By José Gandue @Gandour
In these times of pandemic hangover, are we open to listening to new musical proposals, projects that break our traditional listening patterns, our repetitive playlists? Some experts in statistics and music marketing say, that listeners have tended in recent times to return to listening to what reminds them of those happy (?) times of adolescence and early youth, Because, in times of uncertainty, listening to old songs from past holidays relieves anxiety and serves as a refuge, a way to believe that everything will be alright. And the experts, so serious as they are, are happy to spout such nonsense, in short.
All this introduction, which attempts to mock closed-minded marketing and cheap psychology, is meant to propose a new musical exodus, since it has recently been published Ganbare, an album that strives to organically combine free jazz, minimalist electronica and psychedelia into sweet tablets for our auditory palate. This production is the second work in the discography of the Argentine trio. Asian Luxury, It is constructed from exquisite layers and weavings of digital sounds that seek a quiet joy rather than the euphoria of dancing. It is music made to be performed in diverse spaces, even, if desired, in auditoriums intended for more traditional music, those where the listener sits, blending into the surrounding audience, and seeks to isolate themselves amidst the crowd to capture each instrumental texture being played. Ganbare It's a beautiful album that should be listened to patiently, seeking out new landscapes to which we are not accustomed, especially in these uncertain times. To understand this recording a little better, We have contacted Siro Bercetche in Hamburg, the person designated to answer our questions:
How would you personally describe the music of Lujo Asiático?
We're like a six-handed DJ. To me, we sound like a party a couple of blocks away. We're like a pre-party. It's all because the kickdrum It's not super loud. It's not right in your face. That, combined with the atmosphere, makes me feel like we're having a party a couple of blocks away.
What kind of audience are you trying to reach? I ask because I feel that your music doesn't necessarily have to be played in a party setting.
We've played at a lot of parties because live shows are usually more danceable. The latest album is like a ambient to get our feet moving. I think anyone who likes Boards of Canada, Caribou, Aphex Twin, might like what we do.
How was this new album designed? What kind of guidelines did you have when recording it?
We designed the album during live shows, at parties. We put the songs together to play them live. We recorded the live performances and listened to them. We saw what worked and what didn't. Then we went into the recording studio for a day and a half. We listened to everything and started deconstructing and taking apart the tracks that didn't convince us. And most of the tracks We added layer upon layer of keyboards. We didn't have very clear premises. We never talked much about music.
Was there ever a need to add voices?
It's like we realized we weren't interested in vocals. Now here in Hamburg we're recording new things and improvising with people randomTwo singers appeared, but we'll see what happens with the recording.
What has the European experience been like?
Arriving during the Covid era wasn't easy at all. We've been at the Fleetstreet Theatre here in Hamburg for a month now, improvising, recording, and editing. We've also been collaborating with some local artists. We did a couple of recitals where the audience joined in the improvisation.
Are they going to stay there for a long time?
Andrés is going back to Buenos Aires in a couple of days. Cristián is staying a little longer and then he's going to the United States to find the vinyl copies of this album. And I think I'll stay until it starts to get cooler and there are only a few hours of sunlight left.
