[originally posted at Mudd Up!]
Back in November the buena gente of Nrmal invited several international producers to Monterrey, Mexico, to collaborate with living legend old-school musicians from the area. Over the course of an intense, well-fed week, we worked out of jefe Toy Selectah’s studio. Norte Sonoro culminated in a free outdoor festival. There’s so much incredible music coming out of Mexico right now — Monterrey, Tijuana, DF, y más — it was an honor to participate in a project like this.
Who was involved? Along with Toy and the Nrmal crew, there was Algodón Egipcio (Venezuela), Chancha VÃa Circuito (Argentina), myself, DJ Rupture (US), Helado Negro (Ecuador/US), Mumdance (UK)and White Rainbow (US). The Mexican artists were Javier Villarreal (Bronco guitarist!, they just played in NYC), Los Cardencheros de Sapioriz, Grupo Esencias and Osvaldo Lizcano con Enlace Vallenato. Today Nrmal released the free EP featuring tracks by all us internationals in conjunction with the various local groups.
Go get it!
We had an all around amazing time there — muy buena onda especially considering that most of the folks involved were meeting each other for the first time. My favorite track from the EP is from Caracas’ soundboy Algodón Egipcio (“Egyptian Cotton”!), who applies his sweet & experimental indie aesthetic to the time-damaged roots vocals of Los Cantantes Cardenches, a trio of septuagenarian cowboys who sing hypnotically heavy acapella songs about stuff like hangovers and dying out in the desert.
There’s more information on Nrmal’s blog – English version and Spanish version, and here’s an earlier post with behind-the-scenes photos. Below you’ll find a snapshot of Enlace Vallenato and I rehearsing, and a bilingual text I wrote about my participation:
For the Norte Sonoro project, I was invited to Monterrey for several days, to work with several regional musicians, leading up to a free public concert. I paired up with Enlace Vallenato – we decided that for the concert, they would play a short set, then I’d join them for three songs, adding beats, sound FX and scratches, and doing a little live dubbing on the lead accordion. It was a slow crossfade between their bouncy cumbia jams to my solo DJ set. We rehearsed in Toy Selectah’s studio. Labbing up with Enlace Vallenato, was great – the ‘blind date’ awkwardness quickly melted away and we set about listening, learning how to twist together our various musical idioms into something strong. Eduardo Galeano calls music “a language where all languages meet,†and he’s right. Towards the end of the rehearsal, Enlace Vallenato hit on a low-slung groove that really worked. We’d already figured out the shape of the concert, and Toy was like: “let’s record this! Right now.†So we did. It was amazing to see Toy in action. First off, his studio is magnificent. People talk a lot about how with a cracked copy of FruityLoops you can make incredible music (and it’s true), but seeing Toy at work, recording and directing Enlace Vallenato floored me, reminding me of how important real-world brick & mortar spaces of shared creation are. Toy’s a consummate producer– coaching the musicians, adjusting the recording setup for maximum quality, all the while keeping the vibes right. Later that night he & I returned to do some editing on the session files, and I took those back with me to Brooklyn for the remix. The main collaboration between Enlace Vallenato and I happened en vivo at the Norte Sonoro party, so I felt that this remix should flip things and offer a serious departure from their original. I asked Ben Lee aka Baby Copperhead, to add live banjo. I sped things up, brought in several synths playing new melodies developed with Ben. I left in some of the original accordion, and build a new synthed up soundworld around their rock-solid percussion.
“Para el proyecto de Norte Sonoro, me invitaron a Monterrey varios dÃas a trabajar con músicos regionales y a dar un concierto público gratuito. Me emparejé con Enlace Vallenato –decidimos que para el concierto tocarÃan un set breve, y luego yo me les unirÃa en el escenario para añadir beats, efectos y escracheos a su set, y también hacer algo de dubbing en vivo sobre el acordeón principal. Fue un buen crossfade entre su fiesta cumbianchera y mi set de DJ. Ensayamos en el estudio de Toy Selectah. Trabajar con Enlace Vallenato fue fantástico –la dificultad de la “primera cita†se desvaneció rápidamente y nos dedicamos a escuchar y a decidir como Ãbamos a enredar nuestros idiomas musicales para crear algo sólido. Eduardo Galeano dice que la música es ‘un idioma en donde todos los lenguajes se reúnen’ y tiene toda la razón. Hacia el fin del ensayo, Enlace Vallenato encontró un ritmo lento que funcionó perfectamente. Ya habÃamos determinado la forma del concierto, y Toy dijo: ‘Vamos a grabar esto! Ahora mismo!.’ Y eso hicimos. Es sorprendente ver a Toy en acción. Primero que nada, su estudio es magnÃfico. La gente habla mucho de cómo con una copia pirata de FruityLoops puedes hacer música increÃble (y tienen razón), pero ver a Toy trabajar, grabando y dirigiendo a Enlace Vallenato, me voló la cabeza, y me recordó lo importante que son los espacios creativos fÃsicos hechos de ladrillo y mortero. Toy es un productor consumado- coachea a los músicos, ajusta su equipo para obtener la máxima calidad posible, y siempre tiene buena vibra. Más tarde esa noche él y yo regresamos a editar los archivos de la sesión, y me los llevé a Brooklyn para hacer mi remix. La colaboración principal entre Enlace Vallenato y yo sucedió en vivo en la fiesta de Norte Sonoro, asà que sentà que este remix deberÃa de darle un giro de 180 grados y alejarse de la original. Le pedà a Ben Lee, también conocido como Baby Copperhead, que le agregara algo de banjo en vivo. Aceleré todo y metà varios sintetizadores con melodÃas que desarrollé con Ben. Dejé algo del acordeón original, y construà un mundo de sonido sintetizado alrededor de sus percusiones impecables.†?DJ Rupture 
