How do you describe your music?
As for the visual and auditive aspect is very influenced by images from the nineties. In this decade there was a spread idea of gathering images from diverse sources and overloading the form of the messages (“Country not for you” or the remix from “Treading Gravity” are an example.) I personally think, however, that here are times when I get tired of following the pattern of excessive information that surrounds us (MTV, CNN, Internet, the “Mexican baroque of the XX century,” etc.). For that reason I am interested in following simpler but not less interesting patterns (as in “Seis Segadoras Verdes” or ” In Ultras.”).
The structure of my music is often progressive, the rhythms vary, although I like tem to be complex (not toward the house), any sound which is attractive is welcome and, among other things, I would like to work more with the use of samples in the old tradition of cutting, pasting and reconstructing other people’s sounds.
What do you think of the techno-house scene in Mexico?
I would prefer to call it electronic scene, given the great variety of styles that are being done in our country. It is impressive the amount of people that are doing things in Mexico. I believe that there is the creative potential in order to stand out as country in the electronic world scene. Maybe what is missing is the necessary organization and contact among the musicians. I think that an underground scene must exist, but rather as a growing field. If we want to transmit our ideas we must get on the air and not for that reason market us in a strictly commercial style. It has been repeatedly said that good music and good sales are not necessarily against each other, and there are many electronic musicians in the world that corroborate that.
What literature does influence you in order to move your fingers and make music?
Mainly what I read in the newspapers and the general information that falls into my hands. There is not one specific writer who influences directly in my music, although I should acknowledge that the texts from Burroughs are similar to some songs of mine, but this is rather because of his influence in the visual and musical style of the nineties.
And from the visual arts?
Indirectly, from the cinema of this decade, from multimedia, from TV (there is very good material in order to break and reconstruct there). I won’t deny the great influence from David Bowie as for the image, Kraftwerk because of the sound, Alan Parsons because of the structure and Peter Gabriel because of his eclecticism.
How did you begin in this musical formation?
As many colleagues, everything comes from listening, of practicing with humble keyboards at a beginning and afterwards, by the interest in the computers, and experimenting with them. There are many electronic Mexican musicians who, for lack of a good (and expensive) collection of synths and sequencers, have appealed to the computers in order to make music. I have named us as PC or Mac musicians. However I would not ignore the opportunity to own a good recording studio full of keyboards from every kind in order to play. Great portion from this learning is based on the experience and in the experimentation, with all its advantages and disadvantages.
Do you think that are there is a structure for the electronic music in the country or this is it merely something more accepted in other places of the planet (England)?
I believe that the there is a structure that needs to expand; most of the people know that it exists and that it is a choice. That other people from Mexico know that there are people concerned in this matter is important. I believe that the great goal is that people from the other side of the sea could hear us (Europe and Japan).
How has been your participation in the scene?
Mainly has been on a virtual way, I mean, through Internet. I have put my songs in mp3.com , my own page (http://vate.com.mx) and I am accustomed to participate at other forums such as www.urbe01.com, Cinematik or Verbalia. I know many of the other electronic musicians through the net, and only a few of them personally, however all this community is growing and knowing each other in a virtual way, it is an interesting phenomenon. Before this, I was very isolated and I did the music as personal enjoyment, but since last year I resolved that it was worthwhile to expose it, and it seems that it has given result, the feedback and the exchange towards people from the scene has been of great utility to me. There is one track of mine (“Ultras”) in the first compilation from Electro-mx and I will participate in that event with an idea called “Intercortes.” Also there are possibilities of playing live along the year.
How you perceive the organization of other movements in the country such as in Tijuana (nortec) DF (Electro mx.)?
That’s what it is necessary in order to make the Mexican Electronic Music sound within and outside of the country. It is also a good chance in order to give us to know each other in the scene.
In which do important events have participated?
I in January will participate in Electro-mx, I have been little here outside, the plan for this year is to make more noise.
What do you think of the intelligent drugs that are consumed at rave parties, do you believe that they are necessary to have a greater connection with the music?
Whoever needs them may use them; it is responsibility of each one. Each one is related with the music in the way that is more convenient. The best in those cases is to give the more possible information concerning the topic and don’t deal with it as something that you learn about at the rave parties. Everyone should know everything in this respect (pros and cons).
Give me your definition of electronic music in the last years (techno, house, minimal, big beat or another genre in which you are interested).
The electronic music has diversified a lot in the last two decades; I believe that the common characteristic is the experimentation. It is opening up roads that, apparently, at the end of the nineties could no longer be opened alone with a bass, some guitars and drums. Rock music seems exhausted, I only hope that the same doesn’t happen to electronic music, with the actual technical resources we don’t have an excuse to do so. The responsibility relapses now in our creativity. The challenge of defining among the musicians, the interested media and the event organizers how will the music of the decade of the zeros (years 2001 to 2011) will sound, is interesting.