF65CGW6XX2U.jpg","licensable":false,"alt_text":"Steven Wilson/ 'The Overview'","credits":{"affiliation":[{"name":"Kevin Westernberg","type":"author"}],"by":[{"name":"Kevin Westenberg","type":"author","byline":"Kevin Westenberg"}]},"subtitle":"Steven Wilson/ 'The Overview'","width":9000,"_id":"L3GU32M7QFFZBCTF65CGW6XX2U","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/L3GU32M7QFFZBCTF65CGW6XX2U.jpg?auth=18f5c194de02c89fa9f5f7efcf5d184d46f2ec46caa695b405a8ccb44b464c06","proxyUrl":"/resizer/v2/L3GU32M7QFFZBCTF65CGW6XX2U.jpg?auth=18f5c194de02c89fa9f5f7efcf5d184d46f2ec46caa695b405a8ccb44b464c06","takenOn":"2024-08-29T14:57:29Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/L3GU32M7QFFZBCTF65CGW6XX2U.jpg","published":true,"resizeUrl":"/resizer/v2/L3GU32M7QFFZBCTF65CGW6XX2U.jpg?auth=18f5c194de02c89fa9f5f7efcf5d184d46f2ec46caa695b405a8ccb44b464c06","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/L3GU32M7QFFZBCTF65CGW6XX2U.jpg?auth=18f5c194de02c89fa9f5f7efcf5d184d46f2ec46caa695b405a8ccb44b464c06&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"SW_GOLD.FIELD_IMG4504©WESTENBERG.v2.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"TMW42ZB5HZEIDMLMLNY54UJC4I","iptc_title":"Photographer"},"created_date":"2025-03-14T16:33:32Z","last_updated_date":"2025-03-14T16:33:32Z","slug":"Cpyright ©Kevin Westenberg ALL Rights Reserved","height":6750,"image_type":"photograph"},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Kevin Westernberg","address":{},"auth":{"1":"39338c006a6b989fce84d936c7ad5722d68b39b20afb9370890a016f0e49aa66"},"caption":"Steven Wilson ofrece con este trabajo un poco de perspectiva necesaria para nuestra raza.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7VLOYNB4WFE3XL734XX3J7HGGU.jpg","licensable":false,"alt_text":"Steven Wilson/ 'The Overview'","credits":{"affiliation":[{"name":"Kevin Westernberg","type":"author"}],"by":[{"name":"Kevin Westenberg","type":"author","byline":"Kevin Westenberg"}]},"subtitle":"Steven Wilson/ 'The Overview'","width":9000,"_id":"7VLOYNB4WFE3XL734XX3J7HGGU","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/7VLOYNB4WFE3XL734XX3J7HGGU.jpg?auth=39338c006a6b989fce84d936c7ad5722d68b39b20afb9370890a016f0e49aa66","proxyUrl":"/resizer/v2/7VLOYNB4WFE3XL734XX3J7HGGU.jpg?auth=39338c006a6b989fce84d936c7ad5722d68b39b20afb9370890a016f0e49aa66","takenOn":"2024-08-29T16:10:32Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7VLOYNB4WFE3XL734XX3J7HGGU.jpg","published":true,"resizeUrl":"/resizer/v2/7VLOYNB4WFE3XL734XX3J7HGGU.jpg?auth=39338c006a6b989fce84d936c7ad5722d68b39b20afb9370890a016f0e49aa66","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/7VLOYNB4WFE3XL734XX3J7HGGU.jpg?auth=39338c006a6b989fce84d936c7ad5722d68b39b20afb9370890a016f0e49aa66&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"SW_ELEC.FENCE2_IMG4709©WESTENBERG.v2.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"GA2M2FQZSZDDPNI22XVBSOZ3LU","iptc_title":"Photographer"},"created_date":"2025-03-14T16:33:34Z","last_updated_date":"2025-03-14T16:33:34Z","slug":"Cpyright ©Kevin Westenberg ALL Rights Reserved","height":6750,"image_type":"photograph"},{"_id":"5IPDEZYLMZHR3PDU66NOBFCVNE","additional_properties":{},"type":"text","content":"SEMANA: ¿Cuál es el punto del álbum que más lo enorgullece?"},{"_id":"XWVQJTY455CWFALYRHCZEIM7BU","additional_properties":{},"type":"text","content":"S.W.: Estoy orgulloso de todo el trabajo, sin dudas. Para mí es como mirar a la película y decir que me gusta toda. Me gusta la manera en la que fluye y se despliega. Me gusta como captura a quien lo escucha. En términos específicos, me gustan mucho las secciones corales, en las que voy construyendo con capas y capas y más capas de voces. Especialmente en la primera mitad. Se nota mucho en “The Buddha of the Modern Age” y en “Ark”. La idea es alcanzar un pico de intensidad, mantener vivo el sentido del momentum, viajar por el espacio a velocidades más y más elevadas. Ese aspecto me gusta mucho, así como el inicio de la segunda mitad también, la “lección de ciencia”, que funciona hermosamente."},{"_id":"KTVKNRWGVZB4VKPAO6YSOX67I4","additional_properties":{},"type":"text","content":"SEMANA: Sobre Porcupine Tree, una banda que lideró siempre y la gente aprecia muchísimo, ¿qué nos puede decir?"},{"_id":"X26ZTNGAWJHMHPFTC2UTMUY5XA","additional_properties":{},"type":"text","content":"S.W.: Nos reunimos hace un par de años, hicimos un nuevo disco, tocamos unos shows y la pasamos genial, pero ya no puedo imaginar un escenario en el que la banda sea más importante para mí que mi carrera en solitario. Si lo analizo, creo que obedece a que me es difícil estar en una banda. Soy un control freak (una persona controladora). Porcupine Tree empezó como mi proyecto solitario y se volvió una banda, y hay aspectos mágicos de una banda, sin duda, pero creo que siempre estuve destinado a trabajar por mi cuenta; en control de la situación. Para bien y para mal, así me siento, y por eso mi carrera es mi enfoque principal ahora. 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Ya estaban en los radares del mundo. En esta oportunidad, con ocho trabajos, un sonido más maduro y afilado, el quinteto de Notodden (en esta gira, sexteto) llegó para reclamar el trono de las bandas innovadoras."},{"_id":"XNGLEJICQNAA3A7ATTFFRXMEWA","additional_properties":{"_id":"ZEG65Q6OG5CEFMBX7X6AEYF2L4"},"title":"","type":"link_list","items":[{"image":{"copyright":"2024 Jim Dyson","syndication":{},"auth":{"1":"dd56725ee03a47c5720db6c1785791de5b15adeca5c1c56bc840f1bab45077df"},"caption":"Shirley Manson de Garbage en el OVO Arena Wembley, en su último concierto de 2024. Colombia es la próxima parada.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","licensable":false,"alt_text":"Shirley Manson de Garbage en el OVO Arena Wembley, en su último concierto de 2024. 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Música y sonidos de otras regiones del mundo llegan para estremecer y quedarse entre sus habitantes y en sus calles. Eso ocurrió el domingo 9 de marzo en el teatro Astor Plaza. Seis personas hicieron de esa fecha una jornada distinta."},{"_id":"EU2SRIDRRRE7JDRZ34LGTEUCSA","additional_properties":{},"type":"text","content":"Con organización y puntualidad, a las 7:30 de la noche apareció Soul Disease, la banda bogotana encargada de preparar el aterrizaje noruego. Death metal técnico con interpretaciones complejas y contundentes, acompañadas de la fuerza vocal que este estilo exige. Paralized, Beating the End, My Deepest Fear y Scars, entre otras canciones, forman parte de su catálogo, que han sonado también como recibimiento a bandas de la talla de Cradle of Filth y Carnifex. Más que valiosa e importante su participación en el comienzo de la noche; ojos y oídos a su álbum Dreamscape y a su propuesta, tan necesaria en el metal nacional."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Germán Rojas","address":{},"auth":{"1":"47418914111027ffa990380ece140e42cb6819b2c322ce75a312dc764a2c4f48"},"caption":"La poderosa y melodiosa voz de Einar Solberg envolvió el recinto y atrapó a los asistentes; esta vez la ayuda de White en los teclados permitió al cantante desenvolverse mejor en el escenario, como un animal suelto que celebra su libertad, y junto a él, sus compañeros lo secundaron en el mismo rito.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7DHLVN7KARBE3DJSLJOJDXJFRM.jpeg","licensable":false,"alt_text":"Leprous - Royal Center 2025","credits":{"affiliation":[{"name":"Germán Rojas","type":"author"}]},"subtitle":"Leprous - Royal Center 2025","width":1599,"_id":"7DHLVN7KARBE3DJSLJOJDXJFRM","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/7DHLVN7KARBE3DJSLJOJDXJFRM.jpeg?auth=47418914111027ffa990380ece140e42cb6819b2c322ce75a312dc764a2c4f48","proxyUrl":"/resizer/v2/7DHLVN7KARBE3DJSLJOJDXJFRM.jpeg?auth=47418914111027ffa990380ece140e42cb6819b2c322ce75a312dc764a2c4f48","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/7DHLVN7KARBE3DJSLJOJDXJFRM.jpeg","published":true,"resizeUrl":"/resizer/v2/7DHLVN7KARBE3DJSLJOJDXJFRM.jpeg?auth=47418914111027ffa990380ece140e42cb6819b2c322ce75a312dc764a2c4f48","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/7DHLVN7KARBE3DJSLJOJDXJFRM.jpeg?auth=47418914111027ffa990380ece140e42cb6819b2c322ce75a312dc764a2c4f48&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"WhatsApp Image 2025-03-09 at 10.44.56 PM (2).jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"YSG7S7ALPZHJVGLTMCYU5WC5SU"},"created_date":"2025-03-12T13:06:56Z","last_updated_date":"2025-03-12T13:06:56Z","height":1066,"image_type":"photograph"},{"_id":"VOQAIT2HUNHVVJHWNJBGK7E2QQ","additional_properties":{},"type":"text","content":"Aproximadamente a las 8:40 de la noche, Einar Solberg (voz y teclados), Tor Oddmund (guitarra), Baard Kolstad (batería), Robin Ognedal (guitarra), Simen Børven (bajo) y Harrison White (quien los acompaña en esta gira como soporte en teclados y coros) aparecieron de entre la niebla, en medio de una atmósfera perfecta, y dieron inicio a su espectáculo. Silently Walking Alone, de Melodies of Atonement, su más reciente álbum, dio inicio al recorrido. La poderosa y melodiosa voz de Solberg envolvió el recinto y atrapó a los asistentes; esta vez la ayuda de White en los teclados permitió al cantante desenvolverse mejor en el escenario, como un animal suelto que celebra su libertad, y junto a él, sus compañeros lo secundaron en el mismo rito."},{"_id":"FVDWJC6HG5E2VDD4I7HY2BH6HY","additional_properties":{"_id":"ITAGZMDRGJF45HKDJOMVLSEI2U"},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Alison Dyer","address":{},"syndication":{},"auth":{"1":"f8025b73e223a8d3e3cf7a0c694020154497fff8d10185111607054a51dea995"},"caption":"BEAT es la unión de Tony Levin, Steve Vai, Adrian Belew y Danny Carey.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/ACSGWZDHXRGFTF4SU35JRAC4KY.jpg","licensable":false,"alt_text":"BEAT es la unión de Tony Levin, Steve Vai, Adrian Belew y Danny Carey.","credits":{"affiliation":[{"name":"Alison Dyer","type":"author"}]},"subtitle":"BEAT - MÚSICA DE KING CRIMSON DE LOS 80","width":3596,"creditIPTC":"Alison Dyer","_id":"ACSGWZDHXRGFTF4SU35JRAC4KY","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/ACSGWZDHXRGFTF4SU35JRAC4KY.jpg?auth=f8025b73e223a8d3e3cf7a0c694020154497fff8d10185111607054a51dea995","proxyUrl":"/resizer/v2/ACSGWZDHXRGFTF4SU35JRAC4KY.jpg?auth=f8025b73e223a8d3e3cf7a0c694020154497fff8d10185111607054a51dea995","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/ACSGWZDHXRGFTF4SU35JRAC4KY.jpg","published":true,"resizeUrl":"/resizer/v2/ACSGWZDHXRGFTF4SU35JRAC4KY.jpg?auth=f8025b73e223a8d3e3cf7a0c694020154497fff8d10185111607054a51dea995","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/ACSGWZDHXRGFTF4SU35JRAC4KY.jpg?auth=f8025b73e223a8d3e3cf7a0c694020154497fff8d10185111607054a51dea995&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"cropped 6371_AlisonDyer.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[]},"created_date":"2025-02-28T16:40:49Z","last_updated_date":"2025-02-28T16:40:49Z","height":2182,"image_type":"photograph"},"description":{"_id":"4KXFDX2ADNH5DLBB6DCWPHPXME","type":"text","content":""},"_id":"UWN5YH6KWZC4THMMZFOQFAT4RQ","type":"interstitial_link","content":"La superbanda BEAT tocará en Colombia: traerá lo mejor del King Crimson de los años ochenta","url":"https://www.semana.com/cultura/articulo/la-superbanda-beat-tocara-en-colombia-traera-lo-mejor-del-king-crimson-de-los-anos-ochenta/202526/"}]},{"_id":"SJMKVLSOVJCK5PZ6NPJS6AO2YQ","additional_properties":{},"type":"text","content":"Posteriormente, los ya clásicos The Price e Illuminate provocaron la histeria colectiva; la agrupación que acompañó la aventura solista de Ihsahn, de Emperor, y lo llevó a otros niveles, estaba en Bogotá, pero como una banda en propiedad, una suerte de The Band que decidió hacer lo suyo sin Dylan (guardando todas las proporciones, pero con ciertas coincidencias). I Hear The Sirens y Like a Sunken Ship continuaron con la descarga del nuevo trabajo; la altura de la capital puso a prueba las capacidades vocales de Solberg, quien descrestó con sus sostenidos y fuerza interpretativa. Luego, en una amena votación con el público entre Forced Entry y Passing, ambas canciones de sus primeros discos, la segunda (del Tall Poppy Syndrome, de 2009) fue interpretada; la vieja escuela presente."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Germán Rojas","address":{},"syndication":{},"auth":{"1":"0e437ff488a2424174da6d04714ea70245d58e04eb5b526525c20b91fba93ab5"},"caption":"Baard Kolstad tuvo tiempo para algo de redes desde su batería.","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/4DHGGBUJCNGVNGF7IHUBXUI5JI.jpeg","licensable":false,"alt_text":"Leprous - Royal Center 2025","credits":{"affiliation":[{"name":"Germán Rojas","type":"author"}]},"subtitle":"Leprous - Royal Center 2025","width":1599,"creditIPTC":"Germán Rojas","_id":"4DHGGBUJCNGVNGF7IHUBXUI5JI","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/4DHGGBUJCNGVNGF7IHUBXUI5JI.jpeg?auth=0e437ff488a2424174da6d04714ea70245d58e04eb5b526525c20b91fba93ab5","proxyUrl":"/resizer/v2/4DHGGBUJCNGVNGF7IHUBXUI5JI.jpeg?auth=0e437ff488a2424174da6d04714ea70245d58e04eb5b526525c20b91fba93ab5","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/4DHGGBUJCNGVNGF7IHUBXUI5JI.jpeg","published":true,"resizeUrl":"/resizer/v2/4DHGGBUJCNGVNGF7IHUBXUI5JI.jpeg?auth=0e437ff488a2424174da6d04714ea70245d58e04eb5b526525c20b91fba93ab5","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/4DHGGBUJCNGVNGF7IHUBXUI5JI.jpeg?auth=0e437ff488a2424174da6d04714ea70245d58e04eb5b526525c20b91fba93ab5&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"WhatsApp Image 2025-03-09 at 10.44.59 PM (1).jpeg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"_id":"3TC3RBWC6ZDDLNAHPDRCG34RWI"},"created_date":"2025-03-12T13:06:56Z","last_updated_date":"2025-03-12T13:06:56Z","height":1066,"image_type":"photograph"},{"_id":"TKLNRH5DLJFUZCGVURAM2PPNCU","additional_properties":{},"type":"text","content":"Distant Bells, Nighttime in Disguise, Unfree My Soul y Below formaron parte del recorrido de su discografía de 24 años, todo marcado con cuidado, arreglos y puesta en escena impecables, la conjugación de técnica, cadencia y entrega entre Oddmund, Ognedal, Børven, Kolstad y White son dignas de destacar. Rock alternativo, progresivo, metal, pop, jazz, math, minimalismo y experimentación recorrieron los oídos de todos. Algo para resaltar fue la participación de varios fanáticos que subieron a corear Faceless junto a la banda, invitación que ha estado haciendo a lo largo de la gira. Castaway Angels (emotiva y solemne), From the Flame (energía y locura) y Slave (catarsis) comenzaron a terminar el recorrido por ese camino que había empezado un par de horas atrás."},{"_id":"IR6CUQUPAVFLVAOQMZ7DUDBZDA","additional_properties":{"_id":"6ZPNEX5USFBVRKLFA44LF6QDUA"},"title":"","type":"link_list","items":[{"image":{"owner":{"sponsored":false,"id":"semana"},"copyright":"Will Ireland Photography","address":{"locality":"London"},"syndication":{},"auth":{"1":"4693ac6688b0e6ef97571ba44a911e83b418779da43cd158768c1d0d6d821005"},"caption":"Leprous Band photography","source":{"system":"photo center","edit_url":"","additional_properties":{"editor":"photo center"}},"taxonomy":{"associated_tasks":[]},"type":"image","version":"0.10.9","url":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/KDOQQQEVM5FCTEQDUDLUVLPGCQ.jpg","licensable":false,"alt_text":"Tor Oddmund (guitarra), Baard Kolstad (batería), Einar Solberg (teclados y una de las mejores voces en la actualidad), Robin Ognedal (guitarra) y Simen Børven (bajo) conforman Leprous, una entidad que innova y desafía.","credits":{"affiliation":[{"name":"Will Ireland","type":"author"}],"by":[{"name":"Will Ireland","type":"author","byline":"Will Ireland"}]},"subtitle":"Leprous Band photography","width":1280,"creditIPTC":"Will Ireland","_id":"KDOQQQEVM5FCTEQDUDLUVLPGCQ","additional_properties":{"fullSizeResizeUrl":"/resizer/v2/KDOQQQEVM5FCTEQDUDLUVLPGCQ.jpg?auth=4693ac6688b0e6ef97571ba44a911e83b418779da43cd158768c1d0d6d821005","iptc_source":"Will Ireland Photography","keywords":["leprous band photography"],"proxyUrl":"/resizer/v2/KDOQQQEVM5FCTEQDUDLUVLPGCQ.jpg?auth=4693ac6688b0e6ef97571ba44a911e83b418779da43cd158768c1d0d6d821005","takenOn":"2019-07-08T15:39:05Z","originalUrl":"https://cloudfront-us-east-1.images.arcpublishing.com/semana/KDOQQQEVM5FCTEQDUDLUVLPGCQ.jpg","published":true,"resizeUrl":"/resizer/v2/KDOQQQEVM5FCTEQDUDLUVLPGCQ.jpg?auth=4693ac6688b0e6ef97571ba44a911e83b418779da43cd158768c1d0d6d821005","ingestionMethod":"manual","thumbnailResizeUrl":"/resizer/v2/KDOQQQEVM5FCTEQDUDLUVLPGCQ.jpg?auth=4693ac6688b0e6ef97571ba44a911e83b418779da43cd158768c1d0d6d821005&width=300","version":0,"usage_instructions":"Semana /Cultura DERECHOS DE AUTOR","originalName":"224704.jpg","mime_type":"image/jpeg","restricted":false,"template_id":280,"galleries":[],"iptc_title":"Photographer"},"created_date":"2025-02-26T14:42:56Z","last_updated_date":"2025-02-26T14:42:56Z","height":720,"image_type":"photograph"},"description":{"_id":"7AHPSZODSNFD7PRMEGCOGZRT4I","type":"text","content":""},"_id":"H752W56X45HL3GVYHVCU36TWWA","type":"interstitial_link","content":"Leprous: “Con el tiempo, no solo hemos evolucionado como músicos, también como personas”","url":"https://www.semana.com/cultura/articulo/leprous-con-el-tiempo-no-solo-hemos-evolucionado-como-musicos-tambien-como-personas/202540/"}]},{"_id":"HOWN6RLZDRBDHN7ZAE3HZBDRPA","additional_properties":{},"type":"text","content":"Atonement se conjugó en un solo grito entre músicos y público. El último rugido colectivo de ambos participantes en el teatro y en la capital. “It’s all because of you!!”. Y antes de que todo terminara, antes de recobrar la respiración, el ataque con la instrumental The Sky is Red: fuerza pura, sonido directo a la cabeza, luces y una sensación de algo que se va a quedar en los recuerdos para siempre."},{"owner":{"sponsored":false,"id":"semana"},"copyright":"Germán Rojas","address":{},"auth":{"1":"63942b4222261cb70a3b7309e1d5f666cded23748829f12819bc80cb358efa3e"},"caption":"Rock alternativo, progresivo, metal, pop, jazz, math, minimalismo y experimentación recorrieron los oídos de todos. 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