Akenathon’s new album, “Cronicas Intrascendentes,” presents a well-crafted fusion of Progressive, Symphonic, and Psychedelic Rock elements. The band demonstrates a thoughtful approach to composition and production, offering a complex yet coherent listening experience. We spoke with Akenathon to better understand their origins, creative process, and outlook for the future.
Could you tell us about the origins of Akenathon? How did you come together as a band, and what was the initial vision?
The band was formed 25 years ago. From those years the only original member is Aníbal. The first idea was to make some music that pervades through the time. A music which can be listened again and again, each time finding new details and meanings.
What does the name “Akenathon” represent for you, and why was it chosen?
The name came up at the beginings circa 2001; at the time, I didn’t know who Akenathon was. It just sounded good to us. But over time, I became interested in the story of Akenathon, the Egyptian pharaoh, and discovered many interesting details about his life, his ideas, and how he transformed the Egyptian culture of his time. Because of this, his name became increasingly interesting to me and the band. And, in a way, its meaning changed over time. Today, in a way, it represents a character who challenged everything established in his time.
How would you describe your current sound compared to your previous works? Were you aiming for new directions on Cronicas Intrascendentes?
The sound of the band was changing over the years. At first we thought the material as songs, with a more conventional structure. Then turned more complexe, we trate to create structures that can change during the song and take different forms. Crónicas Intrascendentes is filled with little moments that you will have to discover. As for the band’s current sound, I must say that the addition of Marcela Crusat and Fernando Chavez González, on keyboards and bass respectively, has given it a more sophisticated and delicate musical edge. With more subtleties and details, without compromising the energy we always strive for.
The album’s title suggests themes related to time and existential reflection. How did the concept come about, and how did it shape the writing?
We had a set of songs that told small dramas that might not mean much to most people. We try to contrast these stories with the barrage of news we receive every day, which seems so important. The message we want to convey is that these small, everyday dramas can have great meaning, if we are willing to listen to them.
Your compositions are intricate and layered. Could you walk us through your creative process, from initial ideas to final arrangements?
The complexity of the compositions, although it may not seem so, is not something we seek. Rather, it emerges from the work we do with each piece. First, I usually bring an idea or a model, a scheme. I always try to accompany it with an idea or a story that gives it meaning and reflects the atmosphere that inspires me.It doesn’t matter if the song is instrumental or has lyrics, there is always a story behind it. Then, once the band understood the message and intention, I told them the parts I was most interested in keeping original.The parts I’m attached to. With all this data, currently, Fernando Chávez González (Bass) who has taken on the role of music producer, and obviously Guillermo Rocca (Drums and voices) and Marcela Crusat (Keyboards). Begin to work in the different parts of each one. It becomes a group composition.
The lyrics tackle spiritual and existential topics. How important are they in expressing the overall message of the album?
We use not only letters but also titles to suggest the message we are telling.Sometimes the title can suggest many things.
The production is very detailed and polished. What was your approach in the studio, and did you collaborate with any particular producers or engineers?
At this point, I want to emphasize Fernando’s role as a music producer once again. His work on our new album has been magnificent. Working in the studio is a lot of fun. We’re playing around with the new song, suggesting arrangements, and suddenly Fernando sees a new shape, a new twist, in his head.Sometimes we get a little scared because everything might change, but we always make it to the right place. Guided by Fernando.Crónicas Intrascendentes was recorded at Picciola Studios, Guillermo’s home. This allowed us to do several takes and select the best. These were live recordings, with some post-production tweaks.We then took the material to Argot Studios, where Matías Paya González did the mixing and mastering, in addition to helping us with all our questions about the recording.
How do you translate this complex sound into live performances? Are there differences or challenges when playing these pieces on stage?
We’re always experimenting. We don’t use additional musicians in our live performances. That’s why we tried to make the album sound as close to the live sound as possible, with minimal overdubs. The energy of live shows is unmatched! We’re currently experimenting live with electronic drums and adding synthesizers that Fernando plays. There’s one track on the album that has synthesizers, but the drums are entirely acoustic.
Could you share your perspective on the current Progressive Rock scene, both internationally and specifically in Argentina?
Progressive Rock occupies a musical niche in Argentina, along with Jazz and Blues. It’s not a bad thing; it’s a fact. However, the national scene is very good. There are many excellent offerings. In our city, La Plata, we are part of a group of bands, the Colectivo Progresivo Platense, with whom we dedicate ourselves to promoting our music. We organize an annual festival called La Plata Prog, which is highly acclaimed. Bands from all over the country and Latin America come here. The festival welcomes a wide range of musical proposals. The organizing bands include Baalbek, La Secta, the duo Crusat Fernández (yes, our keyboardist from Akenathon is here too!), Modo tester, Pablo Amarillo, Sugar Mice, Yesstories, and others. Honestly, I’m not very familiar with the international scene, but I think it’s very similar to the local one. Except I think it might be more popular in Europe, given the number of
festivals held there.
What are the band’s plans moving forward? Any upcoming releases, tours, or projects you can share with us?
We’re always working on new material! Marcela is currently on vacation. But we’re still working! When she returns, we’ll have to perform at the La Plata festival and another festival that’s in the works, but it’s a surprise! And then we’ll be recording new stuff!
Outside music, are there any other interests or inspirations that influence your art?
Everything that happens interests us, in art, literature, painting, of course. Let’s mention Laura Boassi here, who created the paintings for the cover art. That was also a beautiful process in which Laura was involved in translating our message into colors. I also want to mention another challenge we face when presenting a work that tells small
stories that must be listened to with time and attention, in contrast to the immediacy in which we live immersed, which doesn’t allow us those spaces for reflection.
Thank you very much for your time and insights. We wish you all the best with “Cronicas Intrascendentes” and look forward to following your future journey.
We want to express our deep gratitude for this space that allows us to express ourselves beyond what our music says. These possibilities deserve to be valued and supported by all of us who make this music we are passionate about.
Purchase “Cronicas Intrascendentes” on Bandcamp: https://viajeroinmovilrecords.bandcamp.com/album/akenathon-cr-nicas-intrascendentes-2025
Read our Review of the album here: [Review] Akenathon – Cronicas Intrascendentes