By José Gandue @Gandour
Once again, we're talking about music from Cali. But for those in Latin America who aren't very familiar with this Colombian city, we should provide some background information to put things in context.
Cali, a city of just over two million inhabitants, For almost half a century now, it has been an important reference point for contemporary Colombian culture. It was once labeled the world capital of salsa music, and from there, on the other hand, came some of the most important filmmakers in the history of this country. Many of you will simply refer to it for the drug trafficking business, which did a lot of damage to the social stability of the region, but, still, It is better to think of Cali as a space of strong cultural experimentation, great parties, and the birthplace of many of the most interesting artists in the area.
In recent years, the music scene has brought a new wave of bands A groundbreaking sound, ready to shake up the world's stages. From that new generation of artists, we can cite in the first places the Zalama Crew, Their tropical sound is of the highest quality. They, who will perform at the Estéreo Picnic Festival at the end of March, have been gradually winning over the hearts of Colombians and, why not say it, the discerning palates of the continent. Therefore, we took the opportunity to talk with Andrés Gaviria, their bassist, about their recent work and their expectations:
Let's start with the typical question: what does Zalama Crew sound like?
To Cali, to multiculturalism. Part of the band's essence (Zalama, among other things, means family, tribe, and Crew means group. So we're like the "group of groups") is that each member comes from a different musical background: The MCs come from hip-hop and reggae, the DJ from hip-hop, the VJ from electro, the drummer from California-style reggae, the bassist from punk, the guitarist from jazz and Pacific folk music, and the flautist from folk music with more Andean influences. In the end, we all find common ground in our love for hip-hop and experimenting with rhythms. Let's say it's a good stew with all the ingredients in just the right measure. Zalama sounds like the city, like hip-hop, like reggae, like the Pacific coast, like world music, like jazz, like rock, like electro—like a city that strives to maintain its cultural heritage.
Let's talk about Cali. Is it a city in recovery or is it an illusion?
It depends on the aspect we're referring to. Regarding certain social issues, security, transportation, and planning, there's still a lot to be done. As for cultural industries (music, theater, film) and artistic production, we're growing significantly. In recent years, local artists have found new ways to showcase their work thanks to various organizations that have recognized the city's dynamic artistic scene, even without support. Now there are substantial incentives to support tours, record productions, film projects, and more, which have injected new energy into those of us involved. So, at least culturally, Cali is doing well and growing. Of course, it could always be better; more could be done.
I get the impression that if you make music in Cali, there's pressure to produce tasty results and, at the same time, renew the soundtrack of the city's parties, right?
That's really curious. The soundtrack to the city's parties hardly ever changes. A proper Cali party has songs (mostly salsa) mostly from the 70s, with a few from the 60s, 80s, and 90s. The music that people from other places want to associate us with is usually "lively," and in Zalama's case, because of the rhythms we use and the way we make our music, it tends to be lively, regardless of whether or not that's what they expect from us (we do have songs that aren't made for parties). Immigrant, I Lose Control, The Melody Arrived, Jota and several others). In the case of the Cali scene, there's a lot of rock music here, and it doesn't have the pressure to be catchy. Just look at projects like Electric Sasquatch, The Hotpants, Naked in a Coma, Mico, The Last Course And others, who dedicate themselves to rock and explore other feelings. In any case, it's not unusual to find a rocker dancing at a rumba, because here you hear salsa from childhood. It's part of our identity.
Let's talk about Zalama Crew's recent discography. What was the process like for the last few albums?, Destrampe hot plays y The noise?
Destrampe Hot Plays It's interesting because it's a compilation of songs and collaborations we've done throughout our career. In fact, Debauchery It could be considered more of a compilation. Our most recent album is The Noise (2015), an album we recorded during an adventure we decided to live in the USA. The recording took place in Miami over four months, during which we all lived in one house while we composed and rehearsed. We also used those months to play gigs, go to SXSW, and do a couple of featuring on the album with Elastic Bond and Locos Por Juana. The Noise I can tell you that it shows a different side of the band, where we explore themes different from those in previous albums, and it reflects, in a way, what we've learned and how we've matured along the way. We're currently in pre-production for the band's new songs.
What's next for Zalama Crew? Will their sound change at all?
Zalama has more plans for tours, recordings, collaborations, and further solidifying our project. The sound is always evolving; each member enjoys experimenting with new techniques or elements within their sound (new effects or instruments), and each song requires a different approach. So, the sound can always change from song to song.
Are there any prominent artists you'd like to invite to participate in your projects in the coming days?
We are preparing a couple of features with Los Rakas and Crew Peligrosos, artists we know and admire.