Kiltro with Opening Act Nina de Freitas
Years ago, Chilean-American singer/songwriter Chris Bowers Castillo moved to the port city of Valparaíso and became a walking tour guide.
“I would dress up as Wally and give tours to families and kids,” he remembers with a laugh. “It was great, because I got to know the city incredibly well. I’d walk for hours, then spend the rest of the day partying and drinking, probably way too much. But I also wrote lots of new songs.”
Back in Denver, Chris looked for a moniker that reflected the evocative and subtly rebellious musical concepts percolating in his head, and settled on
kiltro – a word used in Chile for stray dogs or mutts. He then teamed up with bassist Will Parkhill and drummer Michael Devincenzi, later inviting Fez García to join
the band as an additional percussionist on Kiltro’s live gigs.
Titled Underbelly, Kiltro’s sophomore album crystallizes those dreams and experiences into a post-rock manifesto of dazzling beauty. Its songs combine touches of shoegaze, ambient and neo-psychedelia with the soulful transcendence of South American folk – the purity of stringed instruments, supple syncopated
percussion and elusive melodies that define the works of Latin American legends such as Violeta Parra, Víctor Jara and Atahualpa Yupanqui.
From the propulsive, chant-like groove of “Guanaco” to the art-pop panache of “All the Time in the World,” Underbelly is the kind of record that invites you to
quiet down and listen, savoring every single detail. The album reaches an emotional pinnacle during its second half, when the majestic lament of “Softy” –
seeped in exquisite cushions of reverb – segues into the hypnotic reverie of “Kerosene.”
It also signals a new chapter in the fusion of Latin roots with mainstream rock, anchoring its sonic quest on a rare commodity: inspired songwriting.
“So much of this album is defined by the conditions that made it,” says Chris. “Our debut – 2019’s Creatures of Habit – has a social, almost communal feel to it, because we played it live time after time before recording. In a way, the songs were troubleshooted in the presence of an audience, then honed in the studio. Underbelly
, on the other hand, was made in quarantine. It was just us obsessing in the studio, and we ended up following whatever thread seemed most interesting at the time, which made for an album that is more experimental and creative.”
Quarantine isolation allowed Kiltro to obsess over every single loop and melodic turn. Now that the band is ready to tour again, presenting the songs in a live setting poses a beautiful challenge.
For now, the release of Underbelly marks a bold step forward in Kiltro’s extraordinary musical journey.
“We tried a lot of new things on this record,” agrees Will. “We were living through unprecedented times and coming to terms with all of it. The album is a reflection of that. At the end of the day, we wanted to create the kind of music that we didn’t hear anywhere else.”