Warm Beats For Warm People

Monday, October 20, 2008

Chancha Vía Circuito

... that is Pedro Canale, a lanky, young musician, hailing from the province of Buenos Aires, Argentina. Pedro made himself a really well fitting name here as Chancha Vía Circuito (more or less like: „small wooden cart on the railroad“) in urban beats club Zizek, which meanwhile also became a record-label and is celebrating its second anniversary these days. The really interesting and attracting thing about his label is, that it not just queued itself into the row of these million labels, with their similar sounding and irrelevant electronic productions, trying to get a piece of cake from the big players. All the artists, playing in Zizek every thursday, follow their Latin-American roots, trying to transfer the music to presence and just doing something new, something unique in order to set themselves apart from the pabulum.

Therefore Pedro focuses on Cumbia, a really popular type of music, still nowadays in South America, especially Argentina, Mexico, Peru and Panama. It originally came from Africa, as music of the courtship ritual and was called cumbe. Through the Spanish colonization and Spain's need for gratis workers, cumbe came to Latin-America on board of the slave ships. At that time it was played with just drums and claves (percussion instrument, consisting of two thick dowels).
The slaves naturally came in touch with the indigenous population (obviously slaves as well) and borrowed their typical instruments like flutes and percussion instruments.Cumbia was born. For a long time, the music and dance, as part of the courtship ritual, were considered vulgar and a „thing“ of the lower class. Nevertheless you nowadays also find an European influence in the music, since it can contain guitars, accordeons, bass guitars and the modern flute.
Until today, Cumbia developed to various directions apart from the classical way. There exists Cumbia Villera, which comes from the slums, as well as cumbia rap and tecnocumbia.

Pedro interpretes it his own way, electronic- and digitally, slipping in folk and music that he grew up or rather dealt with in earlier projects. Although he produces with a computer, he sounds organically, almost like real sampled sounds of everyday life. His music is very reduced and rhythm focused, downbeat, but danceable; a thing that is important to him...

Let's start with the most important thing: How do you work? How do you produce you music?

In the first place I dedicate a lot of time on developping a library of sounds that attracts me. That can include elements recorded at home like samples from other librarys or other music. With those sounds then I set my base in Fruty Loops (Sequencer) and export it against to Cubase (Multitrack) where I add accoustic and virtual instruments and vocals.

Which instruments do you use?

Various percussion instruments, guitars, flute, synthesizers etc.

What are your influences and what are your inspirations working on new material?

I have many influences because I listen to loads of different styles of music. For this particular project I would say it's Latin American Cumbia, folk from the Peruvian plateau, Dub, Minimal and IDM among others.

It's probably obvious...but I know Cumbia only for little time: what is the relation between your music and classic Cumbia?

It is highly related since this type of music is one or the principal influences.

When did you feel like starting a project where you can deal with Latin-American music?

Particularly when I felt the necessity of making danceable music. That was the point when I rediscovered the marvellous world of Latin-American Rhythm, like Cumbia.

How did you „enter“ this world?

Thanks to internet and fanatic friends I got acquainted with different styles of Cumbia, such as the Colombian, the Mexican, the Peruvanian etc...

Your music is extremely reduced and downbeat. In my opinion different to the other artists on ZZKRECORDS. How did the collaboration start off?

It started with the Zizek party; The alter-ego Chancha Vía Circuito and Zizek were born at the same time. This project is different to the others because each artist of the label reinterpretes these musical roots in a completely personal way.

How did the ZIZEK people get to new eachother?

Although some of them already new eachother before, we all came together in ZIZEK.

What do you think of the musical scene of Buenos Aires?

I think there are a lot of really talented people making music here...really good producers, which not necessarily are the often seen faces on the these mega-partys from the pop-scene.
The people of our underground predominantly more interesting. You just need to pay atention.

If you could change something, what would it be?

I would give upcoming talents more space to present themselves.

ZIZEK just became two years. What does that club mean to you?

It means a lot. First, because the guy who realised these parties is my brother (a.k.a NiM) and I started working with him right from the beginning. Second, because thanks to it, a lot of musicians like me got the chance to experiment with the dance floor, the place where we all grew up.

Do you consider it a movement?

Actually yes, I don't know any other club, as impartial as this one, where you can here fresher sounds and with so many competent musicians who really want to produce something.

Although it is really unique music, based on a certain part of the world, do you think Zizek will still grow? Maybe get famous in other parts of the world?

Yes; I think we will continue growing. Not only because it is good music, but because we're transforming all the time, like in a constant change, invastigating new rhythms and sounds.

What kind of people go to Zizek?

All kinds of people. Also foreigners.

Which music do you play there?

Only my own music. And I always invite musicians and singers.

Where do these people come from?

In general they're friends, people I made music with or people I got to know through my music.

You've got two more projects: Universildo and Verde Kiri. Which creative needs do you serve with these ones? Are there differences in the way you produce?

Verde Kiri was the first one, there I play an accoustic guitar. It is a lot more introspective and reflexive. Universildo is similar, but composed with a computer, actually way of composing as with Chancha Vía Circuito.

Which on of these products do you like most at the moment?

Right now I'm really enthusiastic with Chancha. I love it that the people dance to what I do.

Are you planning to publish more as Chancha after the Rodante record?

Yeah, I'm actually composing right now...I'm definitely going to publish more.


Possibly next year.

Thank you