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Luis, it’s really a pleasure to have you as our guest, your background is really very rich and interesting, so full of projects and inspiration. Please tell us something about your ‘first steps’ into music…
I was introduced to electronic music through my father who played records when I was very young like Oxygen or Pictures of an Exhibition and really impressed me.
Something in your life that drove you “violently” to techno.
I spent my teenage years deep into industrial music, which fits perfectly with all the angst from adolescence, that eventually turned into techno. Aggression is very well represented in electronic music and the way most of it develops in the abstract: no lyrics, no “real” instruments, pulled me in from the get go.
Describe us how Mexico and its mood, society and contradictions are conceptually involved in/expressed by your music, if it’s like that. If not, how would you define your sound? And how is the club scene in Guadalajara?
I think it´s inevitable to be influenced by your surroundings and more so if you care about human rights and politics, so music tends to reflect reality somehow even if it’s strictly abstract.
Scene wise there’s been techno/house/idm/etc in Mexico since raves started back in 1993. Currently Guadalajara’s scene is healthy and growing. Bar Americas has been it’s central point for the last 11 years but there are always new clubs, parties and festivals.
The most precious Mexican musical events in which you were involved and the reasons.
Around 2003 we worked closely with Guadalajara’s culture office which allowed us to throw several massive free shows in the city. Sometimes we closed an avenue or sometimes on the city’s main square. Because of it’s non profit nature we were able to book artists like Skoltz & Kolgen, Sidestepper or throw complete festivals with cutting edge lineups gathering crowds above 10k people.
That’s the first thing that comes to mind!
Nopal Beat and Kumbia Korrupters. Art Director and Artist. Two personalities in one: how does it feel to manage such a duality?
Both projects stopped for a while now so there is no duality to speak of. On the other hand, while I was working on the record label it took so much of my time I stopped making music. At the end music won and I started to make techno again.
Mexico met China: what did you do there and how was it as human experience?
First time China happened it was through Mexico’s CONACULTA which is the country’s main cultural entity. Mexico was the guest country at the Meet in Beijing and we were a part of the “new artists” delegation. The second time we were invited to an independent festival because of the Kumbia Korrupters project a year earlier. A great experience both times and one of the most interesting places I have ever visited.
You are coming to Italy for the first time. Have you ever been there? If not, how do you imagine this country and what would you like to deepen?
I’ve had the opportunity to visit Italy in the past, Venice and Florence, so I’m glad to be back to play this time. To me Italy and Mexico share a lot of similarities spawning from it’s latin roots all the way to organized crime, politics and religion. At the end both countries seem ruled by passion and people that wear their heart out in the open.
Are there some Italian artist that you would like to mention and why?
I’ve had the opportunity to share the stage with Sasha Carassi and found him to be a great guy and artist, also Davide Squillace seems unable to produce a bad track.
For our opening night, you are going to play in a particular place called Pedro, situated in Padua, a city nearby Venice. It’s an occupied space (it has 25 years of background!), one of the most ancient squats in Italy. How is the relation between Mexican cultural politics and night events/free parties? Here in Italy it’s years that it’s always harder and harder…
Mexico’s history with electronic music and repression is and old one but we have managed to coexist with the government without any issues for the last 10 years I’m glad do report.
You are (in relation with your releases/remixes/live & dj sets) proud of:
I’m always proud to finish a track or remix even if later I think something could have been better or different.
It’s always about the process and how you end up with a finished product that didn’t exist, so that always satisfies me.
An advice to the younger producer’s generation:
More important than technical details or a list of gear and tricks, the most relevant thing to me is how you interface with music. If it’s a mouse and keyboard or tons of modular gear, whatever connects you to your work is what matters.
That and sticking with it.
Some adjectives for Vynils:
I’ve never been a dj but deeply enjoy having my music printed on to an object. On the vinyl vs digital I have not much to say… again, whatever works for you.
What do we have to expect from you at TheFRAG?
I try not to expect anything from anywhere/anyone in the hopes of letting things happen organically. That said, with luck people will enjoy the music and good memories will be made.
Thank you very much, Luis! We really hope that your “first time” here will be something new, inspiring…
Interview by Divna Ivić