Jeg har hørt for lite på meksikansk elektronika! Tilbake i 2005 ble jeg dypt imponert av Remembranza av den meksikanske musikeren Fernando Corona, alias Murcof.
Men siden glemte jeg å høre på ham, kanskje det hele ble for komplisert?
Uansett, her er mitt vesle intervju fra året etter, brukt i denne Ny Tid-saken.
ØH: How is the interest for electronic music in Mexico?
M: It’s growing, from the underground up, we are gladly seeing more and more indie labels sprouting from different parts of Mexico; the quality of the new music being made is better than say, five years ago; new electronic music festivals are also slowly but steadily taking place all over Mexico. I feel we are at a very important point in which we now possess more or less the necessary tools to compete with the international scene, and this will be more apparent in the near future. There is great music still to be discovered outside (and even inside) of Mexico.
We still face a lot of challenges: distribution is very complicated in every sense, the majority of the media is either outdated or poorly informed, and most institutions lack vision, but we are still very positive and see this as challenges, and there is always a workaround of course, mostly the DIY way.
ØH: Do you feel that you are part of a global music scene?
M: More or less, I sometimes feel like an oddball in the sense that «global» still pretty much means Europe, Japan and the states, so it’s not very «global», but that’s changing, nowadays technology, information and the tools for creating music being much more accessible worldwide, it’s slowly decentralizing from these territories, that can probably count as one of the few positive sides of globalization.
Latin America still needs to work on it’s infrastructure to enable more interchange of artists and for its music to mature and to be more active in the «global» scene. It’s a vast territory and it’s a shame that you can almost count with your fingers the number of artists that are really «out there», the same for other continents and countries not as active as the ones mentioned.
ØH: Does your nationality, language and culture have any impact on your music?
M: It must count for something somehow, I’m sure of that, but I cannot pinpoint how exactly because it’s a very difficult thing to encapsule, even from person to person we’re very different worlds even if they are neighbours, or even brothers. I mean, when people first heard my work as Murcof, they all thought I was from some part of Eastern Europe, or Germany, but surprise! I’m from the land of tequila and mariachi!
That was, I’m proud to say, a lesson in stereotyping, which is nowadays more difficult to forgive. So unless you are working with obvious local influences, it becomes harder to detect where exactly does a given music comes from. Maybe it’s more in the way the sounds are arranged than the sounds that are being used that can lead us to recognize where it comes from, the sensibility when composing even if it’s with the same tools.