{"id":3102,"date":"2026-02-06T03:07:43","date_gmt":"2026-02-06T03:07:43","guid":{"rendered":"https:\/\/elbatiscafo.com\/?p=3102"},"modified":"2026-02-07T02:49:50","modified_gmt":"2026-02-07T02:49:50","slug":"the-lullabies-crettino-y-adelaida-tres-formas-de-habitar-el-subterraneo","status":"publish","type":"post","link":"https:\/\/elbatiscafo.com\/index.php\/2026\/02\/06\/the-lullabies-crettino-y-adelaida-tres-formas-de-habitar-el-subterraneo\/","title":{"rendered":"The Lullabies, Crettino y Adelaida: tres formas de habitar el Subterr\u00e1neo"},"content":{"rendered":"\n
El pasado jueves 31 de julio se presentaron tres vibrantes proyectos en el Club Subterr\u00e1neo.<\/p>\n\n\n\n
Telones rojos, baldosas brillantes, bolas de espejos. El Club Subterr\u00e1neo fue<\/strong>, por una noche, escenario de tres viajes que no se pisaron, pero s\u00ed se complementaron<\/strong>. <\/p>\n\n\n\n
The Lullabies, Crettino y Adelaida conjugaron distintas formas de nostalgia en una velada que flot\u00f3 entre la ternura, el deseo y la catarsis.<\/p>\n\n\n\n
The Lullabies<\/strong><\/h2>\n\n\n\n
La apertura fue con “Ostrich”<\/strong>, y el aire se volvi\u00f3 azul. Las luces pintaban el espacio como si se tratara de un acuario subterr\u00e1neo<\/strong>. Sof\u00eda, con lentes blancos y aros de rombos que hac\u00edan juego con las baldosas del lugar, tej\u00eda melod\u00edas con una voz tan suave como el pandero entre sus manos. <\/p>\n\n\n\n
En \u201cDon\u2019t Go Away\u201d<\/strong> y \u201cWashed\u201d<\/strong>, las luces reflejadas en la piel del p\u00fablico crearon una escena inmersiva. Lleg\u00f3 el turno de \u201cLullabye\u201d<\/strong>, una canci\u00f3n que hace honor al nombre del grupo. Con arm\u00f3nica en mano, Sof\u00eda nos dio refugio en medio del ruido cotidiano<\/strong>. Como un t\u00e9 caliente en un d\u00eda de lluvia.<\/p>\n\n\n
Gonzalo, no solt\u00f3 la vista de sus pedales, mientras Coka \u2014con una polera de Ladies and Gentlemen We Are Floating in Space<\/em>\u2014 alternaba entre guitarra y sintetizadores, expandiendo texturas en cada rinc\u00f3n del recinto<\/strong>. Atr\u00e1s, en la bater\u00eda, Benjam\u00edn mantuvo el control de cada golpe.<\/p>\n\n\n\n
El cierre fue en espa\u00f1ol<\/strong>. La \u00fanica canci\u00f3n cantada en ese idioma revel\u00f3 la fuerza contenida de Sof\u00eda, que dej\u00f3 atr\u00e1s la voz aireada y encarn\u00f3, por un instante, la rabia l\u00edrica de las vocalistas noventeras. Un torbellino de instrumentos despidi\u00f3 un set que fue pura ternura.<\/p>\n\n\n\n
Crettino<\/strong><\/h2>\n\n\n\n
El ambiente cambi\u00f3. Aparecieron luces rojas, un p\u00fablico m\u00e1s adulto<\/strong>, y sobre el escenario, Jean Philippe Cretton<\/strong> con zapatos negros brillantes y una guitarra blanca nacarada que reflejaba cada rayo del local. \u201cDentro del sol\u201d<\/strong> encendi\u00f3 la energ\u00eda: riffs crudos, bater\u00eda acelerada, y una voz m\u00e1s rasposa, madura, que recuerda al grunge m\u00e1s cl\u00e1sico.<\/p>\n\n\n
Jean Philippe<\/strong> \u2014melena en capas, mirada desafiante\u2014 domina la escena<\/strong>. Coquetea con su guitarrista, con su baterista, con el p\u00fablico. Hay algo perform\u00e1tico, casi m\u00edstico, en su figura<\/strong>: un amuleto en el cuello, un juego constante con la c\u00e1mara, una entrega total a cada canci\u00f3n.<\/p>\n\n\n\n
En \u201cMonje Iguana\u201d<\/strong> el ritmo baja, se vuelve sensual. En \u201cDentro de tu cuerpo\u201d<\/strong> la guitarra adquiere un brillo carnal, las luces amarillas envuelven todo y JP canta al cielo. El tiempo \u2014ese que siempre vuelve en sus letras\u2014 se estira y colapsa entre versos. Mientras corea con su baterista, salta a las barras y ocupa cada cent\u00edmetro del escenario. Crettino no interpreta canciones: las habita<\/strong>.<\/p>\n\n\n\n<\/figure>\n\n\n\n
Adelaida<\/strong><\/h2>\n\n\n\n
Vestidos negros, luces en espiral. Apenas Adelaida pisa el escenario, el Subterr\u00e1neo se sacude<\/strong>. La temperatura sube. El pulso se acelera. Hay algo f\u00edsico, inmediato, en su sonido: guitarras que se arrastran como olas furiosas, bajo que perfora el pecho, bater\u00eda que no da tregua.<\/p>\n\n\n\n<\/figure>\n\n\n\n
Jurel S\u00f3nico, al frente con su guitarra, dirige la tormenta. Anke, con el bajo al cuello, sostiene el peso del temporal con una precisi\u00f3n feroz. Tom\u00e1s y Joaqu\u00edn, en bater\u00eda y guitarra, completan la maquinaria que empuja cada canci\u00f3n como si fuera la \u00faltima. \u201cColumpio\u201d, \u201cRetrovisor\u201d, \u201cCa\u00edda libre\u201d<\/strong> \u2014 son algunos de los temas que vuelven el ruido ritual.<\/strong><\/p>\n\n\n\n
Guitarras gruesas, distorsi\u00f3n abrasadora y una densidad sonora que se siente en el cuerpo. Entre el shoegaze, el grunge y un indie on\u00edrico, su propuesta es cat\u00e1rtica<\/strong>. Cada canci\u00f3n es una herida en la que el p\u00fablico habita, grita y baila. Nada queda en pie<\/strong>.<\/p>\n\n\n\n<\/figure>\n","protected":false},"excerpt":{"rendered":"
El pasado jueves 31 de julio se presentaron tres vibrantes proyectos en el Club Subterr\u00e1neo. Telones rojos, baldosas brillantes, bolas de espejos. El Club Subterr\u00e1neo fue, por una noche, escenario de tres viajes que no se pisaron, pero s\u00ed se complementaron. The Lullabies, Crettino y Adelaida conjugaron distintas formas de nostalgia en una velada que […]<\/p>\n","protected":false},"author":7,"featured_media":3110,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","artist":"","release_title":"","footnotes":""},"categories":[19,78],"tags":[],"class_list":["post-3102","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-resenas-en-vivo","category-resenas-musicales"],"acf":{},"yoast_head":"\n
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Telones rojos, baldosas brillantes, bolas de espejos. El Club Subterr\u00e1neo fue, por una noche, escenario de tres viajes que no se pisaron, pero s\u00ed se complementaron. 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